CINE-CRIS

ΠΛΗΡΟΦΟΡΙΕΣ - INFORMATION: Η αποκωδικοποίηση και αποκρυπτογράφηση του ΚΩΔΙΚΑ ΧΙΤΣΚΟΚ

Ο Χρήστος Π. Παπαχριστόπουλος (γενν. 19 Νοεμβρίου 1973) είναι επικεφαλής του Συμβουλίου Αντίστασης του Ο.Η.Ε. (U.N. Resistance Council) και ιδιοκτήτης της κινηματογραφικής εταιρείας CINE-CRIS.
Έχει αποκωδικοποιήσει τον μηχανισμό-μήτρα λειτουργίας του ΚΩΔΙΚΑ ΧΙΤΣΚΟΚ και έχει καταφέρει να συνενώσει τον κόσμο των εικόνων και των ταινιών (ΚΙΝΗΜΑΤΟΓΡΑΦΟ) με τον κόσμο των πινάκων και της ιταλικής τέχνης (ΖΩΓΡΑΦΙΚΗ) ενώ έχει ''κλειδώσει" το επίτευγμά του και από την πλευρά της συνένωσης της Δυτικής Τέχνης (Western) του αμερικανικού σινεμά με την ιταλική Cinecittà καθώς και με την ιδρυτική της Ε.Κ. Συμφωνία της Ρώμης του 1957 .
Επιπλέον, έχει καταφέρει -λόγω της χρηματιστηριακής του εμπειρίας που πέτυχε την κάθαρση για τα σκάνδαλα στην οδό Σοφοκλέους ταυτόχρονα με την ένταξη της Ελλάδας στην Ο.Ν.Ε. και τους Ολυμπιακούς Αγώνες του 2002 και την σύλληψη της 17Ν- να συνενώσει την χώρα και σε επίπεδο συγγραφέων Νόμπελ, αποκαθιστώντας τους δεσμούς μεταξύ μιας πλειάδας συναδέλφων όπως ο Αλμπέρ Καμύ, ο Τζωρτζ Όργουελ και, τριγωνικά, ο Άρθουρ Καίσλερ και παράλληλα ο Κλάους Μάνν και, δι' αυτού, ο Αντρέ Ζιντ και, βέβαια, η Σιμόν Βέϊλ.

Ο οραματισμός του έργου του: οι εικόνες, οι πίνακες και οι ταινίες ως έργα της ευρωπαϊκής τέχνης

Στο έργο του Χρήστου Παπαχριστόπουλου οι έννοιες "Αναγέννηση", "'Ανοιξη", "Έαρ", "Υπέρβαση" ή "Spring" εκτυλίσσονται γύρω από την Ευρώπη και την Τέχνη και στηρίζονται στην λεγόμενη Μεταφυσική του Φωτός, ώστε να συνενώνουν ως ένα είδος ανασκόπησης την εμπειρία από τις αναμνήσεις του παρελθόντος ώς έναν μηχανισμό σύνοψης ή εφαλτηρίου για το μέλλον.
Με βάση την δημιουργία της Ευρωπαϊκής Ένωσης, ο Χρήστος Παπαχριστόπουλος έχει δημιουργήσει έναν μηχανισμό που λειοτυργεί με βάση το μοντέλο του Κοινοτικού Πλαισίου Στήριξης όπως ακριβώς και σε έναν καμβά της Ζωγραφικής της Αναγέννησης και εκεί έχει συνθέσει σχήματα που έχει εμπνευστεί τόσο από τις μελέτες του για την Ε.Ε. όσο και από θρησκευτικά ή μουσικά θέματα όπως η Άνοιξη, Έαρ/Πάσχα ή η Συμφωνία της Άνοιξης -και έχει εμπλουτίσει τον πίνακα με στοιχεία της δημοσιογραφικής του εμπειρίας από τον χρηματιστηριακό/οικονομικό κλάδο (όπως η Wall Street, η 11/9, η κατάρρευση και η αναβάθμιση του Χ.Α.Α., η ένταξη της Ελλάδας στην Ο.Ν.Ε. και οι Ολυμπιακοί Αγώνες του 2004, τα σκάνδαλα της οδού Σοφοκλέους) και όλα αυτά με ένα θεατρικό, κινηματογραφικό βλέμμα.

ENGLISH INTELLIGENCE SERVICE FOR THE GREEK JOURNALIST CHRISTOS PAPACHRISTOPOULOS

Christos P. Papachristopoulos (date of birth 19/11/1973) is a Greek journalist trained in the Art of the Rennaissance and expert in the European Organisations and Diplomacy, viewed especially from the aspect of Nature and the Greek Spirit.
He has been expertised on proving the validity of the Ancient Greek Art through his combined origin from the center-place of Art for Greece -called Arta- and the birth-place of Words, Lexaion Korithias. Papachristopoulos managed to integrate the writings of Camus, Weil and Orwell to his own authorship and to his own journalistic oeuvre as well, with the help of a series of circumstances that have made him the top Stock-Exchange, Art and Communications expert on Ancient and ModerN Greece.
Having acquired his University Degree in the field of Aesthetics, Art and Communication, after his success in the Athens’ University Department of Mass Communication and Media.
Christos worked for 6 years (1993-1998 and 2000) as the main producer of the economic radio show of the Athenian station FLASH and then he acquired his own broadcasting show in the radio station PROFIT while, as a journalist of the written word, he worked in the stock-exchange sector of the Athenian newspaper HORA and, before that, in the newspaper ATHENAIKH.
The next day of the day that changed the world, 11/9/2001, found him in the microphone of the radio station PROFIT where he transmitted all the economic data to the Athenian public about the collapse of the World Trade Center.
As a journalist of the radio station FLASH, meanwhile, he covered the entrance of the Athens’ Stock Exchange to the emerging markets of the Wall Street.
Christos Papachristopoulos was on 30/6/2000 the representative of FLASH station to the press conference of the Wall Street’s president Richard Grasso, something connected with his 100 articles in the Greek newspaper HORA about the investments in the Athens’ Stock Exchange asking for the liquidation of the Sofokleous Street as far as it concerned the scandals in the Athens’ Stock Exchange in the period 1997-1999 (before the entrance of Greece in the E.M.U. and the Olypmpic Games of 2004).
The peak of these articles on 30/6/2002 is connected with the entrance of Greece in the E.M.U. and the entrance of the Athens’ Stock Exchange in the Wall Street’s emerging markets and it coincided with the arrest of the terrorist unit of 17November.
This group, in Papachristopoulos’ terms, is translated as the day of resurrection (he was born in the revolt of the Athenian Polytechnic School against the dictatorship in the November 17th 1973), as the day of the fall of the Berlin Wall in ‘89, as the month of the Russian Revolution in November ’17 and as the year of the French Revolution in 1789. It is, also, the beginning of the Christmas Week on the Orthodox Calendar and coincides with the Eastern Equinox, that is Spring/Easter Day of 21th March.
The main events of his journalistic career come in a straight line and they “lock” in a mechanism for Emergency or Rennaissance as far as it concerns not only money, profit or exchange rates but even more broadly in a mechanism for Ressurrection and Revolt. In economic terms, together with his studies in the Art of the Rennaissance and his Aesthetic views about the Mass Media, they are translated with the freedom of Greece from the scandals and the corruption of the public sector in order for the country to enter the E.U. and get “synchronized” for the Athens 2004 Olympic Games. However, he has a special ability to transform his mechanism in order for his Rennaissance theory (he lives on this street, Anagenniseos Street, as an effect) to come in terms with Easter and Spring and the theory of the French author Gabriel Marcel about the Metaphysics of Light.
He actually believes himself to be the Greek heir of Gabriel Marcel, Marcel Camus, Albert Camus, George Orwell, Hannah Arendt, Yevgeny Zamyatin, Simone Weil and he has adopted in his personal Greek views about Journalism, Art and Culture the Greek cinematic theory of Henri Bergson and Ingmar Bergmann.
He has translated by hand 40 books or essays by Albert Camus, 40 books or essays by George Orwell and, also, texts from Klaus Mann, Philo of Alexandria, Ernst Gombrich. He has managed to deepen himself so much in these works that he could reach a stage where, submerged in this special environment, he was able to receive information from a kind of satellite of this specific "outside" world to his own body.
His “grand success” is the translation of the theatrical play “L’ ETAT DE SIEGE”, a play which was the institutional act of the birth of the United Nations of writers in 19th November 1948, when on the Security Council of the U.N. several writers –including Davis, Sartre, Camus and Breton- made a manifestation for freedom. The “arrest” of “L’ ETAT DE SIEGE” from the U.N. Seciruty Council was made according to the banking rules of David Hume about the Balance of Sheets and the Special Drawing Rights (see summit of NATO in the Palais de la Musique, Strasbourg, 3 April 2009) of the International Monetary Fund.
While Camus had suggested that “THE STATE OF SIEGE” is “his most personal work”, Christos Papachristopoulos considers that his own translation under the title “ΥΠΟ ΤΟ ΚΡΑΤΟΣ ΤΗΣ ΠΟΛΙΟΡΚΙΑΣ» (http://wwwinsense.blogspot.com/2010/05/blog-post_9114.html) has been kept as a receipt in order to prove the whole of Camus’ work in trilogies titled “The Myth of Nemesis” according, moreover, to the series of articles “NEITHER VICTIMS NOR EXECUTIONERS” by Camus on November 1946 and his diplomatic essay –translated in Greek by Christos Papachristopoulos- «CHRISTIAN METAPHYSICS AND NEOPLATONISM” (http://wwwinsense.blogspot.com/2010/06/blog-post_1866.html).
Christos Papachristopoulos is the owner of the archetype texts in Greek of Plato, Aristotle, Plutarch, Epicurus, Origen, Porhyry, Philo and, most remarkably, he owns the more than 50 written essays of Richard Wagner about the musical civilization of Ancient Greece.
He has also translated from the Ancient Greek the work of Philo «ON THE INCORRUPTUBILITY OF THE WORLD – ΠΕΡΙ ΑΦΘΑΡΣΙΑΣ ΚΟΣΜΟΥ».
His aim is to use the treasures of these ancient texts from the Greek-American world beyond the Atlantic Ocean (see U.S.A.) and the memory of them in the modern world of the U.N. in New York and Geneva, of the I.M.F., the E.U. and the E.M.U. in order to transmit them (as he did on the aftermath of the 9/11 terrorist and disaster attacks on the W.T.C. through the Greek radio) to the Greek public.
He strongly believes in the ancient Olympic spirit of Art and in the Mediterranean culture as described by the Medicean and Byzantine rule of 1439 in Rennaissance's Florence ("Le temps revient") and in the Neoplatonic Metaphysics of Light. These theories he has transformed to his own "insense" and "nuclear philosophy" of media.

INSENSE AND ART ON GREECE

Christos Papachristopoulos has build a whole journalistic and educative work on the foundations of Ancient Greek Art, Italian and French literature accounts demanding a new Rennaissance and Modern Masterpieces on the Art & Media Departmant of the Greek History, all these linked with the writings of Albert Camus, George Orwell, Simone Weil.
He is a connoiseur of art, having the ability to translate by heart Ancient Greek texts into English, French and Modern Greek (and vice versa).
His Stock-Exchange experience (he covered the 9/11 attacks on the World Trade Center and, also, the development of the Athens Stock Exchange to an emergent market by the Wall Street). He was for 6 years the main producer of the economic broadcasting show of the Greek radio station FLASH before the 2004 Olympic Games. His productions and his 100 articles on the Greek newspaper HORA about the scandals of the Greek public sector and the liquidation of the exchanges in the Athens Stock Exchange led on the arrest of the terrorist group 17N (which, however, is linked in his philosophy with the star of Christmas' and Easter's Spring) and helped the entrance of Greece to the European Monetary Union.
The peak of his journalistic and educative work is the translation of the theatrical play "L' Etat de Siege" which was conceived on 19th November 1948 by the U.N. Security Council. This is the conclusion of Camus series of essays entitled ''Neither Victims Nor Executioners" and is also joined with his translation of Camus' grand essay "CHRISTIAN METAPHYSICS AND NEOPLATONISM". Always on relation with the United Nations, his 9/11 transmission of the economic data of the attack on the W.T.C., his covering of the events in the Greek Stock Exchange and his translations -among them the Ernst Gombrich' work about the Boticellian ''Birth of Venus'', the ''Allegory of Spring/Primavera" and the ''Mystical Nativity''- his career as a producer of the economic FLASH and his work towards conluding Camus' theatrical play "L' Etat de Siege'' led him to the following views:
He considers the U.N. as a theatrical stage where NATO enterprises or operations are conducted. The U.N. is a table or ''tableau'' where prices are exchanged on the Wall Street- there are paintings there and a mechanism which operates in the Bank of the U.N. like a box-office or an Underground Press, like a Train works on a line (ΠΑΝΤΩΝ ΧΡΗΜΑΤΩΝ ΜΕΤΡΟΝ ΑΝΘΡΩΠΟΣ) and all this is covered behind the paintings or ''pictures'' or theatrical films by an electric device. If, on this device, the security only works, then the circuit fails and it takes fire and it is led to destruction and ruins. He believes, then, that in order for this business to recover, there must exist on liturgy a Resistance mechanism, that is the European Union or idea, which can save the pleroma of the ''church'' on the governments' ship and save the members of the crew on the stage from the bomb exploded there by the mulfunction of the security forces.
This ''medical'' profit emergency is coming into straight line with all his work on Greece, his accounts from the fall and the rise on the Sophocles Street in Athens (1999) and the economic crisis (2009), his oeuvre on the Art Market -consider the illuminated manuscripts on his record, especially the 40 essays by Richard Wagner or his translations of Philo the Alexandrine- and his own writings.
He considers Art as a painting hung on the wall of the Mount of Olives, where the paintings or pictures or photos are invested with oil and their price is paid with the blood of the carpenter himself.
This is, on his theory, the temple of the ''holy wood'' or the ship of Argo ("Αργούς ιερόν ξύλο") hung -by the press- on the cross, which is the Transcendence or σχήμα χιαστί-υπερβατόν in the Greek syntax.
With Christos' work, all the ancient Greek texts of philosophers or writers like Sophocles, Aeschylus, Socrates, Plato and Plotinus are joined on a bridge with Cadmus-Camus and the Eleusinian Mysteries and, then, with Klaus Mann, George Orwell, Andre Gide, Gabriel Marcel, Jules Verne, Lev Chestov, Dostoyevski, Tolstoy, Zamyatin, Karl Jaspers, Simone Weil, Bergson, William James.
By the same token, the body of interpretation that Christos Papachristopoulos has concentrated in his own collection is engaged with Camus' dream for a Rennaissance, with the exegesis of the artists' work and the creation of the ''oeuvre'' that brings it to life.
The uncompleted but full exhibition of the work is displayed on the address: ΠΑΤΡΩΝ & ΑΝΑΓΕΝΝΗΣΕΩΣ Street (wwwinsense.blogspot.com)

