Athens

The empire that the Athenians established in the years after 478 BC was an entirely new phenomenon in the history of Greece, and the basis of much of the brilliant development of Athenian culture in the fifth century. Its growth and collapse was the key event in the history of the period, after the defeat of the Persian invasion. Yet this important historical phenomenon remains baffling to study. New developments in various fields have made urgent a revision of existing approaches, which largely originated in the first half of the last century. Advances in archaeology have hugely extended the possibilities of writing an archaeology of the empire. The accepted chronology of many key inscriptions has been powerfully challenged, so that new narrative reconstructions become possible. Relevant new documents in languages such as Lycian have become available. Understanding of the Persian empire which was the parallel, and in a sense the model, with which the Athenian empire interacted has been transformed in the last quarter century. Broader developments in historiography (microhistory; history from below; and, post-colonial theory) invite us to pose new questions.The aim of this collection is not to offer a final word on any of the problems, but to give a sense of the possibility of a new generation of studies of the empire.

Historical studies on the appearance of Greek secular buildings, common houses, streets and neighborhoods, are rather limited compared to those for religious or monumental structures, due to the relative lack of archaeological evidence.
This is very much the case for Athens, one of the oldest cities in the world. Utilizing a large number of sources, we review such aspects of the city through the millennia of its history. Based on this, a case is presented, regarding a remarkable continuity of the city’s cultural expression, through the character of its urban environment.

This research strives to analyze the reasons behind the discrepancies in gender equality between classical Athens and Sparta.  I do so by analyzing the values and beliefs in these societies, and have come to the conclusion that the militaristic society of Sparta heavily influenced the equality of Spartan women.

It is noticeable that Square Victoria is a vivid public space with special characteristics that make it different from the other athenian squares. The characteristics that I focus on are; the fragmentation of square, meaning the creation of different and isolated social spaces, and the powerless approach of female visitors. Their absence from square’s public sphere leads to the weakness of their voice, as murmurings and small groups -like in the diagrams, and their short-term presence.
Based on these observations and conclusions, I worked with the medium of sound installation and actions [sound acts] as interventional practice in space. An audible representation of women directed by me, was inserted into existing conversations at the square. The intention of recorded voices’ interference was to create contact points between the separated (by gender, race and social status) public spheres of the square, causing new encounters, interactions and discussions. The designed sound acts were developed in two phases; the first concerns the correlation actions, that I did and recorded, with women coming to the square and the collection of the archived audible material derived from them. The second phase is about the interactive sound installation and the broadcasting of the audio in the space of the square, during the sound installation and action designed and implemented by me. The broadcast action is part of the new correlations and confrontations occured in the chosen social spaces.

In this paper the rationale of the bioclimatic regeneration of part of the commercial triangle of Athens is presented. In this 11 ha area, identified by three streets in the form of a triangle, the most vivid commercial activities have been taking place, from the transformation of Athens into a capital city in the 19 th century, up to late 20 th century, when the upcoming of " malls " displaced consumption habits from small shops to large shopping centres. As it is a place that has been either within the city walls or at the outskirts since antiquity, its geometry is very much affected by ancient and medieval Athenian city planning, which is explored and highlighted in this regeneration project. The commercial triangle area today is characterised by a mixture of neo-classical and modern buildings, as well as simplexes of pedestrian streets. The landscape of the area is being reshaped as the old uses that reflect the former economic backbone of the city, are displaced or replaced by new ones which are more related to the industry of entertainment. In this paper, a brief spatial description and historical review of the area is presented, pinpointing to the political and municipal decisions that have affected the area, highlighting the conflicts that the area faces today. Existing land use is monitored in detail and compared to past ones. The sustainability rationale of the regeneration of the public spaces of this area is presented, taking into consideration environmental issues (pedestrianisation of narrow streets, environmental footprint of used or reused materials, recycling municipal waste, low energy consumption street light, construction site measures), bioclimatic issues (microclimatic considerations, surface materials, placement of vegetation in narrow streets), cultural issues (putting forward the area's historic footprint through the design) as well as social issues (conflicts that might arise from competitive or incompatible land uses), trying to achieve a holistic sustainable regeneration approach.

