In this article, I examine the notion of nostalgia in relation to the films of Theo Angelopoulos. I argue that the image of nostalgia that pervades his films does not call for the restoration of the past but rather lends itself to a sense of hope which I approach as an image of utopia. Drawing a line of comparison between Angelopoulos and the Greek poet George Seferis (who had a pivotal role in the shaping of a modern Greek identity and whose images of melancholy were recurrent points of reference for the director), I claim that Angelopoulos’s films are haunted by an image of utopia which is registered as a possibility in the present rather than an abstract projection into the future. Unlike Seferis’s nostalgia which is directly related to the fate of the nation, in Angelopoulos’s work the past returns to foreshadow a utopia beyond the frame of the nation state and away from the figuration of a one-way future projected by the capitalist social relations of the present.
{"title":"Nostalgia for utopia in the films of Theo Angelopoulos","authors":"Vangelis Makriyannakis","doi":"10.1386/jgmc_00067_1","DOIUrl":"https://doi.org/10.1386/jgmc_00067_1","url":null,"abstract":"In this article, I examine the notion of nostalgia in relation to the films of Theo Angelopoulos. I argue that the image of nostalgia that pervades his films does not call for the restoration of the past but rather lends itself to a sense of hope which I approach as an image of utopia. Drawing a line of comparison between Angelopoulos and the Greek poet George Seferis (who had a pivotal role in the shaping of a modern Greek identity and whose images of melancholy were recurrent points of reference for the director), I claim that Angelopoulos’s films are haunted by an image of utopia which is registered as a possibility in the present rather than an abstract projection into the future. Unlike Seferis’s nostalgia which is directly related to the fate of the nation, in Angelopoulos’s work the past returns to foreshadow a utopia beyond the frame of the nation state and away from the figuration of a one-way future projected by the capitalist social relations of the present.","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135165577","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Agnosti Chora: Ellada kai Dysi stis Arches tou 20ou Aiona (‘Unknown country: Greece and the west at the beginning of the twentieth century’), Effi Gazi (2020) Athens: Polis, 354 pp., ISBN 978-960-435-735-2, p/bk, €20
回顾：Agnosti Chora：Ellada kai Dysi stis Arches tou 20ou Aiona（《未知的国度：Effi Gazi (2020) Athens：Polis, 354 pp.
{"title":"Agnosti Chora: Ellada kai Dysi stis Arches tou 20ou Aiona (‘Unknown country: Greece and the west at the beginning of the twentieth century’), Effi Gazi (2020)","authors":"Georgia Pateridou","doi":"10.1386/jgmc_00073_5","DOIUrl":"https://doi.org/10.1386/jgmc_00073_5","url":null,"abstract":"Review of: Agnosti Chora: Ellada kai Dysi stis Arches tou 20ou Aiona (‘Unknown country: Greece and the west at the beginning of the twentieth century’), Effi Gazi (2020) Athens: Polis, 354 pp., ISBN 978-960-435-735-2, p/bk, €20","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135887721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Tina Pandi, Marina Markellou, Esther Solomon, Thomas Valianatos
In December 1997, the National Museum of Contemporary Art (Ethniko Mouseio Synchronis Technis – EMST) was established by law in Athens under the auspices of the Hellenic Ministry of Culture, compensating for the long-term absence of a state museum of contemporary art in Greece. Following the restitution of democracy in 1974, the question ‘what kind of museum do we need for contemporary art in Greece?’ was raised by artists and other professionals (critics, curators, gallerists, researchers) and explored through a series of public debates and events. However, only in the 1990s was this demand supported by politicians, eventually leading to the establishment of the EMST in 1997. This article examines the public debates developed by art professionals from 1976 to 1997 regarding the mission of the museum as an open, experimental institution in relation to the broader cultural and sociopolitical context. It also analyses the legislation related to its establishment and questions whether the above priorities and expectations were reflected in the relevant legal provisions.