CHRISTOS PAPACHRISTOPOULOS AND HIS GREEK AESTHETIC THEORY

Christos Papachristopoulos born in Lexaion, Greece (November 19, 1973) is a Greek journalist, philosopher, author, analyst of European matters, media expert and image-maker. He has studied Mass Media and Communication with a master in European Policy and Diplomacy from the University of Athens and he is known for his which relates with synaesthesia in Mass Media through the use of Analogical Media in ancient mysteries and rites, transfered in the modern world.This Analogical Medium is the Golden Ratio or Golden Mean when applied to the electronic, new media and is focused on the magical power of words.His theory is based on the ancient Greek phrase "The First Initiation of Knowledge is the Meditation on Names" ("ΑΡΧΗ ΣΟΦΙΑΣ ΟΝΟΜΑΤΩΝ ΕΠΙΣΚΕΨΙΣ").He believes that each name of every animal (that is of an alive, organic matter) contains a substance which can be energised from the writer or the manipulator of names -if he belongs himself to the same family or race or group with the persons who bear each name- and, so, through this medium, the writer can perform a rite in order to obtain the form or information of the thing he is interested in, being helped by his ancestors.Ch. Papachristopoulos introduced the term Nuclear/Perennial Philosophy of Media, which is based on the nuclear discoveries of Albert Einstein and the perennial or integral theory of Jacques Maritain. He combined the ancient springs of Styx and Pirini Krini (Στυγξ and Πειρήνη of Corinth, Greece, in the area where he has also born) with the immortality Thetis offered to Achilles and with the Theticism or Positivism of August Comte, in order to arrive at a higher synthesis: this synthesis or transcendence takes elements of the modern world and the positivist sciences and makes them richer, adding elements from the original, primordial spring of knowledge.The most important characteristic of Ch. Papachristopoulos' work in this synchronisation is the cross that he makes between the ancient divination techniques of prophetic oracles and the technological innovations in culture and media (he belongs to the Marshall MacLuhan School of Communication, in this respect, and to the Albert Camus' Revolutionary Group, as a fraction inside Surrealism which exercises criticism against Nihilism). He is also influenced by the priest in Delphi, Plutarch, and the archetypal writings of Plato, Aristotle and Plotinus. He claims that there is a Greek, divine grace -the famous elan vital of Bergson- which has transmitted through the myths the DNA of the original, primordial man Adam or Adam Kadmon to Cadmus and Ammonius Saccas and, more recently, to Albertus Magnus, Leo Battista Alberti, Immanuel Kant and, lastly, to the Insensé sons of Greece like Albert Camus.He makes a parallelisation between the tails children are shown with their fathers explaining the story and the myths men are shown by the messengers -enterpreneurs- of gods who interpret the real world, accompanied by sound and icon.Christos Papachristopoulos, also, believes that there is a secret "Arianne" myth or thread which connects the writings of Albert Camus, Simone Weil, George Orwell, Arthur Koestler, Karl Jaspers, Ernst Junger, Hannah Arendt, Jacques Maritain, Lev Shestov, Leo Tolstoy, Fyodor Dostoyevski, Henri Bergson, Nikos Kazantzakis and he also believes that there is an internal communication through the members of this group which he has named "Spartans" or Spartes, that is men who spring and grow from the Nature itself.This is related to the myth of Cadmus and the teeth of dragon which generated men from the Greek earth. Papachristopoulos believes that this is the fire of Gods that Prometheus stole and, after adding a natural thread which could be burned like a candle, he gave it to the human race. This is called in Greek and Christian religion incense.He has found his justifications in the Stoic philosophy -which he interpretes as the internal or perennial wisdom of Styx- and the Pythagorian doctrine. He is, also, influenced, by the philosophy of Chryssipus and he first introduced the term Mathemagics.He has written a special essay about mysticism, metaphysics and mathematics (referring to the bonds between the Resistance movement of Charles de Gaulle, the Combat movement of Albert Camus & Rene Char and the Nicolas Bourbaki Group of mathematicians under Andre Weil, Jean Dieudonne and Henri Cartan). He supports the argument that Henri Bergson is actually a persona of Ingmar Bergman (in cinema), Shoemakers (the theoritician of neoplasticism in painting), Arnold Schoenberg (in music), Henri Cartan (in physics and mathematics), Descartes (in philosophy and science).He believes that every artistic creation of man has the ability to become true and to be repeated in other fields or rings of reality, each one of which constitutes a closed world.He also believes that in the world there are repeated patterns, like a Mandelbrot system: he has noticed that NATO follows the same organisation as Nature does and he interprets the article 5 of NATO with the article of faith in Phoebus, the Greek god Apollo. In this respect, in computers, Apple and Dell represent Apollo and the island of Delos, under the same pattern. He also believes that Cadmus and the House of Phoenicians represent the structure of the House of Bauhaus in architecture.He has worked in the Greek radio stations Flash and Profit and in several newspapers of Athens, like Xora and Athinaiki, as a journalist dealing with the Stock-Exchange. He has translated in Greek The State of Siege - L' Etat de Siege, the Essay against the Death Penalty, the essay Why Spain? and other texts of Albert Camus. Moreover, he has translated over 40 essays of George Orwell in Greek.

Selected writings, essays and articles:
Cadmus: the Great Priest of Eleusinian Mysteries
Αlbert Camus and Albert Einstein: Revolutionary Theory of the Atom
Camus and Comte: The great feast of the Elysian Fields in the Eleusinian Mysteries
Cadmus, Camus and Satchmo: The Cameo Manifestation of the great god Pan
Bergson and Maritain: the Creative Spirit in Art
Prometheus: The Messiah as liberator from the State of Siege
Camus and Aescylus: The lost Promethean tragedy
The Resistance of Albert Camus and Simone Weil
Styx as an Integral Theory of Immortalisation
The Nuclear Philosophy of Media: Connaturality
The Mysticism and Mathemagics of Bourbaki Group
NATO AND THE APOLLONIAN NATURE: THE GREEK ATLANTIS
Flash: The Daemonium of Socrates

Insensé theory

A theory of the Greek journalist, Ch. Papachristopoulos, who borrowed the term Insensé from the French artists Albert Camus and Rene Char and used it in order to name a class of men with special gifts who act as a common group, beyond place and time.Papachristopoulos discovered in ancient Greek texts a tecnique of transmitting through the centuries a special gift, a donation of divine grace from the gods to men of the same race or common family through the archetypes, that is the original and authentic manuscripts of a written language.These archetypes have a religious sense, liturgy and function since they can be interpreted according to the icon and the sound which accompanies the text: it is like speaking, seeing and hearing at the same time in different channels of the radio, so that information can be transmitted in great quantity (ραδίως in ancient Greek, meaning at the same time through radio and very easily).Ch. Papachristopoulos claims that the only thing that must be done is that texts must be read according to the original syntax and grammar of the era of the author (transcedent scheme "σχήμα υπερβατόν" or scheme X "σχήμα χιαστί"). This concept arises from the natural philosophers of Greece --like Democritus- who watched the forms of nature and transported its functions into their theories and writings, putting man in the place of a machine of copying nature and making him immortal.However, Papachristopoulos has managed today to transfer these ancient technigues of rhetoric from the Greek language to all languages and in modern books and texts, especially English and French (something like abstracting a painting or a theatrical play from its original context and transfering its attributes to modern, new canvas). So, he has a medium communication with the spirits of the writer of each text. This practice in philosophy is called philosophy of the subject and helps someone to project the subject of his study in actual life.The origins of this function of language, in order that special features of a tribe can be inherited to the future generations through bio-logy (logos of life), can be found in the divine messenger of the Egyptians, Tat or Theut or Hermes Trismegistus -Θωθ according to Timaeus of Plato- and the god Ammon.According to the theory of Ch. Papachristopoulos, Amun/Ammon or Zeus is the same personification of Adam, the First Man, the Archetype Man or Adam Kadmon of the Jews. He is, also, the same persona behind Cadmus, Ammonius Saccas (the founder of Neoplatonism), Sakyamuni (the founder of Buddhism) and the founder of Shintoism and Samanism. He is the same representation of the Spirit as Kami in Japan and El Cid in Spain.Even more important is the relationship revealed from Ch. Papachristopoulos between the revolutionary theories of Albert Einstein and Albert Camus. The Greek journalist supports the argument that in charismatic figures of humanity there is manifested a power -an aura, an aurora- to provoke the intervention of a god, like a cameo in cinema: this is easily proven by the appearance on stage of Alfred Hitchcock or Louis Armstrong, every time they were invoked.The same Insensé theory says that there can be found cycles or motives of parallel behaviour of history and persons, cycles that form a ring -like an electrical circuit- between historical events or group formations.It is a theory which completes the theory of Henri Bergson about the elan vital (Bergson had written that The Universe is a machine to make gods) and is based on the ancient concept of Deus ex Machina (ο από μηχανής Θεός, in Ancient Greek). He proves this by a movie of Ingmar Bergman -whom he considers as the persona of Henri Bergson in cinema: the movie the Magician, which focuses on the magician Albert. Analysis of "Insensé""Insensé" is a French term, used in the past by the movement of the Nobelist journalist and writer Albert Camus and today by the Greek journalist and writer Ch. Papachristopoulos as an opposition to the surrealist group of Andre Breton.It refers to a secret gift, or charisma, a donation given from a divine, immortal power to a mortal man. It represents the power of regeneration (RENOVATIO or Renaissance) against the force of nihilism and death.It is related to the term synaesthesia —known from the Russian painter Wassily Kandinsky—or sixth sense (see the writings of Jacques Maritain) about the Sixth Way of creation and poetry. The attribute of "insensé" -according to the Greek journalist Ch. Papachristopoulos- is said to be an integral property of the human body and soul, an inheritance from past ancestors of Ancient Greece to mankind through Eleusinian mysteries and art.The word "insensé" was also used in France by the French poet Rene Char, friend of Camus. According to these two intellectuals, the term is focused on the sons of Greece, les fils insensés.It was first used in public in the theatrical play of Camus L' Etat de siège (The State of Siege), where a young doctor, Diego, wins a mortal combat against the Plague, wearing a mask. This use of the charisma by Albert Camus has also a lot of commons with the ancient Greek quality of "Εγρήγορος" or the process of Quickening (a concept extracted from the movie Highlander), meaning the angels/daemons who save man.It also relates with the secrets behind the Batman story. It combines, as well, with the myth of Zorro, Diego de la Vega, his mask and the religion of Zoroaster (see the asterism of Vega, in Lyra) and with every charismatic personality -in all fields- of great performers like the players Diego Maradona, David Beckham, Rivaldo, the poet Rimbaud, the politician Andreas Papandreou, the mysticist Simone Weil, the singers Louis Armstrong and Francis Albert Sinatra.It seems that in this concept there is a manifestation of the great gods Pan, Apollo, Prometheus, Aurora, Hermes, Hera, Hercules who are led -through the integral calculus of number Φ, the golden mean or golden ratio of Luca Pacioli and Fibonacci- to a teleogony, an entelechy, according to Aristotle. It is a quality of matter and mind, νους in ancient Greek or pneuma, which is manifested when nature treats man like a fruit. It relates with Rennaissance, Impressionism, Neoplasticism, Mysticism and Metaphysics.This irrational property of the insensés or immortal men is expressed in mathematics according to the square root of minus one or imaginary unit √(-l) and in philosophy with the absurd philosophy of Albert Camus. In painting it is expressed by the Abstract painting of Piet Mondrian and in Religion with the Metaphysical Faith (La Foi) in God.Finally, it seems that this quality of insensé does not mean crazy or mad but rather prophet, the man who has the gift of mania like Cassandra or divine anger "μήνιν" and is immortal like Achilles. Madman in ancient Greek is the Seer, the Clairvoyant, the Diviner (most famous madmen in ancient Greece were Calchas and Teiresias).It seems, also, that this quality is transmitted through the DNA, the Book of Life, when someone reads ancient Greek in the archetype text and receives information through the RNA, the messenger of the Gods, Hermes - Hermes Trismegistus - Prometheus.The similarities between the real story of Camus and the myth of Cadmus and the similarities between his theatrical trilogies and the gods Kami of Japan who created the first mythological dynasty are, really, impressive.Cadmus was the most important priest of the Eleusinian mysteries, the founder of ancient Thebes and Athens, and he can be compared today with August Comte, the founder of sociology, the High Priest of the Cult of Reason and the festivals of the Supreme Being during the French Revolution in the Elysian Fields.Insensé theory and Synaesthesia Another term for this attribute of the human species -used for the first time by the Greek journalist Ch. Papachristopoulos in his Insensé theory- is exactly the word Insensé, which refers to a special gift, a donation (don in French) inherited through ancient rites to members of a common race or family. Marcel Mauss has, also, written about the concept of gift in the first tribes of the human species through his studies in anthropology.The Insensé theory is based on the argument that it is a quality given to a man through a participation in a mysterious art ceremony. It characterises humans like Albert Camus, Wassily Kandinsky, Immanuel Kant, Georg Kantor, Leon Batista Alberti, Albertus Magnus, Albert Einstein, Albrecht Dürer, Piet Mondrian, Hermes Trismegistus, Philo of Alexandria, Albert Schweizer, Alfred Hitchcock, Alfred Nobel, Walter Gropius, Louis Armstrong, Simone Weil and other charismatic personifications.The concept of cameo and the concept of the olympic dada (meaning the fire given from one athlete to the other in the Olympic Games through a secret envelope or staff) are closely linked with this gift of the gods to the human species, which provokes the intervention of a God through mimesis. It is, also, linked with the deus ex machina of the ancient Greek theater, the theater of the gypsies and the elan vital of Henri Bergson and Nikos Kazantzakis.It is evident that there is a passage of ingerited features of one generation to another through a special liturgy or function of art, something that happens to especially gifted individuals. The use of the theater -especially the Ancient Greek theater, the theater of the Absurd and the Romen theater of Shasha Kolpakov- through Pantomime is crucial in this field, especially if someone considers the greek meaning of the word theater, that is to make god, θεÏŒς, and if also someone considers as a theater every written text, especially palimpsests and papyrus.Crucial, also, is the spring of this attribute. According to the Insensé theory of Ch. Papachristopoulos, the origins of Insensé are found in the ancient Greek philosophy of the Stoics and in the immortal spring of Styx, near Korinth in Greece, where Achilles was made immortal by Thetis. According to this theory, Thetis represents -in this respect- the theticism or positivism of science, introduced by the sociology of August Comte.

