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Greek, Norse and Egyptian Gods, 2002.
This paper discusses the similarities and differences between the Greek, Norse and Egyptian Pantheons --- gods and goddesses.
1,160 words (approx. 4.6 pages), 4 sources, MLA, AU$ 57.95
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Abstract
This paper examines the ?father-creator? God, a ?trickster? God, and a ?love? Goddess of Greek, Norse and Egyptian cultures. The author believes that the ?father-creator? Gods have the most in common: Greek God, Zeus, the Norse God Odin and the Egyptian God Amen-Re. The paper introduces the ?trickster Gods?: Norse God Loki, the Egyptian God Seth, and the Greek God Prometheus. The paper also describes the ?love goddesses?: Egyptian Goddess Hathor, Greek Goddess Aphrodite and Norse Goddess Freya.
From the Paper
"The myths of these gods also referred to the sky. Both Zeus and Odin had palaces high above the mortal world, known as Mt. Olympus and Asgard. These palaces served as meeting places for the gods, and as observation decks. Zeus is often depicted as looking down from Mt. Olympus into the mortal world. Odin also gazed at mortals and gods similarly, from Hlidskialf, his throne in Asgard. Though he did not have a palace in the sky, Amen-Re was referred to as the ?Sun? god. "
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Gods of Norse Mythology, 2007.
A description of three of the most important gods in Norse mythology.
913 words (approx. 3.7 pages), 4 sources, MLA, AU$ 47.95
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Abstract
This paper discusses the gods Odin, Thor and Loki, and the parts that they played in Norse mythology. The writer explains how Odin, the most important figure and the creator in the Norse pantheon, became known as the Almighty or All-Father, and the wisest of all the gods. Thor, the god of thunder, and his magic hammer and goats, are also described. The writer explains how Loki, originally from a different race, acquired godhood by becoming Odin's blood brother, and eventually caused the downfall of the Aesir gods through his malicious acts. Ragnarokk, the day of reckoning for the gods, is also described.
Outline:
Introduction
Aesir Gods
Thor - The God of Thunder
Loki - The God of the Jotun Race
Ragnarokk - Destiny of the Gods
Conclusion
From the Paper
"In Asgard the land of the gods Thor was good natured, kind and had a beautiful wife named Sif who ripened seeds after Thor's thunder showers. They also had two sons Magni and Modi who were almost as strong as their father. Thor was the strongest of all the gods and also the protector of the gods and also the people on Midgard, he ruled over all the wars on Midgard and chose who would be the winner in each war. He protected the gods and humans by smashing jotuns and trolls with his magic hammer. He also had an iron mitt to protect his hand and a magic belt that made him twice as strong."
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Egyptian and Greek Architecture.
This paper compares the temple architecture of Egyptians with the Greeks and explores the differences in structure, art, symbolism, and function.
1,235 words (approx. 4.9 pages), 4 sources, APA, AU$ 61.95
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Abstract
This paper explains that architecture is more than the design of buildings because it incorporates the thought of the person building the structure; the architecture of Egyptian and Greek temples differs in function, structure, and symbolism. The author points out that Egyptian temple architecture is much larger than the Greeks because the geographical location was abundant with resources and building materials, such as limestone, and the Egyptians maintained a highly organized society capable of carrying out such large constructions. The paper explains that another main difference between the Egyptian and the Greek temples is that architects, not priests, directed the design of the Greek temple, which distinguished the Greek temples from those of the Egyptians because they made conscious choices in design for aesthetic reasons, not just function.
Table of Contents
Introduction
Architectural Structure
Function
Architectural Art and Symbolism
From the Paper
"The earliest Greek temples were small and gradually became larger and grander. The first temples were similar to small huts and were long and narrow. These early temples were about 25 by 18 feet and were built using stone and unbaked mud brick. As the wealth of the Greek people grew and the geographical locations became more abundant with resources, temples began to take a much more sophisticated style. "There was a compelling need, given the dominant role of the gods in society, to pay at least some benefits thus received to them.""
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Egyptian and Greek Architecture, 2004.
A comparison of the similarities and differences between Egyptian and Greek architecture.
1,240 words (approx. 5.0 pages), 3 sources, MLA, AU$ 61.95
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Abstract
This paper compares the temple architecture of Egyptians with that of the Greeks and explores the differences in structure, art and symbolism, and function. It discusses how architecture is more than the design of buildings and how it is the expression of ideas through the creation of structures.
Outline
Abstract and Introduction
Architectural Structure
Temple Function and Purpose
Architectural Art and Symbolism
Bibliography
From the Paper
"Egyptian temple architecture is much larger than that of the Greeks. One reason for this is because the geographical location was abundant with resources and building materials such as limestone cliffs. Another reason is that the Egyptians maintained a highly organized society capable of carrying out such large constructions. The earliest Egyptian pyramid was built for the pharaoh Zoser in Giza around 2700-2600 BC. These pyramids measured 756 feet on the side and 481 feet tall. Egyptian pyramids almost always took the shape of a triangle. The Egyptians worshiped the sun as their main god and it was represented by the Egyptian hieroglyph as a triangle. "
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Egyptian, Greek and Roman Sculpture, 2002.
A comparison of Egyptian, Greek and Roman culture through sculpture.