This study deals with the solar radiation levels recorded at the Actinometric Station of the National
Observatory of Athens, focusing on the trends of the global and diffuse horizontal irradiances in the period of 1992-2017
(26 years). The analysis shows that the annual global radiation time series over Athens in the above period presents a
positive trend (+0.40%/decade and +2.38%/decade for all and clear skies, respectively), while its diffuse counterpart
shows negative trend (-5.19%/decade and -6.77%/decade for the same sky conditions, respectively) during the same
period. Also, the seasonal trends of both solar radiation components are examined. The global horizontal radiation
shows positive trends in summer (+1.85%/decade and +2.10%/decade under all and clear skies, respectively), while a
negative trend is calculated in the winter season (-2.46%/decade and -1.99%/decade for the same sky conditions,
respectively). In the case of the diffuse solar radiation there are found negative trends in both seasons and both sky
conditions. These findings confirm a recovery in the solar radiation levels over Athens in the recent 26 years.

Given the scarcity of methodological reflections by geographers studying homelessness, and drawing from ethnographic research in Athens, this article provides an empirical reflexive account of the complexities of practising homelessness research through ‘spaces of care’. Emphasising the institutional nature of these spaces, it highlights the role of institutions, such as NGOs and public authorities, in shaping certain local contexts for geographic research. Precisely, the circulation of specific homeless-related discourses throughout spaces of care shapes the ‘viscous field’ of institutions, wherein research moves become difficult and subject positionings are set a priori. Therein, the twofaced figure of Janus becomes the metaphor for the geographer in the viscous field, who embodies simultaneously two faces-roles: of researcher and volunteer. Afterwards, a focus on bodies highlights the emotional and performative aspects of the encounters with research participants. Eventually, four-plus-one ethical pro-positions for practising geographic research on homelessness are given in place of conclusions. Overall, the article is an empirical contribution to institutional geographies, their methodologies, and the difficulties, complexities and negotiations for researchers-volunteers. For the ‘trouble of institutions’ may also be a methodological trouble for geography practitioners in research sites such as spaces of care, where researchers-volunteers, participants and institutions become entangled with one another.

Θα παρουσιαστεί η επιτελεστική (performative) διαδρομή που πραγματοποίησε η Αγγελική Σβορώνου στον Αρχαιολογικό Χώρο της Αρχαίας Αγοράς της Αθήνας την Άνοιξη του 2018. Η έμπνευση για τη δράση αυτή προήλθε από την έρευνα της Σβορώνου στο Φωτογραφικό Αρχείο της Αμερικάνικης Σχολής Κλασικών Σπουδών Αθήνας (ASCSA) για τη διδακτορική της διατριβή. Η «συνάντηση» της με το εκπληκτικό αυτό φωτογραφικό υλικό το οποίο απεικονίζει μια εξαφανισμένη περιοχή της Αθήνας, της δημιούργησε απρόσμενα συναισθήματα και στάθηκε η αφορμή για μια διαφορετική θεώρηση της αντικειμενικότητας και της σκοπιμότητας τόσο της αρχαιολογικής έρευνας όσο και της φωτογραφικής αποτύπωσης. Στόχος της καλλιτεχνικής αυτής δράσης είναι να διερευνήσει τα όρια της μνήμης του χώρου και να καταγράψει τις περιοχές επικάλυψης του πραγματικού ως παρόν και του φανταστικού ως παρελθόν, ορίζοντας έτσι μια γεωγραφία του μυαλού και του συναισθήματος.

