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Dangerous Voices
In Dangerous Voices Holst-Warhaft investigates the power and meaning of the ancient lament, especially women's mourning of the dead, and sets out to discover why legislation was introduced to curb these laments in antiquity. An investigation of laments ranging from New Guinea to Greece suggests that this essentially female art form gave women considerable power over the rituals of death. The threat they posed to the Greek state caused them to be appropriated by male writers including the tragedians. Holst-Warhaft argues that the loss of the traditional lament in Greece and other countries not only deprives women of their traditional control over the rituals of death but leaves all mourners impoverished.
The Classical Moment
The Classical Moment is a reexamination of the concept of a supreme moment in the literatures of Greece, Mesopotamia, India, China, Japan, Korea, and Vietnam. Taking the case of Greece as its starting point, it examines what such 'moments' have in common, how they are created, and what effect they have on subsequent literary creation.
Road to Rembetika
The rembetika, songs that were sung in the poor quarters of Smyrna, Istanbul and the ports of Greece in the late nineteenth century, and became the popular bouzouki music of the 1930s to 1950s, have many parallels with American blues. Like the blues, the rembetika were the music of outsiders, who developed their own slang and their own forms of expression. Road to Rembetika was the first book in English to attempt a general survey of the world of the 'rembetes' who smoked hashish and danced the passionate introspective zebekiko to release their emotions. The author Gail Holst, an Australian musician and writer who first came to Greece in 1965 and who has continued to perform and write about ...
Dangerous Voices
In Dangerous Voices Holst-Warhaft investigates the power and meaning of the ancient lament, especially women's mourning of the dead, and sets out to discover why legislation was introduced to curb these laments in antiquity. An investigation of laments ranging from New Guinea to Greece suggests that this essentially female art form gave women considerable power over the rituals of death. The threat they posed to the Greek state caused them to be appropriated by male writers including the tragedians. Holst-Warhaft argues that the loss of the traditional lament in Greece and other countries not only deprives women of their traditional control over the rituals of death but leaves all mourners impoverished.
The Cue for Passion
Having set aside age-old ways of mourning, how do people in the modern world cope with tragic loss? Using traditional mourning rituals as an instructive touchstone, Gail Holst-Warhaft explores the ways sorrow is managed in our own times and how mourning can be manipulated for social and political ends. Since ancient times political and religious authorities have been alert to the dangerously powerful effects of communal expressions of grief--while valuing mourning rites as a controlled outlet for emotion. But today grief is often seen as a psychological problem: the bereaved are encouraged to seek counseling or take antidepressants. At the same time, we have witnessed some striking examples ...
Road to Rembetika
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Greek Music in America
Winner of the 2019 Vasiliki Karagiannaki Prize for the Best Edited Volume in Modern Greek Studies Contributions by Tina Bucuvalas, Anna Caraveli, Aydin Chaloupka, Sotirios (Sam) Chianis, Frank Desby, Stavros K. Frangos, Stathis Gauntlett, Joseph G. Graziosi, Gail Holst-Warhaft, Michael G. Kaloyanides, Panayotis League, Roderick Conway Morris, National Endowment for the Arts/National Heritage Fellows, Nick Pappas, Meletios Pouliopoulos, Anthony Shay, David Soffa, Dick Spottswood, Jim Stoynoff, and Anna Lomax Wood Despite a substantial artistic legacy, there has never been a book devoted to Greek music in America until now. Those seeking to learn about this vibrant and exciting music were forc...
Music and Gender
Although scholars have long been aware of the crucial roles that gender plays in music, and vice versa, the contributors to this volume are among the first to systematically examine the interactions between the two. This book is also the first to explore the diverse, yet often strikingly similar, musics of the areas bordering the Mediterranean from comparative anthropological perspectives. From Spanish flamenco to Algerian raï, Greek rebetika to Turkish pop music, Sephardi and Berber songs to Egyptian belly dancers, the contributors cover an exceedingly wide range of geographic and musical territories. Individual essays examine musical behavior as representation, assertion, and sometimes tr...
Theodorakis
Mikis Theodorakis became a symbol of resistance to the dictatorship in Greece, from 1967-1974. To the Greeks he was already a legendary figure. He had been imprisoned and tortured for his political beliefs, his music had been banned, his concerts broken up by right-wing gangs. He was a member of parliament, the leader of a powerful youth movement and the most popular composer in the country. Gail Holst, who played in Theodorakis's orchestra in 1975, first became associated with the composer through her work with Greek-Australian anti-Junta organisations. Since then she has followed Theodorakis's career and musical development closely. The result is a detailed study of the music of Theodorakis and of the complex interrelationship between his music and Greek society and politics.
Achilles' Fiancée
The book has received the 2002 Premio Acerbi in Italy. Set in Paris sometime after the 1967 military coup in Greece. Eleni, together with a group of friends and fellow political exiles, finds herself working as an extra in a French film: "The Horror Train." It is not the first time she has been caught up in a deadly drama, nor is it her first ride on a horror train. As the director waves his arms, shouting directions and re-shooting the sequence, Eleni's mind wanders to her first train ride: "Athens-Piraeus. My first long journey by train." "You're Eleni? I'm Achilles." "They don't ask which Achilles. One name is enough..." For the rest of her life, Eleni will be "Achilles' fiancée"; fiancÃ...
