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1
Barrera, Cordelia E. "Ancient Greece in Film and Popular Culture." Journal of Popular Culture 43, no. 3 (June 2010): 645–47. http://dx.doi.org/10.1111/j.1540-5931.2010.00762_1.x.
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Banta, Jason Lawrence. "Ancient Greece in Film and Popular Culture by Gideon Nisbet." Intertexts 10, no. 2 (2006): 191–93. http://dx.doi.org/10.1353/itx.2006.0008.
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Kovacs, George. "Ancient Greece in Film and Popular Culture by Gideon Nisbet." Phoenix 63, no. 1-2 (2009): 225–27. http://dx.doi.org/10.1353/phx.2009.0044.
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Papantoniou, Giorgos. "Giorgos Vavouranakis, Konstantinos Kopanias and Chrysanthos Kanellopoulos (eds). Popular Religion and Ritual in Prehistoric and Ancient Greece and the Eastern Mediterranean. pp. xviii + 170, with col. and b/w ills. 2018. Oxford: Archaeopress." Journal of Greek Archaeology 5 (January 1, 2020): 620–25. http://dx.doi.org/10.32028/jga.v5i.469.
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Popular religion falls under the wider field of popular culture, and has only recently been recognised as an independent subject for historical investigation. This volume concerns popular religion and ritual in prehistoric and ancient Greece and the eastern Mediterranean, and is the result of a conference held in December 2012 at the National Kapodistrian University of Athens.
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Kakampoura, Rea, George Katsadoros, Αphrodite Nounanaki, and Dimitris Kolokythas. "Educational Activities Concerning Folk/Popular Culture in Greek Primary School Websites." European Scientific Journal, ESJ 13, no. 10 (April 30, 2017): 246. http://dx.doi.org/10.19044/esj.2017.v13n10p246.
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Folk/Popular culture comprises a many-sided and complex term, existing in both its traditional (Folk) and contemporary dimension (Popular). Many of its aspects can be traced in Primary Education school books, but in many cultural school displays as well. Student participation in cultural oriented activities encourages enculturation, the awareness of belonging in one or many cultural groups, and, successively, an understanding of one’s cultural identity. This article presents the results of research conducted all over Greece concerning educational programs and activities about folk/popular culture as shown in the websites of Greek public and private Primary Schools and Kindergartens, utilizing online data collection.
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Simonton, Matt. "Demagogues and Demagoguery in Hellenistic Greece." Polis: The Journal for Ancient Greek and Roman Political Thought 39, no. 1 (January 6, 2022): 35–76. http://dx.doi.org/10.1163/20512996-12340355.
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Abstract This paper introduces scholars of Greek political thought to the continued existence of the phenomenon of demagoguery, or ‘(mis-)leadership of the people’, in the Hellenistic period. After summarizing Classical elite discourse about demagoguery, I explore three areas in which political leaders continued to run afoul of elite norms in Hellenistic democratic poleis: 1) political persecution of the wealthier members of a political community; 2) ‘pandering to’ the people in a way considered infra dignitatem; and 3) stoking bellicosity among the common people. I show that considerable continuities link the Classical and Hellenistic periods and that demagoguery should be approached as a potential window onto ‘popular culture’ in Greek antiquity.
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Dawe, Kevin. "Minotaurs or musonauts? ‘World Music’ and Cretan Music." Popular Music 18, no. 2 (May 1999): 209–25. http://dx.doi.org/10.1017/s0261143000009053.
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In a recent issue of Popular Music devoted to the music of the Middle East, Martin Stokes and Ruth Davis note that ‘the movement of Middle Eastern sounds into Western cultural spaces … has largely been ignored’ (1996, p. 255) and that ‘Middle Eastern popular musics will probably continue to mark an unassimilable and unwelcome “otherness” for most Europeans and Americans’ (ibid, p. 257). In this paper, written partly in response to these remarks, I examine the movement of contemporary Middle Eastern sounds into Greek cultural space and Greek musical culture, a musical culture that has an affinity with ‘Eastern’ musics but also a strong sense of its own identity. Middle Eastern music can indeed take on the form of an ‘unwelcome “otherness”’ in Greece and I shall provide examples of this from my own fieldwork on the Greek island of Crete. Greece and the Greek islands are outposts, on the European periphery, on the frontier between ‘the East’ and ‘the West’, where a history of confrontations, invasions and forced exchanges in political, economic and demographic terms with the Middle East has ensued for millenia. Greece and Turkey still remain in dispute over territory from the Thracian borderlands to the smaller islands of the Eastern Aegean Sea.
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Despotopoulou, Anna, and Efterpi Mitsi. "Real and imagined Greek women in Victorian perceptions of ‘1821’." Journal of Greek Media & Culture 7, no. 2 (October 1, 2021): 171–86. http://dx.doi.org/10.1386/jgmc_00035_1.
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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.
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Georges, Eugenia. "Abortion and Contraception in Modern Greece, 1830–1967: Medicine, Sexuality and Popular Culture by Violetta Hionidou." Journal of Modern Greek Studies 39, no. 2 (2021): 469–73. http://dx.doi.org/10.1353/mgs.2021.0033.
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Solomon, Jon. "Gideon Nisbet, Ancient Greece in Film and Popular Culture, ser. Greece and Rome Live (Exeter: University of Exeter Press, 2006), XVI + 170 pp." International Journal of the Classical Tradition 15, no. 3 (September 2008): 510–14. http://dx.doi.org/10.1007/s12138-009-0064-z.
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Herman, G. "SARA FORSDYKE. Slaves Tell Tales: And Other Episodes in the Politics of Popular Culture in Ancient Greece." American Historical Review 118, no. 3 (May 31, 2013): 910–12. http://dx.doi.org/10.1093/ahr/118.3.910.
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Romanou, Ekaterini. "Italian musicians in Greece during the nineteenth century." Muzikologija, no. 3 (2003): 43–55. http://dx.doi.org/10.2298/muz0303043r.
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In Greece, the monophonic chant of the Orthodox church and its neumatic notation have been transmitted as a popular tradition up to the first decades of the 20th century. The transformation of Greek musical tradition to a Western type of urban culture and the introduction of harmony, staff notation and western instruments and performance practices in the country began in the 19th century. Italian musicians played a central role in that process. A large number of them lived and worked on the Ionian Islands. Those Italian musicians have left a considerable number of transcriptions and original compositions. Quite a different cultural background existed in Athens. Education was in most cases connected to the church - the institution that during the four centuries of Turkish occupation kept Greeks united and nationally conscious. The neumatic notation was used for all music sung by the people, music of both western and eastern origin. The assimilation of staff notation and harmony was accelerated in the last quarter of the 19th century. At the beginning of the 20th century in Athens a violent cultural clash was provoked by the reformers of music education all of them belonging to German culture. The clash ended with the displacement of the Italian and Greek musicians from the Ionian Islands working at the time in Athens, and the defamation of their fundamental work in music education.
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Pastourmatzi, Domna. "Researching and Teaching Science Fiction in Greece." PMLA/Publications of the Modern Language Association of America 119, no. 3 (May 2004): 530–34. http://dx.doi.org/10.1632/003081204x20613.
