Angeliki Tsagri
First, undergraduate and postgraduate studies in Medieval and Modern Greek Language and Literature/Greek Philology/Classics, 2021, National and Kapodistrian University of Athens, UOA, Greece; second, third, fourth, and fifth postgraduate-graduate studies in Aesthetics/Philosophy (before that in Cultural Studies), Uppsala Universitet, Sweden, 2022/2023, Gender Studies, Umeå Universitet, Sweden, 2024, Theology (Political Theology, Philosophical Theology, Philosophy of Religion, Bio-social and Theological Ethics-Moral Theology), and Philosophy 2024-, some "propaedeutic"/preparatory academic steps for my intended philosophical work. Meanwhile, my personal and scholarly interests in Byzantine Studies and Philosophy have been seriously revived beyond the lens of a broadly meant Medieval Philosophy and besides a history of philosophy.
I am currently writing on perception-proprioception (kinaesthesis, etc.), consciousness, perspective, and depth/-surface matters. During my first MA, I wrote a series of papers and presentations on the illusionary three-dimensional/three-fold and two-dimensional/twofold depth applied to literary works with painting or sculpture modalities. I partially continued this through my second and third MAs but from a different perspective in some unpublished papers, aiming for a future extended publication.
Another project is grounded in objectivation-objectification and thematization ["TO DO PHILOSOPHY OR NOT?": Objectifying women's philosophical objectification in Anglo-American Analytical institutional environments and women's philosophy as a "vocation" (master's thesis-2024 but also ongoing research interest)].
Working languages: English, French, Swedish, German, Norwegian (Bokmål og Nynorsk,) Danish, languages related to my first studies, e.g., Ancient-Medieval Greek, Latin, etc., and Modern Greek.
I am currently writing on perception-proprioception (kinaesthesis, etc.), consciousness, perspective, and depth/-surface matters. During my first MA, I wrote a series of papers and presentations on the illusionary three-dimensional/three-fold and two-dimensional/twofold depth applied to literary works with painting or sculpture modalities. I partially continued this through my second and third MAs but from a different perspective in some unpublished papers, aiming for a future extended publication.
Another project is grounded in objectivation-objectification and thematization ["TO DO PHILOSOPHY OR NOT?": Objectifying women's philosophical objectification in Anglo-American Analytical institutional environments and women's philosophy as a "vocation" (master's thesis-2024 but also ongoing research interest)].
Working languages: English, French, Swedish, German, Norwegian (Bokmål og Nynorsk,) Danish, languages related to my first studies, e.g., Ancient-Medieval Greek, Latin, etc., and Modern Greek.
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Concerning the draft’s theoretical framework, it is grounded on phenomenological (i.e., vid. the concept of the moment), ontological (e.g., cf. the syllogism of the play and the gaming), inter-artistic/intermedial intersected approaches (literature-painting-photography), through the ʺlensʺ of narrativity, and the medium of the philosophical discourse. And in that frame, this draft examines the notions of the re-presentation, the illusion, the framing, the perception, the perspective, the perceptual perspective, the depth, the sensible, the subliminal perception, and the percept via the already mentioned paradigmatic textual environments.
I distribute it upon request, and it is open to promotive (email) criticism, nonetheless, used for my current work and unfolding research.
This draft consists of my research presentation at the first conference of Master's students and Ph.D. candidates in Modern Greek Language and Literature/Philology at the University of Patras (initially planned for the very first days of October 2020). Finally, that occurred on Friday, 5, and Saturday, 6 November 2021. This draft was written in 2020 and is one of my last papers in the scientific fields of Philology, Comparative Poetics, and Literary Theory. It comprises the under revision ''substrate'' for a forthcoming extensive study on materiality and haptic/tactile senses from a different, multi-disciplinary angle than that I shortly present here. The upcoming broader research project contains long, thorough, updated references, in contrast to this earlier example/form. First, from a series of drafts: I can only share it for reading upon request (please do not quote from this version). Nonetheless, I am generally open to (email) comments and criticism used as prompts for my current work and research.
Meanwhile, concerning the theoretical and methodological aspects, we worked on that old inter-artistic dialogue whereby we recognize different artistic codes one in the other, with this fact promoting an inter-artistic encounter following specific philosophical directions of phenomenally distinct idioms. And this dialogue diachronically happens primarily in Literature and Painting. Hence, we focused on these literary works that carry over in a Merleau-Pontian sense even more painting modes, constructing, as such, their literary surface according to these terms.
Concerning the draft’s theoretical framework, it is grounded on phenomenological (i.e., vid. the concept of the moment), ontological (e.g., cf. the syllogism of the play and the gaming), inter-artistic/intermedial intersected approaches (literature-painting-photography), through the ʺlensʺ of narrativity, and the medium of the philosophical discourse. And in that frame, this draft examines the notions of the re-presentation, the illusion, the framing, the perception, the perspective, the perceptual perspective, the depth, the sensible, the subliminal perception, and the percept via the already mentioned paradigmatic textual environments.
I distribute it upon request, and it is open to promotive (email) criticism, nonetheless, used for my current work and unfolding research.
This draft consists of my research presentation at the first conference of Master's students and Ph.D. candidates in Modern Greek Language and Literature/Philology at the University of Patras (initially planned for the very first days of October 2020). Finally, that occurred on Friday, 5, and Saturday, 6 November 2021. This draft was written in 2020 and is one of my last papers in the scientific fields of Philology, Comparative Poetics, and Literary Theory. It comprises the under revision ''substrate'' for a forthcoming extensive study on materiality and haptic/tactile senses from a different, multi-disciplinary angle than that I shortly present here. The upcoming broader research project contains long, thorough, updated references, in contrast to this earlier example/form. First, from a series of drafts: I can only share it for reading upon request (please do not quote from this version). Nonetheless, I am generally open to (email) comments and criticism used as prompts for my current work and research.
Meanwhile, concerning the theoretical and methodological aspects, we worked on that old inter-artistic dialogue whereby we recognize different artistic codes one in the other, with this fact promoting an inter-artistic encounter following specific philosophical directions of phenomenally distinct idioms. And this dialogue diachronically happens primarily in Literature and Painting. Hence, we focused on these literary works that carry over in a Merleau-Pontian sense even more painting modes, constructing, as such, their literary surface according to these terms.