{"id":8637,"date":"2021-01-20T10:13:53","date_gmt":"2021-01-20T08:13:53","guid":{"rendered":"https:\/\/www.rchumanities.gr\/?p=8637"},"modified":"2022-02-28T14:28:24","modified_gmt":"2022-02-28T12:28:24","slug":"teneketzis-alexandros","status":"publish","type":"post","link":"https:\/\/www.rchumanities.gr\/en\/teneketzis-alexandros\/","title":{"rendered":"\u201cReal Socialism\u2019s memory in Germany 30 years later: Exhibition policy of the German Historical Museum and the processing of public monuments of the former Eastern Germany\u201d"},"content":{"rendered":"
Research Proposal<\/span>Conference<\/span>Research Results<\/span>Short bio<\/span>Publications<\/span><\/div>
\n

Summary of the Research Proposal<\/h4>\n

The history of the temporary exhibitions and of the permanent collection in the German Historical Museum, which was founded only months before the Fall of the Wall, their rationale and their reception, provide an exemplary field of research to understand public history of Cold War era and the management of public memory in post-1989 Germany. Our project is interdisciplinary, as it will not only study the exhibitions and collections per se, but through them will examine the political use of the recent past, the state memory policies and their public display. It is also transnational, as we intend to proceed into a comparative study of similar issues in Europe before and after the end of Cold War. Our proposal intends to study the interplay of museology, art history, commemorative practices and public history.<\/p>\n

The purpose of the research proposal is:<\/p>\n

a. to explore the policies of the memory of communist past in Germany as presented at the German History Museum in Berlin, through the dozens of periodical exhibitions held since 1989 and through the permanent collection, opened to the public in 2006. Our proposal focuses on the building of a historical narrative, of a \u2018collective\u2019, public, national or official memory.
\nb. to investigate which aspects of the memory of Real Socialism and 1989 anniversary were acceptable to become visible in public art exhibitions commissioned by the German state and to examine and analyze museum\u2019s contribution to the formation of a common German identity within an European context, but also to the simultaneous integration of the citizens of the former East Germany,
\nc. to examine whether this official German memory policy goes along with the official handling of monuments and buildings in the German Democratic Republic, such as the former parliament in Berlin and the Humboldt Forum,
\nd. to study whether the German commemorative politics converge or diverge with the European Union’s memory policies, concerning a european identity as the latest is displayed primarily in the newly built “House of European History” and the planned European Monument to the Victims of Holocaust in Brussels.<\/p>\n<\/div>\n

To view the conference\u2019s program in Greek, click\u00a0here<\/a>\u00a0and browse to the tab \u201c\u0397\u03bc\u03b5\u03c1\u03af\u03b4\u03b1\u201d.<\/div>\n
\n

Research: \u201cReal Socialism\u2019s memory in Germany 30 years later: Exhibition policy of the German Historical Museum and the processing of public monuments of the former Eastern Germany\u201d<\/h4>\n

Researcher: Dr. Alexandros Teneketzis<\/strong><\/h5>\n

The research project \u201cReal Socialism\u2019s memory in Germany 30 years later: Exhibition policy of the German Historical Museum and the processing of public monuments of the former Eastern Germany\u201d<\/em>\u00a0was funded by the Research Centre for the Humanities (RCH) for the year 2021.<\/em><\/p>\n

In recent years there has been a general rise in interest in modern European societies\u2019 Public History and in traumatic memory of the 20th century. Subsequently, the impressive revival of memory studies in the last two decades has been accompanied by significant advances in the research methods of collective memory processes. Historical events like the fall of Real Socialism, the end of Cold War in 1989, the revival of nationalisms, the unstable international environment, the financial crisis of recent years, even the refugee and immigration issue, are key factors that fostered the interest in Public History, in traumatic memory and in historical justice. In this context, the memorial crises of European societies have been intensified and the construction of a common European identity came to the fore, often based on the negative consciousness of the consequences of totalitarianism or the \u2018foreigner\u2019, or even on the Holocaust as negative founding myth.<\/p>\n

