The article examines the afterlife of the Greek War of Independence during the Transition period in Greece (1974–81), focusing on literature. The military dictatorship (1967–74) presented itself as the heir of this national revolution. Representations of the 1821 were popularized and mediatized through film, paintings and the public spectacles organized by the regime, culminating in the 150-year anniversary in 1971. This triggered an alternative use of these representations, by songwriters, playwrights and writers who aimed to subvert them through mimicry. Focusing on three novels by young writers of the period, Yoryis Yatromanolakis’s Leimonario (The Spiritual Meadow) (1974), Nikos Platis’s Gkount mpai mister pap (‘Goodbye Mr. Pap’) (1976) and Takis Theodoropoulos’s Ο vios stin politeia tou Thodori Kotronithodorikolou (‘Life in the times of Thodoris Kotronithodorikolos’) (1977), the article examines how these young writers subverted the representations of heroism constructed by the dictatorship through the use of surrealist and avant-garde techniques. The use of pastiche, the corporeal and the fantastic by Yatromanolakis creates an alternative discourse of heroism. In the case of Platis and Theodoropoulos, surrealist techniques, and images of transgressive sexuality create a grotesque gallery of heroes, by emphasizing the hybridity and performativity of their identities. These writers also experimented with the ways in which history is represented in narrative, through reversal of temporality, the nightmarish, corporeality and the private. The article also examines the texts’ reception, at a time when new grand narratives of national history were being shaped.
{"title":"Subversive literary representations of 1821 in the Metapolitefsi (1974–81)","authors":"Maria Nikolopoulou","doi":"10.1386/jgmc_00037_1","DOIUrl":"https://doi.org/10.1386/jgmc_00037_1","url":null,"abstract":"The article examines the afterlife of the Greek War of Independence during the Transition period in Greece (1974–81), focusing on literature. The military dictatorship (1967–74) presented itself as the heir of this national revolution. Representations of the 1821 were popularized and mediatized through film, paintings and the public spectacles organized by the regime, culminating in the 150-year anniversary in 1971. This triggered an alternative use of these representations, by songwriters, playwrights and writers who aimed to subvert them through mimicry. Focusing on three novels by young writers of the period, Yoryis Yatromanolakis’s Leimonario (The Spiritual Meadow) (1974), Nikos Platis’s Gkount mpai mister pap (‘Goodbye Mr. Pap’) (1976) and Takis Theodoropoulos’s Ο vios stin politeia tou Thodori Kotronithodorikolou (‘Life in the times of Thodoris Kotronithodorikolos’) (1977), the article examines how these young writers subverted the representations of heroism constructed by the dictatorship through the use of surrealist and avant-garde techniques. The use of pastiche, the corporeal and the fantastic by Yatromanolakis creates an alternative discourse of heroism. In the case of Platis and Theodoropoulos, surrealist techniques, and images of transgressive sexuality create a grotesque gallery of heroes, by emphasizing the hybridity and performativity of their identities. These writers also experimented with the ways in which history is represented in narrative, through reversal of temporality, the nightmarish, corporeality and the private. The article also examines the texts’ reception, at a time when new grand narratives of national history were being shaped.","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41978457","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 explores aspects of the quotidian history of space in the Greek Revolution of 1821, using as a case study the transitional events of the siege of the Acropolis by the Ottoman army in 1826 and the recapturing of the city of Athens. Through a thorough study of space as embodied knowledge grounded in the dynamic interaction between humans and material culture, it identifies the shifts in the Athenian landscape during this period. Its findings are based on primary textual and visual sources pertaining to warfare, which are juxtaposed to the Greek and Ottoman emerging official perceptions of the significance of the city of Athens as a political and imaginary objective. The article deploys a phenomenological analysis of space that foregrounds the everyday experiential dimensions and is highly relevant in understanding the ideological and political complexities and implications of the shifting spatialities of the revolutionary period.
