1 Approaching Classical Reception Through the Frame of Social Class
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Early Years Foundation Stage Guidance
Early Years Foundation Stage Guidance Introduction Every child deserves the best possible start in life and the support that enables them to fulfil their potential. Children develop quickly in the early years and a child’s experiences between birth and age five have a major impact on their future life chances. A secure, safe and happy childhood is important in its own right. Good parenting and high quality early learning together provide the foundation children need to make the most of their abilities and talents as they grow up. (Statutory Framework for the Early Years Foundation Stage DfE March 2017) The Early Years Foundation Stage applies to children from birth to the end of Reception. In our school children can join us at the beginning of the school year in which they are four, and if we have places some children are able to join us the term after they turn three. Key Stage One begins for our children at the beginning of Year One. We believe that the Early Years Foundation Stage curriculum is important in its own right and for preparing children for later schooling. It reflects the fact that children change and develop more rapidly in the first five years than at any other stage of their life. In order to ensure continuity and to enable each child to reach their full potential, we make a clear commitment to ensuring that the transition between pre-school and Nursery and Reception is made smoothly, so laying secure foundations for future learning. The early years education we offer is based upon The Early Years Foundation Stage statutory framework leading to the Early Learning Goals, which establish targets for most children to reach by the end of the Early Years Foundation Stage. -
School Organisation Data Supplement 2019 2 CONTENTS
School Organisation Data Supplement 2019 2 CONTENTS FIGURES AND CHARTS INDEX .............................................................................................................................. 4 PREFACE ...................................................................................................................................................................... 5 DEMOGRAPHIC AND OTHER FORECASTING DATA ....................................................................................... 7 1. NURSERY & EARLY YEARS PROVISION ....................................................................................................... 10 1.1 Existing Provision ................................................................................................................................ 10 1.2 Future Provision .................................................................................................................................. 11 2. PRIMARY ................................................................................................................................................................ 12 2.1 Existing Provision ................................................................................................................................ 12 2.2 Forecasting Influences ........................................................................................................................ 13 2.3 Future Trends ..................................................................................................................................... -
Homer's Iliad Via the Movie Troy (2004)
23 November 2017 Homer’s Iliad via the Movie Troy (2004) PROFESSOR EDITH HALL One of the most successful movies of 2004 was Troy, directed by Wolfgang Petersen and starring Brad Pitt as Achilles. Troy made more than $497 million worldwide and was the 8th- highest-grossing film of 2004. The rolling credits proudly claim that the movie is inspired by the ancient Greek Homeric epic, the Iliad. This was, for classical scholars, an exciting claim. There have been blockbuster movies telling the story of Troy before, notably the 1956 glamorous blockbuster Helen of Troy starring Rossana Podestà, and a television two-episode miniseries which came out in 2003, directed by John Kent Harrison. But there has never been a feature film announcing such a close relationship to the Iliad, the greatest classical heroic action epic. The movie eagerly anticipated by those of us who teach Homer for a living because Petersen is a respected director. He has made some serious and important films. These range from Die Konsequenz (The Consequence), a radical story of homosexual love (1977), to In the Line of Fire (1993) and Air Force One (1997), political thrillers starring Clint Eastwood and Harrison Ford respectively. The Perfect Storm (2000) showed that cataclysmic natural disaster and special effects spectacle were also part of Petersen’s repertoire. His most celebrated film has probably been Das Boot (The Boat) of 1981, the story of the crew of a German U- boat during the Battle of the Atlantic in 1941. The finely judged and politically impartial portrayal of ordinary men, caught up in the terror and tedium of war, suggested that Petersen, if anyone, might be able to do some justice to the Homeric depiction of the Trojan War in the Iliad. -
Induction & Virtual Tour for New Parents