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In the dreams our stuff is made of, Thomas M. Disch talks about the influence and pervasiveness of science Fiction in American culture and asserts the genre's power in “such diverse realms as industrial design and marketing, military strategy, sexual mores, foreign policy, and practical epistemology” (11-12). A few years earlier, Sharona Ben-Tov described science fiction as “a peculiarly American dream”—that is, “a dream upon which, as a nation, we act” (2). Recently, Kim Stanley Robinson has claimed that “rapid technological development on all fronts combined to turn our entire social reality into one giant science fiction novel, which we are all writing together in the great collaboration called history” (1-2). While such diagnostic statements may ring true to American ears, they cannot be taken at face value in the context of Hellenic culture. Despite the unprecedented speed with which the Greeks absorb and consume both the latest technologies (like satellite TV, video, CD and DVD players, electronic games, mobile and cordless phones, PCs, and the Internet) and Hollywood's science fiction blockbuster films, neither technology per se nor science fiction has yet saturated the Greek mind-set to a degree that makes daily life a science-fictional reality. Greek politicians do not consult science fiction writers for military strategy and foreign policy decisions or depend on imaginary scenarios to shape their country's future. Contemporary Hellenic culture does not acquire its national pride from mechanical devices or space conquest. Contrary to the American popular belief that technology is the driving force of history, “a virtually autonomous agent of change” (Marx and Smith xi), the Greek view is that a complex interplay of political, economic, cultural, and technoscientific agencies alters the circumstances of daily life. No hostages to technological determinism, modern Greeks increasingly interface with high-tech inventions, but without locating earthly paradise in their geographic territory and without writing their history or shaping their social reality as “one giant science fiction novel.”
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Kalogeraki, Stefania. "The Divergence Hypothesis in Modernization Theory Across Three European Countries: the UK, Sweden and Greece." Culture Unbound 1, no. 1 (June 11, 2009): 161–78. http://dx.doi.org/10.3384/cu.2000.1525.09110161.
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Following a comparative approach it is argued that the modernizing trajectories of three European countries, i.e., the UK, Sweden and Greece were different, as the cultural heritages of the three countries under study, formed by specific historical, political and religious events have acted as a filter of their modernization processes and left an imprint on the prevailing values. England followed a type of modernization associated with “bourgeois revolutions”, Sweden was highly influenced by the popular belief system of solidarity of the political culture of Scandinavian nations and Greece, although increasingly modern, can be associated with a more traditional, top to bottom, version of modernization, highly influenced by the Greek Orthodox Church. Secondary data and empirical research show that the different modernizing paths in the three countries have formed their main cultural characteristics; the UK is portrayed as an individualistic culture,Sweden as an amalgamation of both individualism and collectivism, and Greece as a traditional and more collectivist one. As culture, in the Parsonian approach, acts as the binder of the social world it has functioned as a mediating mechanism, shaping the personality traits and social relationships among British, Swedish and Greek citizens in the direction of an individualistic and/or a collectivist ethos. Whilst the thesis of the article does not support the bipolarity of the “divergence” and “convergence” hypotheses it provides some evidence to the former suggesting that modernization does not always take a simple linear path providing no room for variations.
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Minas, Adamantios Dionysios. "The Suppression of the Music of Ionian Islands by the Modern Greek State: Culture that did not Fit the Political Agenda." Public Voices 9, no. 1 (January 5, 2017): 125. http://dx.doi.org/10.22140/pv.207.
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Music plays an important role in social integration, often providing the vehicle for how one culture reinterprets itself in another. However, as in the case of the Ionian Islands, a peoples’ ability to incorporate outside influences and produce local culture may find itself at odds with the more nationalistic purposes of the state. The Ionian Islands came to be part of the Greek state without enduring the yoke of occupation by the Ottoman Empire or suffering in the wars that preceded the Greek free state. Therefore, the Ionian culture, in particular its popular music, has been made obscure by political elites who defined Greece as the benevolent opposite of its enemies, as the center of civilization and therefore without cultural influences – a definition that Ionian music, influenced by Italian settlers, did not meet.
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Taylor, Claire. "Slaves Tell Tales and Other Episodes in the Politics of Popular Culture in Ancient Greece by Sara Forsdyke." Phoenix 67, no. 1-2 (2013): 202–4. http://dx.doi.org/10.1353/phx.2013.0008.
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Gegisian, Aikaterini. "‘Build memories’, collages on paper, 2017." Memory Studies 12, no. 5 (September 5, 2019): 579–81. http://dx.doi.org/10.1177/1750698019870710.
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‘Build Memories’ is a collage series that explores the layered historic and geographic landscape of Istanbul and Thessaloniki. The work focuses on the shared Byzantine and Ottoman past of the two cities, which is interlinked with the multicultural lives and transcultural memories of their inhabitants. The collaging of images of popular culture sourced from tourist catalogues of Greece and Turkey becomes in the work a strategy for the transformation of collective memories into a composite landscape. The collages literally build memory as a transcultural space deposited in the urban fabric.
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Perrot, Sylvain. "The Musical Culture of the Western Greeks, according to Epigraphical Evidence." Greek and Roman Musical Studies 2, no. 1 (January 28, 2014): 99–123. http://dx.doi.org/10.1163/22129758-12341254.
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AbstractInscriptions concerning musicians in and from Magna Graecia illuminate the musical life of the Western Greeks. There are chronological restrictions; all the inscriptions were written in the Hellenistic and Roman periods, none in Archaic and Classical times. We shall consider resemblances and differences between them and those of mainland Greece and Asia Minor, and relationships between Magna Graecia and Rome. Many inscriptions are honorific decrees for victors in local and Panhellenic musical contests, notably at Delphi. Others are lists of participants, whose commonest musical specialisms were also, perhaps, the most popular. Some reveal the functions of musicians in sanctuaries. Funerary inscriptions, not always evoking the music of the elites, mention composers as well as performers, identifying their gender, age and social status. Some are in verse, elucidating the Western Greeks’ conception of µουσική itself, and their poetic techniques for expressing on a stone the feelings of a musical soul.
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Gerould, Daniel. "Representations of Melodramatic Performance." Browning Institute Studies 18 (1990): 55–71. http://dx.doi.org/10.1017/s0092472500002868.
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Among the reformers advocating a people's theater in the early twentieth century, there were those theorists of culture for the masses, like Romain Rolland and Anatolii Lunacharsky, who realized that to appeal to a broad audience a genuinely popular theatre must not only be uplifting and civic in spirit, but also entertaining. They recognized that such a popular theater already existed in the nineteenth century in the form of melodramatic performance: it had democratized the stage, brought the lower classes into the theatre, reduced the gap between the actor and the auditorium, and enabled the spectator to enter into the action, thereby creating a sense of communion (Bradby and McCormick 15–29). Rather than proposing a return to the sacred rituals of Greece or the religious festivals of the Middle Ages as the basis of a people's theater, they argued that melodramatic performance—purified of its commercialism and crudity—offered the model for a revolutionary new popular art.
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Myrsiades, Linda Suny. "Historical Source Material for the Karagkiozis Performance." Theatre Research International 10, no. 3 (1985): 213–25. http://dx.doi.org/10.1017/s0307883300010890.
