Education And Learning In Byzantine Thessalonike

Byzantine Thessaloniki has often been considered in its relationship with Constantinople, as a deuteragonist vis-à-vis the capital. However, from the 11th through the 15th century the symproteuousa has often played an important role in terms of the study, preservation and circulation of learning. The present volume collects 11 papers originating in a conference held at Thessaloniki's Kentro Istorias in May 2022. Some of them offer new elements and fresh discoveries on single erudites and their work, from Michael Mitylenaios to John Pediasimos, from Demetrios Triklinios to Thomas Magister, from Matthew Blastares to Manuel Boullotes. Hagiography, schedography, lexicography, philology on ancient Greek texts, and even canonical law, are among the genres practised by Thessalonian scholars over the centuries. Other papers offer thoughts on Eustathios' didactic aims, bird's-eye views of the city's intellectual milieux in the early Palaeologan era, or of the learned circles in Manuel II's entourage. The book acknowledges the "highs" and the "lows" in the cultural development of medieval Thessaloniki, and brings together essential elements towards an assessment of the city's role in the history of education and learning.

The study of the family is one of the major lacunas in Byzantine Studies. Angeliki Laiou remarked in 1989 that ’the study of the Byzantine family is still in its infancy’, and this assertion remains true today. The present volume addresses this lacuna. It comprises 19 chapters written by international experts in the field which take a variety of approaches to the study of the Byzantine family, and embrace a chronological span from the later Roman to the late Byzantine empire. The context is established by chapters focusing on the Roman roots of the Byzantine family, the Christianisation of the family, and the nature of the family in contemporaneous cultures (the late antique west and the Islamic east). Key methodological approaches to the Byzantine family are highlighted and discussed, in particular prosopographical and life course approaches. The contribution of hagiography to the understanding of the Byzantine family is analysed by several authors; other chapters on the family and children in art and on the archaeology of the Middle Byzantine house explore the material evidence that can shed light on the Byzantine family. Overall, the diversity of families that existed in Byzantium (blood, fictive, metaphorical) is emphasised, and chapters consider the specific cases of ascetic, monastic, aristocratic and peasant families, as well as the imperial family, which is illuminated by the comparative case of a Caliphal family. The volume is topped and tailed by a Preface and an Afterword by the editors, which address the state of the field and consider the way ahead. Thus the volume is vital in putting the subject of the Byzantine Family in sharp focus and setting the research agenda for the future.

'Rhetoric in Byzantium' explores the ways in which rhetoric functioned in Byzantine society - as a tool for the effective communication of ideas and ideologies, but at times also a barrier that inhibited the expression of real feelings and everyday realities, and imposed a burden of decoding on outsiders. After an introduction on the practical and textual background to Byzantine rhetoric, the essays are grouped in five sections. The first two deal with the basis of rhetoric in Byzantium and its public uses, principally in imperial and ecclesiastical ceremonial. The next sections look at how rhetoric affects the definition of literature in a Byzantine context and the aesthetic to be used in approaching Byzantine literature, with reference to current critical approaches, and specifically at the role of rhetoric in the writing of history - does it only obscure the facts, or does the rhetorical process itself provide information at other levels? The final essays examine the interaction of the written word and pictorial representation and the question of whether real connections between rhetorical training and artistic production can be demonstrated.