Xenia

Ubiquitous in ancient Greek culture, the ethical principle of xenía may broadly translate as hospitality to strangers, doing so through taking interpersonal, political, and architectural form. Since xenía includes the accommodation of foreign guests, some evidence of xenía in architecture is logically found in houses and hostels, but surprisingly more evidence surrounds Athens’ Theatre of Dionysus, on stage in Aristophanes’ Peace and Euripides’ Cyclops, and off stage through the architects elected to look after the sanctuary of the theatre.     This paper reveals the principle of xenía permeating the professional work of the architect to such a degree that Vitruvius and Demosthenes would reproach even slight digressions from the principle, and Vitruvius would call the education of xenía the most valuable thing to outlast a shipwreck.    

Βοήθημα για την ανάλυση των κτιρίων του Προγράμματος Ξενία. Δόθηκε στους σπουδαστές στο πλαίσιο του μαθήματος Ειδικά Θέματα Συνθέσεων του 6ου εξαμήνου του ακαδημαϊκού έτους 2007-2008 με τίτλο: "Ελληνικός Μεταπολεμικός Μοντερνισμός : Τα Ξενοδοχεία Ξενία" που οργανώθηκε από το Τμήμα Αρχιτεκτόνων ΕΜΠ από την Καθηγήτρια κ. Αλεξάνδρα Μονεμβασίτου, επικ. διαδ. έργο Μυριάνθη Μουσά.

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Captain K knew the secret to life. He relies on a principle of ancient wisdom to amass the world's largest fortune. He also saves millions of people from death, exploitation and misery. However, at home, Captain K's son is seduced by a beautiful Italian woman. Does romance compromise him and the family fortune? Who's conning whom? Deceit, betrayal, stealth, love? Zeus works in mysterious ways.

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The Greek National Tourism Organization (GNTO) was founded in 1950, to develop Tourism as a basic axis of economy, to attract foreign exchange and to promote the international " icon " of Greece as a " cultural product ". At that time, high standard facilities for tourists did not exist. Thus, GNTO started the Xenia Project to create accommodation infrastructure for the development of Tourism. The produced buildings, prominent examples of PostWar Modern Greek Architecture, and the associated infrastructure, created a network that shaped the leisurescape of the country based on Modernism. Although local communities welcomed the Programme enthusiastically, it was mass tourism, new luxury life model and bad management that led the Xenia Project to decline. This paper's ambition is to reveal the current condition of the buildings and of the leisurescapes of the Programme, and the causes of their decay, to evaluate re-uses and renovations, to explore contemporary threats and to make proposals for their protection and recognition as monuments. Selected examples will support the above effort, by exposing the necessity for preservation and re-use. This article is part of a larger scale effort to communicate the values of the Xenia Project to the public, so that a large-scale restoration can be acknowledged and appreciated. Modern accommodation buildings and leisurescapes can be upgraded to a branded cultural product.

Xenia was a vital thread in the social fabric of both the Homeric world and the eighth century BC. However, due to its very importance and due to the changing environment of the world in which Homer was composing, xenia is flagged as a cause for concern in Homer through the portrayal of certain characters, situations and relationships: examples of xenia appear throughout the Odyssey and are persistently problematic. Through these examples of xenia, Homer inspires a discussion about it, which implies that it was vulnerable to abuse and change, and that the boundaries of such relationships were not concretely defined. Homer demonstrates that xenia was a way of gauging the level of civilisation of a community, which Odysseus must identify as he encounters new and alien groups on his voyage and must either depend on their hospitality or escape from their enmity. Homer also uses certain examples of xenia to define that it was a personal relationship rather than as a system of exchange that could benefit a wider community. He places xenia on a spectrum of exchange, which encompasses concerns about its relation to trade and piracy. Throughout, xenia is flagged as a concept of huge importance, yet also of huge concern, and thus an essential issue for discussion in the epic.