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Karagkiozis, or Greek shadow puppet theatre, is a theatrical form that reflects nineteenth-century Greek oral culture. It utilizes a variety of national and regional costumes, dialects, and manners. Having developed in Greece during the period of that nation's modern history, it expresses the continuity of Greek culture and carries its themes, scenes of daily life, and characters. It retains, moreover, vestiges, or perhaps more accurately resurgences, of the pagan as well as the Christian past. Folk characters and types from folk plays and tales – the quack doctor, old man, old woman, devil Jew, Vlach, Moor, Gypsy, swaggering soldier, old rustic, jesting servant, trickster, parasite, stuttering child, ogre, dragon, bald-chin, and the great beauty – are its types as well. Popular folk dances, regional songs, and heroic poetry and ballads appear throughout Karagkiozis performances.
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Merlini, Mattia. "A critical (and interdisciplinary) survey of popular music genre theories." Interdisciplinary Studies in Musicology, no. 20 (December 31, 2020): 79–94. http://dx.doi.org/10.14746/ism.2020.20.7.
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Genres are among the most discussed topics in popular music studies. The attempt to explain issues as complex and layered as how musical genres are born, how they work and what they ontologically are cannot avoid opening a box full of theoretical problems, questions and tools that need to be understood and used in order to say something significant on genre today. Despite the long story of this theoretical debate (roots of which can be traced back to ancient Greece) and the variety of disciplines involved (e.g. literature, music and film studies, but also philosophy, sociology, cultural studies and semiotics), it is difficult to find survey papers that can give an overview of such a rich research environment. This paper attempts to fill that void by trying to systematize the main (contemporary) perspectives on musical genre, in particular non-essentialist theories coming from the overlapping fields of musicology and sociology. Most importantly, its overview stresses the necessity of an interdisciplinary study of musical genre, which – as an exemplum of extraordinarily layered phenomenon of the human production of culture – intertwines technical, social, discursive, commercial, historical and other elements, thus requiring an approach capable of accounting for as much of its many layers of meaning as possible.
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Kwiatkowska-Ciotucha, Dorota, Urszula Załuska, Cyprian Kozyra, Alicja Grześkowiak, Marzena Żurawicka, and Krzysztof Polak. "Diversity of Perceptions of Disability in the Workplace vs. Cultural Determinants in Selected European Countries." International Journal of Environmental Research and Public Health 19, no. 4 (February 12, 2022): 2058. http://dx.doi.org/10.3390/ijerph19042058.
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The perception of people with disability (PwD) is of key importance for the full inclusion of this group in the labour market. The article presents selected results of research on the perception of PwD in the workplace. The analyses are based on the results of semiotics research conducted in Poland and of quantitative study in the form of computer-assisted Internet interviews (CAWI) carried out on representative samples from eight European countries. Opinions of Internet users were collected in Belgium, Bulgaria, Greece, Spain, Germany, Poland, Sweden and Great Britain. The results of semiotic analyses on texts mainly from Polish culture made it possible to identify the prevailing images of disability in Polish popular culture and inspired the authors to seek diversity in perceptions of disability depending on social and cultural patterns in a given country. The results of the international survey were used to compare all eight countries with regard to the relationship between the dimensions of culture according to G. Hofstede, and openness to people with disability in the workplace. The conducted research indicates that the perception of the issue of disability is significantly related to the selected dimensions of culture according to G. Hofstede.
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Christidou, Vasilia. "Greek students’ images of scientific researchers." Journal of Science Communication 09, no. 03 (August 5, 2010): A01. http://dx.doi.org/10.22323/2.09030201.
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Public images of scientific researchers –as reflected in the popular visual culture as well as in the conceptions of the public- combine traditional stereotypic characteristics and ambivalent attitudes towards science and its people. This paper explores central aspects of the public image of the researcher in Greek students’ drawings. The students participated in a drawing competition held in the context of the ‘Researcher’s Night 2007’ realized by three research institutions at different regions of Greece. The students’ drawings reveal that young people hold stereotypic and fairly traditional and outdated views of scientists and scientific activity. Research institutions are faced with the challenge of establishing a sincere and fertile dialogue with society to refute obsolete and deceiving notions and to promote the role of researchers in society.
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Barnes, Daniel. "THE ART OF TRAGEDY." Think 10, no. 28 (2011): 41–51. http://dx.doi.org/10.1017/s1477175611000017.
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In this essay, I want to provide an introduction to Aristotle's theory of the Greek Tragedy, which he outlines in his book, the Poetics. Many philosophers since Aristotle, including Friedrich Nietzsche and Walter Benjamin, have analysed tragic art and developed their own theories of how it works and what it is for. What makes Aristotle's theory interesting is that it is as relevant to art today as it was in Ancient Greece because it explains the features of not just tragic art, but of the films and stories that we enjoy today. I will explain the features that Aristotle says make a good tragic play and give examples of them from popular culture. The examples I give will be from tragedy, but also from romance, crime and fantasy to demonstrate how he has outlined, not just the features of Greek Tragedy, but also the internal workings of the drama that we enjoy today. The contemporary relevance of Aristotle's theory is in the fact that the features he outlines are basic features of great stories, which I think is best illustrated by applying Aristotle's analysis to popular Hollywood movies.
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Temmy, Temmy. "A Brief Analysis of The Influence of Chinese Culture Ceramic on Rococo Art of The West." Humaniora 5, no. 1 (April 1, 2014): 281. http://dx.doi.org/10.21512/humaniora.v5i1.3022.
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Chinese culture elements accepted for the first time by the Western countries was ceramic and silk. China's silk was found in ancient Greece during the Roman era and since then China has become the “Country of Silk”. Chinese ceramics came to the West a bit later. It was during the Song Dynasty that Western countries started accepting Chinese ceramics, and soon after that Chinese Ceramics had became a new surprise to the Western Countries and had China known as the “Country of Porcelain”. Porcelain as a cultural element is considered not only as material but also as a spirit. When the Europeans came to know the porcelain material, they had gradually been influenced by its spiritual content. Delicateness of ceramic slowly became a widely accepted aesthetic style, added with other factors that shaped the formation of the Rococo style that became very popular in Europe. This article used desk study to analyze and summarize the following three aspects: first, the impact of Chinese ceramic art on Western Rococo art, second, the art appreciation of Rococo art and third, to elaborate the influence of Chinese Ceramic and aesthetic in Western Countries.
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Deffner, Alex, Eva Psatha, and Nicholas Karachalis. "Resource Mapping and Place Branding as a Strategy Approach in an Attempt to Establish Cross-Border Areas of Greece and Albania as Tourism Destinations." Tourism and Hospitality 3, no. 1 (January 19, 2022): 80–99. http://dx.doi.org/10.3390/tourhosp3010006.
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Although place branding in cross-border (c-b) areas is challenging, various c-b areas with common eco-natural and cultural characteristics are popular tourist brands in their own right. The emergence of c-b areas as destinations is not surprising since international borders are often natural formations, which may be popular tourist attractions. Due to historical and political circumstances, the Greek–Albanian c-b area has not experienced tourism development. It bears a weak image, and although individual destinations can be found in both border areas, they do not currently form a single place brand. Thus, place branding that aims to enhance the c-b area’s attractiveness should start with building a single identity by finding common competitive characteristics upon which it can be based. This paper analyzes part of the ‘Culture Plus’ project, which aims to identify significant common eco-natural and cultural resources in the Greek–Albanian c-b area. The resources were documented using local visits, interviews, and consultations. The most significant ones were comparatively evaluated to identify the vital common assets that can support place branding efforts, with encouraging results regarding the potential branding of the unique hidden identity of the c-b area.