{"title":"From public debates to institutional establishment: Exploring the mission of the National Museum of Contemporary Art in Greece","authors":"Tina Pandi, Marina Markellou, Esther Solomon, Thomas Valianatos","doi":"10.1386/jgmc_00065_1","DOIUrl":"https://doi.org/10.1386/jgmc_00065_1","url":null,"abstract":"In December 1997, the National Museum of Contemporary Art (Ethniko Mouseio Synchronis Technis – EMST) was established by law in Athens under the auspices of the Hellenic Ministry of Culture, compensating for the long-term absence of a state museum of contemporary art in Greece. Following the restitution of democracy in 1974, the question ‘what kind of museum do we need for contemporary art in Greece?’ was raised by artists and other professionals (critics, curators, gallerists, researchers) and explored through a series of public debates and events. However, only in the 1990s was this demand supported by politicians, eventually leading to the establishment of the EMST in 1997. This article examines the public debates developed by art professionals from 1976 to 1997 regarding the mission of the museum as an open, experimental institution in relation to the broader cultural and sociopolitical context. It also analyses the legislation related to its establishment and questions whether the above priorities and expectations were reflected in the relevant legal provisions.","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":"121 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135887720","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article explores the reception of ‘1821’ in Victorian popular culture, focusing on the representation of Greek women in stories published in contemporary periodicals. The two dominant tropes of Greek womanhood that emerge in popular fiction and poetry published from the 1830s to the 1890s – the captive harem slave and the intrepid warrior – arouse sympathy for the enslaved women but also evoke liberal ideas on women’s national and social roles. These texts foreground the position of Greek women within a nineteenth-century social context and imbue in them virtues and conflicts such as radicalism, the enfranchisement of women and middle-class domesticity that concerned Britain as much as Greece. Greek women, as represented in these stories, construct a Victorian narrative of ‘1821’ and of the Greek nation that oscillates between familiarity and strangeness, freedom and enslavement, real and imaginary. These largely neglected texts challenge traditional definitions of philhellenism, which depended on the legacy of ancient Greece as justification for the cause of the country’s liberation, and instead construct new myths about Greece, participating in the discursive production of its national fantasy. They also provide the opportunity of reconsidering the cultural position of Modern Greece in the Victorian period beyond the division between Hellenism and Orientalism.
{"title":"Real and imagined Greek women in Victorian perceptions of ‘1821’","authors":"A. Despotopoulou, Efterpi Mitsi","doi":"10.1386/jgmc_00035_1","DOIUrl":"https://doi.org/10.1386/jgmc_00035_1","url":null,"abstract":"The article explores the reception of ‘1821’ in Victorian popular culture, focusing on the representation of Greek women in stories published in contemporary periodicals. The two dominant tropes of Greek womanhood that emerge in popular fiction and poetry published from the 1830s to the 1890s – the captive harem slave and the intrepid warrior – arouse sympathy for the enslaved women but also evoke liberal ideas on women’s national and social roles. These texts foreground the position of Greek women within a nineteenth-century social context and imbue in them virtues and conflicts such as radicalism, the enfranchisement of women and middle-class domesticity that concerned Britain as much as Greece. Greek women, as represented in these stories, construct a Victorian narrative of ‘1821’ and of the Greek nation that oscillates between familiarity and strangeness, freedom and enslavement, real and imaginary. These largely neglected texts challenge traditional definitions of philhellenism, which depended on the legacy of ancient Greece as justification for the cause of the country’s liberation, and instead construct new myths about Greece, participating in the discursive production of its national fantasy. They also provide the opportunity of reconsidering the cultural position of Modern Greece in the Victorian period beyond the division between Hellenism and Orientalism.","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46033815","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article I read the figurations of poetic voice in Solomos’s early lyric ‘Spiligga’ as a testing site for the conceptualization of the Greek Revolution as a modern political event. Perusing its thematic, intertextual and formal strategies, I argue that two distinct poetic voices are operative in the poem. The first model is commensurate with the voice of nature. The second is a medium of reflective and expressive human speech able to herald the revolution. In order to ascertain the political significance of this juxtaposition, I procure insights from seminal studies in intellectual history that outline the transformations of the term ‘revolution’ at the turn of the eighteenth century (Arendt, Koselleck). The period’s new understanding of the term as an absolute and inaugurating break from an existing state of affairs (which supplanted the previous meaning of revolution as quasi-natural experience that precludes innovation) illuminates the juxtaposition by Solomos of the two models of voice: they represent the revolutionary fissure as an exit from the state of nature and as the innovation of a new order. This reading not only elucidates the encounter of modern revolution and poetry in ‘Spiligga’ but also establishes the latter as a necessary starting point for the examination of this encounter in Solomos’s later works.
{"title":"Means and beginnings: Voicing revolution in Solomos’s early work","authors":"Simos Zenios","doi":"10.1386/jgmc_00042_1","DOIUrl":"https://doi.org/10.1386/jgmc_00042_1","url":null,"abstract":"In this article I read the figurations of poetic voice in Solomos’s early lyric ‘Spiligga’ as a testing site for the conceptualization of the Greek Revolution as a modern political event. Perusing its thematic, intertextual and formal strategies, I argue that two distinct poetic voices are operative in the poem. The first model is commensurate with the voice of nature. The second is a medium of reflective and expressive human speech able to herald the revolution. In order to ascertain the political significance of this juxtaposition, I procure insights from seminal studies in intellectual history that outline the transformations of the term ‘revolution’ at the turn of the eighteenth century (Arendt, Koselleck). The period’s new understanding of the term as an absolute and inaugurating break from an existing state of affairs (which supplanted the previous meaning of revolution as quasi-natural experience that precludes innovation) illuminates the juxtaposition by Solomos of the two models of voice: they represent the revolutionary fissure as an exit from the state of nature and as the innovation of a new order. This reading not only elucidates the encounter of modern revolution and poetry in ‘Spiligga’ but also establishes the latter as a necessary starting point for the examination of this encounter in Solomos’s later works.","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42929986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article is presented in the form of an illustrated memoire from the Greek bicentenary day (25 March 2021) and the way it was celebrated in Athens. As the Greek capital was under strict lockdown at the time, in view of the COVID-19 pandemic, most of the festivities were cancelled, with the exception of a military parade carried out through empty streets. The city’s desolate landscape on that most symbolic day helps rethink Greek biopolitics in the days of post-democracy.
