{"id":1204,"date":"2026-03-30T17:22:59","date_gmt":"2026-03-30T14:22:59","guid":{"rendered":"https:\/\/seremetakis.othonas.aboutdev.gr\/?page_id=1204"},"modified":"2026-06-17T10:55:15","modified_gmt":"2026-06-17T07:55:15","slug":"scholia-kritikes","status":"publish","type":"page","link":"https:\/\/seremetakis.com\/en\/scholia-kritikes\/","title":{"rendered":"Reviews"},"content":{"rendered":"
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\n\t\t\t\tAs the first Greek national to be comprehensively trained in American cultural anthropology, Seremetakis challenged entrenched homeostatic binary inversion models of death rituals and gender relations in Anglophone Mediterranean social anthropology.\nBased on long-term fieldwork and unprecedented linguistic expertise, Seremetakis rejected assumptions of social totality through intricate performance, divination practices, embodied labour, and a feminised material culture.\nHer integration of the senses and material culture has methodologically influenced recent symbolic and cognitive archaeology. Seremetakis\u2019s linkage of material culture and emotions registered methodological advances in the anthropology of the body comparable to Julia Kristeva\u2019s theory of abjection\u2026\t\t\t<\/p>\n\t\t\t\t\t\t\t

\n\t\t\t\t\t\t\t\t\t\t\tQuote from the work Biographical Dictionary of Social and Cultural Anthropology<\/em><\/cite>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Reviews & Comments Abroad
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For the overall body of work<\/strong>
30 speakers\/videos: World Journeys Through People and Texts, public tribute event, Athens 2019<\/a><\/p>

For the book Recognizing the Everyday<\/em><\/strong><\/p>

\u201cThis book is an impassioned intervention in a changing European and modern political culture. It re-enchants the everyday, the grass-roots, the familial-feminine, and the concrete in unique and important ways\u2026and proposes a new public anthropology of broad use refocused on the sensorium that emerges from the traumatic in everyday life. Drawing on her own continuing fieldwork and cultural participation in Greece, as well as elsewhere in Europe and the US, and inspired by Adorno, Taussig, Benjamin, Foucault, de Certeau, and other critics of a flattening, disembodying modernity, Seremetakis engages the politics of EU \u201cmanagement\u201d and other practices of \u201cmodern development\u201d with sensitive attention to their effects on ordinary people living everyday lives. The observations found in this book are rich and exciting, and the interpretations advanced are unpredictably open-minded\u2026\u201d<\/em>
Judith Farquhar, Max Palevsky Professor of Anthropology, University of Chicago, and Director of the University\u2019s Center in Beijing.<\/p>

\u201cA major work that will certainly be discussed and become a reference point for many years \u2026It reveals Seremetakis as an ethnographer of the everyday, strolling the world like a modern day flaneur, with her eyes open for telling details that are then woven into extraordinary anthropological analyses of diverse topics \u2026.that add up to \u201cthe study of the quotidian in process.\u201d Her ruminations\u2026exquisitely and sensitively observed and poignant beyond words, reveal also that she has not stopped thinking on pain and death, just gotten better at it\u2026. This is Seremetakis at her finest\u2026\u201d
<\/em>Paul Stoller, Professor of Anthropology, West Chester University,\nGold Metal Ander Retzius in Anthropology 2013<\/p>

\u201cThis book is marked by a heterogeneity of micrological ethnographic sites cut across by recurrent themes\u2026such as the spatialization of sensory experience and memory, the critique of the axis of Dominant and Archaicized culture (as formulated by Raymond Williams), a counter concern with Residual and Emergent cultural forms excluded from that axis, and a unique philological approach to sensory experience through an archeology of vernacular language. This framework generates fascinating insights on cultural heritage as sensory archives in relation to the museumification of Greece which is in direct communication with its current debt collapse. \u2026Powerful is also the author\u2019s analysis of rumor as an element of corruption and deceit of Greek public culture.\u201d\u201d<\/em>
Allen Feldman, Professor of Media, Culture and Communication, New York University<\/p>

