• The Journal of Art Theory & Practice
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• no.4
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• pp.203-239
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• 2006

As it is known, during the Second World War Greece has fought on the side of the allies and the end of the war found the country on the winners' side. However, the struggle for authority right after 1945 was merciless and extremely difficult, as well as dangerous for the course of the country to the future. The political powers were divided between the legal authorities that were represented by the king and formed the exiled government on the one hand and the part of the resistance teams and the rebels of the left that had a soviet friendly direction on the other. Thus, the start of a civil war was just a matter of time. It fin ally started in 1947 and lasted for more than two years. The consequences were disastrous for the country's economy and decisive for the future course of Greece. The national army prevailed with the help of, mostly, the English. Royal parliamentary democracy was established with a clear political turn to the west, as a completion and adaptation of the Agreement of the Great Powers at Yalta. Art had a 'similar' route. Dipolar, contradictory: conservative choices on the one side, and a will for pioneering inspiration and perspective on the other side. The 'dominate' trend was first evident in sculpture and mainly in the public monuments. Their construction aimed mostly at the public propaganda and at the promotion of the sovereign ideology. On the one side we have the public sculptures composed of faces of contemporary heroes or leading figures of the civic war and the national resistance. On the other side we have monumental statues mainly that appeal to a 'public' outside of the country's borders and mostly of the north borders, where there are countries with a communistic regime, like Bulgaria, Serbia and Albania. Their subject is derived from the heroic events of the Balkan Wars (1912-1913) and ancient historical figures like Alexander the Great as the Greek army leader, his father, Philippos II and Aristotle, who was of a north-Greek origin. The political message is twofold: on the one side the 'inner enemy' the communists that were defeated and the promotion of the new liberal social system and on the other side the north neighbours, which not only represent the East Block, but they also conspire the history and the culture of the Greeks. This is the way how the 'Cold War' was resulted in a full and totalitarian expression in art.

• Journal of Mushroom
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• v.3 no.2
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• pp.52-59
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• 2005

The Aphyllophorales is a large order containing about 2,000 known species. Many of these are the bracket and coral fungi. The vast majority of these fungi are saprophytic on the plant debris. Many species are significant in decomposing plant remains, as they are able to digest cellulose or lignin that occurs in plant cell walls. Many of these fungi have been involved in everyday human affairs. A few were used medicinally by the Greeks and Romans as a remedy for many complaints, including colic, fractured limbs and bruises. Other bracket fungi have been used as curry combs for horses, as snuff, as razor strops and as a source of dye for clothing. The texture of the basidiocarp may be similar to that of cork, wood, leather, paper, or cartilage. Unlike the basidiocarps of the Order Agaricales, the basidiocarps of the Aphyllophorales are not fleshly and moist. Division of the members of the Aphyllophorales into genera was originally made on the basis of gross morphology of the basidiocarp and hymenium and Donk(1964) recognizes 22 families in this order. The species and genus whose typical in Aphylloporales were listed in Table. with related information. The ITS region sequence of some genus were found by BLAST search. Sequences retrieved from GenBank were visually aligned by the program CLUSTAL G. As a result, the medicinal mushroom was separated in four groups. In this multiple alignment, the sequence analysis among Fomes group, Inonotus group and Phellinus group showed high genetic similarity except Hericium group and Sparassis group.