The Xenia Hotels Project started in 1950 by the newly-founded Greek National Tourism Organization (G.N.T.O.). It was a unique Greek State program, by which different types of buildings and infrastructures were constructed all over the country, setting the standards for Greek tourist accommodation. When and why did GNTO start the Program? Which were the aims of the Project? How did the Project change over those two decades? What are the types of the buildings? What happened to the Project? This presentation's ambition is to answer these essential questions based on documents of GNTO archives. In the early 50s, prewar tourist facilities were ruined. At the same time, the General Secretariat of Tourism was transformed to GNTO, so that the Marshall Plan would fund four hotels. Despite wishful thinking that tourism would become a main axis of postwar economy, private investors hesitated to invest in tourist accommodation. As a result, GNTO continued constructing hotels and the Xenia Project was born. From 1951 to 1958, architect Charalampos Sfaellos was the Director of the Technical Department. From 1957 to 1967, the pioneer architect Aris Konstantinides was the head of the Organization's Architectural Projects Sector. Thus, we can divide the Xenia hotels project into twο phases influenced dramatically by the architects in charge. The buildings of the Project (hotels, motels, pavilions etc.), built in beautiful and historical sites, follow the principles of modernism mixed with local and cultural context. The Xenia Hotels set international high standards for private Greek investors in tourism. Local communities welcomed the Program, too. The Program faded out when A. Konstantinides resigned under the dictatorship of 1967. In the following decades, mass tourism, new luxury life model and bad management led the Project to decline. The Xenia Project not only constructed the buildings and their infrastructure, but also produced the “Xenia” brand based on sustainable policy on tourism that promoted the international “icon” of Greece as a “cultural product”.

Το πρόγραμμα «Ξενία» περιλαμβάνει πάνω από 70 κτίρια τουριστικών καταλυμάτων και πολλές παρεμφερείς εγκαταστάσεις (τουριστικά περίπτερα, πλαζ, οδικούς σταθμούς κ.ά.) που βρίσκονται κατανεμημένα σε όλη την ελληνική επικράτεια. Οι βασικές πηγές της έρευνας είναι αφενός τα Πρακτικά των συνεδριάσεων του Διοικητικού Συμβουλίου του ΕΟΤ έως το τέλος του 1962, που αφορούν τον τρόπο λειτουργίας του Οργανισμού, το σχεδιασμό της στρατηγικής του για τον τουρισμό και τον τρόπο λήψεως των αποφάσεων που αφορούν τα «Ξενία» και αφετέρου η σχετική νομοθεσία. Στόχος της έρευνας ήταν η ολοκλήρωση ενός ενιαίου καταλόγου των έργων του προγράμματος, που θα περιέχει τεκμηριωμένα στοιχεία σχετικά με αυτά, τουλάχιστον τον αρχιτέκτονα του έργου, τη χρονολογία μελέτης, τον τύπο του κτιρίου και γενικές πληροφορίες.

Two different classes of people in Ancient Greek literature and myth are gods and men. The division between these two classes is sharp, but the chasm in between the two states of being is not impossible to cross. In the Odyssey, Homer illustrates the characters moving between becoming more godlike and more human. In the story, Odysseus must decide between being divinized and actualizing himself as a man. Odysseus eventually chooses to actualize himself as a man, which is more congruent with his nature, and allows him to flourish and help his fellowmen to do so.

In the early 50s, Greece started its reconstruction after World War II and a following civil war. The Greek National Tourism Organization (G.N.T.O.) was founded in 1950, when tourism became a basic axis of the national economy, and started the Xenia Project; the one and only attempt of the Greek State to create accommodation infrastructure for the development of Tourism. Under the dictatorship of 1967, the 'Era of Reconstruction' ended and the official tourism policy changed, giving priority to mass-tourism.
The buildings of the project (more than 70 all over the country), prominent examples of Post-War Modern Greek Architecture, set the standards of accommodation for International Tourism, in a time that high standard facilities for tourists did not exist and there was no interest for private investment in tourism. The project includes different types of buildings (hotels, motels, hostels, pavilions etc.) in privileged places - beautiful and/or historical sites. Those constructions were made to offer hospitality to high class international tourists, who brought valuable foreign exchange to a poor developing country. On the other hand, those buildings with their infrastructures became very popular to the local society, hosting festivals, weddings, conferences etc. till nowadays.
Xenia Hotels Project represents the efforts of the only non-communist Balkan country to connect with Western Europe. This paper reveals unknown aspects of Post-War Modern Greek Architecture, based on unpublished documents of the GNTO archives. Official policies on Tourism, the State Budget, international tourism models etc. defined the building types of the project. For almost two decades the Xenia Project evolved and adapted to a changing reality.