ANTHROPOLOGICAL JOURNAL OF EUROPEAN CULTURES–vol.29. no.1(2020)
\u00ab\u2026Sensing the Everyday is a reciprocal manoeuvre between theory and practice, affective divinations and verbal deconstructions that anticipate, reshape, and transfigure the daily realm. It is an assemblage, a montage of a complex ethnography that proves the vividness of the senses and scrutiny of its author\u2026
`\u2026The variety of the examples and sources used from the media an d multi-sensory interrogations are overwhelming. This effect, however, is what gives the book its main strength\u2026
\u2026Every intimate moment is carefully analyzed. Her observation of micro-affections, the feminine appropriations of everyday life, and her self reflections are mesmerizing. The ambiguous identities in the face of multi-sensorial modes of everyday life and the omnipresence of shattered identities are both transmitted by the richness of ethnological reflections and the writing style.\u00bb
<\/em>Is\u0327\u0131l Karatas\u0327 University of Vienna<\/p>

For the book Introduction to Cultural Anthropology<\/em><\/strong><\/p>

\u201c\u201cThis invaluable textbook introduces cultural anthropology while also setting this American approach within a global context where there are competing national traditions of anthropology. Still more importantly, American-trained yet intimately familiar with Europe, professor and fieldworker Seremetakis is both an insider and an outsider to Cultural Anthropology proper and this makes her presentation unusual and most insightful.\u201d\u201d<\/em>
Charles Stewart, Professor of Anthropology, University College London (England)<\/p>

\u201cAn Introduction to Cultural Anthropology is a stunningly original and important introduction to contemporary cultural anthropology. Written in clear and compelling prose, this work places anthropology squarely within its powerful historical context. Seremetakis demonstrates powerfully how prominent anthropologists from Franz Boas to Michael Taussig have variously told the tale of social and cultural differences that have made a difference in our comprehension of the human condition. In these troubled times, Seremetakis has produced a work that shows students how anthropologists produce works that mark a path toward a better life, a path toward wisdom.\u201d
<\/em>Paul Stoller, Professor of Anthropology, West Chester University
<\/span>Gold Medal, 2013 Anders Retzius Gold Medal Laureate in Anthropology<\/p>

\u201c\u201cExceptionally well written, organized and presented, \u2018An Introduction to Cultural Anthropology\u2019 would well serve as a basic text book for introductory courses in cultural anthropology and is to be considered as an essential, core addition to community, college and university library Anthropology collections and supplemental studies reading lists.\u201d
<\/em>Midwest Book Review Library Bookwatch (vol. 12, no. 9, Sept. 2017).<\/p>

For the book The Last Word<\/em><\/strong><\/p>

\u201cA remarkable book. Anyone who thinks they already know how to address the relationship between death and the social order \u2013 or relations between men and women for that matter \u2013 should read this book. It is a powerful invitation to think again.\u201d
<\/em>Michael Taussig, Columbia University (Professor of Anthropology)<\/p>

\u201c\u2026The last word in contemporary anthropology\u2019s efforts to link the linguistic with the sensory, the analytical with the aesthetic, the structural with the experiential\u2026\u201d<\/em>
George Marcus, Rice University (Chair, Anthropology Dept.)<\/p>

\u201c\u2026A fascinating book and a work of exemplary learning\u2026 It constitutes the perfect bridge (between the present and the past), an anthropological perspective on the Other and a sense of continuity and discontinuity between archaic and contemporary Greece\u2026\u201d
<\/em>Page duBois, University of California (Professor of Classics)<\/p>

\u201c\u2026The Last Word must become the first word in our re-listening to Mediterranean societies\u201d\u2026<\/em>
Catharine Stimpson, New York University (Dean, Graduate School of Arts & Sciences \/ Professor of Comparative Literature \/ Women\u2019s Studies)<\/p>

\u201c\u2026A work that combines a \u2018most meticulous scientific anthropology with turns of imagination reminiscent of Baudelaire\u2019\u2026\u201d
<\/em>Paul Friedrich, University of Chicago (Professor of Linguistics)<\/p>

