{"id":1303,"date":"2026-04-01T11:14:25","date_gmt":"2026-04-01T08:14:25","guid":{"rendered":"https:\/\/seremetakis.othonas.aboutdev.gr\/?page_id=1303"},"modified":"2026-05-07T10:03:08","modified_gmt":"2026-05-07T07:03:08","slug":"diaschizontas-synora","status":"publish","type":"page","link":"https:\/\/seremetakis.com\/en\/synentefxeis-mme\/diaschizontas-synora\/","title":{"rendered":"Crossing Borders"},"content":{"rendered":"
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Crossing Borders<\/h1>\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
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A documentary series about prominent figures who excel in their respective fields and help create a better tomorrow for us all. It captures their lives and thoughts, \u201csteals\u201d a few moments from them, and offers the joy of the meaningful connection we were able to share with them.

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The book Creating Tomorrow<\/em>, like the television documentary, enters into dialogue with people who live the future as the present and who have shaped its coordinates according to their own inner sense of time, regardless of age. These are people whose contribution, dynamism and work concern us all, not merely on an informational level but in a deeper and more meaningful sense. Contact with them can help make us better human beings. For this reason, such a record of words and thoughts becomes especially important today, in the course of an era that, amid its speed, is forgetting its deeper self.

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The guests featured in the documentary and in this volume have demonstrated through their lives and work that they are capable of resisting the sweeping emptiness and the allure of easy solutions.

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They all possess the gift of genuine generosity and had the openness to share it, engaging tirelessly with us throughout the many demanding hours of television filming, as well as during our lengthy meetings for this publication.\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/p>

Papaioannou Publications<\/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\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u2013 You have published numerous books and articles in Greece and abroad. One of them is the well-known ethnography The Last Word at Europe\u2019s Edge: Sensory Experience, Death, Women<\/em>, a foundational work in the field of Greek anthropology. How would you define it?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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An ethnography about the border and as a border. It stands at the threshold between life and death, dream and waking reality, tradition and modernity, periphery and centre. It is a book of concentrated, unresolved historical tensions.<\/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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\u2013 This book is the result of many years of fieldwork. What important lessons did the women of Mani teach you over all those years?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The Greek concept of poetry.<\/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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\u2013 What does that mean?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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It signifies both material creation and imagination. For the poetics of the periphery always concerns the imaginary dimension of material worlds, objects and persons that come into being and pass away. In Inner Mani, for example, this imaginary dimension emerges from women\u2019s relationship with death.<\/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<\/div>\n\t\t

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\u2013 You write poetry yourself. You once surprised us at an international scientific conference of palaeoanthropologists in Mani when, instead of the customary opening address we expected, we heard you improvise\u2014like a traditional woman from Inner Mani\u2014an eight-syllable poem-lament, which was even hailed as a \u201cmasterpiece\u201d and published in various print media\u2026<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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(Laughs\u2026) Yes, it was entitled Response Speech<\/em>. It was another inscription of The Last Word<\/em>. Incidentally, in anthropology this is called ethnopoetics.<\/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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\u2013 The Last Word<\/em> is a book that deals, among other things, with the subject of death. How did you come to choose such a theme when you yourself were still so young at the time?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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(Laughs\u2026) I did not choose the subject. Rather, the subject chose me\u2026 When I began my fieldwork, I intended to study the pirates and bandits of the region. Before long, I found myself attending three or four death rituals every week. \u201cHere is the subject of the story,\u201d I thought.<\/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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\u2013 And yet you often speak and write about love.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Love and death: concepts inextricably linked in Greek thought and culture\u2026<\/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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\u2013 You write with passion. What does passion mean to you?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The point at which love and death converge\u2014by death, I mean here the death of the self.<\/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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\u2013 What, ultimately, is anthropology for you?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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It is \u201cthe study of people in crisis by people in crisis.\u201d<\/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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\u2013 What would you compare such anthropological research to?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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To a poem. What about Cavafy\u2019s Ithaka<\/em>?
