Learn all the fun words and modern slang street phrases you never got to in Greek class with this fun, super-handy English-Greek phrasebook. Next time you’re traveling or just chattin’ in Greek with your friends, drop the textbook formality and bust out with expressions they never teach you in school, including: • cool slang • funny insults • explicit terms • raw swear words Dirty Greek teaches the casual expressions heard every day on the streets from Athens to Thessaloníki with phrases from "What’s up?" (Tee YEE-neh-teh?) to "Let’s party!" (EH-la na VHOO-meh toh VRA-thee!) and much more!

Some of the world's earliest large-form fictional narratives--what would today be called novels-are found in ancient Greece. Dating back to the first century CE, these narratives contain many of the elements common to the novelistic genre, for instance, the joining, separation, and reunion of two lovers. These ancient works have often been heralded as the ancestors of the modern novel; but what can we say of the origins of the Greek novel itself? This book argues that whereas much of Greek literature was committed to a form of cultural purism, presenting itself as part of a continuous tradition reaching back to the founding fathers within the tradition, the novel reveled in cultural hybridity. The earliest Greek novelistic literature combined Greek and non-Greek traditions. More than this, however, it also often self-consciously explored its own hybridity by focusing on stories of cultural hybridization, or what we would now call "mixed-race" relations. This book is thus not a conventional account of the origins of the Greek novel: it is not an attempt to pinpoint the moment of invention, and to trace its subsequent development in a straight line. Rather, it makes a virtue of the murkiness, or "dirtiness," of the origins of the novel: there is no single point of creation, no pure tradition, only transgression and transformation. The novel thus emerges as an outlier within the Greek literary corpus: a form of literature written in Greek, but not always committing to Greek cultural identity. Dirty Love focuses particularly on the relationship between Persian, Egyptian, Jewish and Greek literature, and explores such texts as Ctesias' Persica, Joseph and Aseneth, the Alexander Romance, and the tale of Ninus and Semiramis. It will appeal not only to those interested in Greek literary history, but also to readers of near eastern and biblical literature.

Where does the Greek novel come from? This book argues that whereas much of Greek literature was committed to a form of cultural purism, presenting itself as part of a continuous tradition reaching back to Homer, the novel revelled in its hybridisation with Persian, Egyptian and Jewish culture.

This is an engrossing account of Greek Americans?their history, strengths, conflicts, aspirations, and contributions. Blending sociological insight with historical detail, Peter C. and Charles C. Moskos trace the Greek-American experience from the wave of mass immigration in the early 1900s to today. This is the story of immigrants, most of whom worked hard to secure middle-class status. It is also the story of their children and grandchildren, many of whom maintain an attachment to Greek ethnic identity even as they have become one of America's most successful ethnic groups.As the authors rightly note, the true measure of Greek-Americans is the immigrants themselves who came to America without knowing the language and without education. They raised solid families in the new country and shouldered responsibilities for those in the old. They laid the basis for an enduring Greek-American community.Included in this completely revised edition is an introduction by Michael Dukakis and chapters relating to the early struggles of Greeks in America, the Greek Orthodox Church, success in America, and the survival and expansion of Greek identity despite intermarriage. This work will be of value to scholars of ethnic studies, those interested in Greek culture and communities, and sociologists and historians.

This is an engrossing account of Greek Americans--their history, strengths, conflicts, aspirations, and contributions. This is the story of immigrants, their children and grandchildren, most of whom maintain an attachment to Greek ethnic identity even as they have become one of this country's most successful ethnic groups.

Greek was the lingua franca; now it is a window back in time to the most prolific, most authentic, and most profound collection of ancient manuscripts still of extreme interest to a monolith of readers today. This thesaurus is the product of years of research and superior scholarship, in search of a way to make the language more accessible to Greek-lovers everywhere. Besides reinforcing your Greek vocabulary, it can point you to words that might be overlooked in a word study, it lets you find the word you're looking for in the case where you know the meaning but you forget the Greek word, and it can help discover why an author used a particular word in a specific context and what other possible words could have been used. You'll also find collections of words related to the same topic such as legal terms, cooking terms, colors, animals, and parts of speech like conjunctions, prepositions, pronouns, and much more. If you're a Greek scholar at any level, beginner or advanced, this thesaurus is for you!

In Woolf's writings Greece and Greek tragedy in particular shape an exoticized aesthetic space that both emerges from and enables critique of the cosy settings and colonialist conceits of elite (and largely male) British attitudes toward culture and politics. Rather than highlighting Woolf's exclusion from male intellectual purviews, as so many scholars have emphasized, this book urges attention on how her engagements with Greek tragedy both collude with and challenge modernist aesthetics and contemporary politics. Woolf's encounters with and uses of Greek tragedy fantasize an alternative perceptual capacity that correlates to feminine (and feminist) modes, which are depicted in her writings as alternately defiant and choral. In this scheme, Greek tragedy is something of a dreamland, the mysterious dynamics of which Woolf treats as transcending cultural attitudes that hinge upon imperialist adventuring and violence. As scholars have recognized, especially in recent decades, the exoticizing gestures central to the work of so many modernists have uncomfortable political underpinnings, since they frequently inhabit imperialist and colonialist perspectives while appearing to critique them. Unlike most scholars, Nancy Worman argues that Woolf is no exception, although the feminism and humour that inflects so many "Greek" elements in her work saves it from the worst offenses.