Η βασική πηγή του κεφαλαίου αυτού είναι τα Πρακτικά των συνεδριάσεων του ΔΣ του ΕΟΤ και βασίζεται σε υλικό που έχει καταγραφεί από την ίδρυση του ΕΟΤ (1951) έως το τέλος του έτους 1962. Το υλικό είναι πρωτότυπο και από αυτό μπορούν να βγουν τεκμηριωμένα συμπεράσματα για την πολίτικη του τουρισμού και το πρόγραμμα «Ξενία». Από τη μελέτη του υλικού αυτού είναι φανερό πως δεν ακολουθείται μια ενιαία και σταθερή τουριστική πολιτική. Η πολιτική για τον τουρισμό ξεκινά να σχεδιάζεται, πριν ακόμη το 1951, από τη Γενική Γραμματεία Τουρισμού. Το Ανώτατο Συμβούλιο Τουρισμού, αποφασίζει να τη διαλύσει και να επανιδρυθεί ως ΕΟΤ σε έναν νέο πιο ευέλικτο Οργανισμό, προσαρμοσμένο στις απαιτήσεις της εποχής. Η πολιτική για τον τουρισμό εξελίσσεται, αναπροσαρμόζεται, διαψεύδεται, ανατρέπεται, εμπλουτίζεται διαρκώς ανάλογα με τα γεγονότα και τις εξελίξεις στην ελληνική επικράτεια, διατυπώνοντας διαρκώς νεωτερικές ιδέες και πρωτότυπες σκέψεις που ακόμη και σήμερα εκπλήσσουν για την τόλμη τους.

In queste righe tratteremo le raffigurazioni di natura morta e soggetti a essa assimilabili nelle decorazioni parietali abitative di età romana, con particolare riferimento a contesti in area vesuviana. Con lo scopo suggeriamo una selezione di contributi scientifici, avendo maggior riguardo per ricerche e cataloghi recenziori di alcuni autorevoli studiosi che si sono succeduti nell’indagine del genere, sulla scorta di Ueber Stilleben aus Pompeji und Herculaneum, opera di H.G. Beyen che già nel 1928 tentò una preliminare classificazione delle pitture di natura morta in base allo stile di appartenenza. Il distacco materiale dalle pareti di provenienza, nonché il campionamento inventariale in base al genere di soggetti dipinti, hanno inficiato praticamente sino agli ultimi decenni l’organizzazione d’un sistema di conoscenze critiche esaustivo e uno definitivo studio per questa categoria di reperti.

L’opera traccia un compendio globale della collezione di pitture ercolanesi e pompeiane del Museo Archeologico Nazionale di Napoli, pubblicato in concomitanza con la riapertura della sezione che li custodisce e allo stato degli studi in data di pubblicazione. Il lavoro giunge al termine d’un lungo processo di adeguamento della struttura e riallestimento di queste testimonianze superstiti della pittura antica.
La pittura pompeiana è un testo strutturato in diciassette capitoli, cui segue il catalogo suddiviso in dodici, ciascun riservato a un ambiente del Museo tra quelli che espongono attualmente le pitture: Sale dalla LXVI alla LXXV, LXXVII e LXXVIII. Ogni sezione dell’opera è riccamente illustrata con fotografie a colori di L. Spina.