You embark on the journey young and emerge with white hair\u2026<\/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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\u2013 How do you \u201cedit\u201d all these experiences into the text? I use the term because you speak of \u201cmontage,\u201d something that, among other things, has also made your work popular in the field of documentary filmmaking.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The process of assembling and editing the text reflects the dynamics of ethnographic research and inquiry, imitating the unexpected juxtapositions of ethnographic field experience. The ethnographer might be described as a \u201cdetective.\u201d Entering a society from a particular place or perspective and suspecting one \u201cculprit,\u201d a series of unexpected \u201csigns\u201d and clues leads the researcher elsewhere, to an unforeseen place and to a whole range of other \u201cculprits.\u201d The combination of these \u201csigns,\u201d and the dynamic movement through what appears to be disconnected, reveals the underlying social and historical structure.<\/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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\u2013 You began with literature and poetry. How did you go on to pursue the social sciences, specifically sociology and anthropology?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The Social Sciences, and Sociology in particular as a new form of critical discourse, held great promise in Greece after the dictatorship. I pursued this path and undertook postgraduate studies at New York University. The particular school placed strong emphasis on quantitative research methods, such as statistical analysis and computer programming, skills that later proved useful in my life, although they did not inspire me at the time. I was experiencing cultural difference on a daily basis and searching for a way to interpret it\u2026 I turned to Anthropology, where I completed another M.A. and continued on to a Ph.D. This involved four years of postgraduate study and one year of fieldwork before beginning to write the dissertation. During the course of study, one trained across a range of disciplines concerned with the study of \u201chumanity,\u201d including archaeology, sociolinguistics, biological and physical anthropology, cultural and social anthropology, and ethnological theory.<\/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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\u2013 Do you represent the American School of Anthropology?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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(Smiles thoughtfully.) It would be better to say that by now I represent my own school\u2026 Yet even a glance much earlier, back to my postgraduate years, reveals that the boundaries between schools, like all boundaries, are permeable. I studied at a graduate university in New York, The New School for Social Research, which, although located in the United States, had been founded by a European diaspora of intellectuals exiled by the Nazis, among them Claude L\u00e9vi-Strauss, Roman Jakobson, Hannah Arendt and others. Their experience across two continents left no room, either in their politics or in their theories, for na\u00efve Europhilia and anti-Americanism, or for Americanophilia and Europhobia. Like every diaspora, they unfolded their identities and theories through multiple cultural codes. It was an ideal environment for an advanced anthropology of its time.

The British, French and other schools of anthropology, as they had developed within their national contexts, were not merely known there but were closely followed and studied at this university, which promoted a broad and comprehensive understanding of anthropology, always in relation to current global events.

This was not the case in European schools of anthropology, which were far more clearly defined by and connected to their national political and linguistic identities. In Greece, categorising anthropology by schools tends rather to indicate an inadequate knowledge and experience of the discipline. It also reveals the absence of a cross-cultural perspective on the history of anthropology and on its methodological differences from the other social sciences.<\/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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\u2013 Do you consider your research in Mani or Messenia a \u201creturn home\u201d after a long journey abroad?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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There is no going back.<\/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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\u2013 Your books were received with enthusiasm by the international academic community. What about the Greek academic community?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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(In a measured tone.) By those members of the academic community who are not content with mediocrity and do not feel threatened by excellence\u2026<\/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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\u2013 Beyond their scholarly authority and literary style, your books have also been widely commented upon for their overall aesthetic qualities\u2026<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Ugly books? (She almost becomes angry.) It is like giving birth to children and allowing others to dress them in rags\u2026<\/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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\u2013 You often speak about the book\u2019s \u201cother languages\u201d\u2026<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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(Pacing as she runs her fingers over one of her books.) A book is a \u201cspeaking object\u201d that activates various internal and external languages. Most readers, especially readers of scholarly books, read a book for what it says; in other words, they consume the content of the internal text. But in how many other ways can a book be read? Through how many different means and voices does a book communicate? I do not mean only the different forms of writing used by the author, but also how these are presented. What is the book\u2019s internal structure, and how is it externalised? How is the body of the book dressed?\nA book therefore has an \u201cinside\u201d and an \u201coutside\u201d: pages and cover, an underlying structure of ideas and their visual realisation. At the same time, a book is a cultural artefact, a material object with form, shape and colour, and with a history connected to the history of other books, to publishing history and to the history of reading within the particular culture in which it is produced.\nI remember, for example, that when I once explained to my foreign publisher that, until recently, books in Greece did not include a publication date, he was left speechless\u2026 He had assumed that some dates from older editions that were \u201cmissing\u201d from my bibliography had been omitted by me.<\/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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\u2013 The book\u2019s \u201cother languages\u201d also raise the question of translation. What is it like to translate one\u2019s own books into Greek?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Someone who has lived across many places does not simply operate through multiple linguistic codes, but through multiple cultural codes as well. When bringing a book\u2014or any creative work produced abroad\u2014back to Greece, one moves from one code to another and from one social understanding to another. In such work, cross-cultural experience has already been used as an essential element of the creative imagination.\n\nFor that reason, I was not merely carrying out or supervising the technical act of translation. I had to create a new work out of the old one\u2014one capable of translating and transferring my foreign cultural experience so that it could be constructed, understood and received within Greece.
