Δημιουργούνταν μια μυστηριακή εικόνα και ταυτόχρονα ειδυλλιακή για τους αθεράπευτα ρομαντικούς Ίωνες, που ονειρεύονταν την ορεινή εκείνη περιοχή του Βερμίου σαν τη χαμένη τους Πατρίδα........
Εικαστική αναπαράσταση της Οδύσσειας μέσα από πίνακες ζωγραφικής.
Κάθε εικόνα συνοδεύεται από τους οικείους στίχους του έπους.
Κάτω δεξιά προβάλλεται το "ημερολόγιο" του αφηγηματικού χρόνου της Οδύσσειας.
ΟΔΥΣΣΕΙΑ Ι: ΣΤΗ ΣΠΗΛΙΑ ΤΟΥ ΚΥΚΛΩΠΑ - Η ΤΥΦΛΩΣΗΕΛΕΝΗ ΜΟΥΤΑΦΗ
Εικαστική αναπαράσταση της Οδύσσειας μέσα από πίνακες ζωγραφικής.
Κάθε εικόνα συνοδεύεται από τους οικείους στίχους του έπους.
Κάτω δεξιά προβάλλεται το "ημερολόγιο" του αφηγηματικού χρόνου της Οδύσσειας.
Δημιουργούνταν μια μυστηριακή εικόνα και ταυτόχρονα ειδυλλιακή για τους αθεράπευτα ρομαντικούς Ίωνες, που ονειρεύονταν την ορεινή εκείνη περιοχή του Βερμίου σαν τη χαμένη τους Πατρίδα........
Εικαστική αναπαράσταση της Οδύσσειας μέσα από πίνακες ζωγραφικής.
Κάθε εικόνα συνοδεύεται από τους οικείους στίχους του έπους.
Κάτω δεξιά προβάλλεται το "ημερολόγιο" του αφηγηματικού χρόνου της Οδύσσειας.
ΟΔΥΣΣΕΙΑ Ι: ΣΤΗ ΣΠΗΛΙΑ ΤΟΥ ΚΥΚΛΩΠΑ - Η ΤΥΦΛΩΣΗΕΛΕΝΗ ΜΟΥΤΑΦΗ
Εικαστική αναπαράσταση της Οδύσσειας μέσα από πίνακες ζωγραφικής.
Κάθε εικόνα συνοδεύεται από τους οικείους στίχους του έπους.
Κάτω δεξιά προβάλλεται το "ημερολόγιο" του αφηγηματικού χρόνου της Οδύσσειας.
REGENCY_ GENDER ROLES IN REGENCY SPANOU _TOLIA.pptxVivi Carouzou
Women in Regency England had few rights and their main purpose was to get married, after which their legal status "disappeared". They spent their youth focusing on accomplishments to make them desirable brides. Men had much more freedom and rights, and chose wives based on wealth and status. Both sexes worked to elevate their social class, as marriage was nearly the only way for women to gain financial security, while wealthier men had more marriage prospects.
REGENCY_ Fashion in regency by Theiakouli K & Gerasimou O.pptxVivi Carouzou
Fashion in the Regency period was used to display social status. For women, the popular style was a fitted bodice and high waistline with light, flowing fabric. Between 1800-1810, white was the most fashionable color for women's dresses. For men, the typical wardrobe included shirts, pants, waistcoats, coats, cravats, socks, shoes and hats in sober colors like dark blue, brown, black and grey. Popular shoes included Hessians for daytime and simpler shoes for evening events.
REGENCY _ Fashion for women in Regency Era by Dimitra Karapanou.pptxVivi Carouzou
The document summarizes women's fashion in the Regency Era from 1811-1820 in Britain. The empire silhouette, with its high waistline and accent on the natural body shape, was very popular. Day dresses were simple with wide necklines and sleeves, while evening dresses became more elaborate with richer fabrics, longer sleeves, and changing waistlines. Wedding dresses were commonly made of simple white muslin. Accessories included gloves, reticules, parasols, fans, and elaborate hairstyles. Jewelry incorporated paste gems and coral. Fashion was influenced by classical art, the French Revolution, and Empress Josephine Bonaparte, and marked a transition from Georgian opulence to refined elegance.