EDISON PRIMARY SCHOOL IGNITING YOUNG MINDS TODAY FOR A BRIGHTER TOMORROW WELCOME TO NEW RECEPTION PARENTS NOVEMBER 2020 Leadership Team • Chair of Governors – Kamal Kainth • Headteacher – Amrit Dokal • Deputy Headteacher – Hardeep Rupra • EYFS Leader – Deepika Rahman Our Vision • High expectations and challenge for all pupils It is the supreme art of the teacher to awaken joy in creative expression and knowledge. Albert Einstein • Visible Science and Practical learning Science is not only a disciple of reason but, also, one of romance and passion. Stephen Hawking • A Broad Curriculum The function of education is to teach one to think intensively and to think critically. Intelligence plus character - that is the goal of true education. Martin Luther King, Jr. At the end of the day, the most overwhelming key to a child's success is the positive involvement of parents. Jane D. Hull When Can My Child Start School? Date of birth Start or transfer Apply 01/09/2016- Start Reception Sept 2021 1 Sept 2020 – 15 Jan 31/08/2017 2021 Key Dates: Date Activity September to December 2020 Parents can contact primary schools to make virtual viewings (if available). 15 January 2021 Closing date for receipt of online applications. 8 February 2021 Closing date for applications from people moving into the borough, or changing address after 15 January 2020. By 8 March 2021 Applications are ranked according to admissions criteria. 16 April 2021 Offer day, letters are posted to applicants who applied using a paper form. Parents who applied online will be able to view the outcome of their application from the evening of 16 April. -
(2018). Employability Skills in Studio Schools. Investigating the Use of The
Employability Skills in Studio Schools Investigating the use of the CREATE Framework October 2018 Dr James Robson, Ashmita Randhawa and Professor Ewart Keep SKOPE Research Centre, University of Oxford Table of Contents ACKNOWLEDGEMENTS ............................................................................................................ 3 EXECUTIVE SUMMARY ............................................................................................................. 4 1. INTRODUCTION .................................................................................................................... 8 2. METHODOLOGY ................................................................................................................. 10 Phase 1 ............................................................................................................................... 10 Document Analysis ......................................................................................................... 10 Semi-structured Interviews ............................................................................................ 12 Phase 2 ............................................................................................................................... 12 Phase 3 ............................................................................................................................... 13 Ethical Considerations ........................................................................................................ 15 3. FINDINGS ........................................................................................................................... -
Imitating Βάρβαροι:: the Appropriation of Persian Culture in Greece After the Persian Wars
Imitating βάρβαροι:: The Appropriation of Persian Culture in Greece after the Persian Wars During the Orientalizing Period of the eighth and seventh centuries BCE, the Aegean world was heavily influenced by the cultures of the Ancient Near East. The Greeks were accepting of Persian symbols and decorations and were quick to adapt these objects into their own art and culture. This period proved that Greek artists and craftsmen themselves were capable of producing eastern motifs on their own works. However, I hope to show that after the Greek victory in the Persian Wars, eastern influences increased and became more prominent in mainland Greek art and architecture and that it became more acceptable for the Greeks to own possessions with eastern motifs. After the wars, the Greeks were accepting and even jealous of Persian fashions (Bridges et al. 2007, 37) and the influence of Persian “material goods aided the process of social stratification…and contributed to status expression in the subsequent Hellenistic world” (Miller 2003, 319). To take this further, I aim to look at Persian culture being appropriated by the Greeks for their own uses during the emergence of the new democracy, to show that while these images, symbols, and fashions were not Greek in origin, they were so commonly used and adapted by the Greeks that they then became symbols of their ‘Greekness.’ This paper will look primarily at material culture, but will also examine mentions of Persian objects and ideas in Greek literature, such as Aeschylus’ Persians and Herodotus’ Histories. I will start by examining the adaptation of Persian symbols in Greek society, considering the acceptance of Persian clothing, with examples of Persian dress seen on vases and grave stelai and mentions of Persian slippers in dramas such as Aristophanes’ Lysistrata, and the introduction and use of Persian parasols, seen in Aristophanes’ Birds and by Eros holding a parasol of Aphrodite on the Parthenon frieze. -
