Dimakopoulou S. Αυτοπροσωπογραφία με το αντιανεμικό Tyvek, a Greek translation of James Merrill's "Self-Portrait inTyvekTMWindbreaker". In: Tyvek Redux: a poem, a suit, two workshops and a show. Athens: ATOPOS CVC; 2024.
Dimakopoulou S, Vlastaras V, Stampoulou E. Tyvek redux: a poem, a suit, two workshops, and a show. Athens: ATOPOS CVC; 2024 pp. 72.
“Η αναστοχαστική αυτό/βιο/γεωγραφία των κειμένων του Robert Smithson” “Reflexive auto/bio/geographies in Robert Smithson’s Writings,”(in Greek). In: Χω/ορο-γράφωντας την Αμερική, επ., Τατιανή Γ. Ραπατζίκου και Σμάτη Γεμενετζή-Μαλαθούνη,Writing/Mapping Space in America, eds., Tatiani G. Rapatzikou and Smati Gemenetzi-Malathouni . Αθήνα/ Athens: Εθνικό Κέντρο Τεκμηρίωσης /National Documentation Center; 2023. Publisher's Version
Vagaries of Performance and the Legacies of Conceptualism in Tino Sehgal'sThis Progress. ASAP/Journal . 2023;8 No 1(January 2023):143-162.
Thought Voice[ing] Feel[ing]. Synthesis an anglophone journal of comparative literary studies [Internet]. 2022;14.2021(14):173-177. Publisher's Version
Ποπ-αρτ και εσωτερικά τοπία στην ποίηση του Frank O'Hara. In: Απ-εικονίσεις της Αμερικής. Αθήνα: Εθνικό Κέντρο Τεκμηρίωσης; 2021. pp. 94-110. Publisher's Version
Dimakopoulou S, Hamalidi E. Towards a Geopolitics of Reception: Responses to US Art and Culture in Greece (1945-1989). In: Claudia Hopkins and Iain Boyd Whyte (eds) Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945-1990. Oxford and New York: Routledge; 2021. pp. 185-194.
Dimakopoulou S. Friendship and Closure after Frank O'Hara. Zeta: rivista internazionale di poesia e richerche. 2020;(November 2020):95-100.
From a "Garden of Disorder to a "Nest of Flames": Charles Henri Ford's Surrealist Inflections. Miranda: Revue pluridisciplinaire du monde anglophone [Internet]. 2017;14. Publisher's VersionAbstract
Virtually omitted from established narratives of American modernism, yet central in the histories of the reception of European Surrealism in the US, Charles Henri Ford’s life and work have been recovered in important queer genealogies within Anglo-American modernism. Yet within this process or recovery, Ford’s poetic work is still largely overlooked, and this may have to do less with its marked Surrealist influences and/or derivative aspects than with the somewhat unclassifiable and composite texture of Ford’s poems. This article revisits Ford’s early poetry as a space of convergence and dialogue between distinct yet interrelated poetics: from the 1938 A Garden of Disorder to the 1949, Sleep in a Nest of Flames, a queer subjectivity assimilates concurrently Surrealist poetics and Djuna Barnes’s equally unclassifiable queer modernism with and against American poetic modernisms.
"Crude and Broken Forms in America: Avant-Garde and Modernist Affinities inWinesburg, Ohio". In: Precious McKenzie (ed.) Sherwood Anderson's Winesburg Ohio. Leiden, The Netherlands ; Boston : Brill: Rodopi; 2016.
The "text of life" in Vito Acconci'sDiary of a Body. Sillages Critiques [Internet]. 2016;21. Publisher's VersionAbstract
Vito Acconci’s early artistic practice combines textuality, visuality, and the involvement with the physical body. It also revolves around the tension between the transience of the performance and the various forms with which the artist’s activities have been devised, recorded, and documented. The voluminous archive that was assembled by Gregory Volk in the Diary of a Body 1969-1973 is worth examining in that respect, since these visual and verbal documents are not only secondary to the event, but make up an integral part of the artist’s early work. Therefore this essay revisits Vito Acconci’s notes and photographs as an assemblage that preserves the experiential substance of the artist’s practice, and also speaks of its in/transitive character, inviting reflection on the connections between writing, performance, and the ground of experience. A paratext to the performances and a continuation of his early writings, the diary is a storehouse that has a documentary value against the grain, which the essay dwells on.
Stamatina Dimakopoulou, Christina Dokou, Efterpi Mitsi (eds.) The Letter of the Law: Literature, Justice and the Other. Oxford: Peter Lang; 2013.
Surrealism and the American Grain inVVV (1942-1944): Culture, Theory, Art. In: Charles Forsdick and Andy Stafford (eds.) The Twentieth-Century Periodical in French. Oxford: Peter Lang; 2013.
"View (1940-1947) and VVV (1942-1944): Remapping Broken Cultural Lines. In: The Oxford Critical and Cultural History of Modernist Magazines. Vol. II. Oxford: Oxford University Press; 2012.
Politics and Paradigms for Art in America: Reframing Radicalism in theLittle Review (1914-1929). In: Hélène Aji, Céline Mansanti, Benoît Tadié (eds.) Revues modernistes, revues engagées, 1900-1939. Rennes: Presses Universitaires de Rennes; 2011. Publisher's Version
Nostalgia, Reconciliation and Critique in the Work of Joseph Cornell. In: Jason Edwards and Stephanie Taylor (eds.) Joseph Cornell: Opening the Box. Oxford: Peter Lang; 2007.
Broom 1921-1924: Avant-gardes, modernités, et l’Amérique retrouvée. In: Benoît Tadié (ed.), Revues modernistes anglo-américaines: lieux d’échanges, lieux d’exil. Paris: Ent’revues; 2006.
“The Poetics of Vision and the Redemption of the Subject in John Ashbery’s ‘Self-Portrait in a Convex Mirror. E-rea (Revue éléctronique d’études sur le monde anglophone) [Internet]. 2004;2(2). Publisher's Version
“Remapping the Affinities Between the Baroque and the Postmodern: The Folds of Melancholy and the Melancholy of the Fold. E-rea (Revue éléctronique d’études sur le monde anglophone) [Internet]. 2004;4(1). Publisher's Version
On Seeing in Surrealism: Max Ernst’s Objects of Vision. In: Simon Kemp, Libby Saxton (eds.), Seeing Things: Vision, Perception and Interpretation in French Studies. Bern: Peter Lang, Modern French Identities Series; 2002.