Cases like the German Historical Museum (GHM), which was founded only months before the fall of the Berlin Wall, provide an exemplary field of research to understand public history and the management of public memory in post-1989 Germany. Moreover, the history of GHM\u2019s temporary exhibitions in the last thirty years and of its permanent collections, their rationale and their reception, demonstrate that after the fall of the Berlin Wall, reunified Germany, in accordance with the rest of the Western world, tried to shape a specific image of the German Nation, of Europe and European identity, affirming at the same time that museums deemed to be and used as leading agents in shaping German and European public history and memory.\u00a0The research explores how a cultural institute interprets and displays the memory of the memory of Real Socialism in Germany. It specifically examines the construction of this memory and the political use of the cultural field and public history. In addition, it discusses how symbols and artefacts were used to interpret an ambiguous and divided historical past, in order to accomplish social and political cohesion within critical political and social conditions in Germany and Europe. Finally, it focuses on how Arts and Museology, in different times and during periods of crisis, can become part of the public sphere and public history, through a museum’s exhibition policy and how interpretation of Real Socialism and the idea of Europe is reflected in the permanent exhibition of the German Historical Museum.<\/p>\n

\n

The full academic report for this research\u2019s results is available in Greek. To view it, click\u00a0here<\/a>\u00a0and browse to the tab \u201c\u0391\u03c0\u03bf\u03c4\u03b5\u03bb\u03ad\u03c3\u03bc\u03b1\u03c4\u03b1 \u0388\u03c1\u03b5\u03c5\u03bd\u03b1\u03c2\u201d.<\/p>\n<\/div>\n

\n

\"\"Dr. Alexandros Teneketzis<\/strong> is an Art Historian. Currently, he is postdoctoral researcher of the Department of Cultural Technology & Communication, University of the Aegean and of the Department of History and Ethnology of the Democritus University of Thrace. He teaches Public History at the Hellenic Open University and Greek Art at Athens School of Fine Arts. He has numerous publications and lectures on public art, digital history of art, public monuments, public and collective memory, museums history and politics. He has worked as a Researcher at the Institute for Mediterranean Studies \u2013Foundation of Technology and Research Hellas (FORTH), Rethymno-Crete in Greece and at the Ionian University.
\n<\/strong><\/p>\n<\/div>\n