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Hatzithomas, Leonidas, Christina Boutsouki, Fotini Theodorakioglou, and Evanthia Papadopoulou. "The Link between Sustainable Destination Image, Brand Globalness and Consumers’ Purchase Intention: A Moderated Mediation Model." Sustainability 13, no. 17 (August 25, 2021): 9584. http://dx.doi.org/10.3390/su13179584.
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The present study investigates the effect of a tourism destination’s perceived sustainable image on the globalness of brands named after the destination and attests the mediating role of brand globalness on the relationship between destination image and purchase intention. A model that incorporates identification with local and global consumer culture as moderators of the relationship between brand globalness and purchase intention is proposed. A 2 (Destination: Santorini vs. Serres) × 2 (Product: tomato paste, yogurt) online experiment was designed through Prolific Academic for the purposes of the study. As Greece is a top destination among British tourists, a British audience was addressed, resulting in 425 participants. Britons with high identification with global consumer culture indicated higher purchase intentions for brands named after a sustainable destination. It also appears that a sustainable destination image is a critical factor in creating brand globalness and purchase intention for a brand named after this destination. Hence, destinations with a sustainable image can be used as a basis for the development of exports. An in-depth understanding of the international image of popular destinations will help indigenous companies create and maintain strong global brands. Significant implications for exporting companies are highlighted.
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Zacharis, Konstantinos. "An Extensive Compendium on Good Practices in Secondary Education in Greece." World Journal of Education 7, no. 2 (April 15, 2017): 39. http://dx.doi.org/10.5430/wje.v7n2p39.
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The establishment of a competitive, meritocratic and engaging culture inside the educational system is one of thecrucial elements that will determine not only its survival but also its evolution as a vault of social progress andcultural elevation. Within this frame, mechanisms that can establish new relationships for excellence and innovationinside educational organizations are examined and therefore these can become future gnomons. A correlation of datafrom a three-year institution award records, provided by the Greek Ministry of Education, is being attempted, inorder to mine information about the specific characteristics of the eminent institutions.The gain of similar practices for the school community is doublefold: at first, it measures accurately enough, on ascientific basis, the impact and progressiveness on the community and secondly it safely sketches its future status byprojecting on the most popular and easily implemented features. In the meantime, there is a growing discussion onhow these radical changes could be assimilated by the majority of schools, if one imposes them in a top-down policyor if one awaits until they emerge from a cooperative and social responsible action of the school unit level.A new parameter in the idea of excellence is the newly established pilot-experimental schools, which operate alreadyin a completely novel institutional environment. Among the objectives of the ministry of education is to confide inthem a major role, that of “locomotives of excellence”, throughout the whole country. The idea of “excellence”,though quite old, has been severely criticized by members of the community. It is the duty of a research to assess thecontemporary role of that notion in education, defining its strengths and weaknesses.
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Michelakis, Pantelis. "Reception - (G.) Nisbet Ancient Greece in Film and Popular Culture, Bristol Phoenix Press, 2006. Pp. xiv + 170, illus. £40, 9781904675419 (hbk); £12.99, 9781904675129 (pbk)." Journal of Hellenic Studies 128 (November 2008): 301–2. http://dx.doi.org/10.1017/s007542690000152x.
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Sari, Burcu, Zsofia K. Takacs, and Adriana G. Bus. "What are we downloading for our children? Best-selling children’s apps in four European countries." Journal of Early Childhood Literacy 19, no. 4 (December 14, 2017): 515–32. http://dx.doi.org/10.1177/1468798417744057.
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The present article provides an overview of the best-selling apps for the age range of 0–8 years under various categories, including ‘Kids’, ‘Books’, ‘Educational games’, ‘Family games’ and ‘Word games’ in the two major application stores (Google Play and iTunes App Store) in four economically diverse European countries: Hungary, Turkey, Greece and the Netherlands. As tablets seem to be a substantial part of children’s leisure activities, and thus apps might play an important role in their development, we conducted a content analysis to highlight two issues: the educational value of the most popular children’s apps and the fine-tuning of apps to the local culture and language of non-English speaking countries. There is a large overlap between the best-selling apps in the four countries; in fact, half of the apps appear among the most popular lists in more than one country. Consequently, most children’s apps do not include any oral language and, if they do, they are not available in the local language. Furthermore, the results show that a substantial part of the apps supported early literacy skills. In the majority of apps teaching literacy, although advertised for the youngest, the focus of instruction was more suited for school-age children.
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Pulakis, Nik. "Post in the 'modern': Greek film music and the work of Nikos Mamangakis." Muzikologija, no. 8 (2008): 77–89. http://dx.doi.org/10.2298/muz0808077p.
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This article is focused on Nikos Mamangakis, one of the most ambiguous art-popular composers in Greece. His compositions for cinema are also quite provocative. Mamangakis' cooperation with Finos Film (the major Greek film production company in post-war era) and, on the contrary, his collaboration with Nikos Perakis (one of the most well-known contemporary film directors) vividly illustrate the transformation of film music from the so-called Old to the New Greek Cinema. Through an overall analysis of two of Mamangakis' most important film scores, I hope to reveal the transition process from a realistic modernist perspective to a postmodern one. A second goal is to present critically the general ideological shift in Greek socio-cultural sphere following the seventies change of polity. This paper underlines the perception of Greek music culture as a special case of Western music, which however holds its very distinct stylistic idioms, cultural practices and ideological functions.
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Kaptan, Yeşim. "Laugh and Resist! Humor and Satire Use in the Gezi Resistance Movement." Perspectives on Global Development and Technology 15, no. 5 (October 10, 2016): 567–87. http://dx.doi.org/10.1163/15691497-12341407.
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This article focuses on the local humor employed in the Gezi Park Protests, one of the most widespread protests in the history of modern Turkey. By analyzing examples of widely circulated graffiti in the social media during and after the Gezi Park protests, I explore the role of socio-cultural and political humor in the protests as a form of resistance, which is intertwined in many ways with local popular culture, as well as global cultural forms of resistance used in anti-capitalist movements such as the Occupy Wall Street movement and public protests in Greece, Egypt, Algeria, and Spain. The humor and laughter in political processes manifests relation to traditional Turkish cultural forms. However, context-bounded humor originating from local meanings and traditional folk stories in the humorous graffiti of the Gezi Protests is considered not only an artistic and creative form of opposition to the conservative-religiousakpgovernment, but also a local response to global capitalism.
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Wellman, Tennyson Jacob. "Ancient Mystēria and Modern Mystery Cults." Religion and Theology 12, no. 3-4 (2005): 308–48. http://dx.doi.org/10.1163/157430106776241141.
