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Examining identity in relation to globalization and migration, this book uses narratives and memoirs from contemporary authors who have lived 'in-between' two or more languages. It explores the human desire to find one's 'own place' in new cultural contexts, and looks at the role of language in shaping a sense of belonging in society.

Rad koristi interdisciplinarni pristup u okviru kulturne politike, kako bi predstavio potrebe za decentralizacijom kulturnog sistema u Srbiji i istovremeno predložio model decentralizacije kulture koji može biti primenjen. Uvodni deo prvo predstavlja značaj decentralizacije u kulturi za Srbiju, ali istovremeno i naglašava prepreke koje su vezane za tranzicioni period u kome se zemlja nalazi. Takođe, u teoretizaciji same decentralizacije u kulturi, rad uvodi nove ključne aspekte – jednakost, ravnopravnost i pravednost, koji se predstavljaju kroz političko – ekonomske teorije poput liberalizma, socijalizma, anarhizma i feminizma, da bi se socijalna pravda uvela kao glavni princip. Iz toga proizilazi i glavna hipoteza - uz primenu principa pravednosti u modelu, može se ostvariti i princip jednakosti/ravnopravnosti u decentralizaciji kulturnog sistema Srbije. Metodološki postupak zasnovan je na interdisciplinarnim teorijsko-empirijskim istraživanjima koja obuhvataju kulturnu politiku, menadžment u kulturi, teoriju upravljanja, političke nauke, ekonomske nauke, pravne nauke i sociologiju. Cilj istraživanja je modelovanje novog kulturnog sistema decentralizacije u Srbiji, zasnovanog na principu pravednosti. Oslanjajući se na evropske primere decentralizacije kulture, kojima se teži kao pripadajućem prostoru države, rad predstavlja i istorijski pregled decentralizacije u širem smislu, političke i fiskalne, kao preduslova pune decentralizacije u kulturi. U opštem teoretisanju decentralizacije, istovremeno se i sama decentralizacija terminološki odvaja od pojmova poput dekocentracije, demetropolizacije, devolucije i delegacije, a predstavljaju se i suplementarni poput regionalizacije i supsidijarnosti, kao i međusobna uslovljenost navedenih oblika decentralizacije (političke, ekonomske i kulturne). Polazne definicije decentralizacije, trodelna definicija uslovljenosti decentralizacije u kulturi Nobuko Kavašime kao "fer distribucija resursa" i Meklijeva "decentralizacija odlučivanja", odnosno dva principa – top down demokratizacije kulture i bootom up kulturne demokratije, u radu se ne isključuju nego zajedno koriste u susretnom smislu. Rad analizira i teorije o decentralizaciji kulture (Malro i Mekli u Francuskoj, Kavašima u Engleskoj, kao i regionalne poput Dragojevića u Hrvatskoj), kao i teoretske pojmove koje smatra neophodnim za primenu decentralizacije u kulturi poput socijalne (shvatanje Džona Rolsa) i tranzicione pravde, društvene sektore sa posebnim naglaskom na civilni sektor u kulturi, populistički diskurs decentralizacije koji koristi politika, participaciju kao neophodan element decentralizacije kulture, commons i spillover efect. Analiza je obuhvatila i praktične, nekadašnje i sadašnje modele decentralizacije u kulturi u Evropi (sa posebnim naglaskom na Francusku i Englesku), nekadašnjoj Jugoslaviji (sa posebnim akcentom na samoupravni sistem), država u regionu (Hrvatska posebno) i samoj Srbiji (Nacrt strategije Komisije za decentralizaciju kulture), kako bi se predstavile strategije koje se mogu iskoristiti za predloženi model. Utvrđujući putem empirijskog istraživanja (stavovi kreatora kulture u unutrašnjosti Srbije), finansijske analize javnih izdvajanja za kulturu, strateških planova i medijske vidljivosti, visok stepen centralizma, rad predlaže i konkretne mere za ostvarivanje decentralizacije u kulturi. Poseban segment istraživanja je utvrdio i potencijalnu ulogu civilnog sektora u kulturi u decentralizaciji kulture, gde se merio njegov potencijal, održivost, povezivanje (poput Asocijacije nezavisne kulturne scene Srbije i njene uloge) i prevashodno primeri dobre prakse u svetu (omladinski centri Estonije) i kod nas nekada (Otvoreni klubovi Savezne republike Jugoslavije) i danas. Glavni rezultat ovog rada je predlog modela za implementaciju decentralizacije u kulturi Srbije, koji je adekvatan specifičnim uslovima sredine i realno primenljiv. Model je nazvan "susretno-pravednim" jer u sebi sadrži više pristupa koji nisu samostalni nego upravo povezani uslovljenim obligacijama odlučivanja koje dvosmerno dolaze vertikalno (nivoi vlasti) i horizontalno (korisnici i sektori) uz primenu načela pravednosti kao glavnog