Bachelor of Arts (BA Aesthetics, History, French), London, 1974
Master of Philosophy (M.Phil Art History and Theory), Essex, 1988

Current Position

Director of Studies, Vakalo Art and Design College, Athens, Greece
Visiting Research Fellow University of Derby, UK

Professional Career

Teacher, Cultural Studies, Vakalo Art & Design College 1990-todate
Visiting Lecturer, Literary Translation Studies, EKEMEL (European Centre for the Translation of Literature and the Humanities) 2001-2006

Columnist (art and cultural) Sunday Supplement “Enthemata”, Athens daily newspaper Auge (Dawn) 1996-2000

Head of the Translation Unit of ATTIKO METRO plc. (Client for the Athens Metropolitan Railway Project) and Interpreter for the Company 1992-97

Postgraduate studies at Essex University, UK, in Art History and Theory (M.Phil) Bursary of the Greek State Scholarships Foundation 1986-88

Teacher, English Language, Piraeus Institute of Technology 1985-86


Translator, Essayist, Novelist 


Postgraduate research in Modern Greek History at Salonica University, Greece (School of Philosophy) 1978-80

National Service. 11/1975-3/1978

Copywriter, Advertising Firm Delta-Delta, Athens. 1974-1975

 More about author: 
First name:  MILTOS


  • Port Bou, Hestia, Athens 1996

  • The Stone, Stohastis, Athens 1986


  • Perfer et Obdura, A family correspondence 1922-23, Hestia, Athens 2013



  • An Introduction to the History and Theory of Graphic Design, Futura, Athens 2006


  • The Translator’s Workshop, (Collection of Essays), Polis, Athens 2003




Art and Design

  • Siren Song; Thoughts on Seduction and Persuasion, στο E. Zantides (ed) Semiotics and Visual Communication II, Culture of Seduction, Cambridge Scholars, Cambridge 2017, pp. 15-31

  • The Task of the Translator, στο E. Deltsou & M. Papadopoulou (eds.), Changing Worlds and Signs of the Times, e-book The Hellenic Semiotic Society, 2016, pp 756-765

  • “The Quest for Visual Thinking and the Double Bind of Education”, in E. Zantides (ed) Semiotics and Visual Communication, Concepts and Practices, Cambridge Scholars, Cambridge 2014, pp. 239-255.

  • “Convergence and divergence of political and artistic vanguards: The case of Russia 1918-1923” in Martha Ioannidou (ed) 3rd National Conference of the Greek Art Historians’ Association, University of Thessaloniki Press, Thessaloniki 2009

  • “Retarded Education and Advanced Practice”, in Henry Meyric Hughes (ed) From Art-School to Professional Practice, AICA Press, Paris 2008 [in English and French]

  • “Contemporary Art; seeking a point of reference”, in Nikos Daskalothanassis (ed)2nd National Conference of the Greek Art Historians’ Association, Nefeli, Athens 2008

Literary Criticism

  • Das Leben es ist gut: Odysseus Elytis and the risky project of a life-affirming poetics in the 20th century in Koralia Sotiriadou (ed.) Influences on the poetry of Odysseus Elytis, Conference Proceedings, Heraclion, Crete, 2015

Literary Translation

  • “Interpretation and Rhetoric” in M. Papadima, Citizens of Babel, Nisos, Athens 2022

  • “Translating Gulliver’s Travels”, in The Texts from Language to Language, Society for the Study of Modern Greek Culture, Athens (1984)


  • “Historical Time and Eternity in Africa” (on African Religion and Art) in F. Terzakis (ed.) Death and Eschatological Visions, Archetypo, Salonica 2002



A- from English into Greek

I. Literature

  • Jonathan Swift, Resolutions When I Come to be Old, 1699, Agra, Athens 2018

  • J.M. Coetzee, Waiting for the Barbarians, Krystallo, Athens 1984; 2nd edition Ypsilon, Athens 1991.New Revised Edition, with Introduction, Metaichmio, Athens 2013

  • William Blake, Visions of the Daughters of Albion, Athens Zodion; 1986, 2nd edition (revised), Heridanos, Athens 2006

  • Thomas Hardy, Wessex Tales, Aeolus, Athens 1982; 2nd edition Stohastis, Athens 1992

  • Jonathan Swift, Gulliver’s Travels, Krystallo, Athens 1982; 2nd edition Ypsilon, Athens 1991

  • Saul Bellow, Herzog, Zarvanos, Athens 1983.

  • John Keats, La Belle Dame Sans Merci, in M. Frangopoulos Unknown Languages, A selection of Romantic Poems, Agra, Athens 2009

  • Kay Tsitselis, Snapshot, Short-story in the volume The Time of Hours, Agra, 1998

  • James Joyce, Robert Graves, James Stephens, James Agee, Poems, Four Poems by British Poets, Athens Concert Hall Programme, OMMA, 1992.