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\u2013 This book of yours has followed a trajectory that is both interesting and significant. It was first published in 1991 by the distinguished academic press the University of Chicago Press, and it was also the first monograph on Greece that the press had published. Your research work was recognised abroad at a very early stage by major academic funding bodies. Your next book, published in 1994, became the subject of negotiations among publishing houses. Your books and articles have been taught in university courses not necessarily concerned with Greece, thereby crossing the boundaries of anthropology and, clearly, those of Greek Studies as well. How important were these developments then, and how important are they now, for Greek Studies and for the \u201cGreek\u201d book?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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For Greek scholarship abroad, it was perhaps significant that, in a field such as Anthropology and the Humanities\u2014where Greece had until then largely been an object of study for foreign researchers\u2014a Greek name, presenting a study on Greece, was making a strong and visible contribution. This was especially important at a time when contemporary Greek books, scholarly or otherwise, enjoyed neither wide recognition nor broad circulation and were therefore unable to cross the boundaries of the \u201cGreek ghetto.\u201d<\/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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\u2013 It is said that your work, in general, is entirely self-made\u2026<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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(With a penetrating gaze.) If you mean that it never had male \u201cmentors,\u201d whether fathers or husbands, then yes.<\/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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\u2013 The Senses Still: Perception and Memory as Material Culture in Modernity<\/em>, first published in 1994, addressed at an early stage a subject that is highly relevant today: the senses. Could we describe it as a prophetic book\u2026?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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I would call it inter-sensory. Senses \u2013 emotions \u2013 aesthetics: the core of Greek identity. The book examines what has happened to our senses and to the sensory forces that shape our culture, memory and identity. What happens when perception and memory are globalised through the homogenisation of material experience? What role do television, cinema and the EEC play in all this?<\/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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\u2013 But can the senses be placed in a museum?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The past, once collected, encased and framed, becomes a past emptied of semantic possibility, because its meaning has been completed, exhausted and consumed. In other words, it has been transformed into historical dust. The historical and cultural difference introduced into the museum is installed as a surface without depth, without any record of the exchanges that produced it, and is therefore emptied of emotion, memory and the senses\u2026<\/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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\u2013 Dust, you said?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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(Smiles knowingly.) Dust does not settle only on the object, but on the eye as well\u2026<\/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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\u2013 I remember the presentation of three of your books at the Stoa tou Vivliou. On the one hand, there was a very large and diverse audience and, on the other, seven distinguished speakers\u2014archaeologists, poets, literary authors, legal scholars and politicians\u2014a combination that reflected precisely the multidimensional character of your texts. These are texts that travel across many places. Which place is dearest to you?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The border.<\/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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\u2013 You have travelled to many places for research and related activities. When did your journey begin?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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(In a calm, measured tone.) From childhood, I divided my life between the southern Peloponnese\u2014Laconia and Messenia\u2014and Athens. Later, between New York and Athens. Research, comparative studies and other activities were added, and the journey from the so-called centre to the periphery and back again continued\u2026 the United States, Mani, Mexico, Ireland, Albania, Zagreb, Krakow, Vienna, Italy, Tunisia, Kalamata, Copenhagen, Athens\u2026<\/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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\u2013 Your teaching career in academia also began early. You have taught in undergraduate and postgraduate programmes at renowned universities, including departments of Anthropology, Hellenic Studies, Theatre Studies, Women\u2019s Studies and Communication (Mass Media), and you have often combined appointments in two schools simultaneously. What is it like to cross boundaries?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Dangerous. (We burst into laughter.) You have to bring into dialogue two disciplines or specialisations that often ignore one another. Just think, for example, of Anthropology and Hellenic Studies ten or twenty years ago! Or\u2026 Women\u2019s Studies and Hellenic Studies today!!! (Loud laughter.)