Vrasidas Karalis

Vrasidas Karalis

teaches Modern Greek at the University of Sydney.


About Vrasidas Karalis

Vrasidas Karalis teaches Modern Greek Studies at the University of Sydney where he holds the Sir Nicholas Laurantos Chair in Byzantine and Modern Greek Studies. He has published extensively on Byzantine historiography, Greek political life, Greek Cinema, European cinema, literary criticism and contemporary political philosophy. He has translated two books by Patrick White into Greek, Voss (1996) and The Vivisector (2004) and one of his plays, A Cheery Soul (1197) after a grant by the Australian Council for the Arts. He has also translated modern Greek poetry into English.

He is the editor of the Modern Greek Studies Journal of Australia and New Zealand. He has also edited volumes on modern European political philosophy, especially on Martin Heidegger, Hannah Arendt and Cornelius Castoriadis. His books include Recollections of Mr. Manoly Lascaris (2007), The Demons of Athens (2014), A History of Greek Cinema (2012), Realism and Post-War Greek Cinema (2017) and Reflections on Presence (2017).

He is currently working on the films of Elia Kazan, John Cassavetes and George Miller.


Articles about Vrasidas Karalis

Articles by Vrasidas Karalis

The Free Mind Essays and Poems in Honour of Barry Spurr

Campus Conservative

'Despite all the scandal, this book will be a great contribution to many different levels of thinking and fields of research. I would like to stress the significant contributions on the predicament of the humanities in the universities today. The ‘Barry Spurr incident’ showed how sensitive we still are about the humanities and how precarious and fragile still remains their civilising role in modern society.'

Dimitris Tsaloumas and the Music of the Unseen

‘The poetry of Dimitris Tsaloumas, who died earlier this month, will be read time and again by young poets who want to feel the otherness of poetic language or experience the otherness within the poetic language. His translingualism is the home of contemporary sensitivity: “I arrived on time though I had no address,” he says one of his poems. He reached Australian poetry at the right moment, when a poetic regime change was necessary and desired. In his best poems, we have the impression that the unseen had found its proper musical translation and localised a home for his poetic existence. As long as young poets exist who worship the plasticity and the solidity of poetic expression, his work will be read—and that’s greatest praise anyone can give a poet.’