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Greek film director Theo Angelopoulos is one of the most influential and widely respected filmmakers in the world today, yet his films are still largely unknown to the American public. In the first book in English to focus on Angelopoulos's unique cinematic vision, Andrew Horton provides an illuminating contextual study that attempts to demonstrate the quintessentially Greek nature of the director's work. Horton situates the director in the context of over 3,000 years of Greek culture and history. Somewhat like Andrei Tarkovsky in Russia or Antonioni in Italy, Angelopoulos has used cinema to explore the history and individual identities of his culture. With such far-reaching influences as Greek myth, ancient tragedy and epic, Byzantine iconography and ceremony, Greek and Balkan history, modern Greek pop culture including bouzouki music, shadow puppet theater, and the Greek music hall tradition, Angelopoulos emerges as an original "e;thinker"e; with the camera, and a distinctive director who is bound to make a lasting contribution to the art form. In a series of films including The Travelling Players, Voyage to Cythera, Landscape in the Mist, The Suspended Step of the Stork, and most recently in Ulysses' Gaze starring Harvey Keitel (winner of the 1995 Cannes Film Festival Grand Prix), Angelopoulos has developed a remarkable cinematic style, characterized by carefully composed scenes and an enormous number of extended long shots. In an age of ever decreasing attention spans, Angelopoulos offers a cinema of contemplation.

Aristophanes has enjoyed a conspicuous revival in nineteenth- and twentieth-century Greece. Here, Gonda Van Steen provides the first critical analysis of the role of the classical Athenian playwright in modern Greek culture, explaining how the sociopolitical "e;venom"e; of Aristophanes' verses remains relevant and appealing to modern Greek audiences. Deriding or challenging well-known figures and conservative values, Aristophanes' comedies transgress authority and continue to speak to many social groups in Greece who have found in him a witty, pointed, and accessible champion from their "e;native"e; tradition. The book addresses the broader issues reflected in the poet's revival: political and linguistic nationalism, literary and cultural authenticity versus creativity, censorship, and social strife. Van Steen's discussion ranges from attitudes toward Aristophanes before and during Greece's War of Independence in the 1820s to those during the Cold War, from feminist debates to the significance of the popular music integrated into comic revival productions, from the havoc transvestite adaptations wreaked on gender roles to the political protest symbolized by Karolos Koun's directorial choices. Crossing boundaries of classical philology, critical theory, and performance studies, the book encourages us to reassess Aristophanes' comedies as both play-acts and modern methods of communication. Van Steen uses material never before accessible in English as she proves that Aristophanes remains Greece's immortal comic genius and political voice.

Valued for their sensual and social intensity, Greek dance-events are often also problematical for participants, giving rise to struggles over position, prestige, and reputation. Here Jane Cowan explores how the politics of gender is articulated through the body at these culturally central, yet until now ethnographically neglected, celebrations in a class-divided northern Greek town. Portraying the dance-event as both a highly structured and dynamic social arena, she approaches the human body not only as a sign to be deciphered but as a site of experience and an agent of practice. In describing the multiple ideologies of person, gender, and community that townspeople embody and explore as they dance, Cowan presents three different settings: the traditional wedding procession, the "e;Europeanized"e; formal evening dance of local civic associations, and the private party. She examines the practices of eating, drinking, talking, gifting, and dancing, and the verbal discourse through which celebrants make sense of each other's actions. Paying particular attention to points of tension and moments of misunderstanding, she analyzes in what ways these social situations pose different problems for men and women.

Provides a view of what it means to be a Greek man or woman, married or unmarried, functioning within a complex society based on kinship ties. This title demonstrates that kinship and gender identities in Greece are not unitary and fixed: kinship is organized in several highly specific forms, and gender identities are plural.

In a Different Place offers a richly textured account of a modern pilgrimage, combining ethnographic detail, theory, and personal reflection. Visited by thousands of pilgrims yearly, the Church of the Madonna of the Annunciation on the Aegean island of Tinos is a site where different interests--sacred and secular, local and national, personal and official--all come together. Exploring the shrine and its surrounding town, Jill Dubisch shares her insights into the intersection of social, religious, and political life in Greece. Along the way she develops the idea of pilgrimage-journeying away from home in search of the miraculous--as a metaphor for anthropological fieldwork. This highly readable work offers us the opportunity to share one anthropologist's personal and professional journey and to see in a "e;different place"e; the inadequacy of such conventional anthropological categories as theory versus data, rationality versus emotion, and the observer versus the observed. Dubisch examines in detail the process of pilgrimage itself, its relationship to Orthodox belief and practice, the motivations and behavior of pilgrims, the relationship between religion and Greek national identity, and the gendered nature of religious roles. Seeking to evoke rather than simply describe, her book presents readers with a sense of the emotion, color, and power of pilgrimage at this Greek island shrine.

"e;If the Saint calls you, if you have an open road, then you don't feel the fire as if it were your enemy,"e; says one of the participants in the Anastenaria. This compelling work evokes and contrasts two forms of firewalking and religious healing: first, the Anastenaria, a northern Greek ritual in which people who are possessed by Saint Constantine dance dramatically over red-hot coals, and, second, American firewalking, one of the more spectacular activities of New Age psychology. Loring Danforth not only analyzes these rituals in light of the most recent work in medical and symbolic anthropology but also describes in detail the lives of individual firewalkers, involving the reader personally in their experiences: he views ritual therapy as a process of transformation and empowerment through which people are metaphorically moved from a state of illness to a state of health. Danforth shows that the Anastenaria and the songs accompanying it allow people to express and resolve conflict-laden family relationships that may lead to certain kinds of illnesses. He also demonstrates how women use the ritual to gain a sense of power and control over their lives without actually challenging the ideology of male dominance that pervades Greek culture. Comparing the Anastenaria with American firewalking, Danforth includes a gripping account of his own participation in a firewalk in rural Maine. Finally he examines the place of anthropology in a postmodern world in which the boundaries between cultures are becoming increasingly blurred.

