Literatura académica sobre el tema "Greek American literature"

The current investigation demonstrates the development of an identity instrument, specifically for the measurement of Greek-American ethnic identity: the Adult Greek-American Identity Scale (AGIS). This scale construct validity was assessed with data collected from six Greek Orthodox parishes in northeastern Ohio. As an expansion of earlier research, this study demonstrates that the Greek-American Identity Scale successfully captures the salient elements of this complex and multifaceted phenomenon under four constructs: Ethos, Network, Diaspora, and Attitude. This study makes contributions to three areas of ethnic studies. First, it contributes to the literature on Greek-Americans, a small and understudied ethnic group. Second, this study provides an example of scale development which, although ethnic group specific, can be modified and applied to other ethnic groups. Third, this study makes a contribution to the growing literature that uses structural equation modeling (SEM) in the study of ethnic identity.

Like the Russian Federation, the United States is a multilingual, multicultural society. A nation of immigrants and indigenous peoples, it has produced a rich body of literature in dozens of languages in addition to English that scholars have only in recent decades begun to pay attention to. Of particular note are texts in Spanish, Yiddish, Chinese, French, Hebrew, German, Arabic, Norwegian, Welsh, Greek, Turkish, Italian, Korean, Polish, Portuguese, Russian, Vietnamese and numerous American Indian languages. In this paper we observe the most significant texts of multilingual American literature. The corpus of literary works shows us, that despite Americans pervasive and enduring xenolinguaphobia - aversion to other languages - the United States, like other large countries, is a heterogeneous amalgam. Ignoring the variety of works written in languages other than English impoverishes the national culture and handicaps serious readers.

ABSTRACT Between 1821 and 1829, the Greek War for Independence attracted widespread and enthusiastic support in the United States. While most were content to simply follow along with the war’s proceedings, a small but vocal group of “philhellenes” took the remarkable step of making Greece’s cause their own. American philhellenes used nationalistic appeals couched in the language of an emergent middle-class sentimentality to raise funds for the Greeks while also lobbying for deeper American involvement in the conflict. Greece’s revolution, American philhellenes argued, was not a foreign war to be avoided; it was an occasion for reaffirming the nation’s moral and political commitments. By studying the poetical justifications for American involvement with the Greek Revolution, we are afforded a glimpse of an important development in popular perceptions of U.S. foreign policy. Philhellenic poetry presents a case study in how popular reading habits blended with nationalistic rhetoric to“sentimentalize” popular perceptions of America’s place in the world. Philhellenes used the nation’s expanding market for print material to forward normative claims about the nation’s responsibility toward the Greek revolutionaries, bringing into sharp relief the permeable boundaries between popular culture and public perceptions of foreign policy.

Abstract This essay explores the influence of Edgar Allan Poe on Emmanuel Rhoides, the Greek writer and translator who, in 1877, first introduced the American author to a Greek audience. Granting the lack of research into Poe's impact on the Hellenic literary world, the note discusses “Ἱστορία ἑνὸς σκύλου” (“The Story of a Dog”) published by Rhoides in 1893, which bears clear but unexplored similarities to Poe's “The Black Cat.” The Greek story was printed alongside “Η Ιστορία μιας Γάτας,” a tale that has already been linked to the same Poe story in terms of content and structure. This comparison makes clear the extensive interest that Rhoides had in “The Black Cat,” and argues that the writer who introduced the American author's work in Greece was influenced by and used Poe's satire techniques in this and other tales. Finally, the note calls for additional, broader study of Poe's impact on modern Greek writing.