Here follow the titles in English and in Greek of the works translated on handiwork by Christos Papachristopoulos:

α) ALBERT CAMUS

"THE STATE OF SIEGE'' - "L' ETAT DE SIEGE'' - "ΥΠΟ ΤΟ ΚΡΑΤΟΣ ΤΗΣ ΠΟΛΙΟΡΚΙΑΣ" TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: This theatrical play was actually conceived in 19th November 1948 by the Security Council of the U.N. in Salle Pleyel in the presence of Albert Camus, Jean-Paul Sartre, Andre Breton and Gary Davis and is concluding the series of essays by Albert Camus of November 1948 entitled NEITHER VICTIMS NOR EXECUTIONERS. It makes a clear reference to the plague of Athens after the II World War and its desertation from the Ancient Gods. It was kept as a proof of the Balance of Sheets in the International Monetary Fund -according to the Special Drawing Rights of the I.M.F. and the rules of David Hume- in order to be translated in Greek by the journalist and writer Christos Papachristopoulos (date of birth 19th November 1973), in concordance with the next book "CHRISTIAN METAPHYSICS AND NEOPLATONISM".

"CHRISTIAN METAPHYSICS AND NEOPLATONISM" - ''“Métaphysique chrétienne et néoplatonisme”'' - ΧΡΙΣΤΙΑΝΙΚΗ ΜΕΤΑΦΥΣΙΚΗ ΚΑΙ ΝΕΟΠΛΑΤΩΝΙΣΜΟΣ" 1935, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: This is actually the lost essay of the Greek gnocisist Marcion entitled "Against those that say that the creator of the world is not beautiful" and it is adressed by Camus to the children of the Kingdom of God. It deals in 400 pages with the lecythes of the Parthenon in Athens and Gnosticism.

"THE UNBELIEVER AND THE CHRISTIANS" - "Ο ΑΠΙΣΤΟΣ ΚΑΙ ΟΙ ΧΡΙΣΤΙΑΝΟΙ" 1948, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: This is a short speech of Albert Camus in the Dominican Monastery of Latour-Maubourg about death, children, God and the joy of life.

"ESSAY AGAINST THE DEATH PENALTY" - "ΔΟΚΙΜΙΟ ΚΑΤΑ ΤΟΥ ΘΑΝΑΤΟΥ" 1957, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Τhis is a 350 pages essay by Albert Camus and Arthur Koestler against the death penalty.

"THE MYTH OF NEMESIS" - Ο ΜΥΘΟΣ ΤΗΣ ΝΕΜΕΣΕΩΣ" TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: This is the final plan of Camus in order to conlude with an essay his trilogy "PROMETHEUS", which also included the theatrical play "The State of Siege", the essay CHRISTIAN METAPHYSICS AND NEOPLATONISM and parts from his novel CARNETS III. The most important extracts are a) "The world marches towards paganism but, once more, denies the honour and the price of the paganists. We must make faith our idol, make Christ a Greek and restore the balance" (Carnets ΙΙΙ, page 220), "Return to the passage from Hellenism to Christianism, the only turning point in history" (Carnets III, page 267, "I do not believe in God AND atheist I am not" (Carnets III, page , "At first, Christianism was an inspired teaching but, although, closed because it was Jewish in its essence, unable to make recessions, hard, constrained but miraculous. From its contact with the Mediterranean Sea, there arose a new tenet, Catholic christianism" ("The New Mediterranean Culture").

"CREATE DANGEROUSLY" - ΔΗΜΙΟΥΡΓΙΑ ΓΙΑ ΤΗΝ ΤΕΧΝΗ ΜΕΣΑ ΣΤΟΝ ΚΙΝΔΥΝΟ", TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: This is the best ever lecture given by A. Camus and translated in 100 pages by Christos P. Papachristopoulos in the reception of the Nobel Prize, Stockholm, 1957.

"THE FUTURE OF TRAGEDY" - "ΤΟ ΜΕΛΛΟΝ ΤΗΣ ΤΡΑΓΩΔΙΑΣ" 1956, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: This is a lecture by Albert Camus given in the amphitheatre of Parnassus in Greece and it deals with the ancient Greek metaphysics and the Greek tragedies.

"THE SOLAR THOUGHT OF THE ANCIENT GREEKS:Tonight the thatre opens for Rene Char" - "Η ΗΛΙΑΚΗ ΣΚΕΨΗ ΤΩΝ ΑΡΧ. ΕΛΛΗΝΩΝ: ΑΠΟΨΕ Η ΑΥΛΑΙΑ ΑΝΟΙΓΕΙ ΓΙΑ ΤΟΝ ΡΕΝΕ ΣΑΡ", TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: This is a radio speech by Albert Camus on the theme of Heraclitus and the relations with Ancient Greece.

"WHY SPAIN?" -"ΓΙΑΤΙ Η ΙΣΠΑΝΙΑ" 1948, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note:This is a long, written and harsh statement by Albert Camus on the event of the critique that he received by Gabriel Marcel after the show in Paris at the theatre Marigny of his theatrical play "The State of Siege" It is adressed against every totalitarain, right or left, regime and is closely linked with the "conception" of his play by the U.N. Security Council.

"PREFACE TO THE WORKS CALIGULA, THE STRANGER, THE FALL, THE JUSTS, THE MISUNDERSTANDING" TRANSLATED BY CHRISTOS PAPACHRISTOPOULO under the title "ΕΙΣΑΓΩΓΗ στα έργα Καλιγούλας, Ξένος, Πτώση, Δίκαιοι και "Παρεξήγηση",

"THE CRISIS OF MAN" - "Η ΚΡΙΣΗ ΤΟΥ ΑΝΘΡΩΠΟΥ" TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: This is a speech of the writer on the Univesity of Columbia, 1946

"AN UNNIVERSARY:19th JULY 1936" - "ΜΙΑ ΕΠΕΤΕΙΟΣ: 19 ΙΟΥΛΙΟΥ 1936" TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Camus on the Spanish Civil War

"AGAINST THE ATOMIC BOMB" - ΕΝΑΝΤΙΑ ΣΤΗΝ ΑΤΟΜΙΚΗ ΒΟΜΒΑ" 1945, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: this is the first article by Albert Camus after the American atomic bomb in Hiroshima

"IMAGES OF AN IDYLLIC GERMANY" - "ΕΙΚΟΝΕΣ ΜΙΑΣ ΕΙΔΥΛΛΙΑΚΗΣ, ΠΑΡΑΔΟΜΕΝΗΣ ΓΕΡΜΑΝΙΑΣ" TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Memories of Camus from the newspaper COMBAT in order to be illustrated by Alessandro Boticelli. It is related with the "conception" of the theatrical play "L' ETAT DE SIEGE" by the U.N. Council on 19/11/1948, with the "conception" of Simone Weil in relation with Alexander the Great according to the book "LA CONNAISSANCE SURNATURELLE" and, finally, with the 3 paintings by Alessandro Boticelli named "THE BIRTH OF VENUS", "PRIMAVERA" and "MYSTICAL NATIVITY"

"FROM RESISTANCE TO REVOLUTION" - "ΑΠΟ ΤΗΝ ΑΝΤΙΣΤΑΣΗ ΣΤΗΝ ΕΠΑΝΑΣΤΑΣΗ", TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Articles by Camus on the newspaper COMBAT

"HAPPINESS AND THE PLAGUE" - "Η ΕΥΤΥΧΙΑ ΚΑΙ Η ΠΑΝΟΥΚΛΑ", TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Camus on the newspaper COMBAT

"HONOUR TO AN EXILED" - "ΤΙΜΗ ΣΕ ΕΝΑΝ ΕΞΟΡΙΣΤΟ", TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Speech by Camus on the series of essays RESISTANCE, REBELLION AND DEATH

THE FLESH" - "Η ΣΑΡΚΑ", TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article in COMBAT by Camus on the personality of Rene Leynaud

"THE GREEK CHILD" - "ΤΟ ΕΛΛΗΝΟΠΟΥΛΟ", TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Camus on the events of Cyprus

"REVOLT IN GREECE" - "ΕΞΕΓΕΡΣΗ ΣΤΗΝ ΕΛΛΑΔΑ" TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Camus on the newspaper Combat about Greece after the II World War

"DEFENCE OF THE INTELLIGENCE" - "Η ΥΠΕΡΑΣΠΙΣΗ ΤΗΣ ΔΙΑΝΟΗΣΗΣ", TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article of Albert Camus on the series RESISTANCE, REBELLION AND DEATH

"FRANCE IS ON THE STATE ON SIEGE" - "Η ΓΑΛΛΙΑ ΣΕ ΚΑΤΑΣΤΑΣΗ ΠΟΛΙΟΡΚΙΑΣ" TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Albert Camus in Combat dealing with De Gaulle's government and related to the theatrical play "THE STATE OF SIEGE" which ends with a reference to the plague of Athens, Greece.

"THE RENNAISSANCE OF FRANCE" - "Η ΑΝΑΓΕΝΝΗΣΗ ΤΗΣ ΓΑΛΛΙΑΣ" TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Camus on the newpaper COMBAT, signed "SUETONIUS"

"NO PASSARAN" TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Camus on the newspaper COMBAT which opens the way for the appearance of gods through the texts.

"THE BLOOD OF FREEDOM" - "ΤΟ ΑΙΜΑ ΤΗΣ ΕΛΕΥΘΕΡΙΑΣ", TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Camus on the newspaper COMBAT

"THE NIGHT OF TRUTH" - "Η ΝΥΧΤΑ ΤΗΣ ΑΛΗΘΕΙΑΣ", TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Camus on the newspaper COMBAT

"PESSIMISM AND HOPE" "ΑΠΑΙΣΙΟΔΟΞΙΑ ΚΑΙ ΕΛΠΙΔΑ", TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Camus on the newspaper COMBAT

"INTELLIGENCE AND CHARACTER" - "ΔΙΑΝΟΗΣΗ ΚΑΙ ΧΑΡΑΚΤΗΡΑΣ", TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Camus on the newspaper COMBAT. It makes reference to the character that some men show when they sail to make history and it opens the way for a balance to be restored in the Camus' ship of government "now that the wheel has turned".