kriterijuma. Model je trostepeni (kulturna decentralizacija bez političke i fiskalne, kulturna i fiskalna decentralizacija i sva tri vida zajedno) sa trogodišnjim trajanjem svake faze. On predlaže mere i strategije poput regionalizacije (politička decentralizacija), "skandinavskog modela finansiranja" lokalnih samouprava (fiskalna decentralizacija) i kao najbitnije za kulturnu decentralizaciju: jačanje regionalnih i lokalnih resursa (razvoj kadrova i publike, departizaciju, deinstitucionalizaciju, izgradnju i revitalizaciju infrastrukture i obavezne lokalne i regionalne strategije kulture), "kapilarnu decentralizaciju" kulture putem jačanja uloge civilnog sektora, obavezni "lokalni spillover" za manifestacione kreativne industrije i primenu faktora socijalne pravde u finansiranju kulture, difuziji institucija i manifestacija od nacionalnog značaja i u nacionalnoj medijskoj promociji. Naučni doprinos rada je dalja teoretizacija pojma decentralizacije u kulturi sa stanovišta principa jednakosti, ravnopravnosti i pravde. U oblasti kulturne politike, vrednost dizajniranog modela je u tome što može imati i potencijalnu praktičnu primenu, kako od strane nacionalnih, tako i lokalnih subjekata u kulturi Srbije. ; The paper uses an interdisciplinary approach within cultural policy to present the needs for decentralization of the cultural system in Serbia and at the same time propose a model for decentralization of culture that can be applied. The introductory part first presents the importance of decentralization in culture for Serbia, but at the same time highlights the obstacles that are associated with the transition period in which the country is located. Also, in the theorizing of decentralization in culture, the paper introduces new key aspects - equality, equal and justice, which are presented through political - economic theories such as liberalism, socialism, anarchism and feminism, to introduce social justice as the main principle. This leads to the main hypothesis - with the application of the principle of equity in the model, the principle of equality in the decentralization of the cultural system of Serbia can be realized. The methodological procedure is based on interdisciplinary theoretical and empirical research covering cultural policy, cultural management, management theory, political science, economic sciences, legal sciences and sociology. The aim of the research is to model a new cultural system of decentralization in Serbia, based on the principle of equity. Drawing on European examples of decentralization of culture, which strives as belonging to the state space, the paper also presents a historical overview of decentralization in the broad sense, political and fiscal, as a precondition for full decentralization in culture. In the general theorizing of decentralization, decentralization itself is terminologically detached from concepts such as decocentiation, demetropolisation, devolution and delegation, and they are also complementary such as regionalization and subsidiarity, as well as the interdependence of these forms of decentralization (political, economic and cultural). The initial definitions of decentralization, the three-part definition of the conditionality of decentralization in the culture of Nobuko Kawashima as a "fair distribution of resources" and Moeckli's "decentralization of decision-making", that is, two principles - top down of culture democratization and bootom up of cultural democracy, are not mutually exclusive but used together. The paper analyzes the theories of decentralization of culture (Malro and Moeckli in France, Kawashima in England, as well as regional ones like Dragojevic in Croatia), as well as theoretical concepts that he considers necessary for the application of decentralization in culture such as social (John Rolls' understanding) and transitional justice, social sectors with particular emphasis on the civil sector in culture, a populist discourse of decentralization used by politics, participation as a necessary element of cultural decentralization, commons and spillover efect. The analysis also included practical, former and current models of decentralization in culture in Europe (with special emphasis on France and England), former Yugoslavia (with particular emphasis on the self-governing system), countries in the region (Croatia in particular) and Serbia itself (Draft Commission Strategy to decentralize culture), to outline strategies that can be used for the proposed model. By establishing through empirical research (views of cultural creators in