\u201c\u2026Let us read Seremetakis between Marija Gimbutas and Julia Kristeva\u2026 Striking is the continuity between the Neolithic goddesses of birth and death revealed by Gimbutas\u2019s archaeological excavations in the Balkans and the exhumation rituals performed a little further south by the women of Mani. Likewise, between the polyphonic laments of the Maniot women and the bodily polyphony celebrated by Kristeva\u2019s poetics\u201d\u2026<\/em>
American Ethnologist<\/em>, Margaret Trawick (Massay University, New Zealand)<\/p>

\u201cA remarkable book. Anyone who thinks they already know how to address the relationship between death and the social order \u2013 or relations between men and women for that matter \u2013 should read this book. It is a powerful invitation to think again.\u201d
<\/em>Marilyn Strathern, University of Manchester, England (Professor of Anthropology)<\/p>

\u201cSeremetakis\u2019s book which I enjoyed teaching\u2026, is a passionately conceived ethnography of death as social experience.\u2026 Imagery, writing style, argument \u2013 all are explosive. There will be no dispassionate responses, but few will forget the effect.\u201d
<\/em>Arthur Kleinman, Harvard University (Professor of Social Medicine \/ Anthropology)<\/p>

\u201c\u2026With this book, the term \u2018participant observation\u2019 takes on \u2018new meaning\u2019, while the author\u2019s \u2018analysis illuminates the dynamics of gender politics in a way that has not previously been researched in Greece or anywhere else\u2019\u2026\u201d
<\/em>Modern Greek Studies Yearbook<\/em><\/p>

For the book THE SENSES STILL\n\n<\/em><\/strong><\/p>

\u201c\u2026\u201cI am quite taken by the breath and depth of Seremetakis\u2019s\u2026 The Senses Still.\n\u2026This volume provides a detailed anthropology of the way that memory has been shaped and shapes us through our technical means of cultural memory\u2026 A solid, intellectually daring book!\u201d
<\/em>Sandor Gilman, Cornell University (Professor, Germanic Studies)<\/p>

\u201cA thick satisfying soup of a book, with new flavors and new routes to rewriting a history of the senses. \u2026A book to prod the anesthetized body of theory on modernity via a tour from early Hollywood camerawork on war to contemporary videowork on Rodney King, from newly opened body of Swedish interwar gymnasiums to the lost tastes of Grecian peaches\u2026\u201d
<\/em>Catharine Lutz, University of North Carolina (Professor of Anthropology)<\/p>

\u201cThe Senses Still explores areas of cultural life too complex, too experimental to be contained within the bounds of a traditional ethnography\u2026 An understanding of culture must include an examination of the role of the senses. Seremetakis\u2026confronts us with this necessity.\u201d
<\/em>Jay Ruby, Temple University (Professor, Center for Visual Communication)<\/p>

\u201c\u2026In most treatises, the body is examined as a text that is \u2018read\u2019 and \u2018written\u2019. In Seremetakis\u2019s work, the body\u2026 is also experienced through the senses\u2026 Social science has much to gain from adopting her poetically sensual approach\u2026\u201d
<\/em>Paul Stoller, Westchester University (Professor of Anthropology \/ Ethnographic Film)<\/p>

\u201c\u2026I feel delighted to be part of the elaborate composition of this important volume\u2026\u201d
<\/em>Susan Buck-Morss, Cornell University (Professor, Government Studies)<\/p>

\u201c\u2026This book will loosen many anchored thoughts\u2026 It is clear that The Last Word<\/em> was not and will not be the only text by Seremetakis that opens new horizons for us\u2026\u201d
<\/em>Allen Feldman, Dept. of Culture & Communication, New York University (author & Professor of Anthropology)<\/p>

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Recognizing the Everyday by C. Nadia Seremetakis<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Reviews & Comments in Greece
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Newspaper TO VIMA<\/em>, 19\/4\/98,<\/strong>
Aris Maragkopoulos, Critic \u2013 Translator \u2013 Author<\/strong><\/p>