This work constitutes a theoretically-informed empirical analysis of the spatial characteristics of the short-term rentals’ market and explores their linkage with shifts in the wider housing market within the context of a south-eastern EU metropolis. The same research objective has been pursued for a variety of international paradigms; however, to the best of our knowledge, there has not been a thorough and systematic study for Athens and its neighborhoods. With a theoretical framework that draws insight from the political-economic views of Critical Geography, this work departs from an assessment of Airbnb listings, and proceeds inquiring the expansion of the phenomenon with respect to the rates of long-term rent levels in the neighborhoods of Central Athens, utilizing relevant data. The geographical framework covers the City of Athens as a whole, an area undergoing profound transformations in recent years, stemming from diverse factors that render the city one of the most dynamic destinations of urban tourism and speculative land investment. The analysis reveals a prominent expansion of the short-term rental phenomenon across the urban fabric, especially taking ground in hitherto underexploited areas. This expansion is multifactorial, asynchronous and exhibits signs of positive relation with the long-term rentals shifts; Airbnb not only affects already gentrifying neighborhoods, but contributes to a housing market disruption in non-dynamic residential areas.

Onderzoeken naar de plaats van de vrouw in antieke steden geven aan dat het domein van de vrouwen idealiter het huis was terwijl de bewegingsruimte van mannen veel groter was. Door deze studies, die grotendeels gebaseerd zijn op het klassieke Athene, worden de polariteiten man/vrouw verbonden met die van openbaar/privé. Aan de andere kant lijken Hellenistische vrouwen een grotere mate van vrijheid te hebben genoten door de toename van gevallen van vrouwen die in het openbaar verschenen als invloedrijke koninginnen of weldoeners. De ruimten die belangrijk waren voor vrouwen in de Hellenistische periode blijven echter onontgonnen gebied. In dit artikel wordt gepoogd de plaats en positie van de vrouw in Pergamon in de tweede eeuw vóór Christus vast te stellen. De stad wordt gezien als een verkeerssysteem die richting geeft aan de behoeften van bewoners; door de aard en betekenis van de verschillende ruimten in de stad te onderzoeken, wordt de plaats van vrouwen in dit systeem duidelijker.

Nell’Atene della fine degli anni Venti due giovani donne, la studentessa Dora e l’emancipata Lisa, si conoscono e si innamorano. Dora, più introversa e riflessiva, scrive la cronaca, in forma diaristica, di questo amore due volte tormentato; innanzitutto per la differenze sociali e caratteriali tra le due ragazze e in secondo luogo in quanto amore omosessuale in una società rigidamente eterosessuale. Nel corso del suo diario Dora Rosetti, autrice e nel contempo protagonista del libro, non si astiene dal ricorso a uno stile disinibito e continui sono i riferimenti alla promiscuità sessuale e al consumo di stupefacenti. Nondimeno vi è denunciata la condizione sociale della donna in rapporto al mondo del lavoro e della famiglia. Il romanzo, apparso nel 1929, fu celebrato per la sua originalità dal celebre critico dell’epoca Grigorios Xenòpoulos, ma cadde ben presto nell’oblio probabilmente per evitare uno scandalo. Nei primi anni Duemila il ritrovamento, da parte della storica della letteratura Christina Dunià, di due copie delle Due amanti, la prima a Lesbo nella biblioteca personale del pittore Takis Eleftheriadis e la seconda nella biblioteca personale di Konstantinos Kavafis, ha risvegliato l’interesse dei lettori per questo romanzo, il primo a tematica lesbica della letteratura greca contemporanea e uno degli esempi più importanti di letteratura dei “devianti” anni Venti.

Dora Rosetti è una delle autrici più enigmatiche della letteratura greca contemporanea. In base agli indizi che è possibile trarre dalla lettura delle Due amanti, l’unico romanzo giuntoci con il suo nome e pubblicato in Grecia nel 1929, si deduce che fosse originaria della cosmopolita comunità greca di Alessandria d’Egitto. Il presunto cognome dell’autrice, Rosetti, è la forma grecizzata di Rosetta (Rashid), la località nei pressi di Alessandria dove nel 1799 fu rinvenuta la celebre stele. Altri indizi la mettono in relazione con Konstantinos Kavafis, nella cui biblioteca personale è stato ritrovata una delle due copie superstiti delle Due amanti con la seguente dedica: “Con stima straordinaria per il nostro grande poeta alessandrino sig. K. Kavafis. Dora Rosetti”.