the interior of Serbia), financial analysis of public appropriations for culture, strategic plans and media visibility, a high degree of centralism, the paper also proposes concrete measures for achieving decentralization in culture. A specific segment of the research identified the potential role of the civil sector in culture in decentralizing culture, measuring its potential, sustainability, networking (such as the Association of the Independent Cultural Scene of Serbia and its role) and, above all, examples of good practice in the world (Estonian youth centers) and in Balkan once (Open clubs of the Federal Republic of Yugoslavia) and today). The main result of this paper is the proposal of a model for the implementation of decentralization in the culture of Serbia, which is adequate to the specific environmental conditions and realistically applicable. The model has been called "counter-righteous" because it contains more approaches that are not standalone but just linked by conditioned decision-making obligations that come two-way vertically (levels of government) and horizontally (users and sectors), by applying the principle of fairness as the main criterion. The model is three-stage (cultural decentralization without political and fiscal, cultural and fiscal decentralization and all three aspects together) with a three-year duration of each phase. It proposes measures and strategies such as regionalization (political decentralization), the "scandinavian financing model" of local governments (fiscal decentralization) and as essential to cultural decentralization: strengthening regional and local resources (development of staff and audience, depoliticization, deinstitutionalization, construction and revitalization of infrastructure and mandatory local and regional cultural strategies), "capillary decentralization" of culture through strengthening the role of the civil sector, mandatory "local spillover" for creative industries and the application of social justice factors in the financing of culture, diffusion of institutions and events of national importance and in national media promotion. The scientific contribution of the paper is further theorization of the concept of decentralization in culture from the standpoint of the principles of equality and justice. In the field of cultural policy, the value of the designed model is that it can have potential practical application, both by national and local subjects in the culture of Serbia.

Rad koristi interdisciplinarni pristup u okviru kulturne politike, kako bi predstavio potrebe za decentralizacijom kulturnog sistema u Srbiji i istovremeno predložio model decentralizacije kulture koji može biti primenjen. Uvodni deo prvo predstavlja značaj decentralizacije u kulturi za Srbiju, ali istovremeno i naglašava prepreke koje su vezane za tranzicioni period u kome se zemlja nalazi. Takođe, u teoretizaciji same decentralizacije u kulturi, rad uvodi nove ključne aspekte – jednakost, ravnopravnost i pravednost, koji se predstavljaju kroz političko – ekonomske teorije poput liberalizma, socijalizma, anarhizma i feminizma, da bi se socijalna pravda uvela kao glavni princip. Iz toga proizilazi i glavna hipoteza - uz primenu principa pravednosti u modelu, može se ostvariti i princip jednakosti/ravnopravnosti u decentralizaciji kulturnog sistema Srbije. Metodološki postupak zasnovan je na interdisciplinarnim teorijsko-empirijskim istraživanjima koja obuhvataju kulturnu politiku, menadžment u kulturi, teoriju upravljanja, političke nauke, ekonomske nauke, pravne nauke i sociologiju. Cilj istraživanja je modelovanje novog kulturnog sistema decentralizacije u Srbiji, zasnovanog na principu pravednosti. Oslanjajući se na evropske primere decentralizacije kulture, kojima se teži kao pripadajućem prostoru države, rad predstavlja i istorijski pregled decentralizacije u širem smislu, političke i fiskalne, kao preduslova pune decentralizacije u kulturi. U opštem teoretisanju decentralizacije, istovremeno se i sama decentralizacija terminološki odvaja od pojmova poput dekocentracije, demetropolizacije, devolucije i delegacije, a predstavljaju se i suplementarni poput regionalizacije i supsidijarnosti, kao i međusobna uslovljenost navedenih oblika decentralizacije (političke, ekonomske i kulturne). Polazne definicije decentralizacije, trodelna definicija uslovljenosti decentralizacije u kulturi Nobuko Kavašime kao "fer distribucija resursa" i Meklijeva "decentralizacija odlučivanja", odnosno dva principa – top down demokratizacije kulture i bootom up kulturne demokratije, u