A collection of poems that present what the author calls "simple things" that turn out not to be simple at all. It presents a world of subtle nuances, in which everyday events hide much that is threatening, oppressive, and spiritually vacuous.

Putting Greek writer Nikos Kazantzakis's vast output into the context of his lifelong spiritual quest and the turbulent politics of twentieth-century Greece, Peter Bien argues that Kazantzakis was a deeply flawed genius--not always artistically successful, but a remarkable figure by any standard. This is the second and final volume of Bien's definitive and monumental biography of Kazantzakis (1883-1957). It covers his life after 1938, the period in which he wrote Zorba the Greek and The Last Temptation of Christ, the novels that brought him his greatest fame. A demonically productive novelist, poet, playwright, travel writer, autobiographer, and translator, Kazantzakis was one of the most important Greek writers of the twentieth century and the only one to achieve international recognition as a novelist. But Kazantzakis's writings were just one aspect of an obsessive struggle with religious, political, and intellectual problems. In the 1940s and 1950s, a period that included the Greek civil war and its aftermath, Kazantzakis continued this engagement with undiminished energy, despite every obstacle, producing in his final years novels that have become world classics.

In the dramatic monologues, especially those based on the grim history of Mycenae and its royal protagonists, this work presents a poetic paradigm of the condition of Greece. It also contains a group of modern narratives, including the famous, and much-anthologized, "Moonlight Sonata."

Maps and borders notwithstanding, some places are best described as "e;gaps"e;--places with repeatedly contested boundaries that are wedged in between other places that have clear boundaries. This book explores an iconic example of this in the contemporary Western imagination: the Balkans. Drawing on richly detailed ethnographic research around the Greek-Albanian border, Sarah Green focuses her groundbreaking analysis on the ambiguities of never quite resolving where or what places are. One consequence for some Greek peoples in this border area is a seeming lack of distinction--but in a distinctly "e;Balkan"e; way. In gaps (which are never empty), marginality is, in contrast with conventional understandings, not a matter of difference and separation--it is a lack thereof. Notes from the Balkans represents the first ethnographic approach to exploring "e;the Balkans"e; as an ideological concept. Green argues that, rather than representing a tension between "e;West"e; and "e;East,"e; the Balkans makes such oppositions ambiguous. This kind of marginality means that such places and peoples can hardly engage with "e;multiculturalism."e; Moreover, the region's ambiguity threatens clear, modernist distinctions. The violence so closely associated with the region can therefore be seen as part of continual attempts to resolve the ambiguities by imposing fixed separations. And every time this fails, the region is once again defined as a place that will continually proliferate such dangerous ambiguity, and could spread it somewhere else.

Extending historical approaches to Greece, this work contains essays that map a social history of Greece in the 1940s and 1950s, a period in which the country grappled - bloodily - with foreign occupation and intense civil conflict. It explores how war and civil war affected the family, the law, and the state.

C P Cavafy, one of the greatest modern Greek poets, lived in Alexandria for all but a few of his seventy years. Alexandria became, for Cavafy, a central poetic metaphor and eventually a myth encompassing the entire Greek world. This work on Cavafy in English describes Cavafy's literary progress and aesthetic development in the making of that myth.

A new international maritime order was forged in the early modern age, yet histories of the period have dealt almost exclusively with the Atlantic and Indian oceans. This book brings the Mediterranean and Catholic piracy into the broader context of early modern history, and focuses on commerce and the struggle for power in this volatile age.

The life of Nikos Kazantzakis - the author of "Zorba the Greek" and "The Last Temptation of Christ" - was as colorful and eventful as his fiction. And nowhere is his life revealed more fully or surprisingly than in his letters. This title offers a comprehensive selection of Kazantzakis' letters that touches on various aspects of Kazantzakis' life.

Here Molly Greene moves beyond the hostile "e;Christian"e; versus "e;Muslim"e; divide that has colored many historical interpretations of the early modern Mediterranean, and reveals a society with a far richer set of cultural and social dynamics. She focuses on Crete, which the Ottoman Empire wrested from Venetian control in 1669. Historians of Europe have traditionally viewed the victory as a watershed, the final step in the Muslim conquest of the eastern Mediterranean and the obliteration of Crete's thriving Latin-based culture. But to what extent did the conquest actually change life on Crete? Greene brings a new perspective to bear on this episode, and on the eastern Mediterranean in general. She argues that no sharp divide separated the Venetian and Ottoman eras because the Cretans were already part of a world where Latin Christians, Muslims, and Eastern Orthodox Christians had been intermingling for several centuries, particularly in the area of commerce. Greene also notes that the Ottoman conquest of Crete represented not only the extension of Muslim rule to an island that once belonged to a Christian power, but also the strengthening of Eastern Orthodoxy at the expense of Latin Christianity, and ultimately the Orthodox reconquest of the eastern Mediterranean. Greene concludes that despite their religious differences, both the Venetian Republic and the Ottoman Empire represented the ancien regime in the Mediterranean, which accounts for numerous similarities between Venetian and Ottoman Crete. The true push for change in the region would come later from Northern Europe.