"MORAL AND POLITICS" - "ΗΘΙΚΗ ΚΑΙ ΠΟΛΙΤΙΚΗ" TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Camus on the newspaper COMBAT

"DEMOCRACY AS A TRAINING FOR THE GREEK ΜΕΤΡΟΝ" - Η ΔΗΜΟΚΡΑΤΙΑ ΩΣ ΜΙΑ ΑΣΚΗΣΗ ΓΙΑ ΤΟ ΜΕΤΡΟ" TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Camus on the newspaper COMBAT from the Paris underground related with the conception of the play THE STATE OF SIEGE by the United Nations Security Council, Alexander the Great and Simone Weil

"DEMOCRACY AND METRON" - "ΔΗΜΟΚΡΑΤΙΑ ΚΑΙ ΜΕΤΡΟ" TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Camus on the newspaper COMBAT

"THE PROFESSION OF JOURNALISM" - "ΤΟ ΕΠΑΓΓΕΛΜΑ ΤΟΥ ΔΗΜΟΣΙΟΓΡΑΦΟΥ" TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Camus on the newspaper COMBAT

"RESISTANCE, REVOLT, JOURNALISM" - "ΑΝΤΙΣΤΑΣΗ - ΕΞΕΓΕΡΣΗ - ΔΗΜΟΣΙΟΓΡΑΦΙΑ" TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Camus on the newspaper COMBAT

"CRITICAL JOURNALISM" - "ΚΡΙΤΙΚΗ ΔΗΜΟΣΙΟΓΡΑΦΙΑ" TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Camus on the newspaper COMBAT

"THE REFORM OF THE PRESS" - "Η ΜΕΤΑΡΡΥΘΜΙΣΗ ΤΟΥ ΤΥΠΟΥ" TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Camus on the newspaper COMBAT

"CRITIQUE OF THE NEW PRESS" - "ΚΡΙΤΙΚΗ ΤΟΥ ΝΕΟΥ ΤΥΠΟΥ" TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Camus on the newspaper COMBAT

"AUTOCRITIQUE" - "ΑΥΤΟΚΡΙΤΙΚΗ" TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Camus on the newspaper COMBAT

"TRIANGLES AND PARTNERSHIP IN JOURNALISM" - "ΤΡΙΓΩΝΙΚΗ ΣΥΝΕΡΓΑΣΙΑ ΔΗΜΟΣΙΟΓΡΑΦΩΝ" TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Camus on the newspaper COMBAT which deals with Allan Forbes and the welcoming of a new, British colleague in the newspaper.

"CHRISTIAN ATTITUDE AND JOURNALISM" - "ΧΡΙΣΤΙΑΝΙΚΗ ΣΤΑΣΗ ΚΑΙ ΔΗΜΟΣΙΟΓΡΑΦΙΑ" TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Camus on the newspaper COMBAT

"THE CHOICE" - "Η ΕΠΙΛΟΓΗ" TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS Note: Article by Camus on the newspaper COMBAT dealing with the French millionaire and captain of industry Louis Renault and Camus' project entitled INNOVATIO 2000 in accordance with the laws of the lawyer Rene Capitant.


b) GEORGE ORWELL

"WHY I WRITE" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS, under the title "ΓΙΑΤΙ ΓΡΑΦΩ"

"CHRISTIANISM AND IMMORTALITY" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS, under the title "ΧΡΙΣΤΙΑΝΙΣΜΟΣ ΚΑΙ ΑΘΑΝΑΣΙΑ"

"CHURCH, COMMUNISM AND IMMORTALITY" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS, under the title "ΕΚΚΛΗΣΙΑ, ΚΟΜΜΟΥΝΙΣΜΟΣ ΚΑΙ ΑΘΑΝΑΣΙΑ"

"CHRISTIANISM AND DEMOCRACY" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS, under the title "ΧΡΙΣΤΙΑΝΙΣΜΟΣ ΚΑΙ ΔΗΜΟΚΡΑΤΙΑ"

"RELIGION AND INTELLECTUALS" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΘΡΗΣΚΕΙΑ ΚΑΙ ΔΙΑΝΟΟΥΜΕΝΟΙ"

"CAN SOCIALISTS BE HAPPY?" or "THE SOCIALIST SPIRIT OF CHRISTMAS" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΤΟ ΣΟΣΙΑΛΙΣΤΙΚΟ ΠΝΕΥΜΑ ΤΩΝ ΧΡΙΣΤΟΥΓΕΝΝΩΝ"

"THE CHOSEN PEOPLE" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "Ο ΕΚΛΕΚΤΟΣ ΛΑΟΣ" (1944)

"THE FREEDOM OF THE PRESS, PREFACE ON THE ANIMAL FARMA" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "Η ΕΛΕΥΘΕΡΙΑ ΤΟΥ ΤΥΠΟΥ - ΕΙΣΑΓΩΓΗ ΣΤΗΝ ΦΑΡΜΑ ΤΩΝ ΖΩΩΝ" (1945)

"EXEGESIS FOR THE ANIMAL FARM" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΕΞΗΓΗΣΗ ΓΙΑ ΤΗΝ ΦΑΡΜΑ ΤΩΝ ΖΩΩΝ" (1947)

"EXEGESIS FOR THE WORK 1984 BY THE FREEDOM AND HAPPINESS CRITIQUE OF YEVGENY ZAMYATIN" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΕΞΗΓΗΣΗ ΤΟΥ 1984, ΕΛΕΥΘΕΡΙΑ ΚΑΙ ΕΥΤΥΧΙΑ, κριτική του συγγραφέα Ζαμυάτιν" (1946)

"U.N. AND GAMES THEORY" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "Ο.Η.Ε. ΚΑΙ ΘΕΩΡΙΑ ΠΑΙΓΝΙΩΝ" (1946)

"PROPHECIES OF FASCISM" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title ΠΡΟΦΗΤΕΙΕΣ ΓΙΑ ΤΟΝ ΦΑΣΙΣΜΟ" (1940)

"CRITIQUE ON THE WORK MEIN KAMPF" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title ΚΡΙΤΙΚΗ ΣΤΟ MEIN KAMPF" (1940)

"WHAT IS FASCISM" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΤΙ ΕΙΝΑΙ Ο ΦΑΣΙΣΜΟΣ" (1944)

"THE RISE AND ENEMIES OF FASCISM" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "Η ΑΝΟΔΟΣ ΚΑΙ ΟΙ ΕΧΘΡΟΙ ΤΟΥ ΦΑΣΙΣΜΟΥ" (1945)

"MARX AND RUSSIA" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΜΑΡΞ ΚΑΙ ΡΩΣΣΙΑ" (1948)

"OBSERVATION OF THE MASS" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΠΑΡΑΚΟΛΟΥΘΗΣΗ ΤΩΝ ΜΑΖΩΝ" (1947)

"REVOLT IN THE BOURGEOIS DESERT" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΕΞΕΓΕΡΣΗ ΣΤΗΝ ΑΣΤΙΚΗ ΕΡΗΜΟ"

"EYE-WITNESS IN BARCELONA" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΑΥΤΟΠΤΗΣ ΣΤΗΝ ΒΑΡΚΕΛΩΝΗ" (1937)

"THE HIDDEN SPAIN" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "Η ΚΡΥΦΗ ΙΣΠΑΝΙΑ" (1943)

"THE EIGHT YEARS OF WAR: SPANISH MEMORIES" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΤΑ ΟΚΤΩ ΧΡΟΝΙΑ ΠΟΛΕΜΟΥ: ΙΣΠΑΝΙΚΕΣ ΜΝΗΜΕΣ" (1944)

"SPANISH PRISON" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΙΣΠΑΝΙΚΗ ΦΥΛΑΚΗ" (1944)

"THE VOICE OF MADRID, EXEGESIS FOR THE BIG BROTHER" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "Η ΦΩΝΗ ΤΗΣ ΜΑΔΡΙΤΗΣ - ΕΞΗΓΗΣΗ ΓΙΑ ΤΟΝ BIG BROTHER" (1946)

"SPAIN, LAND OF PROBLEMS" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΙΣΠΑΝΙΑ, ΧΩΡΑ ΠΡΟΒΛΗΜΑΤΩΝ" (1946)

"DEFENCE OF FREEDOM" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΥΠΕΡΑΣΠΙΣΗ ΤΗΣ ΕΛΕΥΘΕΡΙΑΣ"

"WHAT IS SCIENCE" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΤΙ ΕΙΝΑΙ ΕΠΙΣΤΗΜΗ"

"GNOSIS, SCIENCE AND EXPERTISE" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΓΝΩΣΗ, ΕΠΙΣΤΗΜΗ ΚΑΙ ΕΞΕΙΔΙΚΕΥΣΗ"

"CULTURE AND CLASSES" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΚΟΥΛΤΟΥΡΑ ΚΑΙ ΤΑΞΕΙΣ"

"THE UTOPIA OF OSCAR WILDE" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "Η ΟΥΤΟΠΙΑ ΤΟΥ ΟΣΚΑΡ ΟΥΑΪΛΝΤ"

"NEW IDEAS" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΝΕΕΣ ΙΔΕΕΣ"

"NOTES BY THE WAY" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΣΗΜΕΙΩΣΕΙΣ ΚΑΘ' ΟΔΟΝ"

"PLEASURE SPOTS" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΤΟΠΟΙ ΑΝΑΨΥΧΗΣ"

"THE OLD MASTER, CRITIQUE ON TOLSTOY" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "Ο ΓΕΡΟ-ΔΑΣΚΑΛΟΣ" κριτική στον Λέοντα Τολστόϋ

"NOTES ON THE MEDIA AND SPIRITUALISM" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΣΗΜΕΙΩΣΕΙΣ ΓΙΑ ΤΑ ΜΕΣΑ ΚΑΙ ΤΟΝ ΠΝΕΥΜΑΤΙΣΜΟ"

"VESSEL OF WRATH, CRITIQUE ON H.G.WELLS" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΤΟ ΣΚΕΥΟΣ ΤΗΣ ΟΡΓΗΣ, κριτική στον H.G. Wells"

"RETURN TO THE SOCIETY OF THE ANTS" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΕΠΙΣΤΡΟΦΗ ΣΤΗΝ ΚΟΙΝΩΝΙΑ ΤΩΝ ΜΥΡΜΗΓΚΙΩΝ"

"GROUND FOR DESPAIR, CRITIQUE ON F.V.HAYEK" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΕΔΑΦΟΣ ΑΠΟΓΝΩΣΗΣ, κριτική στον F.V. Hayek"

"CRITIQUE ON DOSTOYEVSKI", by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΚΡΙΤΙΚΗ ΣΤΟΝ ΝΤΟΣΤΟΓΙΕΦΣΚΙ" (1945)

"MEN OF THE ISLANDS" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΑΝΘΡΩΠΟΙ ΤΩΝ ΝΗΣΙΩΝ"

"INSIDE THE CAVE" by George Orwell, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΕΝΤΟΣ ΤΩΝ ΣΠΗΛΑΙΩΝ"

c) SIMONE WEIL
"THE PYTHAGORIAN DOCTRINE AND THE GREEK SCIENCE" by Simone Weil, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΤΟ ΔΟΓΜΑ ΤΩΝ ΠΥΘΑΓΟΡΕΙΩΝ ΚΑΙ Η ΕΛΛΗΝΙΚΗ ΕΠΙΣΤΗΜΗ"

d) KLAUS MANN
"THE SEARCH FOR A NEW CREFO IN EUROPE" by Klaus Mann, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "Η ΑΝΑΖΗΤΗΣΗ ΕΝΟΣ ΝΕΟΥ ΠΙΣΤΕΥΩ ΓΙΑ ΤΗΝ ΕΥΡΩΠΗ"

e) ERNST GOMBRICH
"BOTICELLI'S MYTHOLOGIES: A STUDY OF THE NEO-PLATONIC SYMBOLISM OF HIS CIRCLE-PERIOD" by Ernst Gombrich, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "ΟΙ ΜΥΘΟΛΟΓΙΕΣ ΤΟΥ ΜΠΟΤΙΤΣΕΛΙ, Η ΑΛΛΗΓΟΡΙΑ ΤΗΣ ΑΝΟΙΞΗΣ ΚΑΙ Η ΓΕΝΝΑ ΤΗΣ ΑΦΡΟΔΙΤΗΣ: Μια μελέτη του ΝεοΠλατωνικού Συμβολισμού του κύκλου του"

f) LEV SHESTOV:
"THE IRREFYTABILITY OF MATERIALISM" by Lev Shestov, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "Ο ΥΛΙΣΜΟΣ ΕΙΝΑΙ ΑΗΤΤΗΤΟΣ"

g) M. MAETERLINCK
"THE TREASURE OF THE MODEST" by M. MAETERLINCK, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "Ο ΘΗΣΑΥΡΟΣ ΤΩΝ ΤΑΠΕΙΝΩΝ"

h) PROCLUS
"THE SOCRATIC METHOD AS A SYMBOL" by Proclus, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "Η ΣΩΚΡΑΤΙΚΗ ΜΕΘΟΔΟΣ ΩΣ ΣΥΜΒΟΥΛΟΣ"

i) PHILO OF ALEXANDRIA
"ON THE IMMORTALITY OF THE WORLD" by Philo, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "Περί αφθαρσίας κόσμου"

"ON PROVIDENCE" by Philo, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "Περί προνοίας"

"ON THE FREEDOM OF EVERY STUDIOUS MAN" by Philo, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "Περί του πάντα σπουδαίον ελεύθερον είναι"

"ON THEORETIC LIFE" by Philo, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "Περί βίου θεωρητικού"

"TO FLACCUS" epistle by Philo, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "Εις Φλάκκον"

"ON THE VIRTUES, PRIZES AND PUNISHMENTS" by Philo, TRANSLATED BY CHRISTOS PAPACHRISTOPOULOS under the title "Περί αρετών, περί άθλων και επιτιμίων και αρών".