905 words (approx. 3.6 pages), 4 sources, MLA, AU$ 47.95
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Abstract
This paper examines how a society?s ideals are reflected in its sculpture, through the example of comparing Egyptian, Greek and Roman Sculpture. The author describes the characteristics of these societies as seen through their art and that their sculptures are a reflection on the perspective on the same world.
From the Paper
"Different cultures see the world in different ways. Religion, society, and even politics, shape our views, and give form to our human environment. Architecture, music, literature, dress ? all are visible manifestations of a people?s values. This is no less true in the realm of sculpture. A religious people will create works of art that express its most deeply held spiritual beliefs; a cerebral people, sculptures that capture humankind?s highest ideals, while the politically minded turn out statues and busts that represent their world?s movers and shakers. Styles can range from the formal and the symbolic, to the ideal and the real. Each serves its cultural purpose. As all peoples have done, the Egyptians, the Greeks, and the Romans produced sculptures that testify to the beliefs of their respective societies."
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Influences of Ancient Egyptian Art on Ancient Greek Art, 2005.
A paper on how Egyptian art influenced Greek artists.
1,350 words (approx. 5.4 pages), 5 sources, MLA, AU$ 68.95
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Abstract
This paper provides a discussion of the long tradition of the influence of ancient Egyptian art on ancient Greek artists. The paper looks at how the art of both are affected by their societies' world views. The paper discusses the primary functions of Egyptian art and the different style of Greek art, particularly in relation to depiction of figures.
From the Paper
"This paper compares ancient Egyptian art with ancient Greek art and considers the ways in which the Greeks were influenced by Egyptian art. Egypt established a long and enduring artistic tradition. Greek art drew heavily on that background, using many of the same kinds of subjects and incorporating many similar symbols but then reinterpreted them through very different eyes and a strikingly different cultural perception. Both visions continue to have a profound impact on artists in modern cultures from their representation of everyday life to the varied..."
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Women and Magic in the Norse Sagas, 2002.
An exploration of the use of magic, particularly by women, in the Norse Sagas.
1,800 words (approx. 7.2 pages), 7 sources, MLA, AU$ 83.95
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Abstract
This paper examines the various ways in which women used magic in the Norse Sagas using examples taken from English translations of the original sagas. The change in society's attitudes towards witchcraft, from an agreeable and accepted part of society in the early sagas to one of contempt, is looked at. The paper traces the process of how witchcraft was eventually outlawed in the later Sagas. The paper links this change primarily to the introduction of Christianity and its attempt to undermine pagan religions.
From the Paper
"Magic is a central theme of the Norse Sagas. Entire sagas have been written about battles with ghosts and the influences of witchcraft on battles and bad luck. Magic was practiced by both men and women. Women, however were considered to be more adept than men and were often called upon by men to cast spells for them. Magic was incorporated into women?s daily activities such as brewing, spinning, and weaving. Women used magic for both healing and causing harm. The belief in the power of sorcery was so powerful that it was outlawed after the arrival of the Christians (Gtettir?s Saga, Ch. 84). This paper will examine the various ways in which women used magic in the Norse Sagas using examples taken from English translations of the original sagas. Societies' attitudes towards witchcraft changed from an agreeable and accepted part of society in the early sagas to one of contempt and was eventually outlawed in the later Sagas. This change was primarily due to the introduction of Christianity and its attempt to undermine pagan religions."
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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, AU$ 52.95
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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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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, AU$ 106.95
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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, AU$ 103.95
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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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"Sinuhe the Egyptian", 2007.
This paper examines the story of "Sinuhe the Egyptian", as a work of ancient Egyptian literature.
1,300 words (approx. 5.2 pages), 3 sources, MLA, AU$ 62.95
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Abstract
In this paper, the writer maintains that to read "Sinuhe the Egyptian" as solely a piece of political propaganda would significantly underestimate the narrative qualities of the tale and the maturity of ancient Egyptian literature. The writer notes that Miroslav Barta, an Egyptologist, claims that the text serves primarily as political propaganda, idealizing Egyptian society and especially its monarchy. The writer maintains that the lengthy poetic interlude at the point in the story at which Sinuhe meets the Syrian King for the first time does suggest an idealistic attitude toward the Egyptian theocracy. However, the writer notes that other scholars point out that Sinuhe demonstrates literary prowess; its ending comes as a surprise but only when read within a modern framework and corresponding biases. The writer concludes that rather than being propaganda, "Sinuhe the Egyptian" is more clearly an epic literary journey.
From the Paper
"In the first case, Sinuhe naturally waxes poetic about the ruler from whom he fled; he never once suggests that he doubts the divinity of the pharaoh's office. His fear of civil strife stems not from a disregard for the court but from personal cowardice (Lorton). Furthermore, he praises the new king so as to not appear weak and pitiable in the eyes of the Syrian King who discovered him. His positive attitude engenders favor, causing the Syrian King to trust him immediately and give him his daughter's hand in marriage as well as scores of wealth and land. If the Syrian King suspected that Sinuhe were a disloyal subject it is unlikely he would have offered such kind service."
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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, AU$ 67.95
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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, AU$ 94.95
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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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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, AU$ 41.95
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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, AU$ 102.95
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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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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, AU$ 116.95
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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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