Whereas the Mediterranean has not submitted easily to strong theories, still it has inspired a certain kind of theorizing from the ground. The setting of the Mediterranean viewed from the land's edge gave the world theoria, which Greek etymology and usage associates with looking onto a scene with amazement, viewing drama, being sent as an emissary to consult the oracle, or traveling for the purposes of sightseeing. The present essay explores some connections between the Mediterranean and theoria. Following a brief (...) survey of how theoria functioned in antiquity, it studies the case of 20th-century Greek poet Angelos Sikelianos and American director and choreographer Eva Palmer - husband and wife - who sought to revive ancient ideas of theoria. They organized revivals of the Delphic Festivals in 1927 and 1930 as a prelude to re-establishing Delphi as a world center for people with a vision for the world. Their work rivaled that of the Olympic Revivals, except that the Delphic Revival was linked to a particular Mediterranean site and pursued the course of art, music, social thought, and especially tragedy together with athletics. A spectacular, imaginative, ambitious, but stillborn effort, it gives evidence of both the potential and limits of Mediterranean theoria. (shrink)

Whereas the Mediterranean has not submitted easily to strong theories, still it has inspired a certain kind of theorizing from the ground. The setting of the Mediterranean viewed from the land's edge gave the world theoria, which Greek etymology and usage associates with looking onto a scene with amazement, viewing drama, being sent as an emissary to consult the oracle, or traveling for the purposes of sightseeing. The present essay explores some connections between the Mediterranean and theoria. Following a brief (...) survey of how theoria functioned in antiquity, it studies the case of 20th-century Greek poet Angelos Sikelianos and American director and choreographer Eva Palmer - husband and wife - who sought to revive ancient ideas of theoria. They organized revivals of the Delphic Festivals in 1927 and 1930 as a prelude to re-establishing Delphi as a world center for people with a vision for the world. Their work rivaled that of the Olympic Revivals, except that the Delphic Revival was linked to a particular Mediterranean site and pursued the course of art, music, social thought, and especially tragedy together with athletics. A spectacular, imaginative, ambitious, but stillborn effort, it gives evidence of both the potential and limits of Mediterranean theoria. (shrink)

This article builds on a developing interdisciplinary discussion of home. It studies two 20th-century texts in counterpoint: political philosopher Agnes Heller's essay, `Where Are We at Home,' and novelist Melpo Axioti's My Home, a nostalgic recollection of life on Mykonos. Heller contrasts the elusive, self-appointed geography of postmodern living with a traditional view of primordial dwelling, a non-transient way of dwelling that gave to Earth a commitment stretching from ancestral past to a distant future. That experience is all but lost (...) today, Heller muses as she surveys the horizon for space-bound alternatives to today's geographic promiscuity. The closing paragraph of her essay, which settles inconclusively on a Mediterranean landscape, opens a portal to My Home, the work of another political exile deprived of nationality and citizenship during the Cold War. Axioti's postmodern novel juxtaposes native stories of a transient life on Mykonos with the modern developer's efforts to discover firm foundations for building and an exile's wish to recover solid memories of home. Between those perspectives, Mykonos comes alive as a different type of home, in which obligation forms a bridge between presence and absence. The article closes by inquiring whether a thoughtful look at fragile Mediterranean worlds might reintroduce the idea of obligation to postmodern conceptions of home. (shrink)