\n

Selected publications<\/p>\n

    \n
  • \u201c12th Documenta, The Globalization in Art\u201d (\u00ab12\u03b7 \u039d\u03c4\u03bf\u03ba\u03bf\u03c5\u03bc\u03ad\u03bd\u03c4\u03b1 – \u0397 \u03c0\u03b1\u03b3\u03ba\u03bf\u03c3\u03bc\u03b9\u03bf\u03c0\u03bf\u03af\u03b7\u03c3\u03b7 \u03c3\u03c4\u03b7\u03bd \u03c4\u03ad\u03c7\u03bd\u03b7\u00bb), Utopia<\/em> (\u039f\u03c5\u03c4\u03bf\u03c0\u03af\u03b1), 76, Sept.-Oct. 2007, pp. 189-194.<\/li>\n
  • \u201cFrom the memory for the war to the war for the memory\u201d (\u00ab\u0391\u03c0\u03cc \u03c4\u03b7 \u03bc\u03bd\u03ae\u03bc\u03b7 \u03b3\u03b9\u03b1 \u03c4\u03bf\u03bd \u03c0\u03cc\u03bb\u03b5\u03bc\u03bf \u03c3\u03c4\u03bf\u03bd \u03c0\u03cc\u03bb\u03b5\u03bc\u03bf \u03b3\u03b9\u03b1 \u03c4\u03b7 \u03bc\u03bd\u03ae\u03bc\u03b7\u00bb), Mnimon<\/em> (\u039c\u03bd\u03ae\u03bc\u03c9\u03bd, \u0395\u03c4\u03b1\u03b9\u03c1\u03b5\u03af\u03b1 \u039c\u03b5\u03bb\u03ad\u03c4\u03b7\u03c2 \u039d\u03ad\u03bf\u03c5 \u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03c3\u03bc\u03bf\u03cd), 29, 2008, pp. 275-295.<\/li>\n
  • \u201cConflict, Memory Transfers and the Reshaping of Europe\u201d (\u00ab\u03a3\u03cd\u03b3\u03ba\u03c1\u03bf\u03c5\u03c3\u03b7, \u03bc\u03b5\u03c4\u03b1\u03c6\u03bf\u03c1\u03ad\u03c2 \u03c4\u03b7\u03c2 \u03bc\u03bd\u03ae\u03bc\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03b7 \u03b1\u03bd\u03b1\u03b4\u03b9\u03b1\u03bc\u03cc\u03c1\u03c6\u03c9\u03c3\u03b7 \u03c4\u03b7\u03c2 \u0395\u03c5\u03c1\u03ce\u03c0\u03b7\u03c2 (\u03c7\u03c1\u03bf\u03bd\u03b9\u03ba\u03cc)\u00bb), Historica<\/em> (\u0399\u03c3\u03c4\u03bf\u03c1\u03b9\u03ba\u03ac), 50, June 2009, pp. 205-210.<\/li>\n
  • \u201cArt and Memory in 20th Century, Methodological Reconsiderations\u201d (\u00ab\u03a4\u03ad\u03c7\u03bd\u03b7 \u03ba\u03b1\u03b9 \u03bc\u03bd\u03ae\u03bc\u03b7 \u03c4\u03bf\u03bd 20\u03bf \u03b1\u03b9\u03ce\u03bd\u03b1: \u039c\u03b5\u03b8\u03bf\u03b4\u03bf\u03bb\u03bf\u03b3\u03b9\u03ba\u03ad\u03c2 \u03b1\u03bd\u03b1\u03b6\u03b7\u03c4\u03ae\u03c3\u03b5\u03b9\u03c2\u00bb), Art in 20th Century: History, Theory, Experience<\/em>, Aristotelian University of Thessaloniki, 2009, pp. 535-543.<\/li>\n
  • \u201cThe Obscure Realm of Memory in Cold War West Germany: The Politics of Public Monuments\u201d, Conflict, Memory Transfers and the Reshaping of Europe<\/em>, Helena Gon\u00e7alves da Silva\/ Adriana Alves de Paula Martins\/ Filomena Viana Guarda\/ Jos\u00e9 Miguel Sardica (ed.), Cambridge Scholars Publishing, Newcastle 2010, pp. 36-52.<\/li>\n
