Dimitris Plantzos
Biographic Data
| ID | 236568 |
|---|---|
| NAME | Dimitris Plantzos |
| GIVEN NAMES | Dimitris |
| FAMILY NAME | Plantzos |
| SIGNATURE | PLANTZOS D |
| AFFILIATIONS | National and Kapodistrian University of Athens |
| ORCID | 0000-0002-7674-1062 |
| VERIFIED | Yes |
| TOTAL WORKS | 28 |
| TOTAL CITATIONS | 17 |
| AUTHOR COUNT | 22 |
| EDITOR COUNT | 6 |
| FIRST PUBLICATION YEAR | 1993 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 2 |
Reinventing Romanitas: Exchanges of Classical Antiquities as Symbolic Gifts between Italy and Spain (1933–1943)
Based on fresh archival research this article examines the exchange of Romanizing statuary between Italy and Spain during the ventennio fascista . Between 1933 and 1943, Italy and Spain exchanged copies of Roman statues as symbolic gestures, to substantiate their claims to a shared classical heritage of ‘imperial greatness’. Using press reports and documentary film excerpts the article reconstructs public events that took place in Merida, Tarrago…
Athens ’21: Undoing the demos in the year of the pandemic
This article is presented in the form of an illustrated memoire from the Greek bicentenary day (25 March 2021) and the way it was celebrated in Athens. As the Greek capital was under strict lockdown at the time, in view of the COVID-19 pandemic, most of the festivities were cancelled, with the exception of a military parade carried out through empty streets. The city’s desolate landscape on that most symbolic day helps rethink Greek biopolitics i…
Dimitris Papanikolaou, Κάτι τρέχει με την οικογένεια: Έθνος, πόθος και συγγένεια την εποχή της κρίσης [There is something about the family: Nation, desire and kinship at a time of crisis]
Review of Dimitris Papanikolaou. Κάτι τρέχει με την οικογένεια: Έθνος, πόθος και συγγένεια την εποχή της κρίσης [There is something about the family: Nation, desire and kinship at a time of crisis]. Athens: Patakis, 2018. 448 pp
Athens remains; Still
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Johanna Hanink, The Classical Debt: Greek Antiquity in an Era of Austerity
Review of Johanna Hanink, The Classical Debt: Greek Antiquity in an Era of Austerity. Cambridge: Belknap Press of Harvard University Press, 2017. 352 pp
We owe ourselves to debt: Classical Greece, Athens in crisis, and the body as battlefield
Since 2009, Greece has been hit by a severe economic recession followed by harsh austerity policies, gradual impoverishment, and ultimately social collapse. This article investigates the cultural landscape of the so-called 'Greek crisis', focusing on Athens, the nation's capital, and the ways the crisis discourse employs biopolitical technologies of dispossession and displacement in order to generate an intensified breed of body-politics. The art…
Crisis, austerity measures and beyond: Archaeology in Greece since the global financial crisis
This article, covering the roughly decade-long ‘Greek crisis’ (2008–2018), uses official statistics in order to examine the effects the prolonged recession has had on archaeology in Greece. As the data show, although revenues from museums and archaeological sites have risen considerably (a side effect of ‘crisis tourism’, among other factors), state spending on archaeological research is insufficient. Furthermore, the steady collapse of the state…
Caryatids lost and regained: Rebranding the classical body in contemporary Greece
This article examines patterns of reception through which a particular type of classical sculpture – the Caryatid – has been accepted into the cultural life of contemporary Greece. Loved by neoclassical architecture, though also prominent in Modern Greek design, as well as contemporary literature, the Caryatid serves alongside a limited stock of other classical monuments as a logo for the country and the Greeks at large, especially when referring…
Perverse fragments: Citing Cavafy in crisis-stricken Athens
A publicity campaign run in Athens by the Alexander S. Onassis Public Benefit Foundation in October 2013 in order to advertise its acquisition of the Cavafy Archive, until then lying in relevant obscurity, turned into a media disaster when critics and members of the public protested against what they argued was a misquoting of the highly revered Alexandrian. In this article, I am looking at this rather entertaining story of misunderstood intentio…
A Companion to Greek Art
"This well-illustrated two-volume set offers a comprehensive, authoritative account of the development of Greek art through the 1st millennium BC. While there is no shortage of introductory handbooks on Greek art, the current publication takes a fresh look at the many facets of the subject, from the basic forms, materials, and types, to colonization, iconography, and finally the reception of Greek art in post-classical periods. A Companion to Gre…
