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  1.  27
    Les Matîres Penseurs.Eleni Mahaira-Odoni - 1978 - Telos: Critical Theory of the Contemporary 1978 (36):206-214.
    In the growing literature accumulated since May 1968, the French upheaval has been interpreted essentially as a protest against the established system of authority and, in various degrees, as a rejection of rationalized organization of the social, labor and educational sectors. Some ten years later, while the psychological dynamics and inner rationality of the event remain far from clear, its brevity and its admittedly limited impact are becoming less of a mystery. For, even when pared down to the essentials of (...)
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  2.  25
    Sartre Et “Les Temps Modernes.”.Eleni Mahaira-Odoni - 1986 - Telos: Critical Theory of the Contemporary 1986 (69):175-189.
    Among the shooting stars that have crossed the contemporary French cultural scene for fifteen years, aided by media sensationalism, we have yet to see a comet of some magnitude. The conspicuous absence of an influence like Sartre's raises many questions. Sartre and his times would seem a natural subject matter but, apart from Annie Cohen Solal's best-selling biography, Gallimard's constant stream of posthumous works has failed to turn Sartre into a media event. And yet, it now seems likely that Roland (...)
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  3.  17
    The Politics of Opera.Eleni Mahaira-Odoni - 1998 - Telos: Critical Theory of the Contemporary 1998 (111):183-188.
    The importance of politics in the fashioning of opera has hardly gone unnoticed among specialists of the genre and musicologists in general. In the works of Verdi and Wagner's Ring, politics has been analyzed to near exhaustion, and as John Bokina admits in his introduction, “he found that [he] had nothing new to say about these subjects” (p. 3). So why this book? First, because the author, an opera-loving, professional political scientist, wanted to write a book “that he had always (...)
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