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New detailed stratigraphic and micropaleontological works on the famous exposures of Permian rocks in Hydra rich in Foraminifera, allows to define the stratigraphy of other outcrops in Aegina, Salamis, Attica and Chios. A synthetic section is presented which is characterized by the development of 3 successive carbonate platforms during the Permian and by 4 main tectonostratigraphic events. The youngest of these events marks the closure of the Paleotethyan ocean and the collision of a former Gondwanian/Cimmerian passive margin in the S with an active margin in the N.

Detailed single‐channel continuous seismic reflection profiling data from four gulfs as well as onshore neotectonic investigations have allowed the study of the neotectonic structure of the Hellenic arc along a complete transverse section from its external area in the trench to the internal back‐arc area. Messiniakos Gulf is an asymmetric NW‐SE structure with considerable tilt towards the NE. It is the direct continuation of the continental slope from the trench to the island arc (Peloponnesus, Crete, Dodekannese). Argolikos Gulf is an almost symmetric NW‐SE graben occupying the northern edge of the Cretan back‐arc basin. Saronikos Gulf is a multi‐complex structure of a NW‐SE graben in the SW (Epidaurus Basin) and alternation of E‐W horsts and grabens in the North. Its neotectonic evolution is characterized by the Plio‐Quaternary volcanic arc activity. Southern Evoikos Gulf is a relatively shallow neotectonic graben in the back‐arc area at the northern prolongation of the Cycladic Platform. Each of the above neotectonic basins has its own characteristics which are probably due to their geodynamic position in the Hellenic arc. In general, there is a decrease in the neotectonic deformation, the sediment thickness and the sedimentation rates from SW to NE, going from the periphery to the core of the arc. Copyright © 1988, Wiley Blackwell. All rights reserved

The electrical (apparent) resistivities ρ were measured by means of the magnetotelluric effect at twenty sites in Greece and in two directions, E-W and N-S. In most of the sites, ρEW differs considerably from ρNS. These results allow the following three zones to be distinguished: 1. (1) an external zone along western Greece with ρEW > ρNS; 2. (2) an intermediate zone along the main mountain chain in continental Greece where ρNs > ρEW and 3. (3) an internal zone in the northern Aegean where ρEW > ρNS. The above resistivity zones are compared to data from geotectonic, neotectonic, seismotectonic and in situ stress measurements which all show a similar geometry of zonation almost parallel to the active Hellenic Arc. © 1987.

The Cycladic blueschist belt consists of two distinctive segments separated by a broad zone of superposed granitic and high-temperature metamorphic rocks. The northern segment contains early metamorphic fold axes and parallel glaucophane lineations that trend ~060° with a progressive increase in metamorphism toward the southeast. The southern segment contains similar fold axes and glaucophane lineations that trend ~010° with an apparent increase in metamorphism toward the northwest. Radiometric dating of metamorphic minerals from both segments give apparent ages of about 40 to 80 m.y. These data suggest the existence of late Mesozoic or early Cenozoic subduction zones in the Aegean region that subsequently collided. © 1981 Geological Society of America.

This dissertation examines Greek television fiction and attempts to proffer queer readings of a wide range of texts that were made and broadcast in the 1990s and 2000s. These texts, despite their differences, fall under the general rubric of “comedy” and enjoy phenomenal popularity ever since their inaugural appearance on the small screen. There has been growing academic interest in the examination of the relatively underexplored sub-field of Greek television fiction, and this dissertation contributes to this project, using Οι Απαράδεκτοι [The Unbearables] (MEGA, 1991-1993), Στο Παρά 5 [In the Nick of Time] (MEGA, 2005-2007), Το Καφέ της Χαράς [Hara’s Café] (ANT1, 2003-2006), and Ντόλτσε Βίτα [Dolce Vita] (MEGA, 1995-1997) as its main case studies. The case studies selected in this dissertation integrate gender, (a)sexuality, family, domesticity, body, and/or age in their narratives as a vehicle to create humor, yet in ways which have divided and continue to divide how audiences understand and interpret them. Today, more than ever before, the reception of these texts has generated mixed criticism from everyday people and critics, many of whom approach them either through nostalgic or polemic lenses. Employing feminist and queer theoretical frameworks and making use of close-reading techniques, I search for gaps, cracks, and fissures in the comedies’ narratives and conventions in order to suggest ways in which popular, heavily consumed texts can reveal cultural "knowledge" that may have remained unnoticed or intentionally suppressed.