Here follow the titles in Greek and English of the University Studies of Christos Papachristopoulos and the whole of his educational work:

"THE ITALIAN POLITICAL RENNAISSANCE (RISOTGIMENTO): THE CREATION OF THE ITALIAN STATE IN THE VIEW OF GRAMSCI" (L. Nasis) - "Η ΙΤΑΛΙΚΗ ΠΟΛΙΤΙΚΗ ΑΝΑΓΕΝΝΗΣΗ (RISORGIMENTO): Η Δημιουργία του Ιταλικού κράτους υπό την οπτική του Γκράμσι

"THE FLEXIBLE INTEGRATION OF THE E.U." - Diplomatic Essay by Christos Papachristopoulos for the Department of European Organisation and Diplomacy of the Athens Univesity - "Η ΕΥΕΛΙΚΤΗ ΟΛΟΚΛΗΡΩΣΗ ΤΗΣ ΕΥΡΩΠΑΪΚΗΣ ΕΝΩΣΗΣ", Διπλωματική Εργασία του Χρήστου Παπαχριστοπουλου για το Τμήμα Ευρωπαϊκής Πολιτικής και Διπλωματίας του Πανεπιστημίου Αθηνών

"ΤΗΕ INTERNATIONAL MONETARY FUND AND THE GREEK ECONOMY", Special Study by Christos Papachristopoulos and Helen Nikolaki for the department of European Policy and Diplomacy in Athens University - "ΤΟ ΔΙΕΘΝΕΣ ΝΟΜΙΣΜΑΤΙΟΚΟ ΤΑΜΕΙΟ ΚΑΙ Η ΕΛΛΗΝΙΚΗ ΟΙΚΟΝΟΜΙΑ" - Μελέτη Χρ. Παπαχριστόπουλου - Ελ. Νικολάκη για το τμήμα Ευρωπαϊκής Οργάνωσης και Διπλωματίας του Πανεπιστημίου Αθηνών

"EURO-ATLANTIC RELATIONS AND INTERNATIONAL SECIRITY ATER THE 9/11" - ΟΙ ΕΥΡΩ-ΑΤΛΑΝΤΙΚΕΣ ΣΧΕΣΕΙΣ ΚΑΙ Η ΔΙΕΘΝΗΣ ΑΣΦΑΛΕΙΑ ΜΕΤΑ ΤΗΝ 11/9". Διπλωματική Εργασία (L. Nasis).

"SOCRATES IN AMERICA TODAY" - "Ο ΣΩΚΡΑΤΗΣ ΣΗΜΕΡΑ ΣΤΗΝ ΑΜΕΡΙΚΗ", άρθρο μεταφρασμένο από τον Χρήστο Παπαχριστόπουλο (Χριστουγεννιάτικο τεύχος του ECONOMIST της 29/12/2009 με θέμα την Νέα Μεταπολίτευση στην Ελλάδα).

"THE MERGERS IN THE STOCK-EXCHANGES" - "ΟΙ ΣΥΓΧΩΝΕΥΣΕΙΣ ΤΩΝ ΧΡΗΜΑΤΙΣΤΗΡΙΩΝ" Μελέτη για τα Ευρωπαϊκά Χρηματιστήρια και την Σοφοκλέους (L.Nasis)

"VISIONS FOR EUROPE: PROPOSALS OF EUROPEAN LEADERS" - ΟΡΑΜΑΤΑ ΓΙΑ ΤΗΝ ΕΥΡΩΠΗ: Προτάσεις Ευρωπαίων Ηγετών" (Katerina Papachristopoulou)

"EUROPE IN ADVANCEMENT: PROBLEMS AND PROSPECTS IN THE IMMEDIATE FUTURE: - Η ΕΥΡΩΠΗ ΣΕ ΕΞΕΛΙΞΗ: Προβλήματα και Προοπτικές στο άμεσο μέλλον" (Katerina Papachristopoulou)


"THE NEGOTIATIONS STRATEGY OF GREECE IN THE E.U. ON THE PERIOD 1980-1995" " study for the public sector by Christos Papachristopoulos - "Η ΔΙΑΠΡΑΓΜΑΤΕΥΤΙΚΗ ΣΤΡΑΤΗΓΙΚΗ ΤΗΣ ΕΛΛΑΔΑΣ ΣΤΗΝ Ε.Ε. ΤΗΝ ΠΕΡΙΟΔΟ 1980-1995" (Μελέτη του Χρήστου Π. Παπαχριστόπουλου για την Δημόσια Διοίκηση)

"THE POSITIVE PROSPECTS IN THE U.S. ECONOMY IN 1996 KAI THEIR EXEGESIS: THE CREATIVE DESTRUCTION" by Christos Papachristopoulos - "ΟΙ ΕΥΝΟΪΚΕΣ ΕΞΕΛΙΞΕΙΣ ΣΤΗΝ ΟΙΚΟΝΟΜΙΑ ΤΩΝ Η.Π.Α. ΤΟ 1996 ΚΑΙ Η ΕΡΜΗΝΕΙΑ ΤΟΥΣ: Η ΔΗΜΙΟΥΡΓΙΚΗ ΚΑΤΑΣΤΡΟΦΗ"

"THE GREEK TERRORISM IN THE PUBLIC SPHERE AND THE DECIPHERING OF THE SECRETS OF ITS MYTH" by Christos Papachristopoulos, a Journalist's study for the Mass Media and Communications Department of the Athens Univesity, 1995 - Η ΕΛΛΗΝΙΚΗ ΤΡΟΜΟΚΡΑΤΙΑ ΣΤΗΝ ΣΦΑΙΡΑ ΤΗΣ ΔΗΜΟΣΙΟΤΗΤΑΣ ΚΑΙ Η ΑΠΟΜΥΘΟΠΟΙΗΣΗ ΤΩΝ ΜΥΣΤΙΚΩΝ ΤΗΣ, ΔΗΜΟΣΙΟΓΡΑΦΙΚΗ ΕΡΕΥΝΑ ΧΡΗΣΤΟΥ Π. ΠΑΠΑΧΡΙΣΤΟΠΟΥΛΟΥ ΓΙΑ ΤΟ ΤΜΗΜΑ ΕΠΙΚΟΙΝΩΝΙΑΣ ΚΑΙ Μ.Μ.Ε. ΤΟΥ ΠΑΝ/ΜΙΟΥ ΑΘΗΝΩΝ, 1995

"THE IMIA CRISIS", study of the journalis Christos Papachristopoulos for the Department of Political Science and Public Governance of the University of Athens, 1997 - "Η ΚΡΙΣΗ ΤΩΝ ΥΜΙΩΝ", ΔΗΜΟΣΙΟΓΡΑΦΙΚΗ ΕΡΕΥΝΑ ΧΡΗΣΤΟΥ Π. ΠΑΠΑΧΡΙΣΤΟΠΟΥΛΟΥ ΓΙΑ ΤΟ ΤΜΗΜΑ ΠΟΛ. ΕΠΙΣΤΗΜΗΣ ΚΑΙ ΔΗΜ. ΔΙΟΙΚΗΣΗΣ ΤΟΥ ΠΑΝ/ΜΙΟΥ ΑΘΗΝΩΝ, 1997

"BIG PARENT: SEVEN STEPS FOR THE EDUCATION OF OUR CHILDREN", article by Christos Papachristopoulos in the newspaper of the School of Lehaion Corinthiaw, April 2003, Ο ΜΕΓΑΛΟΣ ΓΟΝΙΟΣ - ΕΠΤΑ ΒΗΜΑΤΑ ΠΡΟΣ ΤΗΝ ΜΟΡΦΩΣΗ ΤΩΝ ΠΑΙΔΙΩΝ ΜΑΣ, Άρθρο στην εφημερίδα "Η ενημέρωση του γονέα" του Δημοτικού Σχολείου Λεχαίου - Απρίλιος 2003

"THE GREEK DEMON PEHIND THE AMERICAN DREAM" article by Christos Papachristopoulos for the Greek-American broker James Dimon - ΤΟ ΕΛΛΗΝΙΚΟ ΔΑΙΜΟΝΙΟ ΠΙΣΩ ΑΠΟ ΤΟ «ΑΜΕΡΙΚΑΝΙΚΟ ΟΝΕΙΡΟ», άρθρο για τον Ελληνοαμερικανό χρηματιστή Τζέϊμς Ντίμον

"Plutarch and Ammonius Saccas: Neoplatonism and Eleusinian Mysteries", short stydy by Christos Papachristopoulos, "ΠΛΟΥΤΑΡΧΟΣ ΚΑΙ ΑΜΜΩΝΙΟΣ: ΝΕΟΠΛΑΤΩΝΙΣΜΟΣ ΚΑΙ ΕΛΕΥΣΙΝΙΑ ΜΥΣΤΗΡΙΑ"

"Mathematical Proof for the fake of the Old Testament" by Christos Papachristopoulos, "ΜΑΘΗΜΑΤΙΚΗ ΑΠΟΔΕΙΞΗ ΤΗΣ ΠΛΑΣΤΟΤΗΤΑΣ ΤΗΣ ΠΑΛΑΙΑΣ ΔΙΑΘΗΚΗΣ"

"THE STON BRIDGES OF PELOPONNHSOS:EXAMPLES FOR THE STATIC LITURGY OF BRIDGES ON DIFFERENT SPOTS" (D. Nasis), "ΤΑ ΠΕΤΡΙΝΑ ΓΕΦΥΡΙΑ ΤΗΣ ΠΕΛΟΠΟΝΝΗΣΟΥ: Παραδείγματα Στατικής Λειτουργίας Γεφυρών Διαφορετικών Τοπολογιών"

& 10 ACCOUNTS BY CHRISTOS PAPACHRISTOPOULOS ON THE SUBJECTS (10 ΕΚΘΕΣΕΙΣ ΜΕ ΘΕΜΑΤΑ)
A. Fair prices and the prizes for the authority thrones on the Testament of Pericles - (Η αξιοκρατία και η απονομή των θώκων εξουσίας στον Επιτάφιο του Περικλή)
B. The Atom as a person and the mass society - (Το Άτομο και η μαζικότητα της κοινωνίας)
C. Existence and Quality of life - (Ύπαρξη και ποιότητα ζωής)
D. EDUCATION, KNOWLEDGE AND SOCIETY - (Παιδεία-Εκπαίδευση-Κοινωνία)
E. AYTHORITIES, RULERS AND THE STATE LAWS - (Αρχές, Άρχοντες και οι Νόμοι του Κράτους)
F. THE ADVERTISMENT AS AN INVENTION OF A MAN (Η διαφήμιση του Ανθρώπου)
G. CIVILIZATION AND COMMUNICATION OF OUR NATIONS - (Πολιτισμός και Επικοινωνία των λαών μας)
H. THE GOOD OF PIECE AND THE MOVEMENTS OF OUR NATIONS - (Το αγαθό της ειρήνης και τα κινήματα των λαών μας)
I. KNOW THYSELF AND FAIR JUDGEMENT IN THE EDUCATIONAL SYSTEM - (Αυτογνωσία και Αξιοκρατία στην Παιδεία)
J. SOCIAL RECOGNITION AND PROFESSIONALISM - (Κοινωνική αναγνώριση και Επάγγελμα)

THE BEST 100 ARTICLES OF CHRISTOS PAPACHRISTOPOULOS ABOUT THE ATHENS STOCK EXCHANGE

Here follow the 100 best articles of the journalist Christos Papachristopoulos. These articles were published in the Greek newspaper "Hora" and opened the way for the arrest of the terrorist group 17N, before the 2004 Olympic Games in Athens and the liquidation of transactions in the A.S.E. (Athens Stock Exchange) in order for the scandals in Sofocles Street to come to an end, so that Greece may join the E.M.U. In order to connect the dots, Papachristopoulos was for 6 years before the Olympic Games the main economic producer of the radio station FLASH and he covered, also, the development of the Athens Stock Exchange to an emerging market by Wall Street and, in contrast, he broadcasted to the Greek people live on air through the radio station PROFIT all the data about the fall of the Twin Towers in New York on 11-12/9/2001. He has translated more than 100 books, essays or articles by Albert Camus and George Orwell and he can, also, translate easily from the Ancient Greek texts (see his 5 major translations of Philo the Alexandrine). These are the Greek titles of his articles about the Athens Stock Exchange in Sofocles Street:

ΤΙΤΛΟΙ (ΣΥΝΤΟΜΩΣ ΚΑΙ ΤΑ ΠΛΗΡΗ ΚΕΙΜΕΝΑ)

2000

ΑΠΕΛΠΙΣΙΑ ΑΠΟ ΤΗΝ ΚΥΒΕΡΝΗΤΙΚΗ ΑΤΟΛΜΙΑ - 12/11/2000
ΤΑ ΕΠΙΤΟΚΙΑ ΚΑΘΟΡΙΖΟΥΝ ΤΗΝ ΑΓΟΡΑ ΤΗΣ ΣΟΦΟΚΛΕΟΥΣ - 13/11/2000
ΚΑΘΙΖΗΣΗ ΣΤΗΝ ΣΟΦΟΚΛΕΟΥΣ - 19/11/2000
ΚΕΡΔΟΣΚΟΠΙΚΑ ΠΑΙΧΝΙΔΙΑ ΞΕΝΩΝ ΘΕΣΜΙΚΩΝ ΣΤΗΝ ΕΛΛΑΔΑ, συνέντευξη: ο Δημ. Καραγκούνης, πρόεδρος της Ένωσης Μετόχων ΧΑΑ, ανοίγει τα χαρτιά του - 25/11/2000
Η ΚΑΤΑΡΡΕΥΣΗ ΤΟΥ ΧΑΑ ΚΑΙ Η ΕΛΛΗΝΙΚΗ ΚΟΙΝΩΝΙΑ 26/11/2000
ΜΠΟΥΜΕΡΑΝΓΚ ΚΑΤΑ ΤΟΥ ΠΡΩΘΥΠΟΥΡΓΟΥ ΤΟ "ΚΟΜΜΑ ΤΟΥ ΧΡΗΜΑΤΙΣΤΗΡΙΟΥ" 26/11/2000
ΔΟΚΤΩΡ ΠΑΠΑΔΗΜΟΣ ΚΑΙ ΜΙΣΤΕΡ ΣΗΜΙΤΗΣ (Άνευ Ημερομηνίας)
ΕΚΚΛΗΣΗ ΣΤΗΝ ΚΥΒΕΡΝΗΣΗ ΝΑ ΑΝΑΛΑΒΕΙ ΤΙς ΕΥΘΥΝΕΣ ΤΗΣ - 3/12/2000
Η ΑΠΟΣΤΑΣΗ ΤΟΥ ΜΕΓΑΛΕΙΟΥ ΑΠΌ ΤΟ ΓΕΛΟΙΟ (ή) ΤΙ ΛΩΖΑΝΝΗ, ΤΙ ΚΟΖΑΝΗ - 10/12/2000
Ο "ΜΑΓΙΚΟΣ ΑΥΛΟΣ" ΤΗΣ ΣΟΦΟΚΛΕΟΥΣ - 10/12/2000
ΧΡΗΜΑΤΙΣΤΗΡΙΑΚΟ ΔΙΚΑΣΤΗΡΙΟ - 17/12/2000
ΠΑΙΧΝΙΔΙ "UNFAIR" ΣΤΗΝ ΣΟΦΟΚΛΕΟΥΣ - 24/12/2000
"ΕΥΡΩ-ΣΟΦΟΚΛΕΟΥΣ 2001" - 24/12/2000
ΑΓΟΡΑ 2 ΤΑΧΥΤΗΤΩΝ Η ΣΟΦΟΚΛΕΟΥΣ - 30/12/2000