Syllabus and Reading Schedule for The Rise and Fall of Popular Rule—Athens (Integrated Humanities Program, History Module, Fall 2018, UVM). Course Description: America's founders, when establishing our political institutions, took elements from those of ancient Athens and Rome, which pioneered representative government in various (and changing) forms. It is natural, after nearly two-and-a-half centuries, to think of our democracy as unshakeable and eternal. But independent popular rule in Athens—the focus of this class—lasted for less than two centuries, during which the city, after playing a leading role in the liberation of Greece from foreign control (The Persian Wars, 490–479 BC), grew into an Empire that imposed democracy on its subjects—some willing and others not—as a means of enriching and empowering itself. Athenian expansionism finally forced Sparta to lead a coalition against her rival (The Peloponnesian War, 431–404). Athens was eventually defeated. Though the city endured as an independent democracy until the conquest of Greece in 338 by Philip of Macedon (father of Alexander the Great), its defeat in the Peloponnesian War marked the end of the Athenian Golden Age. Through key ancient texts we shall follow the rise and fall of this political experiment, and examine the social and economic forces that led to the establishment and gradual corruption of Athenian democracy.

Ο όρος «γκέτο» αναφέρεται σε περιοχές στις οποίες οι μειονότητες είναι πλειονότητες, αλλά χρησιμοποιείται
και γενικότερα για κάθε αστική περιοχή στην οποία επικρατούν συνθήκες έντονης φτώχιας. Η δημιουργία
μειονοτικών γκέτο σε πόλεις έχει ιστορία αιώνων και ο όρος προέρχεται από την Βενετία του 14ου-15ου αιώνα.
Τα σύγχρονα, μεταπολεμικά, γκέτο, αναφέρονται κυρίως σε περιοχές πόλεων όπου συσσωρεύονται ακούσια
και εκούσια οι μειονότητες, ζώντας σε συνθήκες «αποκεντρωμένου ρατσισμού». Στην Ελλάδα, το φαινόμενο
έχει λάβει ιδιαίτερη έκταση τις τελευταίες δύο δεκαετίες, με περιοχές του ιστορικού κέντρου της Αθήνας να
έχουν μετατραπεί ουσιαστικά σε γκέτο, όπου επικρατεί μία «κάθετη διαστρωμάτωση». Οι μετανάστες που
στοιβάζονται σε αυτές τις περιοχές βρίσκονται στο επίκεντρο ενός φαύλου κύκλου παραβατικότητας, κοινω-
νικού αποκλεισμού και περαιτέρω υποβάθμισης, και κατηγορούνται για την δυσάρεστη κοινωνική κατάσταση
στο κέντρο της Αθήνας. Στο μάτι του κυκλώνα βρίσκεται η περιοχή του Αγίου Παντελεήμονα, όπου τηλεοπτικές
εκπομπές και δημοσιογραφικά ρεπορτάζ καταδεικνύουν τα προβλήματα και τις αντιπαραθέσεις. Η μετανά-
στευση εξισώνεται με την εγκληματικότητα και τα ΜΜΕ ενισχύουν αυτή την ταύτιση. Ωστόσο, η μετανάστευση
φαίνεται περισσότερο να αναδεικνύει υφιστάμενα προβλήματα παρά να δημιουργεί καινούργια. Η πολυπο-
λιτισμικότητα, που αντιπαρατίθεται στο ρατσισμό και την γκετοποίηση, είναι ένα εξαιρετικά σύνθετο ζήτημα
και το κυρίως ερώτημα είναι τι μορφή θα λάβει αυτή στο μέλλον. Σε κάθε περίπτωση το θέμα της μετανά-
στευσης και των γκέτο πρέπει να συνδέεται με τη θεμελιώδη και αυτονόητη ανθρώπινη αρχή για τα ίσα δι-
καιώματα και την προστασία της ζωής, της τιμής και της ελευθερίας χωρίς διάκριση εθνικότητας, φυλής,
γλώσσας.
Ψυχολογικά Θέματα, Τόμος 17-18 © 2013, Σύλλογος Ελλήνων Ψυχολόγων