\u201d \u2026The three books, The Last Word, The Senses Still and Crossing the Body, of the anthropologist Seremetakis map an inexhaustible anthropological topos: the senses.\n\u2026If the investigation of the unknown topos of the senses explains to some degree the enchantment that Seremetakis\u2019s work exerts, the subversive way by which she achieves this enchantment, completes the picture \u2013 a picture that is heretical and unorthodox in the context of conventional anthropology. Seremetakis places the researcher to the position of the anthropological subject and visa versa. She in turn plays with the symbolic, emotional and performative use of everyday language. She reads sensory forms where classical anthropologists read mummified stereotypes, (in terms of her research subjects) she recognizes \u201cdonors\u201d where others see mere \u201cinformants\u201d, she moves through experiential fragments of the private which retrieve the collective memory that was fragmented by modernization, she mixes narrative tropes invisible to common scientific discourse; in short she merges the ethnographic with the biographical in the persona she herself terms \u201chybrid figure, the native anthropologist.\u201d Following this dangerous route \u2013 dangerous because she does not adopt the neo-colonial gaze of the dominant discipline, the author is forced to constantly translate or, more accurately, transmute her voice\u2026\nSeremetakis proves to the reader that she knows the origin of language in the senses as much as she knows the anthropological code\u2026 Those who will look into her texts will learn it through a most enjoyable reading\u2026\u201d<\/em><\/p>

In the second book, entitled Repatriation of the Senses<\/em>, the anthropologist initiates a dialogue with foreign thinkers on this terrain: What happens with the senses and sensory forces that haunt contemporary culture, memory and our identity? She herself outlines the parameters for a detailed discussion of the issue in Greek reality. Susan Buck-Morss addresses the same subject in its cinematic version, Jonas Frykman in Sweden during the interwar period, Allen Feldman in television, while, finally, Paul Stoller summarizes the dialogue with the previous contributors, emphasizing the necessity of sensory anthropology. The author\u2019s third volume advances the same dialogue, but this time on the ground of the History of Culture and Gender in Greece. Bypassing the chronic issue of historical continuity, Seremetakis depicts a different continuity, one owed to the interventionist power of woman and gender\u2026 If the exploration of the unknown landscape of the senses explains to some extent the fascination exerted by Seremetakis\u2019s work, the subversive way in which she achieves this completes the captivating picture\u2026<\/em><\/p>

Seremetakis renews the object of her science from the ground up, boldly shifting the subject \/ researcher into the position of the anthropological object. She plays with the symbolic, emotional and performative use of everyday language, reads artifacts where classical anthropologists read museum stereotypes, recognizes female and male donors where other anthropologists discern informants (informants, that is, traitors to their culture), turns to empirical fragments of the private\u2014which nevertheless retrieve collective memory butchered by \u201cmodernization\u201d\u2014and finally mixes narrative modes not adopted by conventional scientific discourse; in short, she merges the ethnographic with the biographical in this genre that she herself calls \u201cthe hybrid figure known as the native anthropologist.\u201d<\/em><\/p>

Yet by following this dangerous path\u2014dangerous insofar as it does not adopt the neo-colonial gaze of dominant science\u2014the author is constantly compelled to translate, or more accurately to disguise, her discourse\u2026<\/em><\/p>

Seremetakis demonstrates to the reader that she has a sufficient command both of the explosiveness of the language of origin\u2014that is, the senses\u2014and of the endurance of the target language\u2014that is, the anthropological code. She therefore confronts the problem through a process of repeated translations-disguises.<\/em><\/p>

The discourse of the senses is, first of all, renamed; the sensory paradigm drawn from collective everyday life\u2014the peach, the greens, the embroideries, coffee, dust, the sitting room, the shadows\u2014dynamically renames collective sensation, \u201cspeaks by itself\u201d the language Seremetakis seeks. On the other hand, the authentic discourse of the donor women of the Peloponnese, which she allows to penetrate her text actively and subversively, reinforces the fidelity of this first transposition\u2026<\/em><\/p>

This linguistic discourse is then translated once again: into the scientific\/personal discourse of the anthropologist herself, who, as I said at the beginning, takes particular boldness in shifting herself between the position of a multiple subject (anthropologist, woman, Greek, etc.) and that of an anthropological object at the same time, insofar as she is involved in the sensory process of memory of her donors\u2026<\/em><\/p>