2001

ΚΑΘΡΕΦΤΗΣ ΤΟΥ ΣΗΜΙΤΗ ΤΟ ΧΡΗΜΑΤΙΣΤΗΡΙΟ - 14/1/2001
ΒΡΑΧΝΑΣ ΤΑ ΜΕΤΡΑ ΤΗΣ ΚΥΒΕΡΝΗΣΗΣ ΓΙΑ ΤΟ ΧΡΗΜΑΤΙΣΤΗΡΙΟ - 21/1/2001
ΠΟΡΚΕ ΜΑΝΖΑΡΕ ΣΟΣΙΑΛΙΣΤΕ ΚΟΜΠΑΝΙΑ - 21/1/2001
ΕΚΑΤΟ ΔΙΚΕΣ ΘΗΛΙΑ ΣΤΟΝ ΛΑΙΜΟ ΤΟΥ ΧΑΑ - 22/1/2001
ΣΗΜΙΤΗΣ ΚΑΙ ΔΙΑΠΛΕΚΟΜΕΝΑ ΟΙ ΥΠΑΙΤΙΟΙ ΓΙΑ ΤΟΥΣ ΕΓΚΛΩΒΙΣΜΕΝΟΥΣ - 28/1/2001
Η ΟΨΙΜΗ ΕΥΑΙΣΘΗΤΟΠΟΙΗΣΗ ΤΩΝ ΑΡΧΩΝ ΤΟΥ ΧΑΑ - 28/1/2001
ΧΑΑ: ΤΟ ΘΕΑΤΡΟ ΤΟΥ ΠΑΡΑΛΟΓΟΥ - 28/1/2001
ΟΙ "ΤΡΕ ΜΠΑΝΑΛ" ΑΡΧΕΣ ΤΟΥ ΧΑΑ - 11/2/2001
ΤΟ ΣΥΜΠΛΕΓΜΑ ΤΗΣ ΚΟΜΠΡΑΣ - 18/2/2001
ΑΥΤΟΙ ΠΟΥ ΠΝΕΟΥΝ ΤΑ ΛΟΙΣΘΙΑ - 15/4/2001
ΑΣΦΑΛΙΣΤΙΚΟ ΚΑΙ ΠΡΟΕΔΡΙΑ ΤΗΣ ΔΗΜΟΚΡΑΤΙΑΣ - 29/4/2001
ΠΟΙΑ ΕΙΝΑΙ, ΕΠΙΤΕΛΟΥΣ, Η ΜΟΡΓΚΑΝ ΣΤΑΝΛΕΫ; - 29/4/2001
ΟΙ ΚΕΡΒΕΡΟΙ ΤΗΣ ΟΙΚΟΝΟΜΙΚΗΣ ΕΝΗΜΕΡΩΣΗΣ - 6/5/2001
Η ΕΠΑΝΑΣΤΑΣΗ ΤΟΥ ΥΠ.ΕΘ.Ο. - 6/5/2001
ΕΠΕΝΔΥΤΙΚΗ ΑΠΝΟΙΑ ΣΤΟ ΧΑΑ - 7/5/2001
ΤΟ ΤΑΝΓΚΟ ΤΟΥ ΕΦΙΑΛΤΗ - 13/5/2001
ΣΕ ΠΥΡΓΟ ΤΗΣ ΒΑΒΕΛ ΜΕΤΑΤΡΕΠΕΤΑΙ ΤΟ ΧΡΗΜΑΤΙΣΤΗΡΙΟ - 20/5/2001
ΧΑΑ - ΟΙΚΟΝΟΜΙΑ - ΟΝΕ: ΒΙΟΙ ΠΑΡΑΛΛΗΛΟΙ - 20/5/2001
ΧΑΑ: ΙΘΑΚΗ Ή ΑΜΕΡΙΚΑΝ ΜΠΑΡ; - 27/5/2001
ΤΙ ΕΠΙΦΥΛΑΣΣΕΙ ΓΙΑ ΤΟ ΧΑΑ Η ΜΕΤΑ ΑΝΑΒΑΘΜΙΣΗ ΕΠΟΧΗ - 27/5/2001
ΓΥΠΕΣ ΣΤΗΝ ΣΟΦΟΚΛΕΟΥΣ: ΤΟ ΠΑΡΤΥ ΤΗΣ ΑΝΑΒΑΘΜΙΣΗΣ ΤΕΛΕΙΩΣΕ ΠΕΡΙΕΡΓΑ - 1/6/2001
ΤΡΟΧΟΠΕΔΗ ΤΟ "ACCIDENT ECONOMIQUE" ΣΗΜΙΤΗ - 3/6/2001
ΕΥΑΛΩΤΗ ΣΤΙΣ ΠΙΕΣΕΙΣ Η ΚΕΦΑΛΑΙΑΓΟΡΑ - 3/6/2001
ΚΟΥΚΟΥΛΩΝΟΥΝ ΤΟ ΠΑΙΧΝΙΔΙ ΤΗΣ ΑΝΑΒΑΘΜΙΣΗΣ - 9/6/2001
ΟΙ ΤΡΕΙΣ ΦΥΛΕΣ ΤΟΥ ΧΡΗΜΑΤΙΣΤΗΡΙΟΥ ΠΑΡΑΓΩΓΩΝ - 10/6/2001
ΧΑΝΤΙΚΑΠ ΣΗΜΙΤΗ ΣΤΗΝ ΜΕΤΑ-ΟΝΕ ΕΠΟΧΗ - 10/6/2001
ΜΕ ...ΤΥΧΑΙΟ ΑΛΓΟΡΙΘΜΟ ΘΑ ΜΑΓΕΙΡΕΥΟΥΝ ΤΟΝ ΓΕΝΙΚΟ ΔΕΙΚΤΗ - 11/6/2001
ΜΕΤΩΠΙΚΗ ΣΥΓΚΡΟΥΣΗ ΠΡΩΘΥΠΟΥΡΓΟΥ & ΥΠ.ΕΘ.Ο. - 17/6/2001
Η ΩΡΑ ΤΗΣ ΑΛΗΘΕΙΑΣ ΣΗΜΑΝΕ - 24/6/2001
ΑΣΗΚΩΤΑ ΤΑ ΒΑΡΙΑ ΧΑΡΤΙΑ ΣΤΗΝ ΣΟΦΟΚΛΕΟΥΣ - 25/6/2001
ΤΟ "ΑΛΕΞΙΚΕΡΑΥΝΟ ΤΩΝ ΚΡΙΣΕΩΝ" ΚΑΤΑΣΤΡΕΦΕΙ ΤΗΝ ΟΙΚΟΝΟΜΙΑ - 1/7/2001
8 ΤΡΙΣ. ΧΑΘΗΚΑΝ ΣΕ ΕΝΑ ΕΞΑΜΗΝΟ ΑΠΟ ΤΗΝ ΣΟΦΟΚΛΕΟΥΣ -2/7/2001
Η ΚΑΘΑΙΡΕΣΗ ΣΗΜΙΤΗ ΑΠΟ ΤΗΝ ΠΡΟΕΔΡΙΑ Η ΜΟΝΗ ΚΑΘΑΡΗ ΛΥΣΗ - 15/7/2001
ΒΑΔΙΖΕΙ Η ΕΥΡΩΠΗ ΣΕ ΔΙΑΛΥΣΗ ΚΑΙ ΑΥΤΟΚΑΤΑΣΤΡΟΦΗ; - 22/7/2001
ΤΟ ΑΓΓΙΓΜΑ ΤΗΣ ΚΙΡΚΗΣ - 12/8/2001
ΟΙ 690 ΜΑΥΡΕΣ ΗΜΕΡΕΣ ΤΗΣ ΣΟΦΟΚΛΕΟΥΣ - 12/8/2001
ΤΟ ΠΑΡΑΔΟΞΟ ΤΗΣ ΜΕΤΑ-ΟΝΕ ΕΠΟΧΗΣ - 2/9/2001
ΦΩΣ ΣΤΗΝ ΜΕΓΑΛΗ ΑΠΑΤΗ ΤΟΥ ΧΡΗΜΑΤΙΣΤΗΡΙΟΥ - 8/9/2001
ΕΠΙΚΙΝΔΥΝΟΙ ΠΕΙΡΑΜΑΤΙΣΜΟΙ ΜΕ ΤΙΣ ΤΙΜΕΣ ΣΤΟ ΧΑΑ - 9/9/2001
ΑΠΟΚΛΕΙΣΤΙΚΕΣ ΔΗΛΩΣΕΙΣ & ΣΥΝΕΝΤΕΥΞΕΙΣ ΤΟΥ ΜΙΛΤΙΑΔΗ ΕΒΕΡΤ - 9/9 & 11/9 & 7/10/2001
"ΣΑΤΑΝΙΚΑ" ΠΑΙΧΝΙΔΙΑ ΤΗΣ ΤΥΧΗΣ - 16/9/2001
"Η ΜΑΥΡΗ ΕΠΕΤΕΙΟΣ": ΤΟ ΠΡΟΕΚΛΟΓΙΚΟ ΣΧΕΔΙΟ "ΣΟΦΟΚΛΗΣ" - 16/9/2001
Η ΑΠΑΤΗ ΤΟΥ ΑΙΩΝΑ: ΙΣΤΟΡΙΚΗ ΑΝΑΔΡΟΜΗ ΣΤΗΝ ΜΕΓΑΛΗ ΚΟΜΠΙΝΑ ΤΗΣ ΣΟΦΟΚΛΕΟΥΣ - 16/9/2001
ΠΑΓΚΟΣΜΙΟΠΟΙΗΣΗ Ή ΤΑΛΙΜΑΝ; - 23/9/2001
ΓΙΑ ΤΗΝ ΥΠΟΚΡΙΣΙΑ ΤΟΥ ΔΥΤΙΚΟΥ ΠΟΛΙΤΙΣΜΟΥ - 7/10/2001
Ο ΠΕΡΙΕΡΓΟΣ ΡΟΛΟΣ - 7/10/2001
"ΜΕΓΑΛΟΣ ΑΔΕΛΦΟΣ" ΣΕ ΤΡΑΠΕΖΕΣ & ΧΑΑ - 14/10/2001
Ο ΡΟΛΟΣ ΤΩΝ ΕΙΣΗΓΜΕΝΩΝ - 14/10/2001
Ο ΕΒΕΡΤ ΚΑΙΕΙ ΤΟΝ ΝΕΟ "ΤΣΑΡΟ" ΤΗΣ ΟΙΚΟΝΟΜΙΑΣ - 24/10/2001
"ΩΡΟΛΟΓΙΑΚΗ ΕΚΡΗΞΗ" ΧΑΑ ΑΠΟ ΤΗΝ ΧΕΙΜΕΡΙΑ "ΝΑΡΚΗ" - 28/10/2001
ΠΡΕΜΙΕΡΑ ΣΤΟ ΧΡΗΜΑΤΙΣΤΗΡΙΟ ΠΑΡΑΓΩΓΩΝ - 11/11/2001
ΤΟΝ ΛΟΓΟ ΕΧΕΙ ΤΩΡΑ Η ΕΠΙΤΡΟΠΗ ΚΕΦΑΛΑΙΑΓΟΡΑΣ - 11/11/2001
ΔΕΚΑ ΠΡΟΤΑΣΕΙΣ ΓΙΑ ΚΑΛΥΤΕΡΟ ΧΡΗΜΑΤΙΣΤΗΡΙΟ - 18/11/2001
Η ΕΚΜΕΤΑΛΛΕΥΣΗ ΜΙΑΣ ΕΛΛΗΝΙΚΗΣ ΠΡΩΤΟΤΥΠΙΑΣ - 25/11/2001
ΧΑΑ: ΑΚΡΟΒΑΣΙΑ ΣΤΑ ΟΡΙΑ ΤΗΣ ΝΟΜΙΜΟΤΗΤΑΣ - 30/11/2001
ΟΙ ...ΔΗΜΟΣΙΟΓΡΑΦΟΙ ΦΤΑΙΝΕ ΓΙΑ ΟΛΑ! - 9/12/2001
ΜΑΘΗΜΑΤΑ ΕΥΘΙΞΙΑΣ ΑΠΟ ΤΗΝ ΕΙΣΑΓΓΕΛΙΑ - 16/12/2001
ΟΙ "ΘΕΡΝΑΔΙΕΡΟΙ" ΤΟΥ ΣΗΜΙΤΗ ΠΑΤΡΩΝΑΡΟΥΝ ΤΟ ΧΡΗΜΑΤΙΣΤΗΡΙΟ - 23/12/2001
ΧΡΗΜΑΤΙΣΤΗΡΙΑΚΟΣ ΚΑΖΑΜΙΑΣ - 27/12/2001
ΣΟΦΟΚΛΕΟΥΣ: ΓΙΑΤΙ ΔΕΝ ΠΡΟΧΩΡΗΣΕ Η ΚΑΘΑΡΣΗ - 30/12/2001
ΑΠΟ ΤΙΣ ΜΕΤΟΧΟΠΟΙΗΣΕΙΣ ΣΤΙΣ ΙΔΙΩΤΙΚΟΠΟΙΗΣΕΙΣ - 30/12/2001
ΤΣΙΝ-ΤΣΙΝ ΜΕ ΜΙΣΘΟΥΣ ΑΘΗΝΩΝ ΚΑΙ ΤΙΜΕΣ ΒΡΥΞΕΛΛΩΝ - 31/12/2001