ÖZ

Halktan doğan imgelerin, görsellerin toplumsal anlamları üzerine düşünmek ve onları etnografik bilgi nesnesi olarak kabul etmek kültürü anlamada zengin bir çerçeve sağlamaktadır. Bu bağlamda grafiti ve sokak sanatı hem kendine özgü halk bilgisi olan kültürel bir birim olarak hem de toplumsal kurumlarla ilişkisi bakı-mından değerlendirilmeye uygundur. Kültürel bir ifade biçimi olarak grafiti, 1960'larda kentin imkânlarından yoksun olan gençliğin varlığını ilan etme biçimi olarak New York'ta doğmuştur. Getto mahalleler ve trenlerde başlayan kentsel izler, 1980'lerde dünyanın pek çok kentinde görünürlük kazanmaya başlamış ve bu süreç içe-risinde de hâkim kültürle çeşitli ortaklıklar kurarak günümüze ulaşmıştır. Buna paralel olarak altkültürel doğa-sından uzaklaşmış; "sanat" olma niteliği ile ön plana çıkmıştır. Kendine özgü yordam ve taktikler ile gündelik hayatı yaratıcılıkla dönüştüren bu pratiğin bugün bir tür "ehlileşme" ve popülerleşmeye uğradığı; sanat galeri-leri, müzeler, belediyeler ve çeşitli kuruluşlarla iş birliğinin arttığı söylenebilir. Bu çerçevede çalışmanın ama-cını, söz konusu kültürel alanın Yunanistan'ın başkenti Atina'da nasıl deneyimlendiğini, değişimin yansımala-rını ve üretimdeki dinamikleri anlamak oluşturmaktadır. Bölgedeki kentsel izlerin yoğunluğuna dair medyanın ilgisi, 2008 sonrasında büyüyen politik ve ekonomik kriz atmosferinin grafiti ve sokak sanatı üretimini arttırdı-ğına yönelik akademik çalışmalar, tarihî ve radikal politik hareketlere konu olan, tüm duvarları grafiti ve sokak sanatı ile kaplı Exarchia isimli özgün bir semte sahip olması bu çalışma için Atina'nın seçilmesinin altında yatan sebeplerdir. Araştırmanın örneklemi çerçevesinde etnografik bir yöntem izleyerek Atina'da yaşayan 15 grafiti ve sokak sanatçısıyla derinlemesine görüşmeler ve doğal gözlem yapılmıştır. Saha araştırmasında, Atina grafiti ve sokak sanatının üretimdeki dinamikler ve motivasyonlar açısından melez bir karakterinin olduğu; sosyo-ekonomik yapının çoğunlukla bu kültürel ifade alanının gündemini belirlediği; grafitiden sokak sanatına geçer-ken toplumsal alanda "kabul görme"ye doğru bir gidişatın olduğu anlaşılmaktadır. Sahada aktörlerin her biri, birbirinden farklı motivasyonlarla özgün tarzını yaratmaya ve yarıştırmaya çabalamakta, öte yandan tarzları tüketim kültürünün bir ögesi hâline gelmekte ve piyasa mekanizmasına eklemlenmektedir. Fakat bu durum söz konusu grubun kendine özgü tarz ve kültürünün son bulduğuna değil, oyunun kurallarının değiştiğine işaret etmektedir. Anahtar Kelimeler Grafiti, sokak sanatı, kültür, altkültür, Atina.

