In each case, the concept of chosenness played a central role. For Greeks and Armenians, the myth of ethnic election was both direct and transmitted.… - Anthony D. Smith

Greek Phanariot merchants and traders dominated the commerce of the Ottoman empire, utilizing their kinship networks and social and religious institutions to maximize not only their business and assets, but also their cultural capital. Diaspora Greeks became especially prominent from the eighteenth century in the development of printing and the press, and experienced a major intellectual revival in cities as far afield as Vienna, Venice, Odessa, Paris, and Amsterdam

First, Greece: for modem Greeks, as I intimated, the future could mirror ‘the past’ past’ in more than one way, since there was a clear split in that past. One school argued for the Byzantine roots and glory of Greece. They pointed to the massive influx of Slavic immigrants in the sixth and succeeding centuries throughout the Balkans and Greece, and claimed that this had weakened the links with a decayed Hellenic (or Hellenistic— Roman) culture. What was Byzantine was essentially Orthodox Christianity only the Greek language and liturgy retained any connection with a pre-Christian past. In the Orthodox millet of the Ottoman empire, Christianity had kept a Byzantine Greek ethnic alive, as in a chrysalis, ready to be transformed under the impact of Western ideas and commercialization in the late eighteenth century.8’ For the Byzantine-Orthodox clergy and their flocks, for the notables in the Mores and Phanariots in Constantinople, this grandiose dream of a restored Byzantine empire under Greek control located the re-nascent Greek people and charted their future in the Aegean and Ionia. It also pointed the way to a restored agrarian society of peasants, notables and clergy, essentially smallholders, but led by educated Orthodox elites under the Patriarch.

[A] global culture is without time. Forever pursuing an elusive present, an artificial and standardised universal culture has no historical background, no developmental rhythm, no sense of time and sequence. Contextless and timeless, this artificial global culture may quarry the past for illustrative purposes or cynically use motifs from particular pasts with eclectic caprice, but it refuses to locate itself in history. Stripped of any sense of development beyond the performative present, and alien to all ideas of "roots", the genuine global culture is fluid, ubiquitous, formless and historically shallow.