2002

ΠΩΣ ΧΑΘΗΚΑΝ 39,5 ΤΡΙΣ. ΣΤΗΝ ΣΟΦΟΚΛΕΟΥΣ - 6/1/2002
Η ΕΛΛΑΔΑ ΣΤΟ ΟΙΚΟΝΟΜΙΚΟ ΦΟΡΟΥΜ ΤΗΣ ΝΕΑΣ ΥΟΡΚΗΣ - 13/1/2002
Η "ΟΡΓΟΥΕΛΙΚΗ" ΚΟΙΝΩΝΙΑ ΚΑΙ Η ΠΟΡΕΙΑ ΕΝΟΣ ΓΑΜΟΥ - 20/1/2002
Η ΔΙΚΤΑΤΟΡΙΑ ΕΦΥΓΕ, ΟΙ ΥΕΝΕΔ ΕΜΕΙΝΑΝ 26/1/2002
ΕΡΜΑΙΟ ΤΩΝ ΦΗΜΩΝ Η ΣΟΦΟΚΛΕΟΥΣ - 27/1/2002
ΤΑ ΠΕΙΡΑΜΑΤΟΖΩΑ ΤΟΥ ΧΡΗΜΑΤΙΣΤΗΡΙΟΥ - 3/2/2002
ΟΥΔΕΝ ΝΕΩΤΕΡΟΝ ΑΠΟ ΤΗΝ ΧΡΗΜΑΤΑΓΟΡΑ - 10/2/2002
Η ΚΥΒΕΡΝΗΣΗ ΕΜΠΟΔΙΟ ΣΤΗΝ ΚΑΛΗ ΛΕΙΤΟΥΡΓΙΑ ΤΗΣ ΧΡΗΜΑΤΑΓΟΡΑΣ - 17/2/2002
ΟΝΕΙΡΟ ΘΕΡΙΝΗΣ ΝΥΚΤΟΣ ΟΙ ΞΕΝΟΙ ΕΠΕΝΔΥΤΕΣ; - 24/2/2002
ΤΟ ΟΔΟΙΠΟΡΙΚΟ ΤΗΣ ΜΕΓΑΛΗΣ ΚΑΤΑΡΡΕΥΣΗΣ - 24/2/2002
ΑΓΩΓΕΣ ΚΑΙ ΨΥΧΟΛΟΓΙΑ ΓΙΑ ΕΓΚΛΩΒΙΣΜΕΝΟΥΣ - 3/3/2002
ΧΑΝΕΤΑΙ Ο ΕΛΕΓΧΟΣ, ΤΗΝ ΠΛΗΡΩΝΕΙ ΤΟ ΧΑΑ - 17/3/2002
Η ΣΟΦΟΚΛΕΟΥΣ ΚΑΙ ΤΑ ΤΗΛΕΠΑΙΧΝΙΔΙΑ - 31/3/2002
ΥΠΕΥΘΥΝΟΣ Ο ΣΗΜΙΤΗΣ ΓΙΑ ΤΗΝ ΠΤΩΣΗ ΤΟΥ ΧΑΑ - 7/4/2002
Ο ΣΗΜΙΤΗΣ ΚΑΙ ΟΙ ΧΑΜΕΝΕΣ ΘΥΣΙΕΣ - 5/5/2002
ΠΑΡΑΘΥΡΑΚΙΑ ΟΙ "ΠΑΡΡΕΚΛΙΣΕΙΣ" 12/5/2002
Ο ΣΗΜΙΤΗΣ ΕΠΙΤΡΕΠΕΙ ΤΗΝ ΕΙΣΒΟΛΗ ΛΟΓΟΚΡΙΣΙΑΣ ΣΤΟ ΧΑΑ- 19/5/2002
ΩΡΑ ΓΙΑ ΚΑΘΑΡΣΗ ΣΤΗΝ ΣΟΦΟΚΛΕΟΥΣ - 5/6/2002
Ο ΦΑΚΕΛΟΣ ΤΗΣ ΚΥΠΡΟΥ: ΤΟ ΠΟΡΙΣΜΑ ΓΙΑ ΤΑ ΧΡΗΜΑΤΙΣΤΗΡΙΑΚΑ ΣΚΑΝΔΑΛΑ ΤΗΣ ΕΞΟΥΣΙΑΣ ΣΤΗΝ ΛΕΥΚΩΣΙΑ - 7/6/2002
ΑΚΟΜΑ ΕΝΑΣ ΚΟΛΑΦΟΣ ΓΙΑ ΤΗΝ ΚΥΒΕΡΝΗΣΗ - 9/6/2002
ΚΑΤΑΡΡΕΕΙ Η ΠΥΡΑΜΙΔΑ ΤΗΣ ΛΕΥΚΩΣΙΑΣ - 10/6/2002
Η ΚΥΒΕΡΝΗΣΗ ΣΤΕΡΕΙ ΤΗΝ ΑΓΟΡΑ ΑΠΟ ΡΕΥΣΤΟΤΗΤΑ - 15/6/2002
ΤΟ ΧΑΑ ΚΑΤΑΡΡΕΕΙ, ΟΙ ΜΙΣΘΟΙ ΤΟΥΣ ΑΥΞΑΝΟΝΤΑΙ - 19/6/2002
ΩΣ ΠΟΤΕ Η ΑΤΙΜΩΡΗΣΙΑ ΓΙΑ ΤΗΝ ΣΟΦΟΚΛΕΟΥΣ - 23/6/2002
Η ΔΥΣΗ ΠΡΕΠΕΙ ΝΑ ΤΟΥΣ ΠΑΡΑΔΕΙΓΜΑΤΙΣΕΙ - 23/6/2002

The plot of the theatrical play "The State of Siege – L’ Etat de Siege" by Albert Camus translated by Christos Papachristopoulos

A PICTURE WORK CONCEIVED BY THE U.N. SECURITY COUNCIL ON THE 19th NOVEMBER 1948 in relation with the diplomatic work ''Christian Metaphysics nad Neoplatonism'', the lectures in Stockholm, Uppsala and Athens and the essay ''Neither Victims nor Executioners''

L' Etat de Siege is a theatrical play (English title: The State of Siege), in the style of an ancient Greek tragedy, by the French writer Albert Camus where he introduced his most personal belief in the irrational faith in God and his personal powers as an “insensé”. There is a theory -according to the Greek journalist Ch. Papachristopoulos- that this theatrical play is actually based in Aeschylus' lost tragedy, Prometheus the Fire-Bringer - Προμηθεύς Πυρφόρος.

[edit] Summary of L' Etat de Siege by Albert Camus
This theatrical play was written by Albert Camus together with his novel The Plague and the essay The Rebel/Man in Revolt. It is the work which -according to Camus' words- represents him best and is a response-reaction to George Orwell's 1984. The hero, Diego, opposes with a medical mask the totalitarian dictator who bears the name Plague and dies, in order to set a Spanish town free from the Holy Inquisition. The first title of this play by Albert Camus was The Holy Inquisition in Cadix. This theatrical performance of Albert Camus -which has not been adapted for the cinema yet- is famous because of his predictions about the comet that changes the world towards destruction (see, also, H.G.Wells' short stories "In the Days of the Comet" and "The Star") and the great tsunami "wave from the depths of sea" which sets the world free.

[edit] INTRODUCTION: THE MYSTICAL STAGE
This theatrical play of Albert Camus is based on the concept of Deus Ex Machina, which was a key element in the Ancient Greek theater. The "Άρμα Θέσπιδος" or Vehicle of Thespis was a device used in the ancient theatrical festivities and in the mysteries of ancient Athens -especially in the Dionysian theater- in order to provoke the intervention of a god. Camus was a son of Greece -as he wrote in his collection of essays The Nuptials- and he was familiar with the Greek tragedy, on which he talked in 1956 in Athens (The Parnassus Speech) together with Andreas Empeirikos, the Greek surrealist poet. Camus always wrote trilogies and L' Etat de Siege was part of one such trilogy, together with his famous novel The Plague/La Peste and his notorious essay The Rebel, Man in Revolt/L' Homme Revolte, where he makes very interesting remarks about the revolt of Prometheus. In the “State of Siege’’, Camus makes his hero to free men from the “Plague of Death” in a remarkable passage which reminds us of the lost play Prometheus the Fire-Bringer/Προμηθεύς Πυρφόρος of the trilogy “Prometheia” by the ancient Greek tragedian, Aeschylous who reveals there Prometheus' knowledge of a secret that could potentially lead to Zeus' downfall.
The work of Albert Camus L' Etat de Siege reminds especially the ancient theatrical play of Euripides' Bacchae about the conflict in ancient Thebes of Greece between Pentheus who represents the State Goverment (Kratos) and Cadmus, who represents the royal house of Greece which stays loyal to the god Dionysus. There are, also, manifest references in the theatrical play L' Etat de Siege in Eleusinian Mysteries ("Manna") and Neoplatonism (the opinion of Camus is included in his essay Christian Metaphysics and Neoplatonism - La Metaphysique Chrettienne et Neoplatonisme). It must be noted that when in Paris the State of Siege was performed, the role of Death, the Receiver of Souls (Ψυχοπομπός or god Hermes) was played by the world-famous mime Marcel Marceau. The role of Diego in the first performance of the play in Paris was covered by Louis Jourdan. Camus had also formed a theatrical group to perform his theatrical rites, called Theatre de l'Equipe.

[edit] DIEGO’S HAND OD GOD AGAINST BIG BROTHER
“L’ Etat de Siege’’ is a work against totalitarianism, written in the same epoch when Camus' idol, the English writer George Orwell wrote 1984. Actually, there is an allegorical reference of Camus' in his theatrical play about the end of Orwell's novel (where the hero, Winston Smith, makes a compromise with Big Brother). Camus' hero, who is called Diego and has a mystical charisma called “insensé”, is opposed to "The Plague who makes an invasion in the town of Cadix and he is finally sacrificed, in order to save the simple citizens of this Spanish town. However, the end of the play mentions a plague in Athens, like the text of Lucretius' De Rerum Natura-On the Nature of Things and the existence of a secret which is to be revealed (UN SECRET in the French text).

[edit] CAMUS' GOD AGAINST ROME
The initial title of L' Etat de Siege was THE HOLY INQUISITION IN CADIX. In the French edition of the book, Camus has included a remarkable essay, under the title Why Spain?. In this polemical text, he answers to his Catholic Christian friend Gabriel Marcel who accused him for setting the plot in Spain. Albert Camus expresses here his attitude against the totalitarian regimes of the West and the behaviour of the Vatican and the Pope during World War II. The most important phrase of this essay against Gabriel Marcel is "Why Guernica, Gabriel Marcel?". Another essay of Camus where he talks about the Pope is "The Believer and the Christians", included in the collection "Resistance, Rebellion and Death". Camus' faith (foi, in French) is the faith in the supernatural, irrational element of Greek and Christian thought, as expressed in his essay L'Homme révolté-The Rebel.