The close relationship between Cavafy and theatre has been widely established. While previous research has comprehensively detailed the inspiration Cavafy has taken from writers and themes of ancient theatre, very little work has been conducted on Cavafy’s use of performance and theatre as a whole. The aim of my thesis is to explore how the poetry of Cavafy is informed by theatre and performance, and how these modes are used to subvert and create identities. In addition, theatre and performance are rarely fixed quantities in Cavafy’s poetry; instead, they are fluid and can mean a variety of ideas. Theatre, for example, can refer to a building, an event, a code, or a practice. In turn, this means that the way performance and theatre inform Cavafy’s poetry is often about the idea of the ‘in-between’ that is so central to his work. Things are rarely black-and-white, and the grey areas are where the interest lies. In support of my position, I firstly summarise existing studies on Cavafy and theatre, as well as the references or observations made on Cavafy’s dramatic nature or theatricality. In the first chapter, I conduct a comprehensive overview of published literature on Cavafy’s work and his interactions with the world of theatre. My review shows that the bibliography of work detailing Cavafy and theatre may be reasonably extensive, but most scholars approach his work from from a text-centric perspective – that is, the ways in which Cavafy used theatrical texts as inspirations for poems, rather than from the point of view of performance. I conclude that, though much has been written on theatre as source material for Cavafy, not enough critical analysis has focused on how theatricality and performance permeate his body of work as a whole. This introduction chapter summarizes the existing landscape of literature on Cavafy and performance, highlights the limitations of existing studies, and identifies an important gap in our existing understanding of Cavafy’s poetry. These observations form the rationale for my original analysis, which begins in the next chapter. I begin my original analysis by introducing the dramatic devices utilised by Cavafy in his poetry, and establishing definitions of theatre, drama, and performance for the purposes of this thesis. The specific dramatic devices I examine in Cavafy’s work include staging, props, lighting, sound, explicit mentions of theatre (as a building, activity, institution, or art form) or theatrical events, dialogue, monologue, actors, and spectators, and finally, text, direction, and set design. I use these throughout the thesis to clarify the way Cavafy engages with memory, history, identity, and other such themes from a theatrical point of view. I define theatricality as the inherent theatre of every-day life and drama as the way in which Cavafy acts as a stage director, developing scenes and narration in his poems. I define performance in accordance with the emergence of performance studies; in other words, it encompasses not only theatrical performances, but also rituals, ceremonies, public events and performativity.

This thesis turns to a watershed in the history of modern Greece – its defeat in the Greco-Turkish War (1919-1922) and the population exchange that followed – as remembered in present-day Greece. On the one hand, it describes how family memories find their way into cultural representations and provide a language as well as a form for other reminiscences. On the other hand, it aims to show how those cultural representations participate in wider transformations that occur in the public sphere. Methodological tools developed in the field of cultural memory studies are coupled with insights drawn from history, psychology and anthropology. Within this interdisciplinary framework, the memory of Asia Minor emerges as reflective of present-day ideologies and responsive to contemporary concerns. The introduction sets the discussion in a wider context, providing historical background of the Greco-Turkish War and outlining the ways in which its memory has been reworked in history and culture from 1922 until the present day. Different mnemonic communities that have assembled around the memory of Asia Minor are discussed in Chapter 2, by drawing on the controversy over a history textbook that ensued in 2006-2007. Chapter 3 uses an example of a graphic novel in order to foreground the aesthetic and memory practices that Asia Minor sets in motion when the relay of remembrance reaches the third generation. Chapter 4 discusses the memory of the cosmopolitan Ottoman port of Smyrna on theatre stage and proposes memory as a portable toolkit for bearing witness in the future. Chapter 5 puts this premise to the test in the context of the refugee crisis as it unfolded in Greece in 2015.