  • \u201cAvant-garde and History in Cold War\u201d (\u00ab\u03a0\u03c1\u03c9\u03c4\u03bf\u03c0\u03bf\u03c1\u03af\u03b1 \u03ba\u03b1\u03b9 \u03b9\u03c3\u03c4\u03bf\u03c1\u03af\u03b1 \u03c3\u03c4\u03bf\u03bd \u03a8\u03c5\u03c7\u03c1\u03cc \u03a0\u03cc\u03bb\u03b5\u03bc\u03bf\u00bb), Historica<\/em> (\u0399\u03c3\u03c4\u03bf\u03c1\u03b9\u03ba\u03ac), 52, June 2010, pp. 235-240.<\/li>\n
  • \u201c\u2018Sentiment is a private thing\u2019, Aspects of interwar in the post Cold War Berlin\u201d (\u00ab\u2018\u03a4\u03bf \u03c3\u03c5\u03bd\u03b1\u03af\u03c3\u03b8\u03b7\u03bc\u03b1 \u03b5\u03af\u03bd\u03b1\u03b9 \u03b9\u03b4\u03b9\u03c9\u03c4\u03b9\u03ba\u03ae \u03c5\u03c0\u03cc\u03b8\u03b5\u03c3\u03b7\u2019, \u038c\u03c8\u03b5\u03b9\u03c2 \u03c4\u03bf\u03c5 \u03bc\u03b5\u03c3\u03bf\u03c0\u03bf\u03bb\u03ad\u03bc\u03bf\u03c5 \u03c3\u03c4\u03bf \u03bc\u03b5\u03c4\u03b1\u03c8\u03c5\u03c7\u03c1\u03bf\u03c0\u03bf\u03bb\u03b5\u03bc\u03b9\u03ba\u03cc \u0392\u03b5\u03c1\u03bf\u03bb\u03af\u03bd\u03bf\u00bb), Utopia<\/em> (\u039f\u03c5\u03c4\u03bf\u03c0\u03af\u03b1), 91, Sept.-Oct. 2010, pp. 121-134.<\/li>\n
  • \u201cPaths of Memory in Greece after the Civil War: the Representation of Memory of the War in Public Memory Art until \u201974\u201d (\u00ab\u039c\u03bf\u03bd\u03bf\u03c0\u03ac\u03c4\u03b9\u03b1 \u03c4\u03b7\u03c2 \u03bc\u03bd\u03ae\u03bc\u03b7\u03c2 \u03c3\u03c4\u03b7 \u03bc\u03b5\u03c4\u03b5\u03bc\u03c6\u03c5\u03bb\u03b9\u03b1\u03ba\u03ae \u0395\u03bb\u03bb\u03ac\u03b4\u03b1: \u03b7 \u03b1\u03c0\u03b5\u03b9\u03ba\u03cc\u03bd\u03b9\u03c3\u03b7 \u03c4\u03b7\u03c2 \u03bc\u03bd\u03ae\u03bc\u03b7\u03c2 \u03c4\u03bf\u03c5 \u03c0\u03bf\u03bb\u03ad\u03bc\u03bf\u03c5 \u03c4\u03bf\u03c5 \u201940 \u03c3\u03c4\u03b7 \u03b4\u03b7\u03bc\u03cc\u03c3\u03b9\u03b1 \u03bc\u03bd\u03b7\u03bc\u03b5\u03b9\u03b1\u03ba\u03ae \u03c4\u03ad\u03c7\u03bd\u03b7 \u03bc\u03ad\u03c7\u03c1\u03b9 \u03c4\u03bf \u201974\u00bb), Nea Estia<\/em>, (\u039d\u03ad\u03b1 \u0395\u03c3\u03c4\u03af\u03b1), 169\/ 1845, June 2011, pp. 1222-1240.<\/li>\n
  • \u201cStories on stone and bronze, The Holocaust Monuments in USA and Israel during the Cold War\u201d (\u00ab\u0399\u03c3\u03c4\u03bf\u03c1\u03af\u03b5\u03c2 \u03c3\u03b5 \u03c0\u03ad\u03c4\u03c1\u03b1 \u03ba\u03b1\u03b9 \u03c7\u03b1\u03bb\u03ba\u03cc, \u03a4\u03bf \u039f\u03bb\u03bf\u03ba\u03b1\u03cd\u03c4\u03c9\u03bc\u03b1 \u03c3\u03c4\u03b1 \u03bc\u03bd\u03b7\u03bc\u03b5\u03af\u03b1 \u0399\u03c3\u03c1\u03b1\u03ae\u03bb \u03ba\u03b1\u03b9 \u0397\u03a0\u0391 \u03c4\u03b7\u03bd \u03c0\u03b5\u03c1\u03af\u03bf\u03b4\u03bf \u03c4\u03bf\u03c5 \u03a8\u03c5\u03c7\u03c1\u03bf\u03cd \u03a0\u03bf\u03bb\u03ad\u03bc\u03bf\u03c5\u00bb), Historica<\/em> (\u0399\u03c3\u03c4\u03bf\u03c1\u03b9\u03ba\u03ac), v. 56, June 2012, pp. 171-192.<\/li>\n