In the dreams our stuff is made of, Thomas M. Disch talks about the influence and pervasiveness of science Fiction in American culture and asserts the genre's power in “such diverse realms as industrial design and marketing, military strategy, sexual mores, foreign policy, and practical epistemology” (11-12). A few years earlier, Sharona Ben-Tov described science fiction as “a peculiarly American dream”—that is, “a dream upon which, as a nation, we act” (2). Recently, Kim Stanley Robinson has claimed that “rapid technological development on all fronts combined to turn our entire social reality into one giant science fiction novel, which we are all writing together in the great collaboration called history” (1-2). While such diagnostic statements may ring true to American ears, they cannot be taken at face value in the context of Hellenic culture. Despite the unprecedented speed with which the Greeks absorb and consume both the latest technologies (like satellite TV, video, CD and DVD players, electronic games, mobile and cordless phones, PCs, and the Internet) and Hollywood's science fiction blockbuster films, neither technology per se nor science fiction has yet saturated the Greek mind-set to a degree that makes daily life a science-fictional reality. Greek politicians do not consult science fiction writers for military strategy and foreign policy decisions or depend on imaginary scenarios to shape their country's future. Contemporary Hellenic culture does not acquire its national pride from mechanical devices or space conquest. Contrary to the American popular belief that technology is the driving force of history, “a virtually autonomous agent of change” (Marx and Smith xi), the Greek view is that a complex interplay of political, economic, cultural, and technoscientific agencies alters the circumstances of daily life. No hostages to technological determinism, modern Greeks increasingly interface with high-tech inventions, but without locating earthly paradise in their geographic territory and without writing their history or shaping their social reality as “one giant science fiction novel.”

While W.E.B. Du Bois’s first novel, The Quest of the Silver Fleece (1911), is set squarely in the USA, his second work of fiction, Dark Princess: A Romance (1928), abandons this national framework, depicting the treatment of African Americans in the USA as embedded into an international system of economic exploitation based on racial categories. Ultimately, the political visions offered in the novels differ starkly, but both employ a Western literary canon – so-called ‘classics’ from Greek, German, English, French, and US American literature. With this, Du Bois attempts to create a new space for African Americans in the world (literature) of the 20th century. Weary of the traditions of this ‘world literature’, the novels complicate and begin to decenter the canon that they draw on. This reading traces what I interpret as subtle signs of frustration over the limits set by the literature that underlies Dark Princess, while its predecessor had been more optimistic in its appropriation of Eurocentric fiction for its propagandist aims.

This essay presents Jay Wright’s play Lemma as a historiographical challenge and also as a piece of idiorrhythmic American theater. Consonant with his life’s work of poetry, dramatic literature, and philosophical writing, Lemma showcases Wright’s expansive intellectual framework with which he constructs vivid, dynamic, and complex visions of American life. The “America” conjured here is steeped in many traditions, traditions typically kept distinct by academic discourse, such as West African cosmology, Enlightenment philosophy, jazz music theory, Ancient Greek theater, neo-Baroque modifications of Christian theology, pre-Columbian indigenous ways of knowing, etymological connections between Spanish and Gaelic, the materiality of John Donne’s poetry, and the lives of enslaved Africans in the New World. What is the purpose of Wright’s theatrical conjuration? How do we approach a text with such a diverse body of intellectual and literary sources? The author answers these questions and ends with a call to treat Lemma as a much needed point of view that opens lines of sight into Black and American theater far outside the well-worn territory of the Black Arts Movement.

Abstract In 2014, the Quebecois writer Catherine Mavrikakis published Diamanda Galas, a tribute to the American artist performer of Greek origin, Diamanda Galas – at the Montreal Publishing House, Héliotrope, inaugurating a new collection, “Guerrières et Gorgones” (Warriors and Gorgons). At the same time and in the same collection, Martine Delvaux published a tribute to the American photographer Nan Goldin, in an eponymous essay. “What survives from/through artists who are prophets of the contemporary?”, inquires Mavrikakis. Acting on the tragedy of history and transgressing it, how can literature and art play with experiences of memory transmission and “survival” without necessarily working “to fix” them? What is at the heart of this link between history and creativity, reaffirmed by Georges Didi-Huberman in Survivance des lucioles? Through reflections on transcultural transference, multiculturalism and the power of women to transgress traumatic experiences, this article explores the question of memory transmission in two contemporary narratives on art and the AIDS period of the 1980s.