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AbstractThe modern study of the ancient Hellenic and Hellenistic cults called mystēria has struggled over taxonomic issues related to typicality and modelling for several decades. By refocusing on the artificiality and rhetorical deployment of both the ancient word mystēria and the modern phrase mystery cults, it is possible to step back from issues of reification and focus on ancient social contexts for another view. Doing so allows one to note the numerous points of overlap (in ritual action, goals, symbols and narratives) between mystery cults and the broader cultural fields of ancient Hellenic communities. For instance, when one does not assume that mystery cults are the major origin for eschatological thinking in Greece, other (at times competing) vectors come into view and present a much more diverse field of data on the topic. Using Eleusis as an example, it is possible to see that many of the other allegedly typical features of mystery cults are at best problematic viewed against their social backgrounds and not placed in decontextualised juxtaposition with another mystery cult. This suggests that modern theories of culture-as-repertoire and of popular religious cultures are appropriate for making sense of ancient mystēria and thereby rectifying the scholarly construct of mystery cults.
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Papathoma, Eleni. "The Importance of Knowledge of Provenance for the Provenance of Knowledge: The Case of Traditional Costumes Collections in Greece." Heritage 2, no. 1 (February 19, 2019): 708–16. http://dx.doi.org/10.3390/heritage2010045.
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In Greece there are several collections of “traditional costumes”, i.e., garments with a strongly local character, which were in use up to the early 20th century. “Traditional costumes” are directly linked to Modern Greek folk culture: they were formed in its context and they are its most typical and obvious image. They have often been used as a national icon and are popular with people of all ages, who admire them and, on occasions of national celebrations and dance festivals, take pleasure and pride in dressing in replicas of them. Since they have stopped being worn many decades ago, the existing collections are a major source for their study, and they are respectfully referred to by scholars, the public and makers of replicas. The provenance of these collections—the criteria used, the persons involved, the purposes served, etc.—deeply affects the extent and the nature of our knowledge on the objects included in them. Given the inadequate information usually recorded on provenance issues, a thorough search of all potential sources with an aim to put together ‘biographies’ of collections will help to understand the collecting context of the objects and their respective historical and interpretational value.
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Robinson, Fiona. "Human rights and the global politics of resistance: feminist perspectives." Review of International Studies 29, S1 (December 2003): 161–80. http://dx.doi.org/10.1017/s026021050300593x.
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Talk of human rights is, currently, nearly as ubiquitous as talk of globalisation. While globalisation has been described as ‘the most over used and under specified term in the international policy sciences since the end of the Cold War’, the same could reasonably be said of ‘human rights’. Human rights are a product of the immediate aftermath of World War II, and thus they developed, in their contemporary form, in the context of the Cold War. The philosophical and political roots of human rights, of course, date back at least to the seventeenth and eighteenth centuries, and some would say even further, to the Stoics of Ancient Greece. Globalisation, too, has unfolded mainly in the late twentieth-century and has reached a position of prominence in the post-Cold War context; at this juncture, and according to popular perception, the spread of market capitalism, Western culture and modern technology fit comfortably with the death of socialism and the ‘end of history’. But globalisation too has roots that date back much earlier – as early as, it has been argued, the fourteenth century.
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Junior, Sandi Tramiaji, Autar Abdillah, and Trisakti Trisakti. "Budaya Populer dan Estetika Baru melalui Pesona Make Up dan Kostum dalam Film Asterix at the Olympic Games." SALAM: Jurnal Sosial dan Budaya Syar-i 7, no. 9 (September 3, 2020): 813–24. http://dx.doi.org/10.15408/sjsbs.v7i9.15640.
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AbstractThis study wants to discuss the new aesthetic or queer aesthetic in the charm of makeup and costumes used in the film Asterix At The Olympic Games by director Frederick Forestier produced in 2008. The perspective taken in this study is charm through makeup and costumes, and its relevance to popular culture and people's interest in fantasy films. This study uses a qualitative method, with film studies as an approach in the analysis of cinematographic studies. Film studies in this study focus on social practice performances about the body, identity, representation, and elements contained in the charm of makeup and costumes in the film Asterix At The Olympic Games. The results showed that Asterix at The Olympic Games became a fantasy film genre that gave the complexity of the show as entertainment. In Asterix at The Olympic Games, there is a parody with an imitation of the situation and culture of Greece, which is conveyed through makeup, costumes, and performances. Alfred Gell, in his study of technology of enchantment, concerned the 'technical complexity' aspects of a work to attract the attention of the audience through the management of makeup and costumes. Furthermore, the concept of theatrical mimicry and parody as a 'technical complexity' is shown as a display of aesthetic queer for the sake of performance that can attract attention because of its shape as a popular culture product that is different for the audience.Keywords: new aesthetics; the enchantment of makeup and costumes; Asterix at the Olympic Games AbstrakPenelitian ini ingin membahas tentang estetika baru atau queer aesthetic dalam pesona make up dan kostum yang digunakan dalam film Asterix At The Olympic Games karya sutradara Frederick Forestier yang diproduksi tahun 2008. Sudut pandang yang diambil dalam penelitian ini adalah pesona melalui make up dan kostum, dan relevansinya terhadap budaya populer dan minat masyarakat terhadap film fantasi. Penelitian ini menggunakan metode kualitatif, dengan film studies sebagai pendekatan dalam analisis kajian sinematografinya. Film studies dalam penelitian ini berfokus pada pertunjukan praktik sosial mengenai ketubuhan, identitas, representasi, dan unsur-unsur yang terkandung dalam pesona make up dan kostum dalam film Asterix At The Olympic Games. Hasil penelitian menunjukkan Asterix at The Olympic Games menjadi genre film fantasi yang memberikan kompleksitas pertunjukan sebagai hiburan. Di dalam Asterix at The Olympic Games terdapat parodi dengan imitasi terhadap situasi dan budaya Yunani yang disampaikan melalui make up, kostum, dan pertunjukannya. Alfred Gell dalam telaahnya mengenai technology of enchantment mementingkan aspek ‘kerumitan teknik’ dalam suatu karya untuk menarik perhatian penonton melalui pengelolaan make up dan kostum. Lebih lanjut, konsep theatrical mimicry dan parodi sebagai suatu ‘kerumitan teknik’ ditunjukkan sebagai suatu display atas queer aesthetic untuk kepentingan pertunjukan yang mampu menarik perhatian karena bentuknya sebagai produk budaya populer yang berbeda bagi penonton.Kata kunci: estetika baru; pesona make up dan kostum; Asterix At The Olympic Games
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Tomasevic, Jasmina. "Movies about the First World War: Shaping the collective memory. Cases of Serbian/Yugoslav and Greek cinematography." Balcanica, no. 53 (2022): 95–113. http://dx.doi.org/10.2298/balc2253095t.
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The First World War brought radical changes to the political map of Europe and took more than 15 million lives on both warring sides. This conflict of unprecedented proportions has left deep traces on the lives of people who found themselves in a whirlwind of war. Therefore, it is no wonder that the theme of war was present in various types of human creativity - through literature (especially autobiographical genres), art, but also popular culture, where movies rightly took centre stage. Even during the period 1914-1918, the film became the main weapon of propaganda. Through this instrument, the message was able to reach quickly a large number of people, regardless of their social status and level of education. After 1918, the film served as a popular medium through which the memory of war events was preserved. The first movies exuded the anti-war spirit at the moment when post-war Europe was facing long-term economic consequences that had surfaced. Pacifist messages could be seen in different film productions, which to a large extent looked up to Hollywood, the most significant film industry in the world. The same was in the case of smaller allied countries such as Greece and Serbia, which both paved a different path of development due to the complexity of historical processes conducted in these Balkan countries. This paper aims to point out these different developments and shed light on lesser-known facts about Yugoslav and Greek WWI cinematography.