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This article focuses on the asàrotos òikos theme in roman mosaics, and aims at exploring the social significance these depictions have held during the late Imperial Period, and their relation to the proceedings of the banquet. This study suggests that "disguised symbolism" and erudite references rest behind the representation of these seemingly daily objects, which could only have be fully understood by members of the Roman cultural elite, who possessed the proper education for the task. The mosaic served as a starting point for the elitist practice of an erudite discourse, and as a reminder of the brevity of life.

The healing of blind Bar-Timaeus (Βαρ-Τιμαῖος), in Mark 10, may appear to be one of the simplest and least spectacular of Jesus’ miracles, but beneath the surface of this brief periscope is a key reoccurring theme of Jesus’ ministry and Greco-Roman culture. Providing hospitality to travelers/beggars (Xenia - ξενία), and the related concept of gods, angels and/or heroes arriving disguised as travelers or beggars (Theoxenia - θεοξενία), are frequent themes in the Bible (in both the Hebrew and Christian scriptures), as well as in Greco-Roman myth and culture.

Bar-Timaeus may be more than a blind beggar. His “hidden identity” may be that of a Greco-Roman philosopher who has chosen a beggar’s life. And his deepest desire may not be the restoration of physical sight, but obtaining spiritual enlightenment that only Jesus, the Son of David (Υἱὲ Δαυὶδ) can give.

Bar-Timaeus’ healing, in Mark’s gospel, is also a pivotal point for Jesus revealing his “hidden identity,” what some have termed the “messianic secret.” Earlier in his ministry, Jesus instructed those he healed to not “tell this to anyone” (Mark 1:44). When demons begin to announce Jesus’ hidden identity as “Son of God,” Jesus commands them to be silent and “gave them strict orders not to tell others about him” (Mark 3:11-12). Mark 1:34 says, “(Jesus) cast out many demons, but he would not allow the demons to speak because they knew he was the Messiah.” When speaking to the Twelve, Jesus told them, “To you has been given the secret of the kingdom of God. But to those on the outside everything is given in parables” (Mark 4:11). Later, when Jesus asked his closest disciples, “‘Who do you say that I am?’ Peter answered, ‘You are the Messiah.’ Jesus warned them they should tell no one about him” (Mark 8:29-30).

When Jesus encounters Bar-Timaeus, however, Jesus no longer seeks to conceal his “hidden identity.” When Bar-Timaeus calls him “the Son of David,” synonymous with Messiah, Jesus does not command him to be silent; and several hours later, when Jesus nears Jerusalem, he rides into the city in a symbolic manner that proclaims his “hidden identity” to anyone familiar with the scriptural prophesies about the Messiah, the anointed King of Israel.

Herodotus relates the account of a meeting between Hippocrates, the father of the future Athenian tyrant, and the famed Spartan ephor Chilon. The passage contains much novelized material; I nonetheless argue we may extract some information of historical value from it. The account proves the activity of the Peisistratid family on the Pan-Hellenic level since the onset of the VI century. The information is cross-referenced with the attestation of the existence of bond of friendship-hospitality between the Peisistratids and Sparta in the last years of the VI century: the conclusion I propose is that the circumstances for its first institution were provided by the meeting between Hippocrates and Chilon two generations earlier.

