Based upon a database of 7,390 lead seals that bear religious figural imagery in conjunction with the names and official titles of their owners, this paper investigates the contribution of lead seals to our understanding of the choice of various religious images as an expression of personal piety. The study examines the roles of homonymity, gender, family names and official titles in individuals’ selections of sacred images for their seals. Tables and figures display the numerical and statistical results that are compared to trends found in other media.

The author reads an epigram by John Mauropous as an engagement with epic and biblical traditions. Critical studies of exile and return from different eras of the Greek literary tradition by Émile Benveniste, Gregory Nagy and Nancy Sultan are used to provide a theoretical approach to the tradition with which Mauropous engages. It is suggested that Mauropous’ wanderings in the territory of the xenos and return to the familiar world of the philos, and especially his personification of his home as a trophos (nurse), allude to Homer, and that epic language and motifs strengthen the poet’s assertion of selfhood and make ancient literary themes relevant to Mauropous’ life as a scholar and churchman.

Throughout the history of the Fatimid empire (909–1176/296–566), Byzantine sources support the idea that contact was kept to a minimum for trade. However, Arab historians reveal that in fact al-Mustansir engaged in correspondence, gift exchanges and embassies with several emperors. Descriptions of these mutual relations in the reign of al-Mustansir are a political mirror to the international effects of events such as the arrival of the Seljuk Turks, uprisings and civil war, and are also a fascinating insight into the diplomacy of Muslims and Christians banding together at a time of significant crisis for both.

This article focuses on two questions: the application of current historical linguistic methodologies to vernacular Medieval Greek in comparison to similar research in other medieval languages, and the notion of linguistic variation in Medieval Greek, in parallel with the possible methods for its fruitful investigation.

This article makes some preliminary remarks on Seferis’ photography, focusing mainly on its poetics as an act of seeing. The main intention is to highlight the direct relationship between Seferis’ visual sensibility and his poetry. The article primarily discusses some technical features of Seferis’ photography. It then examines his photography as a visual diary and draws attention to those cases where it is obvious that photographs hide behind specific poems. Finally, the article discusses the differences between photography and poetry regarding their relation to time. In this context, the poem ‘Με τον τρόπο του Γ.Σ.’, which makes explicit reference to photography, is examined.

The poetry of Nicolas Calas critically set out to challenge the poetics of Greekness. Although Calas is now acknowledged as an important avant-garde poet, his divergence from the (conservative) modernist search for a new Greekness was a significant transgression in the 1930s and contributed to his marginalized literary position. His comeback as a poet in the 1960s was likewise characterized by his critique of a new form of populist Greekness which he opposed in a series of sharp satires. This article will examine the nature of his challenge to Greekness and in this context also present two previously unpublished poems that further highlight the content of Calas’ critique.