The third and final translation concerns the dominant anthropological code\u2014that which, among other things, certainly does not speak Greek. Here, the author\u2019s primary concern is not to conform to the rule of anthropological idiolect, but, on the contrary, to emancipate herself from it. Faced with this challenge, having traversed the two previous stages of translation and therefore of self-consciousness, discourse has only one possibility if it is to utter the ultimately unspeakable yet existent voice of the senses: to arrive at that same uncanny mode of expression generated by the archetypal mother of every language: poetry\u2026<\/em><\/p>

\u2026We live in times when transaction is equated with cheap modernization, at every level; in literature this has taken the form of an epidemic. I therefore recommend Seremetakis\u2019s anthropological mythistories as the most interesting, most vivid novels, compared with most of those circulating today\u2026\u201d<\/em><\/p>

Newspaper KATHIMERINI<\/em>, 9\/10\/91<\/strong><\/p>

\u201cThe Last Word inaugurates the perspective of \u201cnative anthropology\u201d in European ethnography and especially in the anthropology of Greece. It opens the door to diachronic analysis of Greek culture and the investigation of self \u2013 knowledge that such analysis presupposes\u2026\u201d<\/p>

Stoa tou Vivliou, March 12, 1998<\/strong>
Maria Damanaki, Member of Parliament \/ President, \u201cObservatory for Women\u2019s Rights\u201d<\/strong><\/p>

\u201c\u2026 In THE LAST WORD, a really remarkable piece of work by Seremetakis, \u2026.one understands that pain is the lament itself \u2013 the lament is not the description of pain \u2013 it is the necessary tool \u2026of pain. Pain unites speech with ritual movement, the sob\u2026 The mourning singer in her improvised lament presents the dead\u2026 just like the corypheus in the ancient tragedy \u2013 a parallelism successfully drawn and analyzed by Seremetakis. Precisely because she understood so deeply that pain \u2013 substance, that poetry \u2013 pain; and saw it not only with the eyes of her discipline but also through her own personal poetics\u2026\u201d<\/p>

Stoa tou Vivliou, March 12, 1998<\/strong>
Katerina Angelaki-Rouk, Poet<\/strong><\/p>

\u201c\u2026In the ethnography The Last Word\u2026, in this truly exceptional work, the \u2018exile\u2019 of the dead, which the author analyzes so fascinatingly, becomes simple, familiar, almost concrete.<\/em>
The woman lamenter presents the dead person, describes him, like the coryphaeus of Greek tragedy\u2014a parallel that Seremetakis draws and analyzes so successfully and so beautifully. Precisely because she herself understood so deeply this poetry-essence, this poetry-pain. And she saw it not only through the eyes of science, but also through her own personal poetic sensibility. This is, after all, also proven by the exceptional writing of her book The Last Word\u2026\u201d<\/em><\/p>

Stoa tou Vivliou, March 12, 1998<\/strong>
Giannis Sakellarakis, Archaeologist, Professor & Author<\/strong><\/p>

\u201c\u2026I can speak about two of the most significant books of Nadia Seremetakis, THE LAST WORD and CROSSING THE BODY, from my own angle, that of a woman who very early in her life got actively involved in the androcentric social and political life of Greece and in this long process I had the opportunity to experience, observe, evaluate and reevaluate facts and events of gender behavior. Today, looking back I conclude with sadness that we lacked a scientific guide, a scientific base of \u201cWomen\u2019s Studies\u201d that women activists, women politicians would be able to go to and draw documentation and, why not, self knowledge.\u2026<\/em><\/p>

Checking ,out of personal interest, the international bibliography\u2026and seeing the significance that gender had acquired in the various disciplines, I became aware of our gap and terrible lack in Greece\u2026\nGiven all this, I must stress the importance of the Greek publication of Seremetakis\u2019s books. Nowhere in the international bibliography do we encounter anything parallel to her work. In my opinion her books do not simply add but they create a base of scientific quality and validity valuable to Greek researchers on gender issues\u2026<\/p>

Stoa tou Vivliou, March 12, 1998<\/strong>
Giannis Tsiolis, Professor of Comparative Literature, New York University<\/strong><\/p>

