Narrative cosmonauts

27 May

Posted at 11:33h in Announcements, Narrative Cosmonauts, Uncategorized

Join us in Rönnells Antikvariat (Stockholm) on Friday, June 7, 2024 at 18:00, for the launch of the new Swedish translation of Achilles Tatius’ Leucippe and Clitophon by Ingela Nilsson, the principal investigator of Retracing Connections and the Professor of Greek and Byzantine Studies at Uppsala University.

The power of Eros is great. The young Clitophon knows that. He and his beloved Leucippe have been tossed around the ancient Mediterranean world like play balls for fate and desire. They have seen it all: pirates, potions and mock deaths, loyal friendships, cunning court speeches and divine interventions. In front of a stranger in the coastal city of Sidon, Clitophon spins the story of his love adventures. His story turns out to be “pure novel” and contains everything from Greek myths and exotic beasts to explanations of the physical journeys of desire and the benefits of sex between men. Where the god of love rules, nothing is improbable.

The new Swedish translation by Ingela Nilsson is published by Bokförlaget Faethon in the series Moly with a foreword by Rebecka Kärde and illustrations by Monica Hellström.

At Rönnells, Ingela Nilsson will present the publication in conversation with Niklas Haga, Grecist and publisher. More information here.

05 Feb

Posted at 17:51h in Narrative Cosmonauts

In the Greco-Roman narrative tradition, the ancient Greek novels play a crucial role: as pioneers in romantic storytelling, as models for successive narratives in Greek (including much hagiography), and as inspiration for writers like Shakespeare and Madeleine de Scudéry. Later this spring, one of the most playful and adventurous novels – Leucippe and Clitophon by Achilles Tatius – will appear in a new Swedish translation by Ingela Nilsson.

Lovers of fiction have something to look forward to!

22 Dec

Posted at 13:53h in Narrative Cosmonauts

Two weeks ago, the RC team member Uffe Holmsgaard Eriksen (SDU) presented his new book “Nattens Sange” (“Songs of the Night”, published by Atlanten) at two events in Denmark. The book is the first monograph on the Byzantine poet Romanos the Melodist (485-560 CE) in Danish, containing an introduction to the life and work of the poet, translations of four hymns and a commentary on each hymn.

 

The book has been beautifully accompanied by artwork of the Danish artist, Peter Brandes (b. 1944). Furthermore, the bishop of the Danish diocese of Ribe, Elof Westergaard, has written a foreword to the book.

 

The first event, which took place on Tuesday 5 December at the Aarhus cathedral, was an interview by pastor Henrik Lund with Uffe Holmsgaard Eriksen and Peter Brandes. The interview was accompanied by a performance of medieval melodies to two of the hymns translated in the book, as well as the oldest known melody to Romanos’s famous Christmas hymn “Today the Virgin gives birth to the one who is above all being”. The hymns were performed by Uffe Holmsgaard Eriksen, assisted by two singers, Mads Djernes and Christian Oluf Verdoner. The melodies have not been sung in this manner since the thirteenth century. The melodies were kindly transcribed from the manuscript St Petersburg 674 (c. 1270) by Christian Troelsgård (University of Copenhagen) and Ioannis Arvanitis (Athens). 

Romanos_forside
Nattens Sange 2

The second event was hosted by the diocese of Ribe on Wednesday, 6th of December. At this event, Elof Westergaard, Uffe Holmsgaard Eriksen and Peter Brandes presented the book and spoke about the relevance of Romanos the Melodist today. Westergaard and Brandes both pointed to the influence Romanos has had on Swedish poets such as Hjalmar Gullberg and Gunnar Ekelöf as well as on the 1979 Noble literature prize laurate, the Greek author Odysseas Elytis. Romanos has accompanied both Brandes and Westergaard for many decades as a continuing source of inspiration. Brandes, who has done artwork for several translations of ancient poets such as Homer, Vergil, Ovid and Sappho, as well as modern poetry, ranks Romanos as one of the best poets in literary history.

