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Greek Artifacts, 2007.
This paper looks at the civilization of ancient Greece and its artifacts.
1,820 words (approx. 7.3 pages), 2 sources, MLA, £ 41.95
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Abstract
In this article, the writer notes that until about 1870, historians and scholars who specialized in the history and archeology of ancient Greece were, for the most part, quite ignorant about Greek culture and society and considered this area of study as being filled with myth. The writer points out that from excavations conducted in the early years of the 20th century, the history of ancient Greece is now well-known and understood, especially through the magnificent artifacts that have been uncovered. Thus, the writer maintains that these artifacts illustrate that the cultural and social heritage of ancient Greece was one of the most important Western civilizations of all time. The writer concludes that they also prove that the ancient Greeks were superb artisans who always attempted to reveal the intricacies of Greek culture through their work.
From the Paper
"In essence, many of these artifacts will enable us to reconstruct the development of the Greek style in art and to appreciate their uses and place in ancient Greek society. Imagine for a moment living in ancient Greece, perhaps somewhere amid the long and winding coastline of the Aegean Sea, or perhaps high up in the great mountain chains of the Peloponnesos or Thessaly, the home of Mount Olympus and the pantheon of Greek gods and goddesses, such as all-powerful Zeus and his wife Hera, Aphrodite, the goddess of love, Apollo and Hermes, the messenger of the gods."
"In this environment, common men and women worked in the cities as laborers, merchants and slaves and toiled in the fields in order to feed the hungry masses in places like Argos, Sparta, Thebes and especially mighty Athens, the home of Pericles and Greek democracy. Thus, in these and many other environments, the ancient Greeks fashioned a very wide spectrum of items, ranging from ordinary clay pots to outstanding examples of Greek art in the form of amphora, drinking vessels, armor, weapons, jewelry, bowls and statues."
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Greek Mythology: Women in Greek Life, 2002.
Examining the way in which women were depicted in classic Greek mythology.
1,025 words (approx. 4.1 pages), 5 sources, MLA, £ 25.95
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Abstract
This paper introduces, discuss and analyzes the topic of Greek mythology. Specifically, it contains an analysis of the role of women in Greek life as depicted in literature. It discusses how women underwent a tremendous change between the time of Homer and that of Aristophanes four hundred years later, as five different plays clearly illustrate. Early Greek women were one-dimensional and needy, while four hundred years later they were feminists complaining about their sex lives.
From the Paper
"Women in Greek life are portrayed in a wide variety of ways, and they did indeed change between Homer's type and Aristophanes' time. Homer often portrays women as scheming to keep men from performing their duty, such as how Calypso holds Ulysses on her island in "The Odyssey," attempting to keep her with him rather than allow him to return to his home and family. "This daughter of Atlas has got hold of poor unhappy Ulysses, and keeps trying by every kind of blandishment to make him forget his home, so that he is tired of life, and thinks of nothing but how he may once more see the smoke of his own chimneys" (Odyssey, Book I). In the Iliad, Homer continues to portray women as one-dimensional beings without feelings when he has Chryseis, the daughter of Chryses given as a war prize to Agamemnon as his share of the looting and subsequently ransomed by her father."
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Sincerity and Appearance in Cultural Artifacts, 2002.
A look at the phenomena of false appearances in literature and the movies.
1,150 words (approx. 4.6 pages), 5 sources, £ 31.95
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Abstract
This paper, explores the cynical world view which advises false appearances, using quotations from films such as "Dr Strangelove", "Rosencrantz and Guildenstern are Dead", and texts as diverse as Shakespeare's "Hamlet", Niccolo Machiavelli's "The Prince", and Barry Spacks's "Courting Surfaces".
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Greek Archaeological Sites, 2002.
A discussion of Greek archaeological sites and the problem of theft of artifacts.
720 words (approx. 2.9 pages), 3 sources, MLA, £ 18.95
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Abstract
This paper provides a brief discussion of Greek history and Cretan art. The paper examines the phenomenon of looters and theft from Greek archaeological sites. The on-going battle against looting and smuggling antiquities is described, including an overview of international laws.
From the Paper
"Looters can be dated as far back as 134 B.C. when the Romans originally stole from the Greeks. Only during the last century did countries such as Greece become concerned about their cultures, since the high prices of the artifacts have lead to more of their treasures being stolen. In the 1960?s, the popularity of marble statues encouraged thieves to loot the Aegean Islands for statues produced by the Cycladic culture during the Bronze Age. The looters destroyed over 12,000 graves in the course of their thefts. While many of these statues are in private collections, few have been recovered by archaeologists."
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Ancient Greek Theater, 2006.
A paper on ancient Greek drama, the Greek theater and ancient Greek playwrights.