ABSTRACT

Thinking about the social meanings of images and visuals arising from the public and accepting them as objects of ethnographic knowledge provides a rich framework for understanding culture. In this context, graffiti and street art are worth considering both as a cultural unit with its own folklore and in terms of its relationship with social institutions. Graffiti as a form of cultural expression was born in New York in the 1960s as a way of proclaiming the existence of youth who were deprived of opportunities in cities. Urban traces that started in ghetto neighborhoods and trains started to gain visibility in many cities of the world in the 1980s and it has reached today by establishing various partnerships with the dominant culture. Parallel to this, it has moved away from its subcultural nature; "art" feature has become prominent. It can be said that this practice, which transforms daily life with creativity with its unique procedures and tactics experiences a kind of "taming" and pop-ularization and cooperation with art galleries, museums, municipalities and various organizations has increased. In this context, the aim of the study is to understand how the relevant cultural area is experienced in Athens, the capital of Greece, the reflections of change and the dynamics in production. Media attention on the density of the urban traces in the region, academic studies demonstrating the effect of growing political and economic crisis after 2008 on the increase of production in graffiti and street art, the neighborhood Exarchia which is the central location of historical and political movements with its walls covered with graffiti and street art are the reasons why Athens was chosen for this study. Within the framework of the sample of the study, an ethnographic

Athens 1953. Financier Kostas Floràs is accused of the murder of painter Nassos Karnezis, found dead in his apartment in the exclusive area of Kolonaki. Floràs’s son from his first marriage, Dimitris, convinced of his father’s innocence, together with two friends, a journalist and the other a former member of parliament, try to discover who the real murderer is. In the beginning they suspect Mirtò, the daughter of an admiral that Karnezis had handed over to the Germans during the Nazi occupation and who was subsequently killed. However Dimitris and Mirtò, who proves to be innocent, fall in love while the darker side of Karnezis, involved in a smuggling ring is revealed. Juliette, Karnezis’s lover is found murdered. Dimitris and Mirtò likewise face death but are saved as a result of the intervention of Inspector Giorgos Bekas.

About the Author:
Yannis Maris
Provided one goes along with the author, the modern reader will discover several interesting aspects in the works of Yannis Marìs. First, is the inventiveness of his stories which has led one of his most credible imitators, Petros Màrkaris, to point out, “Jannis Marìs belongs to the European avanguardia in terms of detective stories. He was one of the first to understand the potentiality of the crime story to also deal with social aspects […] The only other writer who is a contemporary of Marìs who has written socio-political novels set within a detective story is Leonardo Sciascia”. To read Marìs is, in other words, to read a relatively unknown yet significant author who, had he written in a more prevalent language, (accoring to the claims of Màrkaris) could have become a cult author beyond Greece, and who made a significant contribution to the detective genre in its ‘Mediterranean’ version.

This paper assesses Thucydides' thoughts on the causes and inevitability of conflict in the Peloponnese by incorporating realist theories of interstate relations in addition to a sound analysis of Athenian imperial policy and the role of kinship in ancient Greek warfare.

Nella vicenda del colonnello Liapkine, esule russo che ha trovato scampo in Grecia dopo la rivoluzione d’Ottobre, i temi prediletti di M. Karagatsis, appaiono già pienamente maturi: il realismo orgiastico, il desiderio erotico, la forza primigenia del paesaggio fisico su cui si rispecchia il mondo psicologico dei personaggi, la mescolanza tra finzione del racconto e autenticità della storia, e l’incontro/scontro tra culture e identità diverse, talora radicalmente inconciliabili. Su tutto splende inesorabile Febo, il dio del sole che acceca le menti e a cui si riferisce la “Acclimatazione sotto Febo”, titolo della trilogia romanzesca di cui Il colonnello Liapkine costituisce la prima parte. L’ascesa e la caduta del protagonista, incapace di costruire un’identità nuova in un ambiente a lui completamente estraneo, trasporta il lettore in un mondo dominato dalla potenza spietata della storia, che come un’imperturbabile mulino di pietra macina i corpi, le anime e le coscienze dei mortali.