{"title":"Athens ’21: Undoing the demos in the year of the pandemic","authors":"Dimitris Plantzos","doi":"10.1386/jgmc_00039_3","DOIUrl":"https://doi.org/10.1386/jgmc_00039_3","url":null,"abstract":"This article is presented in the form of an illustrated memoire from the Greek bicentenary day (25 March 2021) and the way it was celebrated in Athens. As the Greek capital was under strict lockdown at the time, in view of the COVID-19 pandemic, most of the festivities were cancelled, with the exception of a military parade carried out through empty streets. The city’s desolate landscape on that most symbolic day helps rethink Greek biopolitics in the days of post-democracy.","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44194497","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"2021: Spectres of Commemorations Past","authors":"V. Kolocotroni, Eleni Papargyriou","doi":"10.1386/jgmc_00043_7","DOIUrl":"https://doi.org/10.1386/jgmc_00043_7","url":null,"abstract":"","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48040963","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the wake of a ‘crushing sorrow’ at the age of 50, Elizabeth Edmonds (c.1821–1907) turned to Modern Greece for a solution. After four months’ stay in Athens in 1880, she returned to London a confirmed Philhellene. Her connections in Athens saw her engaging with the emergent Athenian generation of the 1880s; Palamas, Karkavitsas, Drosinis, Xenopoulos and Vizyinos were published in English translation long before they became figures of the Greek establishment. Edmonds’s links to Oscar Wilde and the diplomat Ioannis Gennadios put her in a fine position from which to promote the Greek cause in Britain. It is widely known that the Cretan Insurrection generated a ripple effect that prompted writers to return to events of 1821. My argument is that Edmonds did so with more subtlety than most. By translating Greek poetry and writing detailed articles, as well as publishing her own fiction inspired by the earlier revolution, Edmonds began to drip-feed a Philhellenism more in keeping with her own times to a British audience. The lives of Rhigas Feraios, Theodoros Kolokotronis and Bouboulina all emerged in Edmonds’s writing, along with the warrior figure of the andreiomeni lygeri. This article traces the development of Greek independence in Edmonds’s writing, from early fiction to later translation work. Through a consideration of this material, and Edmonds’s own correspondence, the article explores how the War of Independence served belatedly to give Edmonds a sense of voice and vocation.
{"title":"A revolution of one’s own: Elizabeth Edmonds translates the Greek War of Independence","authors":"Semele Assinder","doi":"10.1386/jgmc_00034_1","DOIUrl":"https://doi.org/10.1386/jgmc_00034_1","url":null,"abstract":"In the wake of a ‘crushing sorrow’ at the age of 50, Elizabeth Edmonds (c.1821–1907) turned to Modern Greece for a solution. After four months’ stay in Athens in 1880, she returned to London a confirmed Philhellene. Her connections in Athens saw her engaging with the emergent Athenian generation of the 1880s; Palamas, Karkavitsas, Drosinis, Xenopoulos and Vizyinos were published in English translation long before they became figures of the Greek establishment. Edmonds’s links to Oscar Wilde and the diplomat Ioannis Gennadios put her in a fine position from which to promote the Greek cause in Britain. It is widely known that the Cretan Insurrection generated a ripple effect that prompted writers to return to events of 1821. My argument is that Edmonds did so with more subtlety than most. By translating Greek poetry and writing detailed articles, as well as publishing her own fiction inspired by the earlier revolution, Edmonds began to drip-feed a Philhellenism more in keeping with her own times to a British audience. The lives of Rhigas Feraios, Theodoros Kolokotronis and Bouboulina all emerged in Edmonds’s writing, along with the warrior figure of the andreiomeni lygeri. This article traces the development of Greek independence in Edmonds’s writing, from early fiction to later translation work. Through a consideration of this material, and Edmonds’s own correspondence, the article explores how the War of Independence served belatedly to give Edmonds a sense of voice and vocation.","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47223404","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
How was the Greek War of Independence or the Greek Revolution narrated in Turkish historical texts? How did the Turkish historians’ approach to the establishment of the Greek State affect Greek–Turkish relations? On the occasion of the bicentenary of the Greek War of Independence, this article reviews the approaches of the Ottoman/Turkish historians to the Greeks, to the establishment of the Greek State and to outbreak the Greek Revolution, and demonstrates to what extent their perceptions have changed from the Ottoman period to the present day. Offering an analysis based on three historical periods (Ottoman rule to the 1920s, the 1930s to the1980s and from the 1990s to the present), the discussion highlights the prevalent approach of Turkish nationalist historiography in the 1970s and 1980s, and the influence on younger generations’ approaches to the Greek War of Independence. This article also tackles the issue of how this prevalent historiographical approach affected the Turkish–Greek relations, and conversely, how the trajectory of Turkish–Greek relations impacted the consolidation of such a narrative.