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LIUTAEVA, MARIA. "MEMORY AND FORGETTING. SOCIO-PHILOSOPHICAL ANALYSIS OF DIFFERENCES ON THE EXAMPLE OF ARCHAIC GREECE." Sociopolitical sciences 10, no. 6 (December 28, 2020): 147–53. http://dx.doi.org/10.33693/2223-0092-2020-10-6-147-153.
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The study is devoted to the currently popular issue of memory and forgetting. In connection with the resonant global events on the demolition of monuments, the socio-philosophical analysis of this problem seems relevant. The research methodology is Niklas Luhmann's theory of “autopoietic” social systems. Within the framework of this concept, it is paid a special role to memory as a regulator of intrasystem reference. It works as a function of forming the boundaries of the system based on past events and distinctions. Memory is understood as a necessary tool that constitutes the current state of the system. Within the framework of the trend of “social constructivism”, to which N. Luhmann's theory belongs, language is considered the basis of social “framing”, memory captured in words. Therefore, considerable attention is paid to the etymology and history of the concepts of memory/forgetting, as well as the dynamics of changes in semantic connotations. On the example of the distinctions adopted in archaic Greece, which is the “cradle” of Western European culture, the main mechanisms of memory/forgetting are considered and the semantic core of this opposition is indicated. Particular attention is paid to the objects and methods of memorization in an archaic society. Memory as a regulator of semantic distinctions in ancient Hellas kept the basic principles in society that determined the sphere of right behavior. The external expression of these principles was allowed to be fixed in material objects if it satisfied the criteria of significance for the polis. In the conclusion of the study, an analogy with modern society is proposed, in which the “monopoly” on socially significant memory belongs to the state, which seeks to preserve its “imaginary” construction of social reality.
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MacDubhghaill, Rónán L. "The Myth of the Jedi: Memory and Deception in the Star Wars Saga." Excursions Journal 4, no. 1 (September 13, 2019): 40–58. http://dx.doi.org/10.20919/exs.4.2013.162.
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The importance of science fiction in contemporary cultural studies can hardly be underestimated, no more than it can be denied. Many narratives emerging out of the world of science fiction have become fully integrated within the contemporary cannon of popular understanding, mythology and reference. Amongst these narratives, perhaps no story is more fully integrated with contemporary culture than the original Star Wars saga. More current in the contemporary social imagination than the norse sagas, or those of ancient greece, Star Wars shares many of their epic qualities. The focus on the heroic characteristics of individuals, for example, against the backdrop of a great conflict between forces of good and evil, in which the righteous and the virtuous prevail is the standard narrative of many epic cultures. Indeed, this is the origin of classic notions of virtue, which stay with us to this day (MacIntyre, 2007). In that sense, this saga could be understood as yet another permutation of a story which has been told since time immemorial. Yet, as with the classical sagas, one must be sensitive to problematic aspects within their narratives; to the version of morality which they promote, and the ways in which they do so. This main focus in this essay will be just one such problem: the (mis)use of memory within the narrative of the original Star Wars saga, and deception as it relates to the myth of the Jedi.
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Michelsen, William. "Grundtvig på normaldansk." Grundtvig-Studier 41, no. 1 (January 1, 1989): 308–13. http://dx.doi.org/10.7146/grs.v41i1.16039.
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Grundtvig in Normal Danish.Helge Grell: The Spirit of the Creator and the Spirit of the People. An examination of Grundtvig’s ideas about peoples and popular culture, and their connection with his Christian view. Anis Publishing House, Århus. 346 pp.A Human First, A Christian Next. Helge Grell’s dissertation on Grundtvig under debate. Edited by Jens Holger Schjørring, the writers, and Anis Publishing House. Århus, 1988. 101 pp.Grundtvig’s prose is difficult to read, even for Danes. In this book Helge Grell has made his ideas about people, nations, and popular culture readable and intelligible. He has also examined Grundtvig’s relations with the non-Danish writers who have dealt with nationality and nationalism, and whom Grundtvig has known. The main problem has been whether Grundtvig - particularly in his writings from 1810 to 1865 - misused Christianity for the purpose of nationalistic propaganda against Germany, which he has been accused of, especially as regards the time around the two Schleswig wars, 1848-50 and 1864.The book is a chronological study of Grundtvig’s ideas from 1810 to 1865 which shows that his thoughts about peoples and popular culture have grown out of the particular philosophy and theology of creation that Grundtvig developed after his Christian revival in 1810 and which found its practical theological form especially in his years as pastor from 1821, and during his three journeys to England 1829-1831. From 1821 Grundtvig sees God’s work of creation as an act of love, which in the course of history has led Him to include the creation of peoples and popular culture. Grundtvig now sees the Holy Ghost as the spirit of human history who creates an interaction between God’s word and man’s word in its national form: the mother tongue, and who works through the spirit of a people. His ideas about people and popular culture are thus brought into connection with the Mosaic-Christian view of human life as a whole.To Grundtvig the Jewish people with its particular history constitutes what he understands by an "artificial people” in which the national spirit has, ’’with marvellous artistry”, created a unique God-chosen people from whose history Christianity was to develop (Selected Works, vol.V, p. 401-425). Grundtvig substitutes the phrase for Fichte’s "normal people”. Grell writes in this connection: ”The view of man of this people, developed through Christianity, must stand as normative in the interaction with the spirits of the two other great peoples, i.e., those of Greece and the Nordic countries, in order that they may serve universal history, and all other peoples are evaluated (by Grundtvig) in comparison with them." Grundtvig uses the term "natural peoples” for these two other principal peoples, i.e., peoples whose history can be traced chronologically, and who have preserved a living connection with the people’s spirit through a living mother tongue.A people’s spirit is regarded by Grundtvig as an image of God’s creator- spirit, just as poetry with its imagery is. Grell has made a more elaborate examination of Grundtvig’s theology of the Word in his preliminary study for the dissertation "The Creator Word and the Figurative Word”, which was published in 1980 and was reviewed in Grundtvig Studies 1982. It is also included in the German summary appended to the dissertation. It is through this close connection between Grundtvig’s theology of the Creation and his theology of the Word that Grell succeeds in defending Grundtvig against the accusations of nationalistic propaganda. Grell rightly claims that it is this key theme in his writings that must be attacked if one wants to make any effective criticism of his ideas about peoples and popular culture.Grell’s two theses are not directed against any other view of Grundtvig’s thinking. Only in the conclusion of the work did it appear that his dissertation might be read as an alternative to Kaj Thanings understanding of Grundtvig ("A Human Being First...”, Dissertation, Copenhagen 1963). A good deal of the debate during and after the public defence has therefore turned on this question, which in the dissertation is only brought up in the comprehensive notes. The dialogue between Thaning and Grell clearly demonstrates the mutual respect of the two scholars, but causes neither of them to change their attitudes or standpoint.