2,413 words (approx. 9.7 pages), 9 sources, MLA, £ 52.95
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Abstract
This paper discusses the role of ancient Greek drama in Greek society. The paper explains the stage styles, how actors performed and the main types of plays performed in ancient Greek theater. The author discusses tragedies, comedies and a special form of theater called "dithyramb," which was sung by a large chorus. The paper goes on to discuss the importance of the elements of prose, lyrics and dancing in the ancient Greek drama. The paper then goes on to discuss some of ancient Greece's foremost playwrights, as well as theories about the origins of drama.
From the Paper
"The word 'Drama' as such has originated from the Greek words that mean 'to do', or 'to act'. When a story is acted out, it becomes a 'play', and this was the medium used by the ancient Greeks to act out their stories, which were either humorous and were about funny situations in their everyday lives, or they would be great tragedies, which would act out some important episode or period of their lives at the time. The speech and actions of the play would therefore, recreate human lives and its flow. It can be stated that ancient Greece was in fact the real birthplace of the future 'drama' of the Western world. In Greece, these plays or dramas were presented on stage twice a year, in honor of the God Dionysius, and there would be choruses made up of men who would be dressed up in goatskins, and who were meant to represent 'satyrs' or those mythical creatures who were partly goat, and partly man."
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Who Are the Greeks Today?, 2006.
A look at the Greek-American experience, including their successes, challenges they've overcome and prominent Americans with Greek heritage.
2,339 words (approx. 9.4 pages), 6 sources, MLA, £ 50.95
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Abstract
This paper details the Greek-American experience, focusing primarily on their achievements in all aspects of American life. The paper also discusses Greek culture and religion in American and prominent figures in America who are of Greek heritage.
Table of Contents
Statement of Position
Some Interesting Facts About Greeks
The Greek-American Experience
Notable Greeks
In Conclusion
From the Paper
"Several notable and famous Greeks who come to mind are the late Aristotle Onasis, former candidate for U.S. president, Michael Dukakis, and former White House official in the Clinton administration, George Stephanopoulos. Of course, there are numerous other Greeks today who have made an indelible impression upon the world: Candice Bergen, Dr. Joyce Brothers, Carol Burnett, Liz Claiborne, Sheryl Crow, Elizabeth Dole, Faye Dunaway, Betty Ford, Kate Jackson, Mary Tyler Moore, Debra Norville, Jane Pauley and Gloria Vanderbilt."
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?Literature; Ancient Greek Literature?, 2002.
A discussion of the relationship between ancient Greek burial and death rites and ancient Greek literature.
1,409 words (approx. 5.6 pages), 6 sources, MLA, £ 33.95
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Abstract
This paper focuses upon illustrating the relevance of the obvious emphasis and taboo regarding Greek burial or death rites as it is portrayed in a significant amount of ancient Greek literature. It examines how literature has long been a relevant source that historians as well as other scholars can turn to so as to glean at least a marginal understanding regarding the societal norms of the era or culture in particular.
Outline
Introduction
Generalities Regarding Ancient Greek Burial Rites
Relevance of Literary Illustrations Regarding Ancient Greek Perspectives on Death
Burial Rites Within Ancient Greek literature
Conclusion
From the Paper
"One of the first things that essentially needs to be taken into consideration is that, as a result of their significantly un-advanced and superstitiously primitive preconceptions and beliefs, that nearly all kinds of ancient literature is tinged, to some degree or another, with elements of the super natural or paranormal. The occult, witches, curses and ghosts, all are things that are mentioned, with varying degree of figurativeness and realism, within ancient British as well as Greek literature. Moreover, there appears to be a particular degree of emphasis upon the relevance and effectuality of such things as oaths and curses, especially in regard to the likes of such being implemented in concern to a particular person?s death or burial. This something that is quite strongly portrayed when Euripides? Hippolytus, the protagonist within the play, reasserts his confidence to his father in so much as taking an oath that in death may neither sea nor earth receive my flesh, if I have proved false (Lawson, 1964)."
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Greek Mythology, 2008.
This paper looks at Greek mythology and discusses the Greek system of gods and goddesses.
2,093 words (approx. 8.4 pages), 5 sources, MLA, £ 46.95
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Abstract
In this article, the writer first explains that Greek mythology is a collection of stories by ancient Greeks about their gods and heroes. The writer notes that these stories include myths of the origin of the world, an attempt to understand and interpret the universe and the origin of the world in human terms. Many of these stories have been passed down from ancient times and in more than one version. The writer discusses that ancient beliefs eventually mixed with legends from Greek kingdoms and city-states and myths from other tribes. Together, they evolved into this body of stories that were accepted by most Greeks. These myths were transmitted from generation to generation for hundreds of years in the form of spoken tales. It was not until the Classic Period that these stories were put down in written form. The writer looks at the Greek system of gods and goddesses and concludes that traditional literary mythology reflected an increasing dissociation from actual religious practice.