{"title":"The Greek War of Independence in Turkish historiography","authors":"Dilek Özkan","doi":"10.1386/jgmc_00038_1","DOIUrl":"https://doi.org/10.1386/jgmc_00038_1","url":null,"abstract":"How was the Greek War of Independence or the Greek Revolution narrated in Turkish historical texts? How did the Turkish historians’ approach to the establishment of the Greek State affect Greek–Turkish relations? On the occasion of the bicentenary of the Greek War of Independence, this article reviews the approaches of the Ottoman/Turkish historians to the Greeks, to the establishment of the Greek State and to outbreak the Greek Revolution, and demonstrates to what extent their perceptions have changed from the Ottoman period to the present day. Offering an analysis based on three historical periods (Ottoman rule to the 1920s, the 1930s to the1980s and from the 1990s to the present), the discussion highlights the prevalent approach of Turkish nationalist historiography in the 1970s and 1980s, and the influence on younger generations’ approaches to the Greek War of Independence. This article also tackles the issue of how this prevalent historiographical approach affected the Turkish–Greek relations, and conversely, how the trajectory of Turkish–Greek relations impacted the consolidation of such a narrative.","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43359575","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, a combination of travelogue, personal narrative, archival research and cultural analysis, I contemplate the Monument to the Heroines of Zalongo, a sculpture by George Zongolopoulos that stands in the western Greek region of Epirus. It commemorates the Dance of Zalongo, a mass suicide, or heroic sacrifice, of women and children in 1803. The legend of the dance and the monument inspired by it evoke contradictory perspectives on the national identity of Greece and of Greeks that stretch back to the founding of the modern nation: the externally directed view of the philhellenes, and the introverted perspective of the Romii. Seen as an international, philhellenic cause, a mass suicide, the Souliote women’s leap signified helpless women and children, and a nation, in need of rescuing. Seen as a national, Greek narrative, a patriotic sacrifice, the Souliote women’s leap showed female warriors filled with pride and self-determination. The Dance of Zalongo has had many lives: as a nineteenth-century media event that sparked an outpouring of literature and art, a twentieth-century lifeline to the old country for Greeks in the diaspora and a twenty-first-century cultural meme bolstering resistance to economic austerity. The Zalongo Monument, a site for pilgrimage where Greek cultural memory is infused in stone and resonant in the air, recreates the presence of the dance, letting us feel what it means to be free. Visiting the monument as a philhellenic foreigner, I ponder its power as a tribute to solidarity among those everywhere who are pushed to the precipice.
{"title":"Encountering a divine dance of solidarity at the Zalongo Monument","authors":"Amy Muse","doi":"10.1386/jgmc_00036_1","DOIUrl":"https://doi.org/10.1386/jgmc_00036_1","url":null,"abstract":"In this article, a combination of travelogue, personal narrative, archival research and cultural analysis, I contemplate the Monument to the Heroines of Zalongo, a sculpture by George Zongolopoulos that stands in the western Greek region of Epirus. It commemorates the Dance of Zalongo, a mass suicide, or heroic sacrifice, of women and children in 1803. The legend of the dance and the monument inspired by it evoke contradictory perspectives on the national identity of Greece and of Greeks that stretch back to the founding of the modern nation: the externally directed view of the philhellenes, and the introverted perspective of the Romii. Seen as an international, philhellenic cause, a mass suicide, the Souliote women’s leap signified helpless women and children, and a nation, in need of rescuing. Seen as a national, Greek narrative, a patriotic sacrifice, the Souliote women’s leap showed female warriors filled with pride and self-determination. The Dance of Zalongo has had many lives: as a nineteenth-century media event that sparked an outpouring of literature and art, a twentieth-century lifeline to the old country for Greeks in the diaspora and a twenty-first-century cultural meme bolstering resistance to economic austerity. The Zalongo Monument, a site for pilgrimage where Greek cultural memory is infused in stone and resonant in the air, recreates the presence of the dance, letting us feel what it means to be free. Visiting the monument as a philhellenic foreigner, I ponder its power as a tribute to solidarity among those everywhere who are pushed to the precipice.","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49192167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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