{"title":"Athens besieged: Greek and Ottoman perceptions of shifting space during the Greek Revolution of 1821","authors":"P. Poulos, E. Kolovos","doi":"10.1386/jgmc_00040_1","DOIUrl":"https://doi.org/10.1386/jgmc_00040_1","url":null,"abstract":"This article explores aspects of the quotidian history of space in the Greek Revolution of 1821, using as a case study the transitional events of the siege of the Acropolis by the Ottoman army in 1826 and the recapturing of the city of Athens. Through a thorough study of space as embodied knowledge grounded in the dynamic interaction between humans and material culture, it identifies the shifts in the Athenian landscape during this period. Its findings are based on primary textual and visual sources pertaining to warfare, which are juxtaposed to the Greek and Ottoman emerging official perceptions of the significance of the city of Athens as a political and imaginary objective. The article deploys a phenomenological analysis of space that foregrounds the everyday experiential dimensions and is highly relevant in understanding the ideological and political complexities and implications of the shifting spatialities of the revolutionary period.","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":"47188207","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}
On 26 March 1894 a panegyric titled ‘Athanasios Diakos in history’ was delivered at the Society of the Friends of the People. At the dusk of the nineteenth century, this speech summarized the literary programme of a nationalizing attachment to the heroes of 1821 and their romantic monumentalization. More than a century later, the theatrical scandal of Lena Kitsopoulou’s Athanasios Diakos: The Return (Greek Festival, Athens, 2012) was a typical response to the breach inflicted on the canonical meanings and the established interpretations of the myth of Diakos. Amid a national crisis, the transformation of Diakos into a modern-day kebabhouse owner who harasses his wife and his immigrant employee performed a critical transposition of the hero into a toxic unheroic present. After reviewing the histories and mythologies of Athanasios Diakos, this article discusses Kitsopoulou’s production and its reception in order to argue that the playwright called upon a dramaturgy of suspicion that threatened the credibility of a heroic past, destabilizing thereby national expectations and assumptions.
1894年3月26日，在人民之友协会发表了题为“历史上的阿塔那修斯·迪亚科斯”的颂歌。在19世纪的黄昏，这篇演讲总结了对1821年英雄的民族依恋和他们浪漫的纪念的文学纲领。一个多世纪后，Lena Kitsopoulou的《Athanasios Diakos: the Return》(希腊节日，雅典，2012)的戏剧丑闻是对对Diakos神话的规范意义和既定解释的破坏的典型回应。在一场全国性的危机中，迪亚科斯变成了一个骚扰妻子和移民雇员的现代烤肉店老板，这是一个关键的转变，把英雄变成了一个有毒的非英雄的存在。在回顾了阿塔纳西奥斯·迪亚科斯的历史和神话之后，本文讨论了基特索普卢的作品及其接受情况，以证明这位剧作家呼吁一种怀疑的戏剧，这种戏剧威胁到英雄过去的可信度，从而破坏了国家的期望和假设。
{"title":"From national panegyrics to stage scandal: Athanasios Diakos in history","authors":"G. Sampatakakis","doi":"10.1386/jgmc_00041_1","DOIUrl":"https://doi.org/10.1386/jgmc_00041_1","url":null,"abstract":"On 26 March 1894 a panegyric titled ‘Athanasios Diakos in history’ was delivered at the Society of the Friends of the People. At the dusk of the nineteenth century, this speech summarized the literary programme of a nationalizing attachment to the heroes of 1821 and their romantic monumentalization. More than a century later, the theatrical scandal of Lena Kitsopoulou’s Athanasios Diakos: The Return (Greek Festival, Athens, 2012) was a typical response to the breach inflicted on the canonical meanings and the established interpretations of the myth of Diakos. Amid a national crisis, the transformation of Diakos into a modern-day kebabhouse owner who harasses his wife and his immigrant employee performed a critical transposition of the hero into a toxic unheroic present. After reviewing the histories and mythologies of Athanasios Diakos, this article discusses Kitsopoulou’s production and its reception in order to argue that the playwright called upon a dramaturgy of suspicion that threatened the credibility of a heroic past, destabilizing thereby national expectations and assumptions.","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":"48850038","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}
For the better part of the twentieth century, the quest for a ‘Greek’ continuity in the so-called revival of ancient drama in Greece was inextricably linked to what is termed and studied in this paper as a Ritual Quest. Rituality was understood in two forms: one was aesthetic and neoclassicist in its hermeneutic and performative codes, which were established and recycled ‐ and as such: ritualized ‐ in ancient tragedy productions of the National Theatre of Greece from the 1930s to the 1970s; the other, cultivated mainly during the 1980s, was cultural and centred around the idea that continuity can be traced and explored through the direct employment of Byzantine and folk ritual elements. Both aimed at eliciting the cohesive collective response of their spectators: their turning into a liminal ritual community. This was a community tied together under an ethnocentric identity, that of Greeks participating in a Greek (theatrical) phenomenon. At first through neoclassicism, then through folklore, this artistic phenomenon was seen as documenting a diachronic and essentially political modern Greek desideratum: continuity with the ancient past.Such developments were in tune with broader cultural movements in the period under study, which were reflected on the common imaginings of Antiquity in the modern Greek collective ‐ consciousness ‐ a sort of ‘Communal Hellenism’. The press reception of performances, apart from being a productive vehicle for the study of the productions as such, provides indispensable indexes to audience reception. Through the study of theatre reviews, we propose to explore the crucial shifts registered in the definition of Greekness and its dynamic connections to Antiquity.