Archaeology after the End of history
This paper offers a survey of the rapid changes observed in the field of archaeological theory in the last 20 years or so; in the midst of cataclysmic changes in the way scholars, and the public at large, attempt to comprehend the past, archaeologists have learnt to trust significantly less their valuable raw data and "facts", in favour of more nuanced accounts allowing for the complexity of the phenomena they study. More to the point, they slowl…
The kouros of Keratea: Constructing subaltern pasts in contemporary Greece
Classical antiquity has been deployed in contemporary Greece as an agent of national-identity forging, and images of archaeological artifacts often feature in the public discourse, used to support state ideologies and promote national culture at home and abroad. This article, however, deals with a number of recently circulated images, designed in the margins of modern society in order to convey a defiantly anti-state message. Such images are mani…
Behold the raking geison: The new Acropolis Museum and its context-free archaeologies
In December 1834 Athens became the capital city of the newly founded Hellenic Kingdom. King Otto, the Bavarian prince whose political and cultural initiative shaped much of what modern Greece is today, sought to design the new city inspired by the heavily idealised model of Classical Hellas (see Bastea 2000). The emerging capital was from the outset conceived as aheterotopiaof Hellenism, a Foucauldian 'other space' devoted to Western Classicism i…
Time and the Antique: Linear causality and the Greek art narrative
Hellenistic Engraved Gems
Engraved gems were used by the Greeks as seals and amulets, but were primarily valued as ornaments. Their iconography was drawn from a wide range of motifs and standard devices current in other art forms. In the Hellenistic period gem cutters remained faithful to the classical tradition, but were able to develop new subjects and styles. Portraits, especially of royalty, became the commonest subject in glyptic after Alexander, a practice that cont…
Nude
Kouros
Ancient Egypt: Sculpture
Cycladic
Messene
Ancient Egypt: History and culture
Gem-engraving
Ancient Egypt: Painting and drawing
Camées et intailles I. 1-2: Les portraits grecs du Cabinet des médailles . By Marie-Louise Vollenweider
Crystals and Lenses in the Graeco-Roman World
This paper examines the archaeological and literary evidence concerning crystals and lenses in classical antiquity. Lens-shaped objects were produced in the eastern Mediterranean since the Bronze Age, and it is commonly assumed that their function was to serve as magnification tools. It is argued here that ancient craftsmen, like gem cutters, had to rely on skill and experience rather than magnification implements to do their work; that popular s…
The kouros of Keratea: Constructing subaltern pasts in contemporary Greece
Classical antiquity has been deployed in contemporary Greece as an agent of national-identity forging, and images of archaeological artifacts often feature in the public discourse, used to support state ideologies and promote national culture at home and abroad. This article, however, deals with a number of recently circulated images, designed in the margins of modern society in order to convey a defiantly anti-state message. Such images are mani…
Crisis, austerity measures and beyond: Archaeology in Greece since the global financial crisis
This article, covering the roughly decade-long ‘Greek crisis’ (2008–2018), uses official statistics in order to examine the effects the prolonged recession has had on archaeology in Greece. As the data show, although revenues from museums and archaeological sites have risen considerably (a side effect of ‘crisis tourism’, among other factors), state spending on archaeological research is insufficient. Furthermore, the steady collapse of the state…
Behold the raking geison: The new Acropolis Museum and its context-free archaeologies
In December 1834 Athens became the capital city of the newly founded Hellenic Kingdom. King Otto, the Bavarian prince whose political and cultural initiative shaped much of what modern Greece is today, sought to design the new city inspired by the heavily idealised model of Classical Hellas (see Bastea 2000). The emerging capital was from the outset conceived as aheterotopiaof Hellenism, a Foucauldian 'other space' devoted to Western Classicism i…