From the Paper
"The leader was Zeus, the god of the sky, the weather, thunder, lightning, and the father of all mortals and immortals. His wife and sister was Hera. Poseidon, his brother, was god of the seas and shaker of the earth or earthquakes. Athena was the goddess of war, of crafts and of wisdom, the wisest of the gods and goddesses. Apollo was the god of light and order, of both plague and healing who foretold the will of Zeus, his father. His twin sister, Artemis, was goddess of childbirth and all wild animals. Aphrodite, a daughter of Uranus, was the goddess of erotic love. Hermes was the guide of souls in the underworld and the god of sleep and dreams. Demeter, the symbol of Gaia, was goddess of the earth and vegetation. His mother Persephone was a sister of Zeus. Dionysus was th god of madness, frenzy, of wine and the theater. Hephaestus was the god of fire and of the crafts. And Ares was the god of war and the only son of Zeus and Hera. Hades was not among the 12, but he was the ruler of the underworld."
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Greek Pottery, 2002.
An analysis of the 'Athenian Wine Jar' (Stamnos) - an example of typical ancient Greek pottery.
1,150 words (approx. 4.6 pages), 3 sources, £ 31.95
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Abstract
This paper will discuss a piece of Greek ceramic pottery from the Art Institute of Chicago. By analyzing its origins, the style, materials, patron, function and the social context it had within the time period, we can see the history unfold about the Greek vase in its entirety. In revealing the nature of the object to be studied, there can be a well-rounded observation of the artifact and will tell us much about the life of the Greeks from this period.
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The "Elgin Marbles": Greek Property in British Museums, 2003.
An examination of the "Elgin Marbles", ancient Parthenon figures that were claimed by British archaeologists in the 18th century during Greek civil strife, and the debate over whether or not they should be returned to Greece.
3,175 words (approx. 12.7 pages), 7 sources, MLA, £ 65.95
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Abstract
This paper examines the controversy that exists over the "Elgin Marbles", which were originally part of the Greek Parthenon's frieze, that were taken by Lord Elgin of England in the late 18th century. The paper takes the position that the statues and other artifacts which currently are housed in English museums, are the rightful property of the Greek people and should be returned to Greece. The paper is divided into several sections. The first gives a history of the Elgin Marbles and how they came into possession of the English in the first place. A brief history of the Parthenon is also given in this section, with a detailed examination of the architecture and the ancient politics that surrounded its construction. The paper then spans the history of the Parthenon up until the 18th century, including the building losing its roof and several architectural designs due to the Ottoman Turks using it as an armory during their control of Greece. The paper discusses how British archaeologists claimed the pieces in the 1800s, fearful that the Greeks could not maintain such classical pieces of work. The paper ends with a section discussing the latest improvements that are underway in Greece to house the "Elgin Marbles" if an international agreement can be reached that will send the pieces of the Parthenon back to Athens. The concept of Greek pride and honor in their ancient ancestry is discussed and how originally, when Greece was unable to maintain such pieces, the idea to keep them in England was the correct decision to be made.
From the Paper
"The mere thought of The Parthenon evokes an image of dignity and pride for not only the current Greek citizens who look upon their ancient ancestors with honor, but for the entirety of Western civilization who view The Parthenon as a representation of the greatness that can be achieved by Western culture. Using this Western concept of pride as a basis, it is clear to see why the British government has its roots in claiming that the treasures of the Parthenon would be better served in a more upscale environment such as The British Museum rather then an unfinished Acropolis museum in Athens. Nevertheless, the removal of The Parthenon artifacts, which are known as The Elgin Marbles since the works of art were "purchased" by the English noble Lord Thomas Bruce of Elgin in 1801, was in essence an infraction upon the Greek populace's right to their ancestors' culture. In large part due to the importance of The Parthenon and the culture that it represents to Greece, the rightful place of the Elgin Marbles is in Athens where the pieces of architecture were always intended to remain when they were completed. "
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Toronto's "Greek-Town", 2008.
An analysis of the future of the Greek community in Toronto, particularly in the enclave of Greek-Town.
2,672 words (approx. 10.7 pages), 7 sources, APA, £ 57.95
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Abstract
This paper considers the future of the Greek community in Toronto and discusses what its dispersal from Greek-Town means regarding the eventual integration or assimilation of the group into the mainstream Canadian population and economy. The paper presents four interviews with different aged Greek persons living in Canada. It then discusses the current situation and the future of the Greek population there.
