This article shows that parts of the late antique road system in north-west Anatolia were sometimes closed between 1179 and 1291, due to unsettled conditions, and that alternatives were in use. The alternative road from Herakleia Pontica to Kastamonu went via Çaycuma and Daday and that to Ankara via Eskişehir. Both Christian and Muslim border raiders existed in the area and may have caused these closures. They sometimes acted together but their importance is unclear since conditions were also both politically and militarily unstable. The article concludes that the Muslim raiders were not ghazis, as has been thought.

Manuel II Palaiologos wrote his text on marriage and its ethical aspects between 1394 and 1397. At that time he was newly married and his wife had already given birth to their firstborn, John VIII, The text is presented in the form of a dialogue between the emperor Manuel and his mother, the dowager empress Helena Kantakouzene, wife of John V Palaiologos. An unusual case in dynastic policy, Manuel II was a bachelor until his forties. Fortunate circumstances caused him to inherit the throne after the death of his elder brother, Andronikos IV, in 1385, but he himself was not yet married and thus had no legitimate successor. His nephew, John VII, was his long-standing rival. The intention of the author of the dialogue was, without doubt, to show how important inheritance was for the imperial family. The text of the dialogue was subsequently corrected by the emperor himself; the revised version is dated to between 1417 and 1425. This article argues that the text was revised in order to encourage Manuel’s own son, John, to marry and have successors.

Despite the fact that the Franciscan and Dominican Orders arrived in Latin Greece well armed with a specific mandate to engage and evangelize the Orthodox population in order to facilitate the implementation of Church union, little if any effort was made in this regard by the members of either order. Rather, reliant as they were on the Latin secular authorities for protection, support and sustenance, they appeared content to spend their tenure in Greece ministering almost exclusively to the Latin segment of the population, becoming deeply involved in the political, economic and cultural life of the Latin states. This was to the utter detriment of their original mission to the Orthodox. Thus, this article examines the role of mendicants in Achaia as contributors to the Latin cultural identity, especially in the episcopal context.

The aim of this article is to explore the debates about the phonetic simplification of Greek orthography and the adoption of the Latin script that took place in Greece during the interwar period. An attempt will be made to examine the ideological background of these debates by placing them in their social and political context. First, the linguistic situation of Greece in the interwar years will be outlined. Then it will be argued that spelling and script issues were used as a battleground for the political and educational controversies of this period.

Nikos Gatsos’ Amorgos is approached here as a polyphonic poem that synthesizes elements of the Greek literary tradition into an intertextual palimpsest of fragments, in the vein of the modernist ‘long poem’. The surrealist poet maintains a fine balance between tradition and radical innovation, shaping Amorgos as a place where poetry is created as an interaction of opposing tendencies. The topical character of the poem is underscored by its title: the sea-and-land imagery evokes the island as a literary topos of seclusion and self-sufficiency that lends its characteristics to the composition itself: a ‘compendium’ of poetic writing and avant-garde aesthetics.

The diametrically opposed critical and commercial reception of two Greek films from the early 1950s exposes the contradictions inherent in the project of national cinema formation articulated by Greece’s cinephile press. Critics such as Eleni Vlachou and Marios Ploritis sought to locate Greek film within the context of a realist–humanist European art cinema, and denigrated the commercial cinema for its over-reliance on foreign models and popular genres. This cinephile discourse reveals, however, keenly felt anxieties of cultural authority and status, anxieties manifest in the constant shifting between the twin semantic poles of cultural indigeneity and foreign cinematic influence.