Reinventing Romanitas: Exchanges of Classical Antiquities as Symbolic Gifts between Italy and Spain (1933–1943)
Based on fresh archival research this article examines the exchange of Romanizing statuary between Italy and Spain during the ventennio fascista . Between 1933 and 1943, Italy and Spain exchanged copies of Roman statues as symbolic gestures, to substantiate their claims to a shared classical heritage of ‘imperial greatness’. Using press reports and documentary film excerpts the article reconstructs public events that took place in Merida, Tarrago…
We owe ourselves to debt: Classical Greece, Athens in crisis, and the body as battlefield
Since 2009, Greece has been hit by a severe economic recession followed by harsh austerity policies, gradual impoverishment, and ultimately social collapse. This article investigates the cultural landscape of the so-called 'Greek crisis', focusing on Athens, the nation's capital, and the ways the crisis discourse employs biopolitical technologies of dispossession and displacement in order to generate an intensified breed of body-politics. The art…
Perverse fragments: Citing Cavafy in crisis-stricken Athens
A publicity campaign run in Athens by the Alexander S. Onassis Public Benefit Foundation in October 2013 in order to advertise its acquisition of the Cavafy Archive, until then lying in relevant obscurity, turned into a media disaster when critics and members of the public protested against what they argued was a misquoting of the highly revered Alexandrian. In this article, I am looking at this rather entertaining story of misunderstood intentio…
Time and the Antique: Linear causality and the Greek art narrative
Crystals and Lenses in the Graeco-Roman World
This paper examines the archaeological and literary evidence concerning crystals and lenses in classical antiquity. Lens-shaped objects were produced in the eastern Mediterranean since the Bronze Age, and it is commonly assumed that their function was to serve as magnification tools. It is argued here that ancient craftsmen, like gem cutters, had to rely on skill and experience rather than magnification implements to do their work; that popular s…
Ptolemaic Cameos of the Second and First Centuries Bc
Cameos were devised some time in the Hellenistic period, and they were used in a decorative manner. In terms of style and subject matter they follow developments in the making of intaglios and other glyptic products as well as coinage. This paper examines two related series of cameos which seem to have been produced in Alexandria of the later Hellenistic period, and under direct Ptolemaic patronage. Their study is held in view of a reappraisal of…
Hellenistic Cameos: Problems of Classification and Chronology
Nero and Poppaea on a Cornelian Ringstone
Ptolemaic Cameos of the Second and First Centuries Bc
Cameos were devised some time in the Hellenistic period, and they were used in a decorative manner. In terms of style and subject matter they follow developments in the making of intaglios and other glyptic products as well as coinage. This paper examines two related series of cameos which seem to have been produced in Alexandria of the later Hellenistic period, and under direct Ptolemaic patronage. Their study is held in view of a reappraisal of…
Hellenistic Cameos: Problems of Classification and Chronology
Camées et intailles I. 1-2: Les portraits grecs du Cabinet des médailles . By Marie-Louise Vollenweider
Crystals and Lenses in the Graeco-Roman World
This paper examines the archaeological and literary evidence concerning crystals and lenses in classical antiquity. Lens-shaped objects were produced in the eastern Mediterranean since the Bronze Age, and it is commonly assumed that their function was to serve as magnification tools. It is argued here that ancient craftsmen, like gem cutters, had to rely on skill and experience rather than magnification implements to do their work; that popular s…
Nude
Kouros
Ancient Egypt: Sculpture
Cycladic
Messene
Ancient Egypt: History and culture
Gem-engraving
Ancient Egypt: Painting and drawing
Hellenistic Engraved Gems
Engraved gems were used by the Greeks as seals and amulets, but were primarily valued as ornaments. Their iconography was drawn from a wide range of motifs and standard devices current in other art forms. In the Hellenistic period gem cutters remained faithful to the classical tradition, but were able to develop new subjects and styles. Portraits, especially of royalty, became the commonest subject in glyptic after Alexander, a practice that cont…
Time and the Antique: Linear causality and the Greek art narrative
Behold the raking geison: The new Acropolis Museum and its context-free archaeologies