Since its publication on 15th of September 2023, “Nattens Sange” is close to being out of stock, as it was printed in a limited edition of 300 copies.

 

Text and images: Uffe Holmsgaard Eriksen

1) The cover of the book “Nattens Sange”
2) Uffe Holmsgaard Eriksen (m) and Peter Brandes (r) discuss Romanos with pastor Henrik Lund (l) at the Catherdral of Aarhus on December 5, 2023.
3) The team behind the book, from l to r: bishop Elof Westergaard, publisher Fedja Wierød Borčak, Uffe Holmsgaard Eriksen and artist Peter Brandes.

13 Dec

Posted at 19:38h in Narrative Cosmonauts

Tuesday 28 November, day before the opening

Milan and the team are still working on the exhibition, putting everything in place. For those of us who are used to long-term planning and unreasonably long printing processes, this is a completely different experience. Last night, Milan’s co-curator Nilüfer was still working on her text for the catalogue. It seems stressful, but it is calm anticipation rather than stress that marks the atmosphere of the gallery when I visit Depo in late afternoon.

The photographs for the catalogue are being taken, now that almost every work is in place. Some artists have arrived to help set things up. I have a chat with Walid Siti about his “Under construction”, representing a transitional phase of the tower of Babel. Milan explains how he has been involved in its making over the last few days. I meet Fikos who has painted “Enemies”, inspired both by stories that travel between languages and by the illuminated manuscripts that carry them across. Milan shows me the work of Alev Ersan and explains that it is based on Kalila and Dimna.

As I leave Depo, they are putting up our poster outside. It feels unreal that the rather vague ideas we had just a year ago have taken shape in order to become something like this. I’m deeply impressed by the work of Nilüfer and Milan, along with all the artists. I know that the opening tomorrow evening will be a different experience, so I’m glad I had the opportunity to visit today.

Milan with Alev Ersan's work
Putting up a poster

Dinner is at Galaktion, the Georgian restaurant in which Christian, Stratis and I once celebrated that we had finished the application for funding that resulted in Retracing Connections. That was in January 2019 and I had just arrived in Istanbul as director of the Swedish Research Institute. Is the circle closed or are there only ever an infiniate number of overlapping circles? The concept of Retracing Connections appears to mark everything we do. Or perhaps I’m just a little tired.

In the evening, Kirathaane hosts a panel discussion on translation between Alev Ersan and Matthew Reynolds, moderated by Milan. The rather small room is filled to the brim, the discussion is lively, spirits high. Milan must be exhausted after weeks of hard work with the exhibition, but he is doing an excellent job and seems to be enjoying himself. It is wonderful to see how people meet and talk across the traditional but unnecessary boundaries between academia and the arts, translators and translation scholars side by side. Kiraathane is just the right place to have this event, a place filled with words and warmth – thank you so much for having us.

Wednesday 29 November, day of the opening

Dimitris, Lilli and Marijana are sightseeing as I work away in the lobby of Büyük Londra. It looks the same as it did when I first stayed there in 1995, coming to Istanbul as part of a group of doctoral students interested in Byzantium. Retracing Connections indeed…

The Retracing Connections scholars and Matthew are invited for a drink at the Swedish Research Institute. We are admiring the view over the Bosphoros from the director’s flat that is now Olof’s and where we – Christian, Stratis and I – once worked intensely on the application and came up with the idea to include the budget for an exhibition, having no idea how much work it would involve.

 

WhatsApp Image 2023-12-13 at 19.35.19
Babel
sightseeing 1
sightseeing 2

Then we walk down the steep hill to Depo, where Milan is waiting and there is already quite a crowd when we arrive. The rain is pouring down outside; inside the gallery it’s warm and cozy. There is Georgian wine, numerous languages, and a great mixture of familiar and new faces.

Lilli and art
Matthew
Helin selfie
Sholm installation

Suddenly the catalogue is ready, Milan dashes off to upload it on our website, then comes back to join us for the evening’s event: a free verse conversation between setareh fatehi and Ogutu Muraya around one of the works: “(i) your story of me”. It’s a moving performance, connecting voices and movements and people across continents. Milan is not the only one with tears in his eyes.

