Because the histories of theater, politics, art, poetry, athletics, and philosophy tend to be studied separately, it is easy to forget how interconnected they were in Western Greece--the coastal areas of Southern Italy and Sicily settled by Hellenes in the 8th and 7th centuries BCE. Hieron I of Syracuse may be remembered as a tyrant, but his political power was inseparable from the theater. Hieron was the patron of the dramatist Epicharmus, who was as much a philosopher as Xenophanes, who was a poet in his own right like Pindar, who was also supported by the tyrant and whose work---like all the others'--was performed for political ends. Even Plato's adventures in Syracuse can be seen as a performance of his own political poetry. This collection of essays from a variety of disciplinary perspectives including archaeology, classics, philosophy, and art history, offers a refreshing new outlook on the ancient cultural interactions of politics and performance in Western Greece.

This volume is the authoritative Handbook guide to the development of Greek politics, economy, and society from the period of the fall of the Colonels' Regime (1974) to the present day, including the causes and consequences of the crisis in Greece and the aftermath of the crisis, in comparative and historical perspective.

This is the second volume of A Social and Economic History of the Theatre to 300 BC and focuses exclusively on theatre culture in Attica (Rural Dionysia) and the rest of the Greek world. It presents and discusses in detail all the documentary and material evidence for theatre culture and dramatic production from the first two centuries of theatre history, namely the period c.500 to c.300 BC. The traditional assumption is laid to rest that theatre was an exclusively or primarily Athenian institution, with the inclusion of all sources of information for theatrical performances in twenty-two deme sites and over one hundred and twenty independent Greek (and some non-Greek) cities. All texts are translated and made accessible to non-specialists and specialists alike. The volume will be a fundamental work of reference for all classicists and theatre historians interested in ancient theatre and its wider historical contexts.

In Politics, Money, and Persuasion, distinguished philosopher John Russon offers a new framework for interpreting Plato's The Republic. For Russon, Plato's work is about the distinctive nature of what it is to be a human being and, correspondingly, what is distinctive about the nature of human society. Russon focuses on the realities of our everyday experience to come to profoundly insightful assessments of our human realities: the nature of the city, the nature of knowledge, and the nature of human psychology. Russon's argument concentrates on the ambivalence of logos, which includes reflections on politics and philosophy and their place in human life, how humans have shaped the environment, our interactions with money, the economy, and the pursuit of the good in social and political systems. Politics, Money, and Persuasion offers a deeply personal but also practical kind of philosophical reading of Plato's classic text. It emphasizes the tight connection between the life of city and the life of the soul, demonstrating both the crucial role that human cognitive excellence and psychological health play in political and social life.

Drawing together new research from emerging and senior scholars, this selection of papers from the decennial Greek Drama V conference (Vancouver, 2017) explores the works of the ancient Greek playwrights and showcases new methodologies with which to study them. Sixteen chapters from a field of international contributors examine a range of topics, from the politics of the ancient theatre, to the role of the chorus, to the earliest history of the reception of Aeschylus' Oresteia. Employing anthropological, historical, and psychological critical methods alongside performance analysis and textual criticism, these studies bring fresh and original interpretations to the plays. Several contributions analyse fragmentary tragedies, while others incorporate ideas on the performance aspect of certain plays. The final chapters deal separately with comedy, naturally focusing on the plays of Aristophanes and Menander. Greek Drama V offers a window into where the academic field of Greek drama is now, and points towards the future scholarship it will produce.

During the 1970s, left-wing youth militancy in Greece intensified, especially after the collapse of the military dictatorship in 1974. This is the first study of the impact of that political activism on the leisure pursuits and sexual behavior of Greek youth, analyzing the cultural politics of left-wing organizations alongside the actual practices of their members. Through an examination of Maoists, Socialists, Euro-Communists, and pro-Soviet groups, it demonstrates that left-wing youth in Greece collaborated closely with comrades from both Western and Eastern European countries in developing their political stances. Moreover, young left-wingers in Greece appropriated American cultural products while simultaneously modeling some of their leisure and sexual practices on Soviet society. Still, despite being heavily influenced by cultures outside Greece, left-wing youth played a major role in the reinvention of a Greek “popular tradition.” This book critically interrogates the notion of “sexual revolution” by shedding light on the contradictory sexual transformations in Greece to which young left-wingers contributed.

Since it was no longer self-evident that "better men" meant "better government," critics of democracy sought new arguments to explain the relationship among politics, ethics, and morality.