Aristotle Professor Edith Hall 4 March 2021 Introduction Aristotle Is
Aristotle Professor Edith Hall 4 March 2021 Introduction Aristotle is arguably the most influential intellectual who ever lived. I say ‘intellectual’ rather than ‘philosopher’ because he contributed to so many disciplines other than philosophy, including what we call sciences such as Physics and Zoology and art-related endeavours such as literary criticism. But despite the sheer range of his investigations, there is a coherent method and system underlying all of them, with its own terminology, much of which he created almost from scratch. In a Gresham lecture two years ago, I described Aristotle’s life, his twenty years spent studying at Plato’s Academy, his travels in Turkey and Lesbos, his tutoring of the teenaged Alexander before he became The Great, and his university at Athens, the Lyceum.1 This was the first institution to combine teaching at a range of levels from public lectures to cutting-edge specialised research across the disciplinary spectrum. It also housed his personal library, which later became the model behind the Ptolemaic Library of Alexandria. Aristotle founded the Lyceum when he was nearly 50. He died not much more than a decade later, after being driven out of Athens by politicians suspicious of his association with Kings Philip II and Alexander III of Macedon. But in that last part of his life, he produced, scholars think, the majority of the 200 or more treatises attributed to him. Around 30 authentic works have survived to be read today. In his Metaphysics, Aristotle asks why humans invented philosophy. ‘Human beings now and when they began to do philosophy do so because of their sense of wonder. -
Tony Harrison's Prometheus: a View from the Left
Tony Harrison’s Prometheus: A View from the Left EDITH HALL Fire and poetry, two great powers that mek this so-called gods’ world OURS! Old Man, who has become Pro- metheus, to an audience of miners1 IN 1998 TONY HARRISON’S first feature film was screened at some esoteric venues, broadcast on uk Channel 4 television, and subsequently disappeared almost completely from public view. Outside the uk it has made little impres- sion. Nobody got very excited about Shelley’s Prometheus Unbound in 1820, either. Yet I am convinced that the eye of history will later view Harrison’s Prometheus as the most im- portant artistic reaction to the fall of the British working class as the twentieth century staggered to its close, a fall symptomatic of the international collapse of the socialist dream. The film also offers the most important adaptation of classical myth for a radical political purpose for years, and (with the possible exception of his stage play The Trackers of Oxyrhynchus) the most brilliant artwork Tony Harrison has yet produced. Harrison believes that the ancient Greek tragedy entitled Prometheus Bound is by Aeschylus, the poet of the Athenian democratic revolution. Aeschylus’ Prometheus is wilful, stub- born, audacious, gloomy, inspirational, intellectual, poetic, and has a diachronic view of history allowing him to see far away across the world, far into the past and equally far into the future. Harrison’s film is also wilful, stubborn, audacious, gloomy, inspirational, intellectual, poetic, with an interna- tional perspective and diachronic view of history. It escorts its audience on a procession of arresting images leading from northern England to eastern Europe and Greece, via the bomb- 130 tony harrison’s PROMETHEUS ing of Dresden, the collapse of socialism and the Holocaust. -
Greek Drama As Feminist Window on American Identity 1900-1925
Pre-print version of article forthcoming in K. Bosher, F. Macintosh, J. McConnell and Patrice Rankine (eds. 2014) The Oxford Handbook to Greek Drama in the Americas The Migrant Muse: Greek Drama as Feminist Window on American Identity 1900-1925 Edith Hall (KCL) The Quest for a New Muse Just before the academic rediscovery of ancient Greek drama in performance in the 1880s, Walt Whitman appealed for a new form of poetry to replace worn-out classicism, in ‘Song of the exposition’ (1871): Come, Muse, migrate from Greece and Ionia; Cross out, please, those immensely overpaid accounts. That matter of Troy, and Achilles’ wrath, and Eneas’, Odysseus’ wanderings; Place ‘Removed’ and ‘To Let’ on the rocks of your snowy Parnassus... For know a better, fresher, busier sphere – a wide, untried domain, awaits, demands you. But what, precisely, would be the nature of the Muse’s fresher, busier, untried North American domain? If she was to migrate from Greece and Ionia, how was she to adapt herself to a new destination far from her original home? This chapter looks at some ways in which American Modernist feminists used the Muse of Greek drama in the reconfiguration of American identity. Fifty years later, on July 7th 1921, Calvin Coolidge, Vice-President of the USA, addressed the American Classical League at UP in Philadelphia. Despite the tumultuous history 1 Pre-print version of article forthcoming in K. Bosher, F. Macintosh, J. McConnell and Patrice Rankine (eds. 2014) The Oxford Handbook to Greek Drama in the Americas of the intervening decades, he still defended the American tradition of classical education, even while confessing his desire for a distinctively American identity: We do not wish to be Greek. -
Bold Beginnings