radu se ne isključuju nego zajedno koriste u susretnom smislu. Rad analizira i teorije o decentralizaciji kulture (Malro i Mekli u Francuskoj, Kavašima u Engleskoj, kao i regionalne poput Dragojevića u Hrvatskoj), kao i teoretske pojmove koje smatra neophodnim za primenu decentralizacije u kulturi poput socijalne (shvatanje Džona Rolsa) i tranzicione pravde, društvene sektore sa posebnim naglaskom na civilni sektor u kulturi, populistički diskurs decentralizacije koji koristi politika, participaciju kao neophodan element decentralizacije kulture, commons i spillover efect. Analiza je obuhvatila i praktične, nekadašnje i sadašnje modele decentralizacije u kulturi u Evropi (sa posebnim naglaskom na Francusku i Englesku), nekadašnjoj Jugoslaviji (sa posebnim akcentom na samoupravni sistem), država u regionu (Hrvatska posebno) i samoj Srbiji (Nacrt strategije Komisije za decentralizaciju kulture), kako bi se predstavile strategije koje se mogu iskoristiti za predloženi model. Utvrđujući putem empirijskog istraživanja (stavovi kreatora kulture u unutrašnjosti Srbije), finansijske analize javnih izdvajanja za kulturu, strateških planova i medijske vidljivosti, visok stepen centralizma, rad predlaže i konkretne mere za ostvarivanje decentralizacije u kulturi. Poseban segment istraživanja je utvrdio i potencijalnu ulogu civilnog sektora u kulturi u decentralizaciji kulture, gde se merio njegov potencijal, održivost, povezivanje (poput Asocijacije nezavisne kulturne scene Srbije i njene uloge) i prevashodno primeri dobre prakse u svetu (omladinski centri Estonije) i kod nas nekada (Otvoreni klubovi Savezne republike Jugoslavije) i danas. Glavni rezultat ovog rada je predlog modela za implementaciju decentralizacije u kulturi Srbije, koji je adekvatan specifičnim uslovima sredine i realno primenljiv. Model je nazvan "susretno-pravednim" jer u sebi sadrži više pristupa koji nisu samostalni nego upravo povezani uslovljenim obligacijama odlučivanja koje dvosmerno dolaze vertikalno (nivoi vlasti) i horizontalno (korisnici i sektori) uz primenu načela pravednosti kao glavnog kriterijuma. Model je trostepeni (kulturna decentralizacija bez političke i fiskalne, kulturna i fiskalna decentralizacija i sva tri vida zajedno) sa trogodišnjim trajanjem svake faze. On predlaže mere i strategije poput regionalizacije (politička decentralizacija), "skandinavskog modela finansiranja" lokalnih samouprava (fiskalna decentralizacija) i kao najbitnije za kulturnu decentralizaciju: jačanje regionalnih i lokalnih resursa (razvoj kadrova i publike, departizaciju, deinstitucionalizaciju, izgradnju i revitalizaciju infrastrukture i obavezne lokalne i regionalne strategije kulture), "kapilarnu decentralizaciju" kulture putem jačanja uloge civilnog sektora, obavezni "lokalni spillover" za manifestacione kreativne industrije i primenu faktora socijalne pravde u finansiranju kulture, difuziji institucija i manifestacija od nacionalnog značaja i u nacionalnoj medijskoj promociji. Naučni doprinos rada je dalja teoretizacija pojma decentralizacije u kulturi sa stanovišta principa jednakosti, ravnopravnosti i pravde. U oblasti kulturne politike, vrednost dizajniranog modela je u tome što može imati i potencijalnu praktičnu primenu, kako od strane nacionalnih, tako i lokalnih subjekata u kulturi Srbije. ; The paper uses an interdisciplinary approach within cultural policy to present the needs for decentralization of the cultural system in Serbia and at the same time propose a model for decentralization of culture that can be applied. The introductory part first presents the importance of decentralization in culture for Serbia, but at the same time highlights the obstacles that are associated with the transition period in which the country is located. Also, in the theorizing of decentralization in culture, the paper introduces new key aspects - equality, equal and justice, which are presented through political - economic theories such as liberalism, socialism, anarchism and feminism, to introduce social justice as the main principle. This leads to the main hypothesis - with the application of the principle of equity in the model, the principle of equality in the decentralization of the cultural system of Serbia can be realized. The methodological procedure is based on interdisciplinary theoretical and empirical research covering cultural policy, cultural management, management theory, political science, economic sciences, legal sciences and sociology. The aim of the research is to model a new cultural system of decentralization in Serbia, based on