L'autore:
M. Karagatsis (pseudonimo di Dimitris Rodopoulos) nacque ad Atene nel 1908 e quivi morì nel 1960. Fu romanziere, autore teatrale, saggista, sceneggiatore, giornalista e critico teatrale. Scrittore prolificissimo, dal suo esordio, avvenuto nel 1927, e fino alla morte ha pubblicato undici romanzi, sei raccolte di racconti, quattro novelle, un romanzo biografico e un saggio sulla storia dei greci. Postumi sono stati pubblicati due romanzi, due romanzi storici, due diari di viaggio, tre raccolte di racconti e due volumi di scritti critici sul teatro. M. Karagatsis è considerato uno dei maggiori narratori greci del Novecento, il primo che abbia introdotto come elemento narrativo la teoria freudiana della libido. Il gusto per il pastiche, gli sconfinamenti in generi narrativi come la letteratura poliziesca e fantastica, l’uso spregiudicato della psicanalisi e della sociologia, e la rigogliosa vena narrativa fanno di quest’autore un antesignano della temperie postmoderna in Grecia e un autore diacronico che ancora oggi conosce uno straordinario successo di pubblico. “Il colonnello Liapkine” (1933) è il primo libro di M. Karagatsis a essere pubblicato in italiano.

Since the beginning of the 21 st century, art in " publicly accessible spaces " (Bengtsen, 2018: 125) has received significant attention within a number of academic fields, including most recently cognitive semiotics, which integrates methods, models, and theories from semiotics, cognitive science, and (cognitive) linguistics (Zlatev et al, 2016). Street art, graffiti, and urban art as expressive and worldwide phenomena are often considered to be variants of urban creativity (an umbrella term), encompassing several types of art in urban space (Bengtsen, 2018; Stampoulidis, 2016). Here, street art is understood as a visually perceived (un)sanctioned cross-cultural medium addressing socio-political issues and has been chosen due to its all-embracing nature. It typically combines two interacting semiotic systems – language and pictures, and is thus a form of polysemiotic communication (Zlatev and Devylder, forthcoming). By taking into account the interactions between those systems, the attention here, is paid on the expression of metaphorical and/or other potential figurative constructions. To do so, we need to take into account the embodied experiences on some level of universality (based on shared human nature and biology), via historical constraints on the level of shared conventionality and culture-specificity among sign users, unified on the level of contextual creativity and pragmatic communication. The figurative (metaphorical and other) interpretation of street artworks is challenged by our intersubjective lifeworld nature, historical knowledge-based expectancy and experiential ground, linguistic and context-specific information, and further genre conventions (for example, performativity and intertextuality). For this paper, we use data derived from fieldwork research undertaken in central Athens periodically between 2014 and 2017, including photographic documentation and interviews. Along these lines, a further contribution is offered to the questions of 1) how street artworks can be interpreted in the light of metaphorical conceptualizations, and 2) how these are related to the semiotic systems of language and pictures by taking into account their quite frequent interaction.

La proposition consiste à rechercher les catégories indiquées dans le cadre de conditions déterminées d’énonciation. Il s’agit de réfléchir autour de la notion d’agent en considérant deux figures singulières : le héros tragique et le citoyen démocratique, dont les caractères nous conduisent à la situation de l’Athènes du Ve siècle. En conséquence, le problème de la volonté et la constitution d’une notion d’agent responsable seront analysés à partir de l’intersection entre le domaine du discours tragique et le domaine de l’activité politique. Dans la conjonction de ces deux domaines, le problème crucial réside en la décision comme un processus subjectif. Notre idée centrale est que la figure du héros tragique évoque, avec ambiguïté, une antithèse politique mais aussi une métaphore du citoyen démocratique. Le héros tragique est une antithèse du citoyen démocratique parce que celui-ci prend uniquement des décisions comme partie d’une organisation collective, tandis que celui-là se présente en général sous une forme tyrannique. Mais le héros tragique est aussi métaphore du citoyen démocratique dans la mesure dans laquelle le processus subjectif réalisé par le héros opère comme recours de pensée des facteurs impliqués dans la prise de décision des citoyens réunis dans l’assemblée athénienne.