{"title":"‘Communal Hellenism’ and ancient tragedy performances in Greece (1975‐95): The ritual quest","authors":"Efthymios Kaltsounas, Tonia Karaoglou, Natalie Minioti, Eleni Papazoglou","doi":"10.1386/jgmc_00028_1","DOIUrl":"https://doi.org/10.1386/jgmc_00028_1","url":null,"abstract":"For the better part of the twentieth century, the quest for a ‘Greek’ continuity in the so-called revival of ancient drama in Greece was inextricably linked to what is termed and studied in this paper as a Ritual Quest. Rituality was understood in two forms: one was aesthetic\u0000 and neoclassicist in its hermeneutic and performative codes, which were established and recycled ‐ and as such: ritualized ‐ in ancient tragedy productions of the National Theatre of Greece from the 1930s to the 1970s; the other, cultivated mainly during the 1980s, was cultural\u0000 and centred around the idea that continuity can be traced and explored through the direct employment of Byzantine and folk ritual elements. Both aimed at eliciting the cohesive collective response of their spectators: their turning into a liminal ritual community. This was a community tied\u0000 together under an ethnocentric identity, that of Greeks participating in a Greek (theatrical) phenomenon. At first through neoclassicism, then through folklore, this artistic phenomenon was seen as documenting a diachronic and essentially political modern Greek desideratum: continuity with\u0000 the ancient past.Such developments were in tune with broader cultural movements in the period under study, which were reflected on the common imaginings of Antiquity in the modern Greek collective ‐ consciousness ‐ a sort of ‘Communal Hellenism’. The press reception\u0000 of performances, apart from being a productive vehicle for the study of the productions as such, provides indispensable indexes to audience reception. Through the study of theatre reviews, we propose to explore the crucial shifts registered in the definition of Greekness and its dynamic connections\u0000 to Antiquity.","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":"7 1","pages":"69-103"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41341519","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}
Agiatis Benardou, Michalis Kalamaras, Magdalini Sgouridi, G. Tsakonas
In recent years the traditional concept of the library has been drastically diversified. Libraries appear in different forms, adding collections of content beyond books, expanding already existing services and developing new ones, while focusing on their engagement with audiences. This visual essay presents CLOISTER, a vision of an open, inclusive, non-profit, physical and digital reading space to be located in the heart of the Greek city. CLOISTER is envisioned as a sustainable, transferable and inviting library construction, that aims to disrupt the city flow by offering a new reading and collaboration space. The design of this pop-up library is inspired by the Athenian Agora, with its covered arcades and the open porticos running along building walls. The project aspires to transform Greek city squares by challenging the fixity of reading spaces and empowering the city pulse.
{"title":"The vision of an open, transferable, hybrid reading hub in urban Greece","authors":"Agiatis Benardou, Michalis Kalamaras, Magdalini Sgouridi, G. Tsakonas","doi":"10.1386/jgmc_00033_3","DOIUrl":"https://doi.org/10.1386/jgmc_00033_3","url":null,"abstract":"In recent years the traditional concept of the library has been drastically diversified. Libraries appear in different forms, adding collections of content beyond books, expanding already existing services and developing new ones, while focusing on their engagement with audiences. This\u0000 visual essay presents CLOISTER, a vision of an open, inclusive, non-profit, physical and digital reading space to be located in the heart of the Greek city. CLOISTER is envisioned as a sustainable, transferable and inviting library construction, that aims to disrupt the city flow by offering\u0000 a new reading and collaboration space. The design of this pop-up library is inspired by the Athenian Agora, with its covered arcades and the open porticos running along building walls. The project aspires to transform Greek city squares by challenging the fixity of reading spaces and empowering\u0000 the city pulse.","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":"7 1","pages":"125-136"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46445070","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 context of current trends in contemporary art on migration, this article undertakes a close analysis of George Drivas’ installation Laboratory of Dilemmas (2017). It delineates the response this work offers to dominant discourses of the so-called ‘refugee crisis’ and explores how contemporary art can intervene critically in these discourses. In Laboratory of Dilemmas, Drivas articulates an audio-visual narrative in which the dilemma of accepting or rejecting the ‘foreign(er)’ is played out in two distinct registers: that of a biology experiment allegedly conducted in the 1960s and that of a millennia-old literary text, Aeschylus’ Suppliant Women. The analysis of the installation will answer the following questions: How do the themes of governmentality, biopolitics and hospitality come into play? In what ways does the artwork undermine the established ‘foreign’/‘native’ dichotomy and how does it foster a space of potentiality between incoming and local populations? Looking at the exemplary biopolitical setting of the artwork and taking stock of existing interpretations, I propose an alternative reading that sees the work overturning the governmentality paradigm in favour of a profoundly inclusive and relational perspective.
