The New Byzantines: The Rise of Greece and the Return of the Near East

On 4 June 2026, the European Studies Centre hosted a book seminar with journalist and Middle East Eye correspondent Sean Matthews on his new book, The New Byzantines: The Rise of Greece and the Return of the Near East. Chaired by Othon Anastasakis, Director of South East European Studies at Oxford, the event explored Matthews's central argument that Greece is being reabsorbed into the Near East after a century of westward orientation.

Matthews opened with a reading from the book's epilogue, reflecting on his family's roots on the island of Oinousses. Through his great-grandfather's changing nationality on ship manifests—from Ottoman subject to Greek citizen—he illustrated how the collapse of empires reshaped identities. Greece, he argued, has long occupied a frontier between East and West, and that dividing line is becoming increasingly blurred. He noted that older travel writers readily situated Greece within the wider Near East and recalled that the United States treated Greece as part of its Near East portfolio until 1974.

He outlined three reasons why Greece matters beyond its borders: it was the first nation-state to emerge from the Ottoman Empire, the first site of sustained Western intervention in the region, and a key marker of the decline of the cosmopolitan order inherited from the Byzantine and Ottoman empires. The book's title, he explained, reflects the continuity between those empires and the hybrid cultural space they created.

Can cultural life thrive under authoritarianism? Evidence from Greece, 1970–1973

On 7 May 2026, SEESOX  hosted a seminar on the relationship between authoritarian rule and cultural creativity. Chaired by Othon Anastasakis, Director of SEESOX, who also served as discussant, the seminar featured Stathis Kalyvas, Gladstone Professor of Government and Fellow of All Souls College, Oxford, presenting his recent Greek-language book Big Bang 1970–1973. Best known for his work on civil war and political violence, Kalyvas turned to the cultural life of the Greek military dictatorship to ask a broader question: is the absence of freedom necessarily suppressive of culture?

Kalyvas began by observing that the answer is far from obvious. One intuition holds that repression stifles cultural life; another that hardship drives people to seek refuge in culture. The empirical record is mixed, with much richer cultural life in Brazil than in Pinochet's Chile, in Czechoslovakia than in East Germany, and in Iran than in North Korea. Greece under the Colonels (1967–1974)—the last successful military coup in Europe, launched by colonels against their own generals and ultimately undone by the Cyprus crisis and the Turkish invasion of 1974—is conventionally remembered as a "cultural desert". According to the standard narrative, the regime cut short the cultural renaissance of the early 1960s, forcing creativity underground into indirect resistance, symbolised by two émigré figures, the composer Mikis Theodorakis and the actress Melina Mercouri. Kalyvas structured his talk around four questions: whether there was high-quality cultural production under the dictatorship; if so, what explains it; why this has been forgotten; and why it matters.

His central claim was that the dictatorship was far from homogeneous. The first phase, from 1967 to 1969, broadly matched the conventional picture: a period of cultural "silence", with many established figures in self-imposed exile and writers refusing to publish. From 1969, however, a marked relaxation produced what he termed the "big bang". A key institutional change was the replacement of pre-emptive censorship, under which every work required approval before publication, with suppressive censorship, which allowed publication but exposed producers to penalties afterwards. Counter-intuitively, this emboldened artists. Kalyvas stressed that the existence of censorship should not be confused with its effectiveness. Censorship had a long pre-dictatorial history, functioned imperfectly like any bureaucracy, and often involved bargaining, with artists deliberately sacrificing some provocative material to preserve what mattered most.