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Oguy, Viktor O. "Popular Spa Procedures and Prospects for the Use of the Author’s Method of Vibroacoustic Massage with Singing Bowls in Wellness Practice (Review)." Journal of Medical and Biological Research, no. 3 (October 10, 2022): 287–300. http://dx.doi.org/10.37482/2687-1491-z107.
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The traditions of spa culture originated in Ancient Greece and have been developed to include various manual and instrumental techniques. The health resort sphere has much in common with the spa sector; however, the treatment in the former is carried out according to strict medical indications. Spa procedures have been gaining popularity in countries beyond Western Europe, including Russia; thus, the potential of using spa methods in Russian wellness practice requires careful study. In recent years, more and more people have turned to vibroacoustic massage with singing bowls, which can become a relevant and useful procedure at health resort and spa facilities. This paper aimed to present an overview of the most popular procedures as well as to determine the prospects for the use of the author’s method of vibroacoustic massage with singing bowls (patent RU2687006C1) in wellness practice. The review of literary sources showed that among the manual methods the most in demand are massage and body wraps, while among the instrumental techniques, vacuum therapy, vibrotherapy, chromotherapy, microcurrent treatment, and aromatherapy. Vibroacoustic massage with singing bowls includes both manual and instrumental techniques, since it involves a massage therapist along with physical factors (sound and vibration). The author’s method of vibroacoustic massage with singing bowls improves the quality of sleep as well as the physical and emotional state, stabilizes mental processes, relieves depression as well as trait and state anxiety, and reduces pain, which ultimately leads to increased activity and normalization of one’s social life. This method is environmentally friendly, safe, inexpensive and neither interacts with the main therapy or has pronounced side effects, which makes it a potentially useful procedure at health resort and spa facilities.
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Dillon, John. "Sara Forsdyke, Slaves Tell Tales: And Other Episodes in the Politics of Popular Culture in Ancient Greece (Princeton; Oxford: Princeton University Press, 2012), xv + 275 pp., $39.50. ISBN 9780691140056." Polis: The Journal for Ancient Greek Political Thought 30, no. 1 (2013): 127–29. http://dx.doi.org/10.1163/20512996-90000523.
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Shahabudin, Kim. "Greece in Film - (G.) Nisbet Ancient Greece in Film and Popular Culture. Pp. xvi + 170, ills. Exeter: Bristol Phoenix Press, 2006. Paper, £12.99, US$24.95 (Cased, £40, US$75). ISBN: 978-1-904675-12-9 (978-1-904675-41-9 hbk)." Classical Review 58, no. 2 (October 2008): 611–12. http://dx.doi.org/10.1017/s0009840x0800142x.
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Milinović, Dino. "Kasna antika: dekadencija ili „demokratizacija“ kulture?" Poznańskie Studia Slawistyczne, no. 17 (November 6, 2019): 145–58. http://dx.doi.org/10.14746/pss.2019.17.10.
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In our age “without the emperor”, fascination with empires and with the emperor mystique continues. Take for witness Tolkien and his Return of the King, the third sequel of The Lord of the Rings, or the television serial Game of Thrones. In the background, of course, is the lingering memory of the decline and fall of the Roman Empire, “a revolution which is still felt by all nations of the world”, to quote Edward Gibbon. It comes as a surprise that in this dramatic moment of its history, in times marked by political, economic and spiritual crisis that shook the very foundations of the Empire during the 3rd century, historians and art historians have recognized the revival of plebeian culture (arte plebea, kleinbürgerliche Kultur). It was the Italian historian Santo Mazzarino, talking at the XI International Congress of the Historical Sciences in Stockholm in 1960, who introduced a new paradigm: the “democratization of culture”. In the light of the historical process in the late Roman Empire, when growing autocracy, bureaucracy, militarization and social tensions leave no doubt as to the real political character of the government, the new paradigm opened up fresh approaches to the phenomenon of decadence and decline of the Roman world. As such, it stands against traditional scenario of the “triumph of barbarism and Christianity”, which was made responsible for the fall of the Roman Empire and the eclipse of the classical civilization of ancient Greece and Rome. It is not by accident that the new paradigm appeared around the middle of the 20th century, at the time when European society itself underwent a kind of “democratization of culture”, faced with the phenomenon of mass culture and the need to find new ways of evaluating popular art. Today, more than anything else, the notion of “democratization of culture” in late Roman Empire forces us to acknowledge a disturbing correspondence between autocratic and populist forms of government. It may come as a shock to learn that the very emperors who went down in Roman history as villains and culprits (such as Caligula, Nero or Commodus), were sometimes considered the most “democratic” among Roman rulers. Do we need to feel certain unease at this historical parallel?
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Edwards, Amelia Blandford. "The Social and Political Position Of Woman in Ancient Egypt." PMLA/Publications of the Modern Language Association of America 120, no. 3 (May 2005): 843–57. http://dx.doi.org/10.1632/003081205x68133.
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When James Russell Lowell, John Greenleaf Whittier, Oliver Wen-Dell Holmes, and two hundred other prominent American Literary and intellectual figures joined efforts to bring Amelia Edwards to the United States for a public lecture tour in 1889-90, they were acknowledging her importance as a writer and educator. The author of novels, short stories, popular histories, and works of travel literature, Edwards had established a second career as an advocate for the new science of Egyptology. As cofounder of and secretary for the Egypt Exploration Fund (EEF) in 1882, Edwards wrote extensively for the Morning Post and the Academy in England and Harper's in the United States. By 1887, she had established a strong working relationship with William Copley Winslow of the Boston Museum and received honorary degrees from Smith College and Columbia College for her literary and scholarly achievements. By the time of her tour, Edwards had succeeded in fostering a new understanding of a culture more ancient and exotic than those of Greece and Rome. Audiences for her lectures in both England and America were thus prepared for her to illuminate the Egyptian past, but listeners to this lecture on the social and political position of women in ancient Egypt may have been somewhat startled to find shadows from that past cast on their own present.
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Zhdanov, Vladimir. "Myth, gods, man: "speculative theology" as a cultural and religious phenomenon of Ancient Egyptian thought of the 15th-13th centuries BC." St.Tikhons' University Review 101 (June 30, 2022): 99–117. http://dx.doi.org/10.15382/sturi2022101.99-117.
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This paper studies the features of the so-called “speculative theology” of Amun-Re, the most prominent trend of ancient Egyptian religious and theological thought of the XV-XIII centuries BC on the example of two of its most significant texts, Cairo (Pap. Boulaq 17 Pap. Kairo CG 58038) and Leiden (Pap. Leiden I 350) hymns to Amun. Unlike earlier forms of Egyptian spiritual culture, for the first time in the history of ancient Egyptian religion, it creates the image of a transcendent deity, the connection of the believer with whom is now carried out through direct personal contact, and not through traditional forms of worship for the Egyptian religion. At the same time, many features of the image of Amun in the Theban “speculative theology” of the New Kingdom can already be considered as an attempt at a fundamentally new reflection of traditional categories of ancient Egyptian culture, such as, for example, “Maat” (world-order, justice, truth), both based on traditional values and departing from them. The reason for this was the crisis of traditional ideas about Maat after the Amarna era, which fundamentally changed the nature of popular piety and at the same time the basic principles of Egyptian religious and political ethics. From the point of view of the mythogenic conception of the genesis of philosophy, “speculative theology” - both in Egypt of the New Kingdom and somewhat later in archaic Greece – is of exceptional interest as the most important "transitional form" on the path of transformation of primitive myth into philosophical discourse and at the same time an interesting example of the interpenetration and joint evolution of mythological, religious and emerging philosophical worldview. Not always turning into a full-fledged philosophical tradition (this is exactly what happens, in particular, with the Theban “speculative theology” of Amun-Re), it nevertheless demonstrates the complex ways of transforming the spiritual world of the ancient man of the Eastern Mediterranean, thanks to which the spiritual transformation of the "axial time" became possible in many ways. By the example of the image of Amun, the transformation of ideas about religious experience in the Egyptian culture of the era of the New Kingdom is also studied.