Les liens d'hospitalité (ξενία) dans le monde grec sont traditionnellement noués entre deux individus, généralement des personnages en vue dans leurs cités, et se transmettent de génération en génération, créant ainsi des réseaux familiaux puissants. Avec l'avènement de la cité isonomique à Athènes l'hospitalité devient ambiguë : établie entre des grandes familles de différentes cités, ou avec des barbares, elle donne aux hôtes (ξένοι) une influence qui va à l'encontre de l'égalité de pouvoir entre les citoyens, que ce soit à Athènes ou dans d'autres cités comme Sparte. L'oeuvre de Xénophon écrite au début du IVe siècle met particulièrement bien en lumière ce rôle ambivalent de l'hospitalité et les différentes stratégies individuelles employées pour la justifier. En effet, la ξενία n'est pas supprimée même après les coups de force oligarchiques et la restauration démocratique mais utilisée comme outil diplomatique par la cité. Un subtil équilibre s'établit donc entre liens communautaires et individuels mais il est sans cesse menacé par les conflits incessants que connaissent les Grecs et les peuples qui les entourent dans la première moitié du IVe siècle. On s'interrogera particulièrement dans cette communication sur la nature des relations d'hospitalité entre Grecs et Perses qui posent un certain nombre de problèmes aux cités des protagonistes grecs de ces relations puisqu'elles donnent à ces Grecs un pouvoir politique très supérieur à leurs concitoyens. En même temps, les cités ne peuvent pas se passer de ces individus capables de nouer des relations avec l'élite perse. Ainsi étant donné la tension observée dans l'oeuvre de Xénophon entre la xenia aristocratique et la répartition égale des pouvoirs entre citoyens, nous allons donner quelques pistes pour essayer de mettre en lumière le fonctionnement de ces relations entre Grecs et Perses, en montrant qu'elles sortent du cadre mis progressivement en place par la cité. Nous verrons ensuite les difficultés de la cité pour réguler ces relations, en analysant les moyens de contrôle qu'a la cité sur ces elles, avant de voir jusqu'à quel point les cités s'accommodent de ces relations avec les Perses qui leur sont nécessaires.

Ubiquitous in ancient Greek culture, the ethical principle of xenía may broadly translate as hospitality to strangers, doing so through taking interpersonal, political, and architectural form. Since xenía includes the accommodation of foreign guests, some evidence of xenía in architecture is logically found in houses and hostels, but surprisingly more evidence surrounds Athens’ Theatre of Dionysus, on stage in Aristophanes’ Peace and Euripides’ Cyclops, and off stage through the architects elected to look after the sanctuary of the theatre.   

This paper reveals the principle of xenía permeating the professional work of the architect to such a degree that Vitruvius and Demosthenes would reproach even slight digressions from the principle, and Vitruvius would call the education of xenía the most valuable thing to outlast a shipwreck.

The Persian Wars and the development of democracy in Athens in the fifth century B.C. changed the general expectations about the lives and habits of Athenian elites. Can we say something about the societal aspects the Athenian elite in fifth century Athens had to cope with, especially with the critique on their way of life? Were it the Persian Wars and the development of democracy alone that made it difficult to remain true to traditional features of elite-life, or was there more?

Pollen effect (xenia) plays an important role in modifying biochemical constituents of maize (Zea mays L.) kernels. The objectives of this study were to i) evaluate the effect of filial generations on certain genetic estimations; ii) compare general (GCA) and specific combining ability (SCA) effects obtained from Griffing's diallel analyses between parental (F0) and F1 generations; iii) determine the relationships between pollen effect and genetic estimations; and iv) examine the possible utility of pollen effect for improving kernel-quality traits (protein and oil contents). We conducted two experiments (F0 in 2011 and F1 in 2013) and examined kernel protein and oil contents. Individual pollen effects (IPE) and specific individual pollen effects (SIPE) were computed. The results showed that entries (E) and filial generations (G) and E × G interaction variances were significant for both protein and oil contents, whereas changes in genetic estimates between generations were highly variable. The signs and magnitudes of GCA effects were similar and highly correlated (r > 0.80) between F0 and F1 generations for all four diallel methods. In addition, GCA effects were highly correlated with IPE estimates for all four diallel methods. Specific combining ability (SCA) estimates between F0 and F1 generations were moderately correlated (r = 0.50) in Method IV for oil and highly negatively correlated (r =-1.00) in Method III for protein content. Heterosis analyses showed that hybrids could not be evaluated on the basis of the F0 generation to predict their F1 performances. Individual pollen effects between generations showed higher correlation for protein content (r = 1.00) than for oil content (r = 0.40). Specific individual pollen effects of parents were also slightly higher for protein content (r = 0.74) than for oil content (r = 0.62). We concluded that the direct or indirect utilization of pollen effect (xenia) was possible for parental evaluation but not suitable for hybrid evaluation for kernel oil and protein contents.