the principle of equity. Drawing on European examples of decentralization of culture, which strives as belonging to the state space, the paper also presents a historical overview of decentralization in the broad sense, political and fiscal, as a precondition for full decentralization in culture. In the general theorizing of decentralization, decentralization itself is terminologically detached from concepts such as decocentiation, demetropolisation, devolution and delegation, and they are also complementary such as regionalization and subsidiarity, as well as the interdependence of these forms of decentralization (political, economic and cultural). The initial definitions of decentralization, the three-part definition of the conditionality of decentralization in the culture of Nobuko Kawashima as a "fair distribution of resources" and Moeckli's "decentralization of decision-making", that is, two principles - top down of culture democratization and bootom up of cultural democracy, are not mutually exclusive but used together. The paper analyzes the theories of decentralization of culture (Malro and Moeckli in France, Kawashima in England, as well as regional ones like Dragojevic in Croatia), as well as theoretical concepts that he considers necessary for the application of decentralization in culture such as social (John Rolls' understanding) and transitional justice, social sectors with particular emphasis on the civil sector in culture, a populist discourse of decentralization used by politics, participation as a necessary element of cultural decentralization, commons and spillover efect. The analysis also included practical, former and current models of decentralization in culture in Europe (with special emphasis on France and England), former Yugoslavia (with particular emphasis on the self-governing system), countries in the region (Croatia in particular) and Serbia itself (Draft Commission Strategy to decentralize culture), to outline strategies that can be used for the proposed model. By establishing through empirical research (views of cultural creators in the interior of Serbia), financial analysis of public appropriations for culture, strategic plans and media visibility, a high degree of centralism, the paper also proposes concrete measures for achieving decentralization in culture. A specific segment of the research identified the potential role of the civil sector in culture in decentralizing culture, measuring its potential, sustainability, networking (such as the Association of the Independent Cultural Scene of Serbia and its role) and, above all, examples of good practice in the world (Estonian youth centers) and in Balkan once (Open clubs of the Federal Republic of Yugoslavia) and today). The main result of this paper is the proposal of a model for the implementation of decentralization in the culture of Serbia, which is adequate to the specific environmental conditions and realistically applicable. The model has been called "counter-righteous" because it contains more approaches that are not standalone but just linked by conditioned decision-making obligations that come two-way vertically (levels of government) and horizontally (users and sectors), by applying the principle of fairness as the main criterion. The model is three-stage (cultural decentralization without political and fiscal, cultural and fiscal decentralization and all three aspects together) with a three-year duration of each phase. It proposes measures and strategies such as regionalization (political decentralization), the "scandinavian financing model" of local governments (fiscal decentralization) and as essential to cultural decentralization: strengthening regional and local resources (development of staff and audience, depoliticization, deinstitutionalization, construction and revitalization of infrastructure and mandatory local and regional cultural strategies), "capillary decentralization" of culture through strengthening the role of the civil sector, mandatory "local spillover" for creative industries and the application of social justice factors in the financing of culture, diffusion of institutions and events of national importance and in national media promotion. The scientific contribution of the paper is further theorization of the concept of decentralization in culture from the standpoint of the principles of equality and justice. In the field of cultural policy, the value of the designed model is that it can have potential practical application, both by national and local subjects in the culture of Serbia.