{"title":"From governmentality to solidarity: George Drivas’ Laboratory of Dilemmas","authors":"Anthi Argyriou","doi":"10.1386/jgmc_00027_1","DOIUrl":"https://doi.org/10.1386/jgmc_00027_1","url":null,"abstract":"In the context of current trends in contemporary art on migration, this article undertakes a close analysis of George Drivas’ installation Laboratory of Dilemmas (2017). It delineates the response this work offers to dominant discourses of the so-called ‘refugee crisis’\u0000 and explores how contemporary art can intervene critically in these discourses. In Laboratory of Dilemmas, Drivas articulates an audio-visual narrative in which the dilemma of accepting or rejecting the ‘foreign(er)’ is played out in two distinct registers: that of a biology\u0000 experiment allegedly conducted in the 1960s and that of a millennia-old literary text, Aeschylus’ Suppliant Women. The analysis of the installation will answer the following questions: How do the themes of governmentality, biopolitics and hospitality come into play? In what ways\u0000 does the artwork undermine the established ‘foreign’/‘native’ dichotomy and how does it foster a space of potentiality between incoming and local populations? Looking at the exemplary biopolitical setting of the artwork and taking stock of existing interpretations,\u0000 I propose an alternative reading that sees the work overturning the governmentality paradigm in favour of a profoundly inclusive and relational perspective.","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":"7 1","pages":"49-68"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45295177","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: The Return of Pytheas: Scenes from British and Greek Poetry in Dialogue, Paschalis Nikolaou (2017)Bristol: Shearsman Books, 159 pp.,ISBN 978-1-84861-567-0, p/bk, £12.95
{"title":"The Return of Pytheas: Scenes from British and Greek Poetry in Dialogue, Paschalis Nikolaou (2017)","authors":"M. Athanasopoulou","doi":"10.1386/jgmc_00031_5","DOIUrl":"https://doi.org/10.1386/jgmc_00031_5","url":null,"abstract":"Review of: The Return of Pytheas: Scenes from British and Greek Poetry in Dialogue, Paschalis Nikolaou (2017)Bristol: Shearsman Books, 159 pp.,ISBN 978-1-84861-567-0, p/bk, £12.95","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":"7 1","pages":"117-120"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45264266","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 explores the genealogy of the relationship between the discourses promoted in the heavy metal music press and neo-Nazi publications in Greece since the 1980s. It aims to show that the proliferation of neo-Nazi ideologies and practices in Greece after 2008 was not simply a result of the ‐ on-going ‐ financial crisis; rather, its seeds had been planted during the 1980s and particularly in the 1990s. We shall illustrate how this connection resulted from a conscious decision taken by key neo-Nazi groups and explore how the cultivation of such relationships gradually led to the further dissemination of neo-Nazi discourse within the mainstream heavy metal music press.
{"title":"‘And Bloodshed Must Be Done’: Heavy metal and neo-Nazism in Greece","authors":"Dimitrios Bormpoudakis, D. Dalakoglou","doi":"10.1386/jgmc_00026_1","DOIUrl":"https://doi.org/10.1386/jgmc_00026_1","url":null,"abstract":"This article explores the genealogy of the relationship between the discourses promoted in the heavy metal music press and neo-Nazi publications in Greece since the 1980s. It aims to show that the proliferation of neo-Nazi ideologies and practices in Greece after 2008 was not simply\u0000 a result of the ‐ on-going ‐ financial crisis; rather, its seeds had been planted during the 1980s and particularly in the 1990s. We shall illustrate how this connection resulted from a conscious decision taken by key neo-Nazi groups and explore how the cultivation of such relationships\u0000 gradually led to the further dissemination of neo-Nazi discourse within the mainstream heavy metal music press.","PeriodicalId":36342,"journal":{"name":"Journal of Greek Media and Culture","volume":"7 1","pages":"27-48"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42429598","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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