\u201c\u2026 When referring to the work of Nadia Seremetakis we actually speak of the poetry of human science. And in this book presentation \u2013 event today we are presenting the poet \u2013 anthropologist Seremetakis\u2026 Specifically her ethnography THE LAST WORD is a highly original and exciting work that radically invigorates existing theories of the last two decades in anthropology, literature, sociology, performance studies, and changes the ethnographic writing bringing it closer to poetic discourse in the context of European Studies and beyond\u2026\nCharacteristic of her book is that rare position of the writer \u2013 researcher both inside and outside the culture under study\u2026 This gives a\u2026 richness in her writing which carries not only the strength of persuasion but the dynamics of imagination and daring\u2026. Thus she opens horizons that her discipline itself has not yet thought of existing\u2026.\u201d<\/p>

Stoa tou Vivliou, March 12, 1998<\/strong>
Giorgos Andreopoulos, former Secretary General of the Ministry of Justice, Legal and Political Analyst<\/strong><\/p>

\u201d \u2026Looking at Seremetakis\u2019 s work in general, we can say she always experiments and pioneers methodological and thematic exchanges between disciplines. There one discovers her extraordinary ability to investigate difference but also connections between apparently unrelated phenomena, issues and spaces and to masterfully montage scattered fragments.\nFor her original, invigorating theory on montage we must read and reread THE SENSES STILL\u2026\nHer writings which began appearing abroad since 1991, pose questions and answers that concern the most crucial problems in Greece today. And her answers which are not easy, are given to the reader poetically, opening horizons we did not know before\u2026.\u201d<\/p>

Archaeology<\/em> magazine, no. 66, March 1998<\/strong><\/p>

\u201cThe Senses Still:<\/em>
\u0391 very interesting, path breaking for the Greek context, book\u2026\nThe texts of the volume lead us to the understanding of culture through the senses that shape it\u2026\u201d\u201d<\/em><\/p>

Theseis<\/em> magazine, no. 55, 1996<\/strong><\/p>

\u201c\u2026there is one thing that makes her work unsurpassable: the development of her theory of performance as poesis. In THE LAST WORD the concept of poesis is restored to include all three realities: the ritualistically material, the social-functional and the imaginary. This synthetic conceptual foundation points to the interpretation of poesis that Diotima realized in Plato\u2019s Symposium. After Diotima\u2026 Seremetakis is second in the history of ideas and the first after the domination of religious\u2026misinterpretations of the Middle Ages\u2026 to restore poesis as material praxis, as social intervention and as imaginary conception of human social past, present and future.\u2026 THE LAST WORD is\u2026 a foundational work in Greek anthropology.<\/p>

Eptakyklos<\/em> magazine, May 1998<\/strong><\/p>

\u201c\u2026Unlike all other anthropological works \u2026Seremetakis\u2019s work is not a unidimensional anthropological study but combines scientific interest with poetic sensibility and realistic documentation with philosophical interpretation\u2026 Undoubtedly this intermarrying of science with poetics in her books created a work that represents a theoretical and methodolical break in the context of Humanities and Social Studies\u2026\u201d<\/p>

Magazine POLITIKA THEMATA<\/em>, 22\/9\/95<\/strong><\/p>

\u201c\u2026The Last Word:<\/em>
Uniqueness and absolute originality in its methodological approach\u2026<\/em>
It highlights the social foundation and the scientific basis of the legal theorem that \u2018custom, where it prevails, has the force of written law\u2019\u2026\u201d<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

As the first Greek national to be comprehensively trained in American cultural anthropology, Seremetakis challenged entrenched homeostatic binary inversion models of death rituals and gender relations in Anglophone Mediterranean social anthropology. Based on long-term fieldwork and unprecedented linguistic expertise, Seremetakis rejected assumptions of social totality through intricate performance, divination practices, embodied labour, and a feminised […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"no-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"full-width-container","site-content-style":"unboxed","site-sidebar-style":"unboxed","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"disabled","ast-featured-img":"disabled","footer-sml-layout":"disabled","ast-disable-related-posts":"","theme-transparent-header-meta":"enabled","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-1204","page","type-page","status-publish","hentry"],"yoast_head":"\n\u039a\u03c1\u03b9\u03c4\u03b9\u03ba\u03ad\u03c2 & \u03a3\u03c7\u03cc\u03bb\u03b9\u03b1 - C. 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