This thesis stakes out to reframe the debates surrounding a widely criticised chapter in the cultural history of modern Greece: the receptions of the classical past under the Dictatorship of 21 April (also known as ‘the dictatorship of the Colonels’) during the period 1967 to 1973. Informed by the hermeneutics of classical reception studies, I aim to provide a new perspective on the dictatorship, one that focuses on the contemporaneity of its discursive and visual renderings of antiquity, but which departs from a conceptual framework that is dictated by the master narrative of the Cold War (by the polarisations between Right and Left). The project converges on the ideological discourses, educational policies and the mass spectacles of the Colonels, each of which has been designated as fraught with 'ancestoritis' or 'pseudoclassicism' in the literature. In breaking away from value judgments and notions of misappropriation, it is my intention that the project functions as an exercise in a critical levelling with the dictatorship’s multifold classicisms. Concomitantly, I propose that in order to better understand the politics of reception of the Aprilians, which have often seemed impenetrable, it is necessary to branch out into more cross-disciplinary methods of enquiry than those that have been employed in the past. My own approach borrows analytical tools from theories of counter-intelligence, cultural studies, political theory, educational sociology and performance studies. With this exploratory patchwork, the present study hopes to contribute toward opening up a field on which it is possible to examine the dictatorship on its own terms, while taking into account the composite articulations of antiquity with power, upward social mobility, economic development, and entertainment and leisure culture in 1960s Greece.

The focus of this thesis is to trace the dialogue between the Greek cinéma d' auteur and Greek literature focusing on film adaptations of Greek literature from 1964 to 2001. It is argued that film adaptations are a sensitive prism through which to examine the auteurs? cultural politics regarding their work and, through that, understand the economy of the auteurist cultural production itself. The thesis consists of five chapters. Chapter One presents the history of the creation of the Greek cinéma d' auteur and traces its developments in relation to the concepts of national and high art. The principle argument is that Greek literature, endowed with notions of high art and national identity, played a key role in the gradual emergence, formation and consolidation of auteurism as a cinema that enunciates national identity and articulates high art values. The next four chapters examine four film adaptations each made by an acclaimed auteur. The chapters endeavour to investigate the identity politics of each director in relation to the categories of high and national art that defined the Greek cinéma d' auteur. Moreover, the chapters aim to study the politics involved in the validation or renegotiation of auteurism itself. The major contribution of the thesis is the exploration of film adaptations of Greek literature in the Greek cinéma d' auteur which has not been systematically discussed so far. Furthermore, the investigation of the two separate components that make up the subject of the thesis, namely cinema and literature, both from a theoretical perspective and within the framework of film studies, aligns the thesis with recent discussions in Modern Greek Studies and theoretical debates about authorship in films, film adaptations as well as peripheral cinemas.

The present thesis examines the way E.M. Forster, Lawrence Durrell, W.H. Auden, Stephen Spender, Joseph Brodsky, and James Merrill appropriated C.P. Cavafy in writings that were disseminated and consumed amongst culturally dominant literary circles, and which eventually determined the Greek-Alexandrian poet’s international reputation. I aim to contribute a new perspective on Cavafy, by evading the text-based tradition of reception studies, and proposing an alternative method of discussing the production of Cavafy's canonical status. Inspired by Pierre Bourdieu's sociological theory, I view literary canonization as involving a variety of factors at play beyond creative achievement: in particular, relationships of 'authorial consecration' whereby writers create and circulate cultural capital through their power to legitimize other artists. The critical and fictional texts I analyse perform readings of Cavafy's poetry alongside imaginative portrayals of the poet's life and personality. I take this complementary relationship - between the image of the poet each author projects and their reading of his work - as a starting point to explore the broader ideas of aesthetics and authorial subjectivity that inform the renderings of Cavafy generated by prominent literary figures. Rather than passive recipients of influence, these figures are considered as active agents in the production of 'Cavafy narratives', appropriating the poet according to their own agendas, while also projecting onto him their own position within the cultural field. Eventually, Cavafy becomes a point of insight into the multiplicity of networks and practices involved in the production of cultural currency; in turn, the study of the construction of Cavafy's authorial identity sheds light on the cumulative processes that have defined the way the poet is read and perceived to the present day. This duality of perspective is essential to a study concerned with the cultural contexts framing the poet's steady rise to international fame throughout the 20th century.