  • \u201cPublic Art in the Balkans from Roman Empire to Yesterday: intention, interpretation, controversy\u201d (\u00ab\u0397 \u03b4\u03b7\u03bc\u03cc\u03c3\u03b9\u03b1 \u03c4\u03ad\u03c7\u03bd\u03b7 \u03c3\u03c4\u03b1 \u0392\u03b1\u03bb\u03ba\u03ac\u03bd\u03b9\u03b1 \u03b1\u03c0\u03cc \u03c4\u03b7 \u03a1\u03c9\u03bc\u03b1\u03ca\u03ba\u03ae \u03b1\u03c5\u03c4\u03bf\u03ba\u03c1\u03b1\u03c4\u03bf\u03c1\u03af\u03b1 \u03bc\u03ad\u03c7\u03c1\u03b9 \u03c7\u03c4\u03b5\u03c2: \u03c0\u03c1\u03bf\u03b8\u03ad\u03c3\u03b5\u03b9\u03c2, \u03b5\u03c1\u03bc\u03b7\u03bd\u03b5\u03af\u03b5\u03c2, \u03b1\u03bc\u03c6\u03b9\u03c3\u03b2\u03b7\u03c4\u03ae\u03c3\u03b5\u03b9\u03c2\u00bb), Historica<\/em> (\u0399\u03c3\u03c4\u03bf\u03c1\u03b9\u03ba\u03ac), v. 58, June 2013, pp. 221-225.<\/li>\n
  • \u201cThe metamorphosis of memory, Public sculpture in Interwar Europe\u201d (\u00ab\u039f\u03b9 \u03bc\u03b5\u03c4\u03b1\u03bc\u03bf\u03c1\u03c6\u03ce\u03c3\u03b5\u03b9\u03c2 \u03c4\u03b7\u03c2 \u03bc\u03bd\u03ae\u03bc\u03b7\u03c2: \u03b7 \u03b4\u03b7\u03bc\u03cc\u03c3\u03b9\u03b1 \u03b3\u03bb\u03c5\u03c0\u03c4\u03b9\u03ba\u03ae \u03c3\u03c4\u03b7\u03bd \u0395\u03c5\u03c1\u03ce\u03c0\u03b7 \u03c4\u03bf\u03c5 \u03bc\u03b5\u03c3\u03bf\u03c0\u03bf\u03bb\u03ad\u03bc\u03bf\u03c5\u00bb), Istoria tis Technis<\/em> (\u0399\u03c3\u03c4\u03bf\u03c1\u03af\u03b1 \u03c4\u03b7\u03c2 \u03a4\u03ad\u03c7\u03bd\u03b7\u03c2), 1, Winter 2013, pp. 65-88.<\/li>\n
  • \u201cArt and politics during Cold War, The International Competition for the Monument of the Unknown Prisoner\u201d (\u00ab\u03a4\u03ad\u03c7\u03bd\u03b7 \u03ba\u03b1\u03b9 \u03c0\u03bf\u03bb\u03b9\u03c4\u03b9\u03ba\u03ae \u03c3\u03c4\u03bf\u03bd \u03a8\u03c5\u03c7\u03c1\u03cc \u03a0\u03cc\u03bb\u03b5\u03bc\u03bf, \u039f \u0394\u03b9\u03b5\u03b8\u03bd\u03ae\u03c2 \u0394\u03b9\u03b1\u03b3\u03c9\u03bd\u03b9\u03c3\u03bc\u03cc\u03c2 \u0393\u03bb\u03c5\u03c0\u03c4\u03b9\u03ba\u03ae\u03c2 \u03b3\u03b9\u03b1 \u03c4\u03bf \u2018\u039c\u03bd\u03b7\u03bc\u03b5\u03af\u03bf \u03c4\u03bf\u03c5 \u0386\u03b3\u03bd\u03c9\u03c3\u03c4\u03bf\u03c5 \u03a0\u03bf\u03bb\u03b9\u03c4\u03b9\u03ba\u03bf\u03cd \u039a\u03c1\u03b1\u03c4\u03bf\u03cd\u03bc\u03b5\u03bd\u03bf\u03c5\u2019\u00bb), Mnimon<\/em> (\u039c\u03bd\u03ae\u03bc\u03c9\u03bd), v. 33, 2013-2014, pp. 185-205.<\/li>\n
