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Naming Surreally: Lautréamont’s Chants de Maldoror and Nikos Engonopoulos’s Worship of the “Greek”

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Mediterranean Modernism

Part of the book series: Mediterranean Perspectives ((MEPERS))

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Abstract

This essay considers “naming” in the Greek surrealist poet Nikos Engonopoulos and the Compte de Lautréamont. The discussion is in both cases informed by conceptualizations of the “proper name” formulated by Jacques Derrida, Jacques Lacan, Gilles Deleuze and Pierre Klossowski among others. In the case of Engonopoulos, however, naming has implications also for the vexed issue of nationhood in Mediterranean modernism. Tracing the problematic of proper names’ “(un)translatability” into language and, by extension, culture, the essay resists a reading of Engonopoulos’s “worship of the Greek” as either “surrealist humor” or an ethnocentric statement and suggests instead to read “Greek” itself as a proper name: a sign charged with desire, singular and unchangeable, which cannot be exhausted by any cultural logic.

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Dimoula, V. (2016). Naming Surreally: Lautréamont’s Chants de Maldoror and Nikos Engonopoulos’s Worship of the “Greek”. In: Goldwyn, A., Silverman, R. (eds) Mediterranean Modernism. Mediterranean Perspectives. Palgrave Macmillan, New York. https://doi.org/10.1057/978-1-137-58656-8_8

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  • DOI: https://doi.org/10.1057/978-1-137-58656-8_8

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