Table of Contents:
Interview Questions - Local Persons
Interview Questions - Expert
Introduction
Theoretical Background
Responses and Critical Analysis
From the Paper
"In this analysis, in considering the future of the Greek community, we cannot say with certainty that this dispersal from GreekTown means the eventual integration/assimilation of the group into the mainstream Canadian population and economy. Certainly, the primary challenge the community faces in the years to come is how it deals with assimilationist pressures against the desire - as cited by several interviewees - to preserve their cultural heritage. While GreekTown on the Danforth is clearly "history", this does not mean that the Greek ethnic economy in Toronto has ceased to exist. Indeed, it may even be possible that the suburban enclaves may themselves become voluntary cocoons in which Greek micro-business can find its niche in delivering Greek services and amenities to a co-ethnic population in a suburban landscape dominated by the "big box" retailers like Costco or Wal-mart."
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Ancient Greeks and the Twenty-First Century, 2008.
An analysis of the importance of study into the Ancient Greeks, according to Thomas Cahill's work, "Sailing the Wine-Dark Sea: Why the Greeks Matter."
801 words (approx. 3.2 pages), 1 source, MLA, £ 20.95
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Abstract
This paper discusses why the study of the Ancient Greeks matter to the citizens of the West in the twenty-first century. Specifically, the paper analyzes Thomas Cahill's work, "Sailing the Wine-Dark Sea: Why the Greeks Matter" and describes the arguments that Cahill presents as to why we should study the Ancient Greeks. The paper also touches on the negative effects of the Greek legacy as well as the positive.
From the Paper
"Greece was an undeniably patriarchal society, and women were excluded from political enfranchisement. In understanding the Greek assumptions regarding the warrior-citizen ideal, Cahill believes we may better unburden ourselves of our own obsession with violence as a benchmark of a society's greatness. The presence of both Zeus and Demeter is there: "If Demeter takes us back to an agricultural way of life that imagined Earth and its manifestations as aspects of maternal nurturing, the strident gods of Olympus, challenging and overthrowing one another, males always primed for battle and sexual conquest, females seizing control only by wheedling indirection, are projections of a warrior culture that set victory in armed combat above all other goals--or at least seemed to, for there are always, deep within any society, dreams that run in another, even in a contrary, direction from its articulated purposes" (Cahill 5). We cannot undo the negative effects of the Greek legacy if we do not strive to understand the complexities of Greek civilization, its obsessions and its gifts."
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Greek Culture, 2006.
A study of Greek culture and how it's been influenced by the Orthodox church and ancient Greek history.
1,800 words (approx. 7.2 pages), 5 sources, £ 50.95
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Abstract
This paper researches the correlation between the Ancient Greek past, the Orthodox Church and Greek culture. It focuses on the areas of the evolution of the Greek Orthodox Church and its practices, art, theatre, music and dance. This paper discusses how each of these areas has roots in Ancient Greece, and the research attempts to demonstrate how these foundations were associated with one another throughout Greek culture.
From the Paper
" Theatrical performances began with the use of music by choirs that were praising the gods and pleading for a bountiful harvest. This practice among the ancients also involved the earliest forms of folk dance. These three art forms were later also incorporated into the Orthodox religion through festivals and the practice of a liturgy that remains of cultural significance today.Greek culture has evolved from ancient times with many of the original traditions still being honored today. Elements of ancient Greek culture exist in modern society because the Greeks provided a foundation of many of the world's forms of art. Theatre, for example, began in Greece as a musical choir form of devotion to the gods to ensure a good harvest. Greek art was considered an intricate craftsmanship that demonstrated the precision and advanced technique of an innovative culture."
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Chorus in Ancient Greek Drama, 2005.
The paper describes the role of the chorus in ancient Greek theater. It talks about the origin of the chorus and theater and how the chorus worked in the Euripides's "Hippolytus". The paper also focuses on the effect Greek theater had on modern theater.
1,824 words (approx. 7.3 pages), 6 sources, MLA, £ 41.95
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Abstract
This paper tells what the chorus brought to Greek theater and how theater was shaped because of it. The paper discusses this topic while examining one of the most famous Greek play, "Hippolytus," by Euripides. The chorus was a crucial part of theater during that time and was used to narrate the story, give their opinion of the plot, and keep a rhythm for the play. The chorus did this in various ways, such as through costumes, stage presence, music, and singing. The Greek chorus was a precursor to operas and musicals as we know them today, and the paper discusses this evolution of the chorus.
From the Paper
"The chorus is essential to ancient Greek drama, and the plays at that time were greatly dependent on song and dance which the chorus performed (Ley 28). It accompanied the actors with sounds, gestures, postures, costumes, masks etc, and these flowing actions and stage elements brought the play to life. The various roles of the chorus are to narrate, give their opinions and keep the rhythm of the play. They do this through singing, movement, and stage presence. The ancient Greek theater is also important because it was the precursor to operas and musicals as we know them today. This paper will discuss the importance of the chorus' roles on the Greek stage by examining Euripides' Hippolytus and also how it influenced modern theater. To fully understand the reason for the chorus it is necessary to know the history."
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