  • Alexandros Teneketzis-Lefteris Spirou, \u201cBerlin\u2019s museums, Art-History-Propaganda\u201d (\u00ab\u03a4\u03b1 \u03bc\u03bf\u03c5\u03c3\u03b5\u03af\u03b1 \u03c4\u03bf\u03c5 \u0392\u03b5\u03c1\u03bf\u03bb\u03af\u03bd\u03bf\u03c5, \u03a4\u03ad\u03c7\u03bd\u03b7-\u0399\u03c3\u03c4\u03bf\u03c1\u03af\u03b1-\u03a0\u03c1\u03bf\u03c0\u03b1\u03b3\u03ac\u03bd\u03b4\u03b1\u00bb), Utopia<\/em> (\u039f\u03c5\u03c4\u03bf\u03c0\u03af\u03b1), 109, Nov.-Dec. 2014, pp. 121-134.<\/li>\n
  • \u201cFine arts and Resistance (critic of an exhibition)\u201d (\u00ab\u0395\u03b9\u03ba\u03b1\u03c3\u03c4\u03b9\u03ba\u03ad\u03c2 \u03c4\u03ad\u03c7\u03bd\u03b5\u03c2 \u03ba\u03b1\u03b9 \u03b1\u03bd\u03c4\u03af\u03c3\u03c4\u03b1\u03c3\u03b7 (\u03ba\u03c1\u03b9\u03c4\u03b9\u03ba\u03ae \u03ad\u03ba\u03b8\u03b5\u03c3\u03b7\u03c2)\u00bb), Art History<\/em> (\u0399\u03c3\u03c4\u03bf\u03c1\u03af\u03b1 \u03c4\u03b7\u03c2 \u03a4\u03ad\u03c7\u03bd\u03b7\u03c2), 4, Summer 2015, pp. 99-105.<\/li>\n
  • Alexandros Teneketzis (edit), O K. Theotokis and the \u2018Fellowship of the Nine\u2019 (\u039f \u039a\u03c9\u03bd\u03c3\u03c4\u03b1\u03bd\u03c4\u03af\u03bd\u03bf\u03c2 \u0398\u03b5\u03bf\u03c4\u03cc\u03ba\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03b7 \u00ab\u03a3\u03c5\u03bd\u03c4\u03c1\u03bf\u03c6\u03b9\u03ac \u03c4\u03c9\u03bd \u0395\u03bd\u03bd\u03b9\u03ac\u00bb) (Proceedings of the Conference \u201cO K. Theotokis and the \u2018Fellowship of the Nine\u2019\u201d – \u03a0\u03c1\u03b1\u03ba\u03c4\u03b9\u03ba\u03ac \u03b7\u03bc\u03b5\u03c1\u03af\u03b4\u03b1\u03c2, \u039a\u03ad\u03c1\u03ba\u03c5\u03c1\u03b1 30 \u039d\u03bf\u03b5\u03bc\u03b2\u03c1\u03af\u03bf\u03c5 2013), National Gallery of Athnes \u2013 Apopsi editions (\u0395\u03b8\u03bd\u03b9\u03ba\u03ae \u03a0\u03b9\u03bd\u03b1\u03ba\u03bf\u03b8\u03ae\u03ba\u03b7 \u03ba\u03b1\u03b9 \u039c\u03bf\u03c5\u03c3\u03b5\u03af\u03bf \u0391\u03bb\u03ad\u03be\u03b1\u03bd\u03b4\u03c1\u03bf\u03c5 \u03a3\u03bf\u03cd\u03c4\u03b6\u03bf\u03c5 \u2013 \u0395\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u0386\u03c0\u03bf\u03c8\u03b7), Athens-Corfu 2016.<\/li>\n
  • Markos Konstantakis, John Aliprantis, Alexandros Teneketzis, George Caridakis, \u00abUnderstanding User eXperience aspects in Cultural Heritage interaction\u00bb, in Proceedings of 22nd Pan-Hellenic Conference on Informatics (PCI\u201918),<\/em> ACM, Athens 2018.<\/li>\n
