sempozyum_bildiri_kitabi

17 Avdela, “Between Duties and Rights,” 129.
18
Tsirimokou, “Askiseis mnimis,” 356. Eleni is dressed in red as a young woman in love, and in
mourning black as a mad woman in Spetses.
19
Mike, Metamfieseis sti neoelliniki pezografia, 345.
20
See Butler, “Performative Acts and Gender Constitution.”
21
Galanaki explains: “it is my view that her subsequent, long disguise as a man had its roots in the
knowledge and training she had acquired from the theatre. It is evident that the rest‐less, artloving
and multitalented Eleni, already a young painter, certainly would have attended all the
lyrical and dramatic productions in the parental theatre. Equally important, I believe, she would
have already access to backstage theatre life, i.e. to the art of disguise, the practice of acting, the
training of voice, the study of movement and mimicry”; “‘My art is to me my whole life…’,” 51.
22
Galanaki, Eleni, ē o kanenas, 87.
23
Politi, “To penthos tis istorias”, 245.
24
Galanaki, “‘My art is to me my whole life…’,” 46.
25
Markatou, “Self‐Portraits by Nineteenth‐Century Greek Painters,” 359.
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