This reconstruction of Plato’s biography was researched and written when I was at the London School of Economics Department of Government in 2004-05. As an attempt to reconstruct Plato’s life with more detail than had been done before, I hope it may be of interest.

Although it’s not complete and hasn’t been used for a publication, I intend to use this material at some point in the future. I welcome any comments. Feel free to write me at benjamin.bilski@periclesfoundation.org.

Esposizione di approfondimento per studenti liceali e di laurea triennale. Atene è l"altro polo nella gamma di possibili forme della polis greca. Il cammino di Atene è per certi versi opposto a quello di Sparta: se a Sparta l"ordine politico e sociale si va cristallizzando, Atene vive una continua evoluzione sociale e sperimenta soluzioni politiche sempre nuove; se Sparta è una polis creata da un gruppo ristretto di invasori che si impone sulla popolazione preesistente, gli Ateniesi si vantavano di essere autoctoni, di essere cioè la popolazione originaria del luogo; se la storia spartana è segnata dal contrasto fra il nucleo degli Spartiati residenti a Sparta e la popolazione asservita della campagna, al contrario quella di Atene è caratterizzata dall"eguaglianza di diritti fra abitanti della città e abitanti dei villaggi, e dalla fusione di centro urbano e campagna in una unica realtà politica; se Sparta risolve il conflitto politico solo imponendo l"uguaglianza totale dei cittadini, Atene invece saprà coniugare eguaglianza di diritti politici e diseguaglianze economiche. Infine, se Sparta finisce per incarnare l"ideale dell"oligarchia (il dominio dei pochi sui molti: da olìgos "poco" e arché, "comando"), ad Atene sarà si imporrà infine quelle che gli stessi Ateniesi definiranno "isonomia", cioè la "parità di diritti" di tutti di fronte alla legge (da isos, "eguale" e nomos "legge") e "democrazia", cioè il regime fondato sul potere del popolo (da demos, "popolo" e kratos, "potere).

Le mythe de l’Atlantide et l’Égypte antique sont étroitement imbriqués si l’on en croit les dires du philosophe Platon. Il est le premier à évoquer le récit d’une île-continent, dont les orgueilleux et puissants habitants furent défaits par les Athéniens et engloutis sous les eaux, en même temps que l’Atlantide, juste après leur cuisant revers militaire. Or si Platon fait abondamment référence à l’Égypte antique, utilisant ses prêtres comme garants de la véracité d’un récit dont il a largement falsifié les faits, il existe bel et bien une source égyptienne, autrement plus ancienne que les textes du philosophe athénien, qui évoque l’histoire d’une île merveilleuse, aux ressources abondantes et riches, propriété d’une divinité, brusquement disparue sous les flots de la Méditerranée. Quelle est la part de véracité dans le récit de Platon et à quel point l’Égypte antique influença-t-elle son récit ?

Amandine Marshall est Docteur en Égyptologie et travaille actuellement à une thèse d’habilitation sur le cheval dans les mythes grecs. C’est en confrontant ses connaissances sur ces deux civilisations ancestrales qu’elle a pu établir l’existence de cette source égyptienne. Son ouvrage remet en perspective l’invention tout aussi mensongère que géniale de Platon, et, à la lueur de ce nouveau document égyptien, pose une autre question : et s’il n’y avait pas eu une mais deux Atlantides ?

This paper accompanies the publication on AIO of the inscriptions of the Marathonian Tetrapolis and is designed primarily to clarify the texts on which the translations are based. It reviews scholarship on the Tetrapolis’ sacrificial calendar (iv BC), published since my new edition, ZPE 130 (2000), 43-70, and makes some fresh observations. It also reviews the other inscriptions attributable to the Tetrapolis, IG I3 255, IG II2 2933, IG II2 1243, and an unpublished inscription.