  • \u201cExploring the emerging digital scene in art history and museum practice\u201d, Esboc\u0327os: histories in global contexts<\/em> (Special Issue “Digital and global history: New horizons for the historical inquiry”), vol. 27, no. 45, May-August 2020, pp. 187-206.<\/li>\n
  • \u201cLazaros Lameras\u201d, DER UNBEKANNTE POLITISCHE GEFANGEN, Ein internationaler Skulpturenwettbewerb zu Zeiten des Kalten Krieges <\/em>(exhibition catalog, KUNSTHAUS DAHLEM, 30 October 2020 \u2013 21 February 2021, Dahlem- Berlin), KUNSTHAUS DAHLEM, Berlin 2020, pp. 254-257.<\/li>\n
  • The monuments of Second World War. iconoclasms in Cold War Europe<\/em> (1945-1975) (\u03a4\u03b1 \u03bc\u03bd\u03b7\u03bc\u03b5\u03b9\u0301\u03b1 \u03b3\u03b9\u03b1 \u03c4\u03bf\u03bd \u0392 \u0301 \u03a0\u03b1\u03b3\u03ba\u03bf\u0301\u03c3\u03bc\u03b9\u03bf \u03a0\u03bf\u0301\u03bb\u03b5\u03bc\u03bf, \u0395\u03b9\u03ba\u03bf\u03bd\u03bf\u03bc\u03b1\u03c7\u03b9\u0301\u03b5\u03c2 \u03c3\u03c4\u03b7\u03bd \u0395\u03c5\u03c1\u03c9\u0301\u03c0\u03b7 \u03c4\u03bf\u03c5 \u03a8\u03c5\u03c7\u03c1\u03bf\u03c5\u0301 \u03a0\u03bf\u03bb\u03b5\u0301\u03bc\u03bf\u03c5 (1945-1975)), ,Asini, Athens 2020.<\/li>\n<\/ul>\n<\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":5,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[92,70],"tags":[],"class_list":["post-8637","post","type-post","status-publish","format-standard","hentry","category-cultures-and-cultural-production-en","category-research"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.rchumanities.gr\/en\/wp-json\/wp\/v2\/posts\/8637","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.rchumanities.gr\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.rchumanities.gr\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.rchumanities.gr\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/www.rchumanities.gr\/en\/wp-json\/wp\/v2\/comments?post=8637"}],"version-history":[{"count":9,"href":"https:\/\/www.rchumanities.gr\/en\/wp-json\/wp\/v2\/posts\/8637\/revisions"}],"predecessor-version":[{"id":9760,"href":"https:\/\/www.rchumanities.gr\/en\/wp-json\/wp\/v2\/posts\/8637\/revisions\/9760"}],"wp:attachment":[{"href":"https:\/\/www.rchumanities.gr\/en\/wp-json\/wp\/v2\/media?parent=8637"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.rchumanities.gr\/en\/wp-json\/wp\/v2\/categories?post=8637"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.rchumanities.gr\/en\/wp-json\/wp\/v2\/tags?post=8637"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}