Matchmaking and courtship in Regency-era England (1811-1820) focused on securing financially and socially advantageous marriages. Wealthy families often arranged marriages between close relatives to keep property within the family. Young men and women met at social events like balls and were introduced by friends or family before courting with chaperones. Flirtation involved letter writing and gift exchanging supervised by relatives. Engagements usually lasted several months to years to determine compatibility before small, simple weddings with few guests other than family.
REGENCY GEORGIAN ARCHITECTURE BY FAY KRALLI.pptxVivi Carouzou
Georgian architecture refers to the set of architectural styles prevalent in England between 1714 and 1830, during the reigns of the first four British monarchs of the House of Hanover. Characteristics include symmetry, proportion, and restraint based on classical Greek and Roman styles. Major examples can be found in cities such as Edinburgh, Bath, Dublin, and London. The style emphasized simple mathematical ratios and was later revived as Colonial Revival architecture in the United States and Neo-Georgian architecture in Britain in the late 19th/early 20th centuries.
Matchmaking and courtship in Regency-era England (1811-1820) focused on securing financially and socially advantageous marriages. Wealthy families often arranged marriages between close relatives to keep property within the family. Young men and women met at social events like balls and were introduced by friends or family before courting with chaperones. Flirtation involved letter writing and gift exchanging supervised by relatives. Engagements usually lasted several months to years to determine compatibility before small, simple weddings with few guests other than family.
REGENCY FASHION FOR WOMEN BY KOVANI M & KARATZALIS D.docxVivi Carouzou
The high-waisted neoclassical silhouette continued to define women's fashion in the 1810s, though trim, colors, and angular skirts gradually broke up the classical lines by the end of the decade. Inspiration came from classical antiquity as well as historic periods like the Middle Ages. The Napoleonic Wars influenced fashion with military-inspired details and spread trends across Europe. By 1815, skirts had triangular shapes from gathered backs and short trains, while sleeves puffed out and decorative trims became more common, reflecting a shift to Romantic-era styles.
Regency Literature by Helen Karvouni.pdfVivi Carouzou
The document provides an overview of literature from the Regency era in England between 1811-1820. It discusses classic Regency fiction written during this period by authors like Jane Austen, Sir Walter Scott, and Mary Shelley. It also describes modern Regency fiction set in this era. Some major genres of modern works are historical semi-fiction, military fiction, mysteries, and romance novels. The document lists some famous classic and modern Regency authors and provides brief biographies of notable writers like Jane Austen, Sir Walter Scott, Mary Shelley, and Percy Shelley.
SCIENCE INDUSTRY INVENTIONS IN REGENCY BY STAVLIOTI _ TZAVARA.pptxVivi Carouzou
The Regency era in England lasted from 1811 to 1820 during the rule of Prince George as regent due to the mental illness of his father, King George III. During this period, there were major advances in science, technology, and industry including the increased mechanization of cotton production, improvements in cereal yields through understanding of nitrogen, and the development of steam power for transportation and factories. Canal construction also expanded rapidly to aid transportation. Scientists like Humphry Davy made discoveries in chemistry while others like William Hyde Wollaston and Joseph von Fraunhofer improved optical instruments and spectroscopy. Inventions like the tin can for food preservation and gas lighting were also developed during this innovative time.
FASHION FOR WOMEN AND MEN IN REGENCY BY MICHA & BOULARI.pptxVivi Carouzou
The document summarizes fashion trends for women and men during the Regency period from 1812-1830 in England. For women, dresses transitioned from classical styles to more elaborate Victorian-era fashions. Day dresses emphasized a natural figure with softer corsets while evening gowns incorporated layered fabrics and elaborate embellishments. Men's fashion abandoned lace for tailored coats, pantaloons, waistcoats, and boots as key items. By the 1820s, women's waists rose and skirts widened while men's styles grew plainer, marking the transition between Regency and Victorian fashion norms.
Architecture In The Regency Period by Eleni Siamandoura.pptxVivi Carouzou
During the Regency period from 1811-1820 in Britain, there were two major architectural styles that gained popularity. The first was the Gothic Revival style, which took inspiration from medieval architecture. The second major style was Classical Revival, which featured symmetrical brick homes with stucco details and Greek columns. A key architect of the period was John Nash, who helped define Regency style and designed notable buildings like the Royal Pavilion in Brighton.
