This article investigates indigenous light as an element in the conceptualization of photography as a ‘Greek’ art from the mid-nineteenth to the first decades of the twentieth century. Key moments linking photography, writing through light, with the light of Greece will be discussed: from the mid-nineteenth-century debate about the alleged ‘Greek’ origins of photography to the thematization of light and gazing at the Greek landscape in the writings of Periklis Yannopoulos and, eventually, to interwar photographic projects bringing together contemporary scenery with antique material relics.

Archaeological excavations conducted during the construction of the Museum of the Acropolis in Athens exposed an urban neighbourhood dated from the classical to the Byzantine periods. This discovery induced a modification of the original architectural plan: museum and excavation were combined into a unique exhibition ensemble. Its visitors further created another, peculiar and makeshift, spatial innovation in the excavation quarters. This study focuses upon multiple enacted receptions of historical spaces on the site, diachronically. Byzantine dwellers perceived and used the ancient site; the Museum creators integrated the Byzantine neighbourhood; contemporary visitors spontaneously signified the entire complex with new symbolic meaning.

This article revisits Odysseus Elytis’ poem Alvaniada, first presented on the Greek National Radio Foundation (EIR) in 1956. I approach the Alvaniada as a radio poem, highlighting its role in the development of Elytis’ intermedial poetics, which aims at inventing, in his own words, ‘new fixed forms that facilitate the poem's transition from the domain of the book to the domain of the theatre or to music and song’. The case of the Alvaniada directs attention to the 1950s as a critical, yet understudied, decade for Elytis’ acquisition of canonical status: it was then that his works became widely disseminated via national cultural institutions such as the state theatre and radio.

This paper seeks to synthesize fifty years of academic historical publishing since 1974. It argues that the advent of democracy in Greece anticipated three waves of historiographic production: one immediately following the Junta's collapse in 1974 up to the 1990s; a second from the late 1990s to the 2010s; and one since then until the present.

This paper explores the Onassis Foundation's transformative impact on C.P. Cavafy's legacy by bridging traditional literary heritage with contemporary digital culture. Through strategic digitization, global events, and social media campaigns, the Foundation has expanded Cavafy's reach, reframing him as both a cultural asset and a networked figure for contemporary audiences. This study examines how an institutional approach shapes perceptions of Cavafy's work, balancing authenticity with celebrity-making, and considers the implications for Modern Greek literature's visibility on the global stage.

In this overview of the dynamic field of MG sociolinguistics in the last four decades, we show the decisive move of the field, in the spirit of sociolinguistics in general, toward permeable boundaries with other areas of linguistics that set out to investigate language-as-action and language-in-context, as well as toward synergies with other disciplines invested in the study of society and culture. The studies we discuss show how researchers have been documenting a changing, diverse society, considering different resources and environments where language is used, and with a growing focus on digital media. These studies also reflect a shift towards sociolinguistic research that addresses social justice issues and recent socio-political crises in Greek society.