• Introduction:Ruins in Contemporary Greek Literature, Art, Cinema, and Public Space
• Maria Boletsi (bio) and Ipek A. Celik Rappas (bio)

Panos Koutras's film Ξενία (Xenia, 2014) provokes a debate about the social value of ruins. In this travel and coming-of-age narrative, the title stands for the "hospitality" provided by a dilapidated hotel, in the ruins of which the Greek-Albanian characters Ody and his brother Dany find refuge. In an earlier scene on Ody's balcony overlooking the city of Athens, Dany points into the distance and asks, "Is that the Acropolis?" Ody listlessly acknowledges that it is, and they continue a heated discussion about their family's past. While the ancient ruin in the capital becomes a background against which the characters fight over their memories, the modern ruin on the periphery—the hotel—becomes the setting for reconciliation and for dreams of a possible future. In the middle of the film, the heroes reach the ruined hotel—the scene was shot in the Kozani Xenia hotel, one of the Xenia hotels built by the Greek National Tourism Organization and an epitome of the modernist architecture of the 1960s—where they finally bond, drink, and dance to an Italian song from the 1970s. The ruined hotel invites an alternative view of ruins: instead of representing a distant eternal uninhabited beauty, ruins here are an inhabited space that accommodates, and is re-made by, the so-called xenoi, the "foreigners." The former luxury hotel, in its peripheral and abandoned state, provides refuge from the xenophobic and homophobic attacks that have threatened the characters on their journey thus far.

Iakovos Panagopoulos argues that the name of the hotel, Xenia, is a reference to xenophobia rather than philoxenia (hospitality), "as the heroes are located in a hostile place, which is strongly illustrated in the abandonment of the hotel and the isolation of heroes in it" (2017, 59). The abandonment and isolation of this modernist architectural ruin, however, need not be seen as representing hostility, especially in light of the amount of relief, diversion, and ease the ruin provides both for the protagonists and for the narrative itself. [End Page vii] For Dimitris Papanikolaou, the Xenia hotel is a space of "mending" for the characters and, more importantly, a "queer" space of hope that allows them to "make that space together, nominating it with their bodies. This is how the symbol of Greece's abandonment and noxious debt is turned into a queer refuge—with a possible future" (forthcoming [b]).¹ According to Papanikolaou, this ruined space becomes the setting for a new meaning of hospitality, and also of citizenship, to emerge. In the Xenia hotel, hospitality and citizenship are not defined and offered by the state, but by "what bodies make, when bodies orient towards one another" (ibid.). Reflecting on the function of the same ruined site in the film, Stathis Gourgouris notes that, in the characters' attempt to be liberated from the "debilitating dialectic of being xenoi (foreigners) at home without a home," the ruined hotel (and the film itself that bears that hotel's name) becomes a space to accommodate their "foreignness"—not only a space of hospitality but also one that calls for a new emancipatory identity, detached from "the binds of their inherited filiation" (2019, 534–535).

This special section aims to trace such alternative meanings and operations of ruins and ruined spaces in contemporary Greek culture, literature, film, memoirs, art, and public space. It thereby draws attention to cases that revise, complicate, thwart, or defamiliarize common valuations of (Greek) ruins as burdens of the past, signifiers of loss, failure, and nostalgia, or sources of national pride that are idealized, fetishized, or commodified. The contributing authors revisit ruins of the remote and recent past, as well as new, contemporary ruins in Greece, both in urban centers and on the periphery. They approach ruins as foreign objects with unsettled meanings that haunt and are haunted by the contemporary moment, opening up to debate our assumed familiarity with ruins as spaces of "inherited filiation" (Gourgouris 2019, 535). The contributions also inquire into how ruins can become productive materialities or contested spaces, partaking in unexpected encounters and critical debates...

• 简介：当代希腊文学，艺术，电影和公共空间的废墟
• Maria Boletsi（生物）和Ipek A. Celik Rappas（生物）

Panos Koutras的电影Ξενία（Xenia（2014年）引发了关于废墟的社会价值的辩论。在这次旅行和成年叙事中，标题代表一间破旧的酒店所提供的“热情好客”，希腊-阿尔巴尼亚语人物奥德（Ody）和他的兄弟丹尼（Dany）在那片废墟中找到了避难所。在奥德（Ody）俯瞰雅典市的阳台上的一处较早场景中，丹妮（Dany）指着远方问道：“那是雅典卫城吗？” Ody无精打采地承认这是事实，并且他们继续就家庭的过去进行热烈的讨论。首都的古老废墟成为了人物争夺记忆的背景，而周边的现代废墟（酒店）则成为和解和实现未来梦想的场所。在电影的中间，英雄们到达了毁坏的旅馆（场景是在Kozani Xenia旅馆拍摄的，这是希腊国家旅游组织建造的Xenia旅馆之一，也是1960年代现代主义建筑的缩影），他们终于在这里结为纽带，喝酒并跳舞， 1970年代的意大利歌曲。废墟的酒店带来了另一种废墟景观：这里的废墟不是代表遥远的永恒无人居住的美丽，而是一个有人居住的空间，该空间可以容纳所谓的，xenoi，“外国人”。这家昔日的豪华酒店处于外围和废弃状态，为仇外心理和同性恋恐惧症的庇护提供了庇护，这些袭击迄今为止一直威胁着角色。

Iakovos Panagopoulos辩称，饭店名称Xenia是仇外心理的代名词，而不是philoxenia（热情好客），“因为英雄位于敌对的地方，这在饭店的遗弃和英雄的隔离中得到了有力的说明。 ”（2017年，第59页）。但是，不必将这种现代主义建筑遗迹的遗弃和隔离视为敌意，尤其是考虑到浮雕，转移和放松的余量，该遗迹既为主人公又为叙事本身提供了条件。[结束页vii]对于Dimitris Papanikolaou而言，Xenia酒店是为角色“修补”的空间，更重要的是，是一个“奇特”的希望空间，使他们能够“将该空间组合在一起，并用自己的身体来命名。”这就是象征的方式希腊的遗弃和有害债务变成了一个奇怪的避难所，并有可能实现未来”（即将出版[b]）。^1个根据帕帕尼科劳（Papanikolaou）的说法，这个被破坏的空间成为接待和公民身份出现新含义的场所。在Xenia旅馆中，招待和公民身份不是由国家定义和提供的，而是由“当身体相互朝向时，身体会做什么”（同上）。考虑到影片中同一被毁地点的功能，Stathis Gourgouris指出，在角色试图从“无家可归的异教徒（外国人）的辩证法”中解放出来之后，被毁的旅馆（和带有酒店名称的电影本身）就变成了一个容纳其“外来”的空间，不仅是一个好客的空间，而且还是一个要求新的解放身份的空间，与“

本特殊部分旨在追溯当代希腊文化，文学，电影，回忆录，艺术和公共空间中废墟和废墟空间的替代含义和操作。因此，它提请注意那些修改，复杂化，挫败或不熟悉（希腊）废墟的常见估价的案件，这些案件是过去的负担，损失，失败和怀旧的代名词，或者是理想化，迷信化或变通的民族自豪感的来源。 。撰稿人重新审视了偏远和近代的废墟，以及希腊在城市中心和周边地区的新的现代废墟。他们将废墟当作具有未知含义的异物来处理，并被当代所困扰，从而展开了辩论，以讨论我们对废墟的熟悉，即“继承的纤维化”空间（Gourgouris 2019，535）。