In December 1834 Athens became the capital city of the newly founded Hellenic Kingdom. King Otto, the Bavarian prince whose political and cultural initiative shaped much of what modern Greece is today, sought to design the new city inspired by the heavily idealised model of Classical Hellas (see Bastea 2000). The emerging capital was from the outset conceived as aheterotopiaof Hellenism, a Foucauldian 'other space' devoted to Western Classicism i…
The kouros of Keratea: Constructing subaltern pasts in contemporary Greece
Classical antiquity has been deployed in contemporary Greece as an agent of national-identity forging, and images of archaeological artifacts often feature in the public discourse, used to support state ideologies and promote national culture at home and abroad. This article, however, deals with a number of recently circulated images, designed in the margins of modern society in order to convey a defiantly anti-state message. Such images are mani…
A Companion to Greek Art
"This well-illustrated two-volume set offers a comprehensive, authoritative account of the development of Greek art through the 1st millennium BC. While there is no shortage of introductory handbooks on Greek art, the current publication takes a fresh look at the many facets of the subject, from the basic forms, materials, and types, to colonization, iconography, and finally the reception of Greek art in post-classical periods. A Companion to Gre…
Archaeology after the End of history
This paper offers a survey of the rapid changes observed in the field of archaeological theory in the last 20 years or so; in the midst of cataclysmic changes in the way scholars, and the public at large, attempt to comprehend the past, archaeologists have learnt to trust significantly less their valuable raw data and "facts", in favour of more nuanced accounts allowing for the complexity of the phenomena they study. More to the point, they slowl…
Perverse fragments: Citing Cavafy in crisis-stricken Athens
A publicity campaign run in Athens by the Alexander S. Onassis Public Benefit Foundation in October 2013 in order to advertise its acquisition of the Cavafy Archive, until then lying in relevant obscurity, turned into a media disaster when critics and members of the public protested against what they argued was a misquoting of the highly revered Alexandrian. In this article, I am looking at this rather entertaining story of misunderstood intentio…
Caryatids lost and regained: Rebranding the classical body in contemporary Greece
This article examines patterns of reception through which a particular type of classical sculpture – the Caryatid – has been accepted into the cultural life of contemporary Greece. Loved by neoclassical architecture, though also prominent in Modern Greek design, as well as contemporary literature, the Caryatid serves alongside a limited stock of other classical monuments as a logo for the country and the Greeks at large, especially when referring…
Crisis, austerity measures and beyond: Archaeology in Greece since the global financial crisis
This article, covering the roughly decade-long ‘Greek crisis’ (2008–2018), uses official statistics in order to examine the effects the prolonged recession has had on archaeology in Greece. As the data show, although revenues from museums and archaeological sites have risen considerably (a side effect of ‘crisis tourism’, among other factors), state spending on archaeological research is insufficient. Furthermore, the steady collapse of the state…
Athens remains; Still
Preview this article: Athens remains; Still?, Page 1 of 1 /docserver/preview/fulltext/jgmc/5/2/jgmc.5.2.115-1.gif
Johanna Hanink, The Classical Debt: Greek Antiquity in an Era of Austerity
Review of Johanna Hanink, The Classical Debt: Greek Antiquity in an Era of Austerity. Cambridge: Belknap Press of Harvard University Press, 2017. 352 pp
We owe ourselves to debt: Classical Greece, Athens in crisis, and the body as battlefield
Since 2009, Greece has been hit by a severe economic recession followed by harsh austerity policies, gradual impoverishment, and ultimately social collapse. This article investigates the cultural landscape of the so-called 'Greek crisis', focusing on Athens, the nation's capital, and the ways the crisis discourse employs biopolitical technologies of dispossession and displacement in order to generate an intensified breed of body-politics. The art…
History (16 works) · Art (14 works) · Law (11 works) · Political science (11 works) · History (10 works) · Computer Science (9 works) · Classical Antiquity Studies (8 works) · Art history (7 works) · Law (7 works) · Literature (7 works)