This thesis examines feminist rewritings of the Penelope myth and the intersections between poetry, myth, and feminist theory. The theoretical framework develops from Rosi Braidotti’s theory of memory and subjectivity which has its roots in the work of Michel Foucault. In Braidotti’s understanding, subjectivity is constructed through narratives of the past including myth. In order to support new, minority, and dissident subjectivities, a re-remembering of mythical narratives needs to happen. This process is linked to Judith Butler’s recent work on narrating the self and to Adrienne Rich’s idea of “Re-vision”. What Butler’s theory adds to Braidotti’s is the notion of dispossession: that as subjects we do not own our identities. We are, instead, dependent on others for recognition. This co-dependence based notion of subjectivity has ethical implications for how we interact with one another and what kind of narratives we iterate and reiterate. The writers discussed in this thesis, namely, Francisca Aguirre, Katerina Anghelaki-Rooke, Gail Holst-Warhaft, and Margaret Atwood, not only rewrite Penelope, but perform Re-visions of the myth. They look back at it with a critical eye and remake it. This thesis further contends that Re-vision provides contemporary feminist writers with a reading and writing strategy that allows them to engage with myth in a way that parallels feminist theory’s efforts to construct new forms of subjectivity. Chapter 1 frames feminist appropriations of myth in a contemporary context and discusses Adrienne Rich’s theory of Re- vision. The next four chapters focus on specific writers who carry out a sustained dialogue with Penelope; they each take an element of the myth and tease it out towards a modern relevance. In looking at how Penelope is revised, this thesis demonstrates that women writers are engaged in a process of remaking canonical, mythic texts in such a way that speaks to contemporary issues of ethical subjectivity and self-making.

Submarine hydrothermal systems along active volcanic ridges and arcs are highly dynamic, responding to both oceanographic (e.g., currents, tides) and deep-seated geological forcing (e.g., magma eruption, seismicity, hydrothermalism, and crustal deformation, etc.). In particular, volcanic and hydrothermal activity may also pose profoundly negative societal impacts (tsunamis, the release of climate-relevant gases and toxic metal(loid)s). These risks are particularly significant in shallow (2–dominated fluids at high temperatures (~265°C) with a clear mantle signature. Kolumbo’s HVF hosts actively forming seafloor massive sulfide deposits with high contents of potentially toxic, volatile metal(loid)s (As, Sb, Pb, Ag, Hg, and Tl). The proximity to highly populated/tourist areas at Santorini poses significant risks. However, we have limited knowledge of the potential impacts of this type of magmatic and hydrothermal activity, including those from magmatic gases and seismicity. To better evaluate such risks the activity of the submarine system must be continuously monitored with multidisciplinary and high resolution instrumentation as part of an in-situ observatory supported by discrete sampling and measurements. This paper is a design study that describes a new long-term seafloor observatory that will be installed within the Kolumbo volcano, including cutting-edge and innovative marine-technology that integrates hyperspectral imaging, temperature sensors, a radiation spectrometer, fluid/gas samplers, and pressure gauges. These instruments will be integrated into a hazard monitoring platform aimed at identifying the precursors of potentially disastrous explosive volcanic eruptions, earthquakes, landslides of the hydrothermally weakened volcanic edifice and the release of potentially toxic elements into the water column.