Sources preserve the attestation of a guest-friendship (xenìa) binding the Peisistratid tyrants of Athens and Sparta in the end of the VI century B.C. This research begins by analysing the circumstance in which this xenìa is attested and poses the question as to when the relationship was instituted. Spartan-Athenian diplomatic contacts in the second quarter of the VI century are discussed. I propose the reconstruction according to which the xenìa was first instituted in the early VI century by contacts in Olympia between Hippocrates, the father of Peisistratus, and the Spartan Sage Chilon. Argumentation relies of textual and historiographical analysis of Herodotus, coeval archaeological material and a contextualisation of the international geo-political situation of the early VI century.

Στην παρούσα εργασία θα προσεγγιστεί ερμηνευτικά η Ἄλκηστις μέσω ανάλυσης των σχέσεων ξενίας που περιγράφονται σε αυτήν, ειδικότερα εκείνων τις οποίες αναπτύσσει ο Άδμητος τόσο με τον Απόλλωνα, όσο και με τον Ηρακλή, και θα αποδειχθεί η λειτουργία τους ως μοτίβου σύμφωνα με το οποία δομείται το έργο και κινητοποιείται η δράση του. Κεντρική έννοια της ανάλυσής μου είναι εκτός από την ξενίαν και εκείνη της φιλίας, και είναι επομένως ανάγκη να προσεγγιστούν εξ’ αρχής οι σημασίες τους· πρωταρχικά λοιπόν διερευνώνται οι δύο έννοιες, ιδιαίτερα στα πλαίσια των ομηρικών επών, και γίνεται προσπάθεια σύνταξης περιγραφικών ορισμών τους. Παράλληλα επιχειρείται μια αποδελτίωση των χρήσεων των όρων ξενία και φιλία, και των παραγώγων τους, στην ίδια την τραγωδία. Στο τελευταίο τμήμα της εργασίας παρουσιάζεται ο τρόπος με τον οποίο το έργο φαίνεται να δομείται γεωμετρικά ακριβώς πλαισιωμένο από αυτές τις πραγματώσεις σχέσεων ξενίας μεταξύ του Αδμήτου και των φιλοξενούμενών του, και πώς αυτή ακριβώς η γεωμετρική δομή του κινητοποιεί και υποστηρίζει την δράση.

Comparative analysis of gift-giving in Homer and in the Trobriand Islands, showing that within an institution notionally dominated by forms and attitudes of generosity, it is possible and acceptable to seek to make a profit out of the exchange of gifts.

Η εργασία έχει ως θέμα τη διαμόρφωση ενός boutique hotel, στον χώρο όπου στεγαζόταν και λειτουργούσε το Μοτέλ Ξενία, στον Καρτερό Ηρακλείου, το οποίο έχει χαρακτηριστεί ως διατηρητέο. Στο πρώτο μέρος της παρούσας πτυχιακής γίνεται αναφορά στο Πρόγραμμα Ξενίατου ΕΟΤ, στον επικεφαλή αρχιτέκτονα Άρη Κωνσταντινίδη, στην περιοχή μελέτης αλλά και στην υπάρχουσα κατάσταση μετά από επίσκεψη της ομάδας εργασίας στον χώρο τον Αύγουστο του 2020. Στο δεύτερο μέρος παρουσιάζεται ο σχεδιασμός, από την πηγή έμπνευσης μέχρι και την τελική μορφή του ξενοδοχείου όπως αυτή διαμορφώθηκε μετά από εκτενή μελέτη σχετικά με τις απαιτήσεις ενός boutique hotel.
The thesis subject is the transformation to a boutique hotel of the listed historic Xenia Motel which was operating at Karteros Heraklion. During the first part of the thesis, the study presents the Xenia program which was carried out by the Greek National Tourism Organization, the lead architect Aris Konstantinidis, the site and the current state of the Motel after a site visit in August 2020. In the second part of the thesis, we present the design of the proposal, from the source of inspiration up to the final look of our proposal, as it was shaped through extensive research about the requirements of a boutique hotel.