<\/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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\u2013 Was this something you actively sought out yourself\u2014that is, did you apply to teach in two schools at the same time\u2014or was it dictated by circumstances? And when did you first apply for a university position?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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I have never applied for a university position. Wherever I taught, whether for a short or a long period and in one or more schools, it was always by invitation. I began teaching during my postgraduate years, in 1983, if I remember correctly\u2026<\/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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\u2013 Reading or listening to letters and evaluations from your students is deeply moving. For many of them, you \u201copened windows\u201d onto thought and life. What did you, in turn, gain from your \u201cstudents\u201d?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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My theoretical approaches, for example, as they appear in my writings, would not have emerged without these dialogues\u2014whether expressed or silent\u2014with friends and students across two continents over all these years\u2026<\/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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\u2013 From early on, you have also taken part in major international gatherings, where we encounter you variously as a keynote speaker, co-organiser or organiser, almost always by invitation. On the Internet, you are cited by international organisations and aggregators alike. Does this make you a \u201cpublic figure\u201d in the world of letters?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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There are certain hierarchies of substance in the world of letters, as there are everywhere. There are also certain international codes\u2026 (She smiles, shaking her head.) Your question is a good one, given the realities of Greece\u2026<\/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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\u2013 Do such rules apply within the Greek academic world?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Many things are disregarded within the Greek university system. Speaking of education, there is something noteworthy about Greek television: the exemplary way in which journalists refer to their colleagues. Today, it seems that the ethos and respect due to people with recognised work and many years of professional activity are taught more by Greek television journalists than by academics.<\/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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\u2013 The university is supposed to be \u201cthe space for the free circulation of ideas,\u201d as you also write in your thought-provoking article \u201cInterconnected Information or Knowledge\u201d in the newspaper TA NEA<\/em>. In your view, what distinguishes a true intellectual, a person of letters?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Generosity of spirit. The creator does not hold back\u2026 The administrator does.<\/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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\u2013 The body is another theme that runs through almost all of your work. In brief, what has become of the body in our time?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Fast food. Rapid consumption for momentary release.<\/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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\u2013 With your book Crossing the Body<\/em>, you initiate, among other things, a methodological and thematic exchange between disciplines that use ethnological models in exploring ancient and modern Greece. More specifically, you bring Cultural Anthropology and Women\u2019s Studies into dialogue, thereby offering the Greek reader a kind of \u201ccurriculum\u201d in the anthropology of women and gender. Referring to your work, a well-known politician remarked that \u201cthere is nothing comparable anywhere in the international literature. Your books do not simply add to the field; they establish a foundation of scholarly quality and authority that is invaluable to Greek women and men researchers working on issues of women\u2019s social gender\u2026\u201d What do \u201cWomen\u2019s Studies\u201d mean to you?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Women\u2019s Studies constitute the institutional memory of the women\u2019s movement in particular and of women\u2019s culture more broadly.
They provide historical and cultural comparability, thereby promoting intellectual exchanges among women living in different times and places.<\/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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\u2013 How did Women\u2019s Studies emerge?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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At a certain point, as women wrote\u2014and inscribed\u2014themselves into history through political mobilisation, they became aware of the extent to which they had been written out of history in the official records. This gave rise to the need for the study of women.<\/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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\u2013 What do you believe should be one of the central concerns of the \u201cEuropean women\u2019s movement\u201d today?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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How the otherness of women\u2019s everyday experience can be reclaimed as a political force. And when it comes to the political recovery of the validity of women\u2019s everyday structures, there is a wealth of material from the periphery\u2014in Greece, the rest of Europe and elsewhere\u2014that can serve as a valuable source, allegory and form of symbolic capital.
