Mrs Nan Taplin

Name:	Mrs Nan Taplin
Affiliation:	University of Cambridge
E-mail:	(only provided to users who are logged into talks.cam)
Last login:	Mon May 09 14:18:14 +0000 2016

Public lists managed by Mrs Nan Taplin

• Modern Greek Lecture Series
• Vertical Readings in Dante's 'Comedy'

Talks given by Mrs Nan Taplin

Obviously this only lists talks that are listed through talks.cam. Furthermore, this facility only works if the speaker's e-mail was specified in a talk. Most talks have not done this.

Talks organised by Mrs Nan Taplin

This list is based on what was entered into the 'organiser' field in a talk. It may not mean that Mrs Nan Taplin actually organised the talk, they may have been responsible only for entering the talk into the talks.cam system.

• Ice, Fire, and Holy Water. Inferno XXXIII-XXXIV, Purgatorio XXXIII, Paradiso XXXIII
• From translation equivalence to cross-linguistic comparability
• Dialectal variation: descriptive facts and common misconceptions
• Linguistic choices as political statements
• Particular Surprises: Faces, Cries and Transfiguration. Inferno XXXII, Purgatorio XXXII, Paradiso XXXII
• State grammar, school grammars and levels of attainment: same facts, different perspectives?
• Conditionals in Modern Greek
• Back is forward, distance is proximity: the ultimate unity of Dante's spiritual cosmos. Inferno XXXI, Purgatorio XXXI, Paradiso XXXI
• The 'syntactic relevance' of Aspect in Modern Greek
• Mood markers in morphology and beyond
• Brooks, Melting Snow, River of Light. Inferno XXX, Purgatorio XXX, Paradiso XXX
• The arithmetic of tense, aspect and mood in Modern Greek
• Life after diglossia: the Standard and other varieties of Modern Greek
• Orthographic standardization: etymology and beyond
• Verb morphology and the centrality of aspect
• Truth, Untruth and the Moment of Indwelling. Inferno XXIX, Purgatorio XXIX, Paradiso XXIX
• Word order and information structure
• Grammatical case marking: forms and functions
• Cosmographic Cartography and the 'Perfect' 28's. Inferno XXVIII, Purgatorio XXVIII, Paradiso XXVIII
• Gender: morpho-syntax, semantics and beyond
• Modern Greek and the Classical Tradition: misclassifications and misnomers
• 'Contenti nel foco': Of Containers and Things Contained. Inferno XXVII, Purgatorio XXVII, Paradiso XXVII
• Inferno XXVI, Purgatorio XXVI, Paradiso XXVI
• Inferno XXV, Purgatorio XXV, Paradiso XXV
• Inferno XXIV, Purgatorio XXIV, Paradiso XXIV
• Inferno XXIII, Purgatorio XXIII, Paradiso XXIII
• Inferno XXII, Purgatorio XXII, Paradiso XXII
• Inferno XXI, Purgatorio XXI, Paradiso XXI
• Prediction, Predestination and the Limits of Perception: Inferno XX, Purgatorio XX, Paradiso XX
• Inside Out: Inferno XIX, Purgatorio XIX, Paradiso XIX
• Sloth, Seduction and Song: Inferno XVIII, Purgatorio XVIII, Paradiso XVIII.
• Inferno XVII, Purgatorio XVII, Paradiso XVII
• Inferno XVI, Purgatorio XVI, Paradiso XVI
• Inferno XV, Purgatorio XV, Paradiso XV
• Fixity and Flow: The Patterning of History in Inferno XIV, Purgatorio XIV, Paradiso XIV
• Strange but True: Sights and Sounds in Inferno XIII, Purgatorio XIII, Paradiso XIII
• Centaurs, Spiders, and Saints: Inferno XII, Purgatorio XII, Paradiso XII
• Acts of Love: Life and Art in the Cantos Eleven of the Commedia: Inferno XI, Purgatorio XI, Paradiso XI
• Humility and the (P)arts of Art: Inferno X, Purgatorio X, Paradiso X
• "Without Violence": Inferno IX, Purgatorio IX, Paradiso IX
• Inferno VIII, Purgatorio VIII, Paradiso VIII
• Inferno VII, Purgatorio VII, Paradiso VII
• “Myth-history: Venice, Crete and Erotokritos”
• “Kornaros’s Erofili”
• Inferno VI, Purgatorio VI, Paradiso VI
• “From text to image: Erotokritos illustrated (18th-20th centuries)”
• “The poetics of plants in Erotokritos and Panoria”
• Inferno V, Purgatorio V, Paradiso V
• “Beauty and desire in Erotokritos”
• “Erotokritos and the Cypriot Canzoniere”
• Inferno IV, Purgatorio IV, Paradiso IV
• Inferno III, Purgatorio III, Paradiso III
• “Language and music, national identity and Orthodoxy: the ‘Destitute Dervish’ by Alexandros Papadiamantis”
• “Aspects of the Greek Crisis and their articulation within the European context”
• Inferno II, Purgatorio II, Paradiso II
• “Gods refusing to die: from Plutarch to Pound, via Wilde, Cavafy, Palamas and Seferis”
• “Guns and grammars, or the remarkable adventures of Romanos Nikiforou”
• Inferno I, Purgatorio I, Paradiso I
• The end of an Affair: the unravelling of the Anglo-Greek tie, 1940-1953
• Second-person narrative in 19th- and 20th-century Greek literature
• Pleading for justice, voicing dissent and dancing around the law in post-1922 Greece
• The Ancients and the Cold War: the political use of the classical past in post-Civil War Greece
• Electra as modern Greek survivor: the reception of the tragic heroine in the poetry of Yannis Ritsos
• Picturing Anafi as it was? Photographs and memories
• Byron's war: the politics of the Greek Revolution (1823-1824)
• Greek tragedy and film genre: the cases of Michael Cacoyannis and Woody Allen
• Does a Cyprus solution still matter?
• Does Greece have a foreign policy?
• Panos Karnezis in conversation
• In search of the lost semi-colon: Greek poetry set to music (and how to read it)
• Creating a culture of uncertainty: the socio-cultural consequences of common Greek linguistic patterns
• Cavafy, photography and fetish
• State, society and the religious "other" in nineteenth-century Greece
• The hidden logic of Greek tense and aspect
• Cavafy and the nineties
• The agony of Greek Jews in World War II
• Inventing a literary past: the first two surveys of Modern Greek literature
• Recording the history of the Cretan War (1645-1669): an overview
• Modern Greek in the 11th century
• An epidemic of dreaming on Naxos in 1930: antecedents and consequences
• The Parthenon in poetry
• After Philhellenism: perceptions of the modern Greeks among the Victorian intellectual elite
• Defining the Diaspora: the case of the Greeks
• Peripheral Modernisms in Greece and Argentina: the cases of Borges, Cavafy, Kalokyris and Kyriakidis
• "A faint sweetness in the never-ending afternoon": Cavafy and the Greek epigram