Later, after we have left Depo and had a quick dinner at Mercan, we sit again in the lobby of Büyük Londra. Milan and the artists are out celebrating but we are all rather tired – though Uffe, as always, is still filled with energy.

 Eventually we say good night and go to our rooms, most of us are flying home tomorrow. For us, it feels like the end. But obviously, the exhibition is not over. This is only where it begins.

midye dolma
Uffe

Text and images: Ingela Nilsson.
1. Milan and Under Construction (Walid Siti); 2. Milan and this contamination, this crossroads, this accident here (Alev Ersan); 3. Hanging the exhibition poster at Depo; 4. Milan at Kiraathane; 5. Matthew Reynolds, Alev Ersan and Milan at the Kiraathane event; 6. Georgian heroes at Galaktion; 7. Lilli, Marijana and Dimitris sightseeing in Istanbul; 8. Ingela working at Büyük Londra; 9. Opening night; 10. Lilli and El Llamado (Daniel Otero Torres); 11. Matthew Reynolds and (i) your story of me (setareh fatehi); 12. Ingela, Marianne and Helin; 13. Visitors and We, Islands (Stephanie Misa); 14. A free verse conversation (i) your story of me between setareh fatehi and Ogutu Muraya. 15. Visitors listening to the free verse conversation. 16. Dinner at Mercan. 17. Uffe at Büyük Londra.

14 Jun

Posted at 17:36h in Narrative Cosmonauts

On the 6th of May 2023, Retracing Connections researcher Dimitrios Skrekas performed at the Coronation of King Charles III and Queen Camilla in Westminster Abbey.  Dimitrios was part of the Byzantine Chant Ensemble, directed by Dr Alexander Lingas, Prof. Emeritus at City University. We took this opportunity to ask him a few questions about his experience of performing Byzantine music for a modern audience.

Ingela Nilsson: You sang at the coronation of Charles II – a once in a lifetime experience, I guess. What was it like?

Dimitrios Skrekas: It was such a unique and – as you said – once in a lifetime experience to participate in the coronation. All splendour and aura were so great. I really enjoyed the solos by the famous Sir Bryn Terfel and Roderick Williams. The music was outstanding and superb thanks also to the so gifted conductors, like Sir Antonio Pappano and others.

IN: That space must be rather special to sing in, in view of both historical and spatial aspects. Was it different from a musical perspective to perform in such a place?

DS: Indeed, despite the fact that the space was in a church and one would expect to be similar to other church settings where chanters usually perform, it was so different. The overall result was really of the highest standards.

IN: Is this as close as one comes to Byzantine ceremonials these days?

DS: In terms of music, the setting was a rather recent composition of the 20th century which was composed in order to be chanted during Royal Ceremonies in Greece, but it follows the rules of Byzantine chant. In terms of performance, it is quite close in the sense that we formed a choir with the conductor standing  in the middle- as we still do in the Greek churches- and the Byzantines did. We had at the back two people keeping the drone tuning (isokratema, basically equal to E).

The Byzantine Chant Ensemble (Dimitrios Skrekas is third from the right)

IN: Was this an important promotion of Byzantine hymns to a wider audience? Have you had any interesting offers coming up?

DS: Undoubtedly we not only honoured the memory of His Majesty’s late father Prince Philip who was of Greek origin, but we also promoted Byzantine singing on such an important occasion worldwide. I am sure this will attract interesting offers, which will be addressed to our conductor.

IN: What’s next on your agenda, as regards singing and research?

DS: As I am a professional chanter, I will keep on chanting on Sundays and main feasts in London. Research wise, aside from my involvement in the critical edition of the Life of Theodore of Edessa, I am working with other colleagues on the preparation of a catalogue of Greek Manuscripts that come from the library of Guillaume Pellicier in Venice (1539-42). Also, my monograph on the iambic canons attributed to John of Damascus is forthcoming, as well as other publications.

Watch a clip of the choir’s performance.