Perhaps, with this capital as a guide, Greek women would not so readily assimilate into a male culture of the public sphere, which, after all, seems to place men themselves under suffocating pressure\u2026<\/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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\u2013 You have also maintained an intense sphere of activity beyond the university\u2026 In addition to serving as a consultant to international organisations, ministries and other institutions, we also find you involved in Greek local government. The Municipality of Oitylo in Mani, together with the Prefectural Authority of Laconia, invited you to deliver the ceremonial address for the national anniversary of the Battle of Diros and presented you with an honorary plaque in recognition of your work. The Municipality of Kalamata, in collaboration with the Prefectural Authority of Messenia, commissioned you to create a series of cultural events, and so on. This, of course, is not the usual role or activity of an anthropologist\u2014at least not as we know it in Greece\u2026<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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That is not the usual role or activity of an \u201cacademic\u201d; for an anthropologist, however, it is\u2014or ought to be\u2026<\/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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\u2013 Those who followed your cultural programme in Kalamata closely regard it as \u201cexemplary\u201d. In the newspaper Kathimerini<\/em>, a well-known journalist wrote that you had overturned the rule that \u201cone swallow does not make a spring\u201d in the provinces\u2026 What exactly happened there? Give us an idea, for example, of the thinking behind the event on the 1986 earthquakes, which you organised in 1996, and the celebrated \u201cexhibition of objects of memory\u201d in Kalamata.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The act of preserving the popular memory of the earthquake was an intervention in culture. It was an exhibition of how we remember our history\u2014and memory is an artefact of culture. If the earthquake\u2019s assault was an affront to culture, then the memories and their material traces, salvaged by citizens excavating their own lives and past, constituted a restoration of the place\u2019s cultural trajectory: an archaeology of the present\u2026 These were events, then, through which I wanted to create space both for public memory and for alternative memories. And\u2026 memory is not merely a source of ideas; it also has material and sensory dimensions. Memory can be located in the emotional attachment to particular places\u2014places with their own bio-history, carrying biographies within them. Memory can be found embodied, in miniature, in objects that trigger profound emotions and narratives. Memory is connected with sounds, smells, sights\u2026<\/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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\u2013 Back then, in 1996, you also said something that, like anything ahead of its time, may have sounded excessive: \u201cAlthough the 1986 earthquake in Kalamata, given the scale of the destruction it caused, was quickly inscribed in the popular consciousness as an isolated event in the modern history of one region, when Enceladus struck Aigio, Grevena and Athens, we realised that the earthquake is a national experience.\u201d\n\nSoon afterwards, of course, the earthquakes in Turkey, Taiwan and once again Greece confirmed your observation that \u201cwe live in the age of earthquakes\u201d.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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(After a brief silence.) Perhaps we need new methods for apprehending historical experience and transforming it into public knowledge, into education. Today, our built environment and architectural space may need to relinquish their aspirations to eternity through ancient monuments. Perhaps the built environment should become a more living membrane within which citizens can inscribe and grasp the fluidity, immediacy and indeterminacy of everyday life. Perhaps we must learn to live in unfinished cities, in cities of polyphonic history. Perhaps this is precisely what the present condition of the entire ecosystem demands. Here, geography and history mirror one another: shifting tectonic plates are the geological counterparts of the constantly changing foundations of historical consciousness.<\/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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\u2013 Your related essay, The Other City of Silence<\/em>, published in a volume produced by those involved in the \u201cVienna International Festival 2000\u201d, is striking. It could have been written today, in the aftermath of the recent terrorist attack in New York\u2026 What would you say to young people today, amid all these overwhelming events through which we are living?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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We live in the age of earthquakes\u2026 \u201cThe future is certain. What is unpredictable is the past.\u201d<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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See the ET1 documentaryCreating Tomorrow<\/a>\u00bb<\/a><\/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<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

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Nadia Seremetakis<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/seremetakis.com\/en\/synentefxeis-mme\/diaschizontas-synora\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u0394\u03b9\u03b1\u03c3\u03c7\u03af\u03b6\u03bf\u03bd\u03c4\u03b1\u03c2 \u03a3\u03cd\u03bd\u03bf\u03c1\u03b1 - C. 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