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Women in Regency England had few rights and their main purpose was to get married, after which their legal status "disappeared". They spent their youth focusing on accomplishments to make them desirable brides. Men had much more freedom and rights, and chose wives based on wealth and status. Both sexes worked to elevate their social class, as marriage was nearly the only way for women to gain financial security, while wealthier men had more marriage prospects.
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The document summarizes women's fashion in the Regency Era from 1811-1820 in Britain. The empire silhouette, with its high waistline and accent on the natural body shape, was very popular. Day dresses were simple with wide necklines and sleeves, while evening dresses became more elaborate with richer fabrics, longer sleeves, and changing waistlines. Wedding dresses were commonly made of simple white muslin. Accessories included gloves, reticules, parasols, fans, and elaborate hairstyles. Jewelry incorporated paste gems and coral. Fashion was influenced by classical art, the French Revolution, and Empress Josephine Bonaparte, and marked a transition from Georgian opulence to refined elegance.
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Georgian architecture refers to the set of architectural styles prevalent in England between 1714 and 1830, during the reigns of the first four British monarchs of the House of Hanover. Characteristics include symmetry, proportion, and restraint based on classical Greek and Roman styles. Major examples can be found in cities such as Edinburgh, Bath, Dublin, and London. The style emphasized simple mathematical ratios and was later revived as Colonial Revival architecture in the United States and Neo-Georgian architecture in Britain in the late 19th/early 20th centuries.
Matchmaking and courtship in Regency-era England (1811-1820) focused on securing financially and socially advantageous marriages. Wealthy families often arranged marriages between close relatives to keep property within the family. Young men and women met at social events like balls and were introduced by friends or family before courting with chaperones. Flirtation involved letter writing and gift exchanging supervised by relatives. Engagements usually lasted several months to years to determine compatibility before small, simple weddings with few guests other than family.
REGENCY FASHION FOR WOMEN BY KOVANI M & KARATZALIS D.docxVivi Carouzou
The high-waisted neoclassical silhouette continued to define women's fashion in the 1810s, though trim, colors, and angular skirts gradually broke up the classical lines by the end of the decade. Inspiration came from classical antiquity as well as historic periods like the Middle Ages. The Napoleonic Wars influenced fashion with military-inspired details and spread trends across Europe. By 1815, skirts had triangular shapes from gathered backs and short trains, while sleeves puffed out and decorative trims became more common, reflecting a shift to Romantic-era styles.
Regency Literature by Helen Karvouni.pdfVivi Carouzou
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During the Regency period from 1811-1820 in Britain, there were two major architectural styles that gained popularity. The first was the Gothic Revival style, which took inspiration from medieval architecture. The second major style was Classical Revival, which featured symmetrical brick homes with stucco details and Greek columns. A key architect of the period was John Nash, who helped define Regency style and designed notable buildings like the Royal Pavilion in Brighton.
ΔΥΟ ΙΣΤΟΡΙΕΣ ΜΕ ΚΑΛΙΚΑΝΤΖΑΡΟΥΣ ΑΠΟ ΤΗ ΛΙΒΑΔΕΙΑ.docx
1. ΟΙ ΣΚΑΛΚΑΝΤΖΑΡΑΙΟΙ ΚΑΙ ΤΟ ΖΥΜΩΜΑ (ΛΕΒΑΔΙΑ)
Οι Σκαλκαντζαραίοι είναι ψηλοί μαύροι και μαλλιαροί, έρχουνται τα
δωδεκαήμερα και κατεβαίνουν από τα τζάκια 'ς τα σπίτια, για να
μαγαρίζουν τα πράματα, γι' αυτό τη νύκτα βουλώνουν οι άνθρωποι
τοις στάμναις και τοις βαρέλλαις μην κατουρήσουν μέσα οι
Σκαλκαντζαραίοι.
Μια νύχτα πήγαν 'ς το σπίτι μιανής γυναικός κ' εφώναζαν
«Γειτόνισσα, γειτόνισσα, σήκω να ζύμωσης, γιατί έφεξε - κ' ήταν
ακόμη πριν από τα μεσάνυχτα - αρχίσαμε και μεις, ζυμώσαμε και θα
κάψουμε το φούρνο».