Vitruvius' de Architectura uses the Latin word ‘xenia’ once, in the chapter on the Greek house, in a seemingly casual note about decorative painting. Yet the Greek homophone denotes a long-esteemed ethical principle permeating Athenian culture and Homeric legend. Greek-speaking readers of de Architectura cannot have missed the reference. Roughly translated as hospitality to strangers, the Greek xenia (ξείνία) referred to both a set of ritualised practices and a socio-political disposition. Vitruvius mentions xenia while explaining another word that also passed from Greek to Latin, ‘andron'. Once referring to a man-making leader, the word andron next referred to a men's dining room, and finally, for Vitruvius, a hallway connecting guests' apartments; it is here that Vitruvius tells us ‘this is why artists called pictures representing the things which were sent to guests “xenia”’. Drawing together the early history of xenia and andron in Latin and Greek, and Vitruvius&...

La monografía que nos ocupa es una versión revisada y extendida de la tesis doctoral de William Mack (W. M.), dirigida por Charles Crowther y John Ma, cuya influencia se puede apreciar en algunos de los capítulos de la misma. Además de la obra en papel, el autor se apoya en una página web propia (www.csad.ox.ac.uk) que recoge las diferentes bases de datos en las que se localizan los epígrafes que ha empleado para desarrollar el trabajo. El lenguaje empleado a lo largo de todo el libro destaca por su claridad y conci-sión en la exposición. Ya en la introducción, W. M. critica a Louis Robert quien, en torno a 1970, decía que no era necesario desarrollar nuevas investigaciones sobre la proxenia después de que Paul Monceaux expusiera en su obra que consideraba que ya se sabía todo lo que se podía saber sobre ella. Porque W. M. defiende la necesidad de este estudio, sobre todo basándose en los restos epigráficos que se han encontrado hasta la fecha, labor que desarrolla no sólo con manifiesto rigor, sino también con una metodología particular que le lleva a realizar reflexiones interesantes que deben ser tenidas en cuenta. La obra se divide en cinco capítulos. En el primero de ellos, sin duda el más extenso, W. M. pretende explicar lo que considera el paradigma-próxeno, esto es, el conjunto de características relacionadas con el comportamiento, el prestigio o la función, que definen a un proxenos como tal. Para hacerlo se vale de una metodolo-gía inductiva, utilizando casos particulares como el de Carmión, hijo de Eumáridas de Creta. En el mismo capítulo trata de deshacer algunos de los mitos propios de esta institución, como el hecho de que el aspecto comercial no fuera un factor de-terminante a la hora de decidir quién se convertiría en próxeno. W. M. expone de manera somera todos aquellos servicios que parece que los proxenoi debían realizar: dar hospitalidad y cobijo, facilitar el contacto entre poleis, servir de fuente de infor-mación tanto para los visitantes públicos como para los privados (explicándoles las condiciones locales), cooperar en la liberación o el trato a prisioneros de guerra si la polis a la que servía se veía involucrada, realizar préstamos en casos excepcionales, reconocer jurídicamente a individuos que pertenecieran a la comunidad a la que representaba y, especialmente, desarrollar los diferentes intereses de la polis que lo hubiese nombrado proxenos en aquélla en la que era residente. Una de las críticas más duras en este primer capítulo va dirigida a aquellos que, siguiendo lo que el au-tor llama el paradigma-próxeno de larga duración, consideran que las funciones y la existencia de esta institución desaparecen a inicios del Helenismo. W. M. demuestra en su estudio que los proxenoi siguieron existiendo prácticamente en los mismos términos hasta la segunda mitad del siglo I a.C., postura que amplía en el último capítulo.

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FUNGSI :
1. Menghilangkan tar/aspal
2. Membersihkan lem bekas stiker mobil
3. Menghilangkan getah pohon
4. Menghasilkan permukaan cat mobil menjadi bersih

* DAPATKAN HARGA SPESIAL SEKARANG JUGA!!

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