Kostas Raptis, Middle classes and middle class culture in Europe, 1789-1914: approaches in modern historiographyThe history of the european middle classes from the late 18th to theearly 20th century is a very wide topic and relates to economic, social,political, gender and culture history. This essay gives a brief overviewof the main subjects regarding it. It draws mainly on (pioneer) germanspeaking,but also on english and french literature. Following the currentdebate, it points to the different social and economic groups making upthe so called ((Bürgertum», to their common characteristics, as well astheir specific culture, the ((Bürgerlichkeit)).More specifically this paper is concerned with the followin subjects:— the composition of the «Bürgertum» and the features of its maingroups (professionals, bourgeois of money and bourgeois of knowledge)— the relevant terminology in german, french and english language— the comparison between upper middle class and nobility— the social position and role of the lowermiddle classes— the relation of the bourgeoisie to liberalism and nationalism— the study of the history of the middle classes in the specific contextof a town or a city (as an urban phenomenon)— the position and role of middle class women in a bourgeois society— the middle class family— the bourgeois way of life and culture in general ; Kostas Raptis, Middle classes and middle class culture in Europe, 1789-1914: approaches in modern historiographyThe history of the european middle classes from the late 18th to theearly 20th century is a very wide topic and relates to economic, social,political, gender and culture history. This essay gives a brief overviewof the main subjects regarding it. It draws mainly on (pioneer) germanspeaking,but also on english and french literature. Following the currentdebate, it points to the different social and economic groups making upthe so called ((Bürgertum», to their common characteristics, as well astheir specific culture, the ((Bürgerlichkeit)).More specifically this paper is concerned with the followin subjects:— the composition of the «Bürgertum» and the features of its maingroups (professionals, bourgeois of money and bourgeois of knowledge)— the relevant terminology in german, french and english language— the comparison between upper middle class and nobility— the social position and role of the lowermiddle classes— the relation of the bourgeoisie to liberalism and nationalism— the study of the history of the middle classes in the specific contextof a town or a city (as an urban phenomenon)— the position and role of middle class women in a bourgeois society— the middle class family— the bourgeois way of life and culture in general

Δεν παρατίθεται περίληψη στα Ελληνικά. ; L'article s'intéresse à la recherche des processus intellectuels, idéologiques et politiques, qui ont abouti en Allemagne pendant le 19ème et le début du 20ème siècle à la disjonction radicale des notions de la «culture» et de la «civilisation». Cette disjonction a eu comme résultat la surenchère de la culture et en même temps le mépris de la civilisation, et surtout la réduction de ce bipolaire oppositionnel au niveau d'un principe organisant l'idéologie nationaliste allemande. En particulier, cet article essaie de montrer le rôle qu'a joué la plupart de l'intelligentsia universitaire allemande pour la construction et la consolidation d'une opinion massive contre l'esprit occidental dès 1807 jusqu'à 1918.

ABOUT LITERACY, HERESY, ICONOGRAPHY AND POLITICAL AMBITION ON THE SEALS OF NIKEPHOROS BOTANEIATES The scarce information of the 11th-c. historians on the long military career of Nikephoros Botaneiates before his ascension to the throne is supplemented to a great extent by 31 lead seals of Botaneiates, today kept in private and museum collections in more than seven countries around the world. The epigraphic and iconographic study of this sigillographic material reconstructs the social ascent and military activities of the future emperor, while at the same time it sheds light on his personality (level of culture, religious sensitivities, political ambition) and the socio-political conditions of his era. ; ABOUT LITERACY, HERESY, ICONOGRAPHY AND POLITICAL AMBITION ON THE SEALS OF NIKEPHOROS BOTANEIATES The scarce information of the 11th-c. historians on the long military career of Nikephoros Botaneiates before his ascension to the throne is supplemented to a great extent by 31 lead seals of Botaneiates, today kept in private and museum collections in more than seven countries around the world. The epigraphic and iconographic study of this sigillographic material reconstructs the social ascent and military activities of the future emperor, while at the same time it sheds light on his personality (level of culture, religious sensitivities, political ambition) and the socio-political conditions of his era.

Subject of the volume are the finds uncovered during the excavations of the ÖAI in the residential area "Phournoi" of the ancient town of Lousoi in Northwest Arkadia. A short introduction to the architecture of the houses is followed by the presentation of the pottery and small finds in their chronological and functional context. This study results in important information concerning daily life, domestic culture and the economic background of the region mainly in the Hellenistic period. - Vorgelegt werden die Funde aus den Grabungen des ÖAI in zwei Häusern im Wohnviertel "Phournoi" der antiken Stadt Lousoi in Nordwestarkadien. Nach einer kurzen Bresprechung der Architektur wird das Fundmaterial in seinen chronologischen und funktionalen Zusammenhang gestellt. Daraus ergeben sich wichtige Aussagen zum täglichen Leben der Bewohner, zur Wohnkultur und zu den wirtschaftlichen Grundlagen der Region vor allem im Hellenismus.

The use of writing in the development of Greek law was unique. In this comparative study Professor Gagarin shows the reader how Greek law developed and explains why it became so different from the legal systems with which most legal historians are familiar. While other early communities wrote codes of law for academic or propaganda purposes, the Greeks used writing extensively to make their laws available to a relatively large segment of the community. On the other hand, the Greeks made little use of writing in litigation whereas other cultures used it extensively in this area, often putting written documents at the heart of the judicial process. Greek law thereby avoided becoming excessively technical and never saw the development of a specialised legal profession. This book will be of interest to those with an interest in the history of law, as well as ancient historians