
Evi Sampanikou
Evi (Evangelia) D. Sampanikou is Professor in Art History and Visual Culture at the University of the Aegean, Department of Cultural Technology and Communication, (Mytilini, Lesvos, Greece), where she has been teaching since 2000 and external associate and instructor at the Greek Open University since 1999. She has studied archaeology, art history and theory and English literature. Her former research included post-Byzantine painting, Renaissance influences on 16th and 17th century post-Byzantine art and art theory. Her later research mainly involves the history of photography and relations between 19th and 20th century painting and photography, new media art and theories and comics history and theory, generation X, pop culture, as well as Posthumanism. Her published work includes all the above-mentioned topics: a book (1997) and several papers on post-Byzantine art (1991–1996), a book on photography (2003), a book on digital representation and postmodernism (co-author, editor, 2008), a book on visual culture (to be published), book chapters and several other publications on comics, graphic novels and new media art from 2005 to nowadays.
Phone: +302251036618
Address: Department of Cultural Technology and Communication, University of the Aegean, University Hill (Campus), 81100 Mytilini - Lesvos - Greece
Phone: +302251036618
Address: Department of Cultural Technology and Communication, University of the Aegean, University Hill (Campus), 81100 Mytilini - Lesvos - Greece
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Papers by Evi Sampanikou
inner view to the private as political in gender-orientated autobiography. Persepolis albums concentrate major characteristics of parallel kinds of narratives as political fiction or contemporary philosophy, while at the same time they are opened
to a wide range of matters such as the social gender, identities, immigration, refugees, orientalism. Born in 1969 in Rasht,
Iran, Marjane Satrapi was only a child when fundamentalists came to powerin her country and social life changed, especially
for women. Marjane studied at the Lycee Francais in Tehran and later left for Vienna and Strasburg. Having studied Fine
Arts and illustration, she now lives and works in France. Persepolis is an illustrated report of Marjane’s life from the prerevolutionary period to adulthood, describing the shaping of a young woman’s identity between a fundamentalist East and
an orientalist West.
The aim of this chapter is to record and analyse the ways in which the
representation of the past has been constructed by large groups of
specialists or laymen, from Renaissance Humanism to the Posthumanist
digital present, when contemporary technological developments and
capabilities have opened new directions for archaeological research,
turning digital creators and new scientific experts into administrators of
archaeological images. We are therefore going to compare the analogic
and the three-dimensional images as archaeological tools and also as
humanistic (New Archaeology) and postmodern/posthumanistic (Post-
Processual Archaeology) media beginning from virtual archaeology.
“Virtual archaeology” is a developing scientific area using the
capabilities of computers to concentrate, catalogue, group and promote
archaeological material in a range of different ways and media for a wide
spectrum of applications. Virtual archaeology substantially rehabilitates
the geometric relationship between archaeological and architectural data
and describes in visual language the researcher’s verbal descriptions and
theories (Reilly, 1992, 147; Higgins, Main & Lang, 1996; Forte, Siliotti,
1997). The digital image, static or animated, is the final result of the
research and interpretative procedure in the theoretical framework of Post-
Processual Archaeology.
https://www.peterlang.com/view/title/18161
https://www.routledge.com/Coping-with-the-Future-Rethinking-Assumptions-for-Society-Business-and/Garmann-Johnsen-Holtskog-Ennals/p/book/9781138559325
inner view to the private as political in gender-orientated autobiography. Persepolis albums concentrate major characteristics of parallel kinds of narratives as political fiction or contemporary philosophy, while at the same time they are opened
to a wide range of matters such as the social gender, identities, immigration, refugees, orientalism. Born in 1969 in Rasht,
Iran, Marjane Satrapi was only a child when fundamentalists came to powerin her country and social life changed, especially
for women. Marjane studied at the Lycee Francais in Tehran and later left for Vienna and Strasburg. Having studied Fine
Arts and illustration, she now lives and works in France. Persepolis is an illustrated report of Marjane’s life from the prerevolutionary period to adulthood, describing the shaping of a young woman’s identity between a fundamentalist East and
an orientalist West.
The aim of this chapter is to record and analyse the ways in which the
representation of the past has been constructed by large groups of
specialists or laymen, from Renaissance Humanism to the Posthumanist
digital present, when contemporary technological developments and
capabilities have opened new directions for archaeological research,
turning digital creators and new scientific experts into administrators of
archaeological images. We are therefore going to compare the analogic
and the three-dimensional images as archaeological tools and also as
humanistic (New Archaeology) and postmodern/posthumanistic (Post-
Processual Archaeology) media beginning from virtual archaeology.
“Virtual archaeology” is a developing scientific area using the
capabilities of computers to concentrate, catalogue, group and promote
archaeological material in a range of different ways and media for a wide
spectrum of applications. Virtual archaeology substantially rehabilitates
the geometric relationship between archaeological and architectural data
and describes in visual language the researcher’s verbal descriptions and
theories (Reilly, 1992, 147; Higgins, Main & Lang, 1996; Forte, Siliotti,
1997). The digital image, static or animated, is the final result of the
research and interpretative procedure in the theoretical framework of Post-
Processual Archaeology.
https://www.peterlang.com/view/title/18161
https://www.routledge.com/Coping-with-the-Future-Rethinking-Assumptions-for-Society-Business-and/Garmann-Johnsen-Holtskog-Ennals/p/book/9781138559325
THE ICONOGRAPHY AND THE STYLE OF THE WALL-PAINTINGS OF THE THREE HIERARCHS CHAPEL IN BARLAAM MONASTERY, METEORA 1637, ARE SYSTEMATICALLY ANALYZED IN THIS PH.D DISSERTATION. THERE IS AN ATTEMPT FOR THE FORMATION OF AN OUTLINE OF THE HISTORICAL CONTEXT OF THE ARTISTIC PRODUCTION IN THE AREA OF CENTRAL GREECE AND THE PLACEMENT OF THE MONUMENT IN BALKAN PAINTING IN GENERAL. THIS IS SUCCEEDEDBY SEARCHING FOR THE ORIGINS OF THE DECORATION IN THE PREVIOUS CENTURIES, ESPECIALLY IN THE 16TH CENTURY AND THE CRETAN SCHOOL IN ATHOS AND METEORA. A SERIES OF 17TH CENTURY MONUMENTS IN THE AREA OF CENTRAL GREECE IS ALSO EXAMINED FOR THE PLACEMENT OF THE CHAPEL'S PAINTING IN THE SPECIFIC AREA AND ERA. THE WESTERN INFLUENCES ON THE PAINTERS' WORKSHOP ARE ALSO SET. MOREOVER, A GENERAL SEARCH FOR OTHER WORKS OF THE PAINTERS' GROUP TAKES PLACE. FINALLY, A CATALOGUE OF LATER 17TH CENTURY MONUMENTS IN CENTRAL THESSALY IS GIVEN, AS AN INITIATIVE FOR FUTURE RESEARCH.
The reason I upload it now is because it has been fully plagiarized-stolen by an unidentified member of Academia that has uploaded it as her own (!!!) and, under her name it has got about 2.500 views... I have repeatedly written to Academia-support but there was no help at all... I have also written to the person that has my teaching notes online but there was no reply...
I think that the Academia.edu platform must doublecheck the authorship of uploaded papers and work here, otherwise we are completely unprotected from having our work completely stolen.
This is part of my 2004 teaching notes that are still online on my eclass. I was suprised to see them uploaded by an unidentified "author" who keeps them among his/her own (?) uploaded papers in Academia...