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Tsigkrimani, Markella, Magdalini Bakogianni, Spiros Paramithiotis, Loulouda Bosnea, Eleni Pappa, Eleftherios H. Drosinos, Panagiotis N. Skandamis, and Marios Mataragas. "Microbial Ecology of Artisanal Feta and Kefalograviera Cheeses, Part I: Bacterial Community and Its Functional Characteristics with Focus on Lactic Acid Bacteria as Determined by Culture-Dependent Methods and Phenotype Microarrays." Microorganisms 10, no. 1 (January 13, 2022): 161. http://dx.doi.org/10.3390/microorganisms10010161.
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Artisanal cheesemaking is still performed using practices and conditions derived from tradition. Feta and Kefalograviera cheeses are very popular in Greece and have met worldwide commercial success. However, there is a lack of knowledge regarding their lactic acid microecosystem composition and species dynamics during ripening. Thus, the aim of the present study was to assess the microecosystem as well as the autochthonous lactic acid microbiota during the ripening of artisanal Feta and Kefalograviera cheeses. For that purpose, raw sheep’s milk intended for cheesemaking, as well as Feta and Kefalograviera cheeses during early and late ripening were analyzed, and the lactic acid microbiota was identified using the classical phenotypic approach, clustering with PCR-RAPD and identification with sequencing of the 16S-rRNA gene, as well as with the Biolog GEN III microplates. In addition, the functional properties of the bacterial community were evaluated using the Biolog EcoPlates, which consists of 31 different carbon sources. In general, concordance between the techniques used was achieved. The most frequently isolated species from raw sheep’s milk were Enteroroccus faecium, Lactiplantibacillus plantarum and Pediococcus pentosaceus. The microecosystem of Feta cheese in the early ripening stage was dominated by Lp. plantarum and E. faecium, whereas, in late ripening, the microecosystem was dominated by Weissella paramesenteroides. The microecosystem of Kefalograviera cheese in the early ripening stage was dominated by Levilactobacillus brevis and E. faecium, and in late ripening by W. paramesenteroides and E. faecium. Finally, Carbohydrates was the main carbon source category that metabolized by all microbial communities, but the extent of their utilization was varied. Kefalograviera samples, especially at early ripening, demonstrated higher metabolic activity compared to Feta cheese. However, dominating species within microbial communities of the cheese samples were not significantly different.
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Garrett, Eilidh. "Violetta Hionidou, Abortion and Contraception in Modern Greece, 1830–1967: Medicine, Sexuality and Popular Culture (London: Palgrave Macmillan 2020). Pages xix + 361 + b/w illustrations 2 + colour illustrations 11. £69.99 hardback, £49.99 paperback, £55.99 ebook." Continuity and Change 36, no. 2 (August 2021): 257–59. http://dx.doi.org/10.1017/s0268416021000163.
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OBRADOVIĆ, MIRKO. "CONTRIBUTIONS TO THE STUDY OF NELEID ANTHROPONYMY IV: THE HEROIC NAME NESTOR AS A PERSONAL NAME AMONG THE HELLENES." ИСТРАЖИВАЊА, no. 26 (January 6, 2016): 18–36. http://dx.doi.org/10.19090/i.2015.26.18-36.
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This paper explores the heroic Greek name Nestor (Νέστωρ) and its distribution as a personal name in the Hellenic world.The name Nestor, as a personal name, is almost equally common in the Ionian areas of the Hellenic World (Attica, the islands in the Cyclades, Ionia in Asia Minor), as it is in the predominantly Doric areas (Peloponnese, the islands of Rhodes and Kos), but also in Epirus, Macedonia and in the Hellenic settlements beyond the mainland Greece. It is indisputable that this distribution of the name must have been influenced by the fact that Nestor was one of the most notable heroes of ancient Hellenic epics with a significant role in the two most important Homeric epics. As in the case of some other Neleid names, the heroic name Nestor could have seemed attractive and desirable for naming male children, in particular from the point of view of Nestor's glorious offspring with whom several aristocratic families from different parts of the Greek world wanted to be identified. Additionally, in the subsequent periods (Hellenistic and Roman), the names taken from the mythological repertoire were very popular among the educated members of the local elites. They perceived Nestor as a model of a wise teacher and counselor. It seems that the name Nestor might have sound to contemporaries primarily as a good name for a wise and educated Hellene. In this way, the reasons for giving the name Nestor to newborn Hellenic children gradually moved from the sphere of politics to the sphere of culture, as had been the case with some other heroic names, but also with some which were not associated with heroes.The anthroponym Nestor at the time often occurred in combination with other heroic names.
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Kehinde, Kazeem Kanmodi, Adebayo Oladimeji, Ayomikun Adesina Miracle, Francis Fagbule Omotayo, and Emerenini Franklin. "One Snake or Two? Exploring Medical Symbols Among Medical Students." Acta Medica Martiniana 19, no. 2 (August 1, 2019): 78–87. http://dx.doi.org/10.2478/acm-2019-0011.
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Abstract Background: Symbols play a very crucial role in the culture of a society, and the medical society is not an exception to this. In the world of Orthodox medicine, the Rod of Asclepius is regarded as the true symbol of medicine. However, there exists to be an issue of interchange of the correct medical symbol (i.e. Rod of Asclepius) with another similar symbol (i.e. the Caduceus). This study aims to explore medical students’ knowledge and opinion on the appropriate symbol of medicine. Methods: This study was a cross-sectional survey of 84 medical students at the Usmanu Danfodiyo University (UDU), North-West Nigeria. Study tool was a paper questionnaire. The collected data were analyzed using the Epi info 7 Software. Results: The mean (±SD) age of the participants was 23.7 (±3.4) years, 72.6% were males, and 73.8% were in their 4th year. Only 59.5% had interest in non-medical literature. Also, only 6.0% had doctors as their parents. The majority (88.1%) of the participants erroneously identified the Caduceus symbol as the most appropriate symbol of medicine. Furthermore, only 45.2% indicated that the Rod of Asclepius and the Caduceus symbols originated from ancient Greece. Virtually all (97.6%) the participants opined that the Caduceus symbol is the most popular symbol of Medicine. Finally, the majority (73.8%) of the participants recommended that a course on the History of Medicine should be added to the medical curriculum of their school. Conclusion: This study found that the majority of the surveyed medical students did not know much about the historically correct medical symbol. This shows the need for awareness creation on the true symbol of medicine among medical students, and even the public-at-large.