  • John Milton, Paradise Lost (excerpt), Nea Hestia (journal), 1991



  • Christian Norberg-Schulz, Genius Loci ; towards a philosophy of architecture, Athens Technical University Press, 2009

  • Paul Sweezy et al., Liberation Theology, Monthly Review Books, 1987.


V. Theatre

  • Immigrant Island, Testimonies of people who emigrated to the US, from the volume American Mosaic, 1983. Documentary-Spectacle, Directed by P. Sevastikoglou, National Theatre of Greece, Experimental Stage, 5-28 March 1999.


B- from Greek into English

  • Nikos Skalkottas, “Music Criticism”, in Nikos Skalkottas, Benakis Museum, Athens 2008

  • Haris Vrontos, “Skalkottas and the Others”, in Nikos Skalkottas, Benakis Museum, Athens 2008


C- from French into Greek

  • Voltaire, Poème sur le désastre de Lisbonne, Polis, Athens, Polis 2018

  • Paul Verlaine, Chanson d’automne, Agra, in M. Frangopoulos Unknown Languages, Agra, Athens 2009

  • Chateaubriand, Remarques, (on the translation of Milton’s Paradise Lost into French), Metafrassi translation journal, Athens 2000.

  • D. Anzieu, A. Green et al. Psychanalyse et Culture Grecque, Kedros, Athens 1986.

  • Les Industries Culturelles, French Ministry of Culture, translation commissioned by the Union of singers and song-writers, Athens 1983.


from Italian into Greek

  • Leopardi, Canto XIII, La sera del di di festa (The evening of the Holiday), M. Frangopoulos Unknown Languages, Agra, Athens 2009

  • Ludovico Ariosto, Orlando Furioso, CANTO XXXIV 72-86, in the Greek edition of Umberto Eco’s Vertigine della lista, Kastaniotis, Athens 2011.


from German into Greek (through English translations)

  • Hoelderlin, Vulcan, M. Frangopoulos Unknown Languages, Agra, Athens 2009

  • Rainer Maria Rilke, Duino Elegy IX, excerpt, 2009


from Russian into Greek (through English translations)

  • M. Lermontov, Demon, excerpt M. Frangopoulos Unknown Languages, Agra, Athens 2009

  • Velimir Khlebnikov, Zaum – The Futurist Manifestoes (A Selection from his Works), Hestia Publishers, 1995.

  • M. Emtsev & E. Parnoff, World Soul, Kastaniotis, 1988.


Language editing

  • Robert Layton, The Anthropology of Art, (translator F. Terzakis), Editions of the 21st, Athens 2003

  • J. Laplanche & J.-B. Pontalis, Vocabulaire de Psychanalyse, (translators V. Kapsambelis, P. Aloupis, A. Skoulika et al) Kedros 1995



Itis 12, Athens 10671

Date of birth:  1951
Birth place:  Athens
Abstract title:  MAGNIFICAT
Abstract text: 

Here there was no forest. And there was light. The city in the morning is a hard place, as it splits the crystals and memory struggles. No thought can catch up with the traffic in the street. But this is perhaps why the attraction the city exerts on us is so powerful. How human is the city. How little does it partake of the divine. How much is it a part of us. That’s why now, before Victor disappears into the world of the theatre, I will call him from afar: Stay there, Victor, for a moment and tell us, what do you see?

And he turns his head around.

I see people looking and shopping in the market place. I see the shop windows displaying the merchandise. I see a woman taking a garment out of a plastic bag and showing it to her friend, telling her how cheap she got it. And her friend is amazed. I see the street vendors gathering crowds around them. I see the swindler playing his skin game with virtuosity and taking what is his due. I see the bleached light of the supermarkets. I see people laying their hands on things. I see our lives filling…

Go on Victor.

Filling with objects to blow your mind. From the corner of my eye I see the phantasmagoria. The dusk and the dawn of our soul as it sets and rises, again and again until it dies out…


I see the kebab joint and the bookstore. I see the toaster and the dishwasher. I see the video player and the adverts of the movies. And I long for the full-bodied amber texture of a beer…

Aaah. But is there … go on Victor, you know the lines.

But is there a more beautiful place than the flea market? To go around the stalls with all sorts of merchandise and choose? To take something home with you, and keep it there and show it. To make it your own. And when the time comes to be able to say “I leave this to you” to someone you love. How much more human than to seek the blissful sorrow of some grand project every day. How much more human, truly human this is. To have something of your own to leave behind. And who would refuse this, the innocent joy of such an act?


…but you must know how to choose in the marketplace. This is the difficult part. A hand can only hold a few things. This is the true art.

And to know how to choose, you must know how to dream. Isn’t that so Victor?



Victor did not answer. He was in a hurry, and he was tired.


(Fifth Chapter of the novel Port Bou, a short interlude in the action where the culture-besotted hero is urged to acknowledge everyday life around him)



Short-listed for the State Prize for the Literary Essay 2004 (The Translator’s Workshop)