[edit] PLOT
First Act
The State of Siege begins with a preamble, where a comet makes his appearance over the town of Cadix. The simple citizens consider it as a sign or omen ("οιωνός") and there Nada makes his appearance: he is a drunked and crippled man, who represents Jean-Paul Sartre and his atheistic nihilism. The police intervenes in order to restore Peace, Quiet and Order but Nada -whose name means Nothing- prophetises like Teiresias in Bacchae that a young therapeutes masked doctor, Diego, who heals people will save all of them if they keep their hearts sound and safe against the attack of the flu or plague. It is worth mentioned that something similar happens in the end of Camus' novel La Peste, where docteur Rieu saves the town of Oran by inventing a pharmacon which offers immunity. Camus -through the negative language of Nada/Sartre who wants the Death of all the World- makes a libellus against atheistic Existentialism and gives a warning to the people who watch his theater performance about the God's omen and the end of the world. The Government of the town announces that Nothing has happened and that all should return in their works. The Chorus makes his appearance, although, like in an ancient Greek tragedy with an hymn to Nature, to its forces and to the mysteries of regeneration and rennaissance. Diego meets his love-mate, Victoria (who represents the victory of Camus' Combat movement against Nazism in occupied France): she is the daughter of an autocratic judge. The Governor makes his appearance, then, ordering nothing to move; I am the King of Silence. It is exactly the time for the "flu" to makes her attach in someone in the crowd (hint of Camus againt the phrase of Andre Breton before 1950 about shooting at the mass crowd with a revolver. Camus wrote against the negative side of surrealism in L' Homme Revolte). The man falls down like striken from a thunder and when a doctor examines him, he announces: "Plague"! A priest calls all the people to get into the Church to die and be punished for their sins from the God of Justice while an astrologer makes predictions and plans for his own ascend to Government's authority and the crowd is panicked. The sun begins to tremble and the wind makes all tremble, too. The Goverment decides to suppress, to kill and to bury every man with free voice that goes against the public interest of fighting the flu. At this time, Diego wears a mask -Camus had studied the rites of Dia De Los Muertos in Mexico, obsessed by Sergei Eizenstein's remarks about ancestor worship in the Day of the Dead, where Deaath is considered a friend of man)- in order to heel the people who loose hope and faith to God (In our century, power wears the mask of tragedy, wrote Camus in The Rebel). Diego is forced to seperate from Victoria as the Government announces that in order to prevent the danger and the threat of spreading, every public show and demonstration is prohibited. Suddenly, a man and a woman get into the stage: they ask persistently, under the threat of a death penalty, the responsibilities and the authority of the Governor. He resists at first but, then, the woman writes something in a Carnet (her cryptographic crib or pense-bete, her Beast of Thought) and a guard falls down dead, hit by a radiant emission. The woman, also, saves the life of Nada because he does not believe in nothing and he might be useful. So the Governor leaves the town but the army collaborates with the man and the woman.
Mass Media and Bureaucracy
The bureacracy of the new established state begins to announce taxes to the simple, working citizens of Cadix under a strange and complicated language, through the messengers of the Plague with their beautiful faces (Camus was until 1951 a journalist but he resigned in order to write The Rebel and become a Nobel awarded writer and artist). Then, the whole citizens cry out loud: "The Plague has become a State Government and Nada answers: "Plague or Government, it is always the State... The New Law is announced by the Mass Media of the Plague under the slogan: "We are all brothers". According to the messengers of the Plague, every product becomes part of the civic community and of the New Society. The gates of the town begin to close while the chorus of young men and women continues in a lyrical mood to invoke the forces of Nature, the Universe, the sea, the wind, the orange, the integral of fruits and the harvest. However, the priest leaves the town without helping the unprotected people! Christians of Spain, you have been abandoned cries a poor man. The woman, who is the Secretaire of the man who asks for the total power announces that, in order to avoid the spreading of the germs of the flu by spreading through communication waves, every citizen is orderded to wear a condom inside his mouth! And, finally, the sixth gate closes... As a result, the man whose name as a person is Plague takes the place of the king in his palace in the stage in order -as he says- to exercise a liturgy and announces that he will begin to kill everyone else in the name of Logic and Reason, according to a certain administrative program. The victims will be burned after (or, even, before) their death and the living will be marked to their bodies. Everybody is suspect he says.
[edit] PLAGUE AND THE STATE TERROR
Second Act
In the second act, the carrier of the dead bodies (played originally by Marcel Marceau) sents all of them in a cemetery whose entrance is like a school entrance! The state, civil cervants are administrated by the army and the police and the general Secretary of the Plague begins to give to the citizens their Existence Diplomas, to meliorate the logistics of butchering and to ask of them their C.V.'s. However, the honest and good people are considered as suspects because whoever is interested for his neighbour is against the authority of the State and should be under surveillance. The State asks for their political beliefs and -if they are ambiguous- then, the honest man has no reasons to live (No Raisons d'Etre) and his existence is programmed to be "delivered" bureaucratically, in an administrative manner. Then, through the dead bodies of the cemetery, Nada/Sartre makes again his appearance, crying: I am not dead, I told you!" and he begins his collaboration with the New Order. He wants everything to be supressed, stoped, forbidden and then -he believes- "Voila Paradise". He has a philosophy, a philosophy against Love, Eros, Friendship, Children. He denies God because God denies the world. The Secretary begins to give to all people a sign, an emblem of the Plague, but whoever denies it is obliged to take a second mark, signing that he is against the Plague. If the citizens do not take the Existence Diploma they are not considered as sound but as insense and -in order to become sound- they will be helped by the government with a special treatment. The Secretary says that she believes that all citizens are guilty for having a Government -and they know it! "You will not understand that you are guilty as long as you continue working until you ll be dead from the fatigue". Indeed, the Plague orders the Great Public Shows to begin, with the construction of stiff buildings, roads and bridges and announces that a lot of people who are unimportant will be lost and seperated from their families. They will be transported to concentration camps: "What matters is not to understand but to execute... and even to take part in their own execution! They execute, they are executed, they are occupied, concentrated.. Execution, Occupation, Concentration"! Nada, then, reveals that the whole subject is about language and grammar... how nobody will understand nothing, even if they will all speak the same language! He also mentions some ancient prophecies about the end of the world. He warns for a world seeming like a private and puritan Paradise and in the middle police squads with wings which will bear latin, mediaeval letters: "Men will be happy, fed up with papers and formulas and they will kneel down to God as the Destroyer of Everything and they will worship him because he will be totally devoted to watch and indulge in the ancient delirium of a world of pleasure". And Nada adds: "Nobody laughs, nobody understands, the moment has come, it is the perfect chance"... All the people -except Diego- go to enlist in the Plague and to build the castles and the status symbols of the State autority. The Plague calls Diego -in the same way that [[the "Benefactor]] Stalin called Gevgenyi Zamyatin in his novel "We"- but Diego invokes his own innocence. He wonders by the compromise of the mass with the dictatorship which governs under the cloak of democracy and he admits that he is afraid. The “Plague’’ asserts that he does not know what innocence is and orders his guardians to arrest Diego. The hero, however, runs and hides to the judge’s house. The Plague reveals that whoever is afraid and runs, belongs to him and he orders again his Guardians and Gatekeepers to learn all the people the same, basic words so that they will always repeat the same thing and become "good citizens’’. Diego is expelled by the judge but he says to him that now the Law has been identified with Crime and Virtue has been victimized. The judge, however, haw also become now a victim of the Plague and his house has been "condemned’’ as well. In the meantime, Nada is in the cemetery-school gates and he prepares the Plague’s elections, which will be conducted "under the principles of rationalism": that is, the votes against the Governmental State of the Plague will be counted as negative because they will not be ‘’free’’ but irrational and ‘’sentimental’’. Only the votes FOR the government will be rational and free. And that happens –according to Nada- because ‘’people has no idea of freedom”. The “Secretary’’ of the Plague stops Diego from making love with Victoria and renounces the word “Love”. Now, she marks him for a second time. As long as he was afraid, he was suspect, as long as he has feelings he is polluted. But, Diego continues to struggle in order to help the simple, ill and poor citizens.
[edit] “PROMETHEUS UNBOUND” AND CAMUS
In this point of the story, a boatman who can be identified with the god Prometheus makes his appearance , by the sea of Cadix in the Atlantic. He brings supplies (“προμήθειες” in Greek) to the free citizens: milk and bread from boats in the open sea who were not in the town when the New Order of Law was pronounced by the messengers of the Plague. Some families have escaped from the gangraena and the boatman makes a “metaphor” to the “letters”, playing the role of Providence. Diego asks him to carry him to the sea but the boatman is afraid that he will influence the remaining families with the “germs” of the Plague. Before that, however, the “Secretary” appears and with her Carnet and her “ephemerides” she kills the boatman. In this point, Camus inserts maybe the best part of the play, where Diego with his mask is opposed to the “Secretary’’. This scene is extraordinary and the dialogues written in a language which moves the reader or the spectator and has high aesthetic value. Diego announces to the “Secretary” the defeat of the Plague by just one “insensé” man. He slaps her in the face and then his second mark in his skin disappears because he has lost fear. She reveals him “UN SECRET”, that there is a hidden “Machine” which has become almost perfect but has a “malfunction”: if someone does not feel fear, the “Secretary” has to grant him life -he cannot be killed, he is immortal, like Prometheus. The wind starts suddenly to blow and the first man –a fisherman- starts to speak free as he is saved by Diego.
Third Act
From this point, Diego begins to work intensively with his men –in a parallelism which reflects his own “Combat” movement in France, against Fascism- and his efforts make the symbols of the Plague to diminish. His comrades erase the marks of the “flu” from the houses of the town. Diego hymns the “Holy Rebellion”, the living honour of the simple people, and calls them to destroy their “existence diplomas’’, to break the mirrors of their working offices, to cry for freedom. However, the Plague together with the “Secretary” and Nada prepare a new “coup d’ etat” . They cannot longer confront Diego’s men because they do not have the authority to kill them, since they are not afraid anymore. So, they make a compromise with the leaders of the mass for a “constitutional reform” and they decide to construct a commission which will keep in her authority the criminal Carnet. However, this cryptographic device which kills gets stolen by the oppressed who now decide to kill the rich: this is the triumph of the Plague who begins again to build impressive, symbolic buildings of her authoritative status while the simple people return by their own will to their slavery.
[edit] FINAL PANTOMIME REFLUX
Only Diego continues under his mask to help as a doctor the illness. When he and his men struggle against the Plague, on the stage a pantomime of agony evolves and the status-symbols of the evil cramble. The Plague seems to be leaving at first, keeping hostages of the combat and the Chorus sings a hymn to the ancient mysteries. However, Victoria –who represents in the play Diego’s and Camus’ true homeland- is dying at the same time and so, the hero proposes to the Plague an “exchange”, provoking Death to get naked, renounce its uniform and its hieratical robe-clothing. The Plague traps him by asking him not to help the uneducated mass and offers both Diego’s and Victoria’s life if they leave the town to his authoritative state. “I must be dominus of all or else I am dominus of nothing” says Plague, because “according to an ancient law, if one man escapes, then the whole town escapes” This is the final dialogue or “stichomythia” between Diego and the Plague. Diego negates and he opposes to the State, like Antigone opposed Kreon, saying “I was not born in order to be happy by doing evil to the other people”. Diego’s weapon is his laughter against the Plague and he announces in the stage “the epoch of free men” who –contrary to the followers of the Plague- will have the right to Divine Grace. The Plague tells him that he overcame the last test, since if he had accepted its offer, the town, all the people, Diego and Victoria as well would all be condemned. The “Secretary”, however, has on its face now a mask of death and, unwilling to kill Diego, wants to take the body of the dying woman and feel the sense of true life. The Plague reveals, then, its true name which is “the Power of Terror” and speaks the following words: «I have filled Athens with purification fires through my own official butchers and grave diggers and I have covered the Greek sea with human ashes in order to make her obtain black colour. Even the Gods felt horror”. She also adds: «For us, a dead man does not cost so much as a slave. Our ideal is to have a majority of slaves through a minority of rightly elected men who will die. Today our technology is capable of it”. The Plague believes in the stupidity of the mass whom honours as his only power and hope. Before Victoria’s renaissance and Diego’s death, there is a phrase of the hero who manifests his devotion to the “irrational religious faith”. Next, trumpets are heard and the rich who were exploiting the poor make their come-back. The rites of hatred continue to be exercised, the decors are moved again, political speeches and rhetorics are heard while Nada –before commiting suicide by been drowning in the sea- makes a prophecy: «Now we have the power to begin anew… from point zero, of course”!. The “State of Siege” ends with the words of the first free man, the fisherman (symbol of Christ): «O Holy See, Holy Sea, the great depth of your depths will set your terrorized cities free, this is your people who will never recede, this is the Homeland of the Revolutionaries”.

CAMUS, CHRISTIANISM AND GREECE

JACQUES MARITAIN AND THE MYSTICISM OF BERGSON

GABRIEL MARCEL

Gabriel Honoré Marcel (7 December 1889 Paris – 8 October 1973[1] Paris) was a French philosopher, a leading Christian existentialist, author of about 30 theatrical plays and musician. He is the main supporter of the theory of immortality, he became known as "the philosopher of Mystery" and he belongs to the crossroad between Hellenic and Catholic Christianity [2]. He introduced -with his pupil, the Greek philosopher Christos Papachristopoulos- the "Metaphysics of Light", connected with the "Ideal City of God" (see his book: "The Mystery of Being"[3]). He believed in miracles and in the "Transcendence of Hope" (see his book: Homo Viator") and he was a close friend of Albert Camus. Lately, it has been reported that Gabriel Marcel belonged to the secret group of the immortal men, Spartoi or Spartans, that Cadmus had created in Thebes and, actually, Marcel had confessed in his writings that his theatrical plays constituted the Greek islands whereas his essays and books were the Greek continental land (see the essay "Dramatic Approaches to Creative Fidelity: A Study in the Theater and Philosophy of Gabriel Marcel" by Catharine Rose Hanley[4]). Also, there have been some links -through his writings about the function of The Intelligible Mediumin the Metaphysics of Hope[5]- with the mimetic art of Marcel Marceau, the communication theory of Marshall McLuhan, the director's art of Marcel Camus and the ready-made art of Marcel Duchamp. The Metaphysics of Light of Alexandria The writings of Gabriel Marcel are based on the Metaphysics of Light. This is the Uncreated Light of Christianism, transmitted through the centuries by the Lighthouse of Alexandria, the Ideal City of God. Marcel takes the role of angel Gabriel and delivers a gift to his readers in order for Christ to be born. Christos Papachristopoulos [6] has interpreted this role [7] as the presence of the divine grace in all men. A central concept of the Metaphysics of Light of Marcel and Papachristopoulos is the Transcendence and the Grace.