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American ethnic literature
Greek life research paper
Greek life research paper
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Courses in modern Greek literature, language, and history are offered for credit in many colleges and universities. Some were initially promoted by members of the Modern Greek Studies Association, founded at Princeton in 1969. Most relate to Greece, of course, but the scholarly study of Greek America has also expanded in recent years. Such systematic study goes back at least to 1911, when Henry Pratt Fairchild published Greek Immigration to the United States. Thomas Burgess followed with Greeks in America (1913). Since then many books and monographs, including master’s theses and doctoral dissertations, have helped to make the Greek minority one of the more thoroughly researched in the nation. The most authoritative account to date remains The Greeks in the United States (1964) by Theodore Saloutos. Of late an interesting adjunct to these endeavors by social scientists has been an inquiry into the modern Greek presence in our literature, with respect to both fictional characters and creative writers.
Until now the bibliographies either sparely reported or completely ignored the Greek ethnic component. The two-volume collection of essays Ethnic Literature Since 1776: The Many Voices of America, by W.T. Zyla and Wendell Aycock (1978), for example has no section on this subject. A fairly sizable segment on Greek Americans does appear in Wayne C. Miller’s Comprehensive Bibliography for the Study of American Minorities (1976), although its listing of Greek writers and Greek characters in American fiction is incomplete. The standard literary indexes that mention immigrant and ethnic works are also unsatisfactory. The current popularity of the ethnic dimension in American literature promises to hasten the needed bibliographical work. The establishment of MELUS, for the study of the multiethnic literature of the United States, indicates the growing value that scholars are placing on the new literary emphasis.
Greek immigrants did not begin to arrive in large numbers until the 1980s. Coming mostly from peasant and pastoral backgrounds, unlearned and poor, they did not immediately express in writing the wonder, anguish, and triumph of their odyssey. Their initial publications were both utilitarian and ephemeral – Greek-language newspapers such as Atlantic, National Herald, and Chicago’s Greek Star. Some earlier accounts consisted of fugitive narratives and personal history deriving from the Greek Revolution, captivity and atrocity tales, and reminiscences. During the nineteenth century many non-Greeks visited Greece, however, and wrote interesting though usually impressionistic travel essays. Most of them wanted to learn at first hand if four hundred years of Turkish enslavement had left in the Greeks any traces of their classical greatness.
One of the main similarities in ancient Greek epics is that there are always great heroes who overcome many difficult and daunting challenges and goes on long adventures. The issue of heroic stature and the character of the hero have a great importance on the epics itself. Classical Greek heroes are usually born to do great things, go on epic journeys and in the end they would receive a reward for their troubles.
Odysseus and Ullysseus Everett McGill are similar characters because of their perseverance, cleverness, and their leadership abilities.
185-196. Dillon, Mathew, and Garland, Lynda. Ancient Greece: Social and Historical Documents from Archaic Times to the Death of Socrates. Routledge International Thompson Publishing Company, 1994, pp. 179-215 Lefkowitz, Mary.
The Society for the Study of the Multi-Ethnics Literature of the United States. Spring 2000
Krupnick, Mark.. "Jewish-American Literature." New Immigrant Literatures in the United States: A Sourcebook to Our Multicultural Literary Heritage. Ed. Alpana Sharma Knippling. WEstport, Connecticut: Greenwood Press, 1996. 295-308.
Hunt, Lynn and Thomas R. Martin, Barbara H. Rosenwein and Bonnie G. Smith. “ The Greek golden age,” in the making of the west volume 1 to 1750 2012, edited by Denise B. Wydra, 75-108. Boston: Beford/St. Martin’s, 2012.
Lefkowitz, Mary F. and Fant, Maureen. Women in Greece & Rome. Toronto/Sarasota: Samuel-Stevens. 1977. Print
The Greek Americans have a history of existence dating back to the 6000 BC. The period between 1880 to 1910 had a lot of significant effect on the art elements in the American history; the elements and artifacts used during this period have extensive descriptions of the culture and general way of lives of these countrymen on the American continent. The various stereotypes and social order of communities differ from one geographical region to another including the native languages, perception of different elements in social activities. Styles of dressing, cooking, initiation programs and stages are all items that the Greek Americans just like any other community from the early days had core values
Nardo, Don. The Ancient Greeks at Home and at Work. 1st ed. San Diego, CA: Lucent, 2004. Print.
Grene, David., and Richmond Alexander Lattimore. Greek Tragedies. 2nd ed. Chicago: University of Chicago Press, 1991.
Born into a royal family, Oedipus was one of the bearers of a disastrous generational curse. He had no idea what he was born into, or what he would become. Poor Oedipus was put into to the world to serve as an example from the gods. Although Oedipus was said to be a victim of fate, he contributed to his own fate more than the gods. He was placed into the world to with a prophecy that he will kill his father and married his mother and conceive children with her, but that was just a prophecy not his destiny. Oedipus could have determined a new destiny for himself, but instead he did more things to make the prophecy true rather than false. The life of Oedipus was a great tragedy, not only for him but for his entire family. Although the gods may have set a prophecy for Oedipus future, Oedipus contribute mostly to his destiny.
Archibald, Zofia. Discovering the World of the Ancient Greeks. New York: Facts On File, 1991. Print.
Before the twentieth century plays were mainly written as either a tragedy or comedy. In a tragic play the tragic hero will often do something that will eventually destroy him. In the book Oedipus the King, Oedipus is the tragic hero. In this tragic play the main character, which is portrayed as Oedipus, will do a good deed that will in turn make him a hero. This hero will reach his height of pride in the story, and in the end the action, which he had committed earlier, will return and destroy this man who was once called a hero.
For years, Greek literature has transitioned from ancient scrolls, to school textbooks, and oftentimes to the big screen. Stories about Oedipus, Hercules, and the Titans have been told throughout the years captivating generation after generation. These classics never go out of style.
According to Aristotle's theory of tragedy and his definition of the central character, Oedipus the hero of Sophocles is considered a classical model of the tragic hero. The tragic hero of a tragedy is essential element to arouse pity and fear of the audience to achieve the emotional purgation or catharathis. Therefore, this character must have some features or characteristics this state of purgation. In fact, Oedipus as a character has all the features of the tragic hero as demanded by Aristotle.