Bold beginnings: The Reception curriculum in a sample of good and outstanding primary schools In January 2017, Her Majesty’s Chief Inspector (HMCI) commissioned an Ofsted-wide review of the curriculum. Its aim was to provide fresh insight into leaders’ curriculum intentions, how these are implemented and the impact on outcomes for pupils. This report shines a spotlight on the Reception Year and the extent to which a school’s curriculum for four- and five-year-olds prepares them for the rest of their education and beyond. 2 Bold beginnings – November 2017, No. 170045 Contents Executive summary 4 Key findings 5 Recommendations 7 Reception – a unique and important year 8 The curriculum 12 Teaching 16 Language and literacy 19 Mathematics 24 Assessment and the early years foundation stage profile 26 Initial teacher education 29 Methodology 31 Annex A: Schools visited 32 Annex B: Online questionnaire 34 3 www.gov.uk/ofsted Executive summary A good early education is the foundation for later supposed to teach it. This seemed to stem from success. For too many children, however, their misinterpreting what the characteristics of effective Reception Year is a missed opportunity that can leave learning in the early years foundation stage (EYFS)2 – them exposed to all the painful and unnecessary ‘playing and exploring, active learning, and creating consequences of falling behind their peers. and thinking critically’ – required in terms of the curriculum they provided. During the summer term 2017, Her Majesty’s Inspectors (HMI) visited successful primary schools The EYFS profile (EYFSP)3 is a mechanism for statutory in which children, including those from disadvantaged summative assessment at the end of the foundation backgrounds1, achieved well. -
What Scotland Learned 100 Stories of Lockdown
What Scotland Learned 100 stories of lockdown For Scotland’s learners, with Scotland’s educators 100 stories of lockdown Contents What Scotland Learned is a collection of inspiring stories about how practitioners across Scotland responded to the COVID-19 crisis. It is structured around the five themes of How Good is OUR School?. Foreword 4 Relationships 5 Learning and teaching 31 School and community 83 Health and wellbeing 142 Successes and achievements 179 Reflection 192 What Scotland Learned Foreword Relationships Gayle Gorman HM Chief Inspector of Education This theme is about how well everyone The COVID-19 pandemic led to the sudden closure supported each other to work, learn of school buildings and other learning sites across and achieve success. It is about Scotland. During this time there were many examples relationships amongst learners and of extraordinary work across the entire education between children and young people and system to support learners and communities. the adults who work with them as part of a learning community. For many learners, their education was delivered When we asked for submissions for this entirely through distance and online platforms, publication, I wasn’t sure how many we would with different forms of on-going contact with receive. Everyone is back in school now and their teachers, childcare workers, youth workers, I know how busy you all are. Incredibly, we tutors and others. Of course, for children and received many, many submissions and it just young people, support from parents and carers wasn’t possible to publish all of them in this book. continued to be key to their learning. -
Kristen Thompson
Pour One Out For the Perisan King: Greek Magic and Depictions of Barbarian Witch Queens in Athenian Tragedy Kristen Thompson HIS 492: Seminar in History Professor Gatzke 11 May 2021 Thompson 1 In 431 BCE, the City Dionysia festival of Athens held the first performance of Euripides’ tragedy Medea. The Athenian audience filling in the theater of Dionysus likely possessed some rough expectations of what the play would entail. Medea, a mythic woman about whom several past poets and scholars had written, was best known for her use of potions and relationship to the Greek hero Jason. The dominant narrative of her story before Euripides, while sometimes containing tragedy and death, had never depicted Medea in too much of an unfavorable light.1 As the play started, Euripides’ Medea would quickly shatter these preconceived expectations as she committed the greatest atrocities imaginable in the minds of the Greeks. The production would follow her quest for revenge against her cheating husband—which would lead her to murder her children and the Corinthian royal family through magical means. This evolution of Medea’s character from a neutral mythic figure to a murderous foreign witch was no coincidence. By the Classical period, depictions of foreign women as vengeful, destructive witches were ubiquitous in Athenian theater.2 This portrayal stemmed from the growing anti-Persian sentiment of the Classical Period; the Persian Wars of the early fifth century BCE had left the Athenians with a strong resentment for anything foreign or barbarian (barbaros) in nature. The concept of magic had been introduced to the Greeks through Persian magoi, who were religious priests under the Persian empire, which resulted in a negative association forming between the practice and foreignness.3 However, this association did not occur equally along gender lines; Athenian plays depicted foreign women as magical far more often than they did foreign men.