Η γυναίκα θάρρεψε πως της φωνάζει η γειτόνισσά της, σηκώνεται,
βάνει νερό, ζυμώνει, έγινε το ψωμί, ανάβει το φούρνο, το ρήχνει,
καρτερεί να φέξη, που να φέξη; Της φωνάζουν πάλι οι
Σκαλκαντζαραίοι, αλλ' εκεί να και λαλούν τα κοκόρια. Λένε τότε,
«Σηκωθήτε να φύγωμε, λάλησαν τα κοκόρια».
Λέει ο Σκαλκάντζαρος,
«Ακόμη δε φεύγομε, μια φορά λάλησαν».
Αλλ' όσο να πή το λόγο, λάλησαν και πάλι και πάλι, τρείς φοραίς. Τότε
λέει ο μεγάλος,
«Σηκωθήτε να φύγωμε, λάλησε μαύρος κόκορας, και αφήτε τη
γειτόνισσα, μη μας πιάσουν».
Και έτσι εγλύτωσε αυτή.
Την παραμονή των Φώτων το πρωί παίρνουν οι άνθρωποι τη στάχτη
και τη σκορπίζουν τριγύρω 'ς τα σπίτια, για να φύγουν οι
Σκαλκαντζαραίοι και να μην ξαναπατήσουν. Τους διώχνει ο παπάς
πώρχεται ν' αγιάση τα σπίτια, και αυτοί τότε λέν ο ένας 'ς τον άλλο :
«Σηκωθήτε για να φύγωμε, τι έρχεται ο παπάς, ο παπάς με αγιασμό,
κ' η παπαδιά με τη βρεχτούρα».
2. ΤΑ ΣΚΑΛΙΚΑΝΤΖΕΡΙΑ (ΑΡΑΧΩΒΑ ΤΗΣ ΛΕΒΑΔΕΙΑΣ)
Τα Σκαλικαντζέρια έρχουνται 'ς τα χουριά τα δωδεκαήμερα και
φεύγουν την παραμονή των Φώτων. Την παραμονή του Χριστού
έρχονται από πολλά μέρη και περιμένουν απόξω από το χωριό, και
άμα σμίξη η γημέρα με τη νύχτα μπαίνουν μέσα. Είναι κακά και
πονηρά, μα δεν μπορούν να βλάψουν τους ανθρώπους, γι' αυτό κ' οι
γυναίκες ακόμη τα περιπαίζουν και τα βρίζουν και τα λέν
σταχτοπόδηδες, σταχτιάδες, κατουρλήδες, κι' άλλα πολλά.
Καθένας από τους Σκαλικαντζέρους έχει κι' από να κουσούρι, καθώς
και τα ζώα τους. Άλλοι είναι κουτσοί, άλλοι στραβοί, άλλοι
μονόματοι, μονοπόδαροι, στραβοπόδαροι, στραβόστομοι,
στραβοπρόσωποι, στραβομούρηδες, στραβοχέρηδες, ξεπλατισμένοι,
τσακισμένοι, και κοντολογής όλα τα κουσούρια και τα σακατλίκια τα
βρίσκεις απάνω τους.
Και όπως είναι αυτοί, τέτοια είναι και τα ρούχα τους ελεεινά,
ξεσχισμένα φτειασμένα από χίλια δυο κουρέλια λογής λογής. Τέτοια
είναι και τα στολίδια πώχουν 'ς τα ζά τους. Μα και τα φερσίματά τους
και η περπατησιά τους και όλα τους είναι για να γελάη κανείς και
δείχνουν πως είναι πολύ κουτοί και μπαίγνια.
Ένας, να ειπούμε ψηλός ως ακεί απάνω, μακροπόδαρος, καβαλκεύει
ένα μικρόν πετεινό και τα πόδια του σέρνονται καταγής, άλλος πάλι
κοντορεβίθης κάθεται απάνου σε γαϊδούρι τόσο ψηλό, που όταν
πέφτη δεν μπορεί ν' ανέβη πάλι και φωνάζει να του δώσουν βοήθεια,
το γαϊδούρι του πατεί τα σκέλια του μακροπόδαρου, σκούζει κι'
αυτός και φοβερίζει εκεί που είν' αυτοί πιασμένοι πάει άλλος να
καβαλλικέψη το μονόματο σκυλί του και πατεί απάνω.
Συλλογή ΔΗΜΟΣΙΑΣ ΚΕΝΤΡΙΚΗΣ ΒΙΒΛΙΟΘΗΚΗΣ ΛΕΒΑΔΕΙΑΣ