DOCSLIB.ORG

Grade 10 Literature Mini-Assessment Excerpt from Julius Caesar, Act III, Scene Ii

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Grade 10 Literature Mini-Assessment Excerpt from Julius Caesar, Act III, Scene Ii Grade 10 Literature Mini-Assessment Excerpt from Julius Caesar, Act III, Scene ii by William Shakespeare This grade 10 mini-assessment is based on an excerpt from Julius Caesar, Act III, Scene ii by William Shakespeare and a video of the scene. This text is considered to be worthy of students’ time to read and also meets the expectations for text complexity at grade 10. Assessments aligned to the Common Core State Standards (CCSS) will employ quality, complex texts such as this one. Questions aligned to the CCSS should be worthy of students’ time to answer and therefore do not focus on minor points of the text. Questions also may address several standards within the same question because complex texts tend to yield rich assessment questions that call for deep analysis. In this mini- assessment there are seven selected-response questions and one paper/pencil equivalent of technology enhanced items that address the Reading Standards listed below. Additionally, there is an optional writing prompt, which is aligned to both the Reading Standards for Literature and the Writing Standards. We encourage educators to give students the time that they need to read closely and write to the source. While we know that it is helpful to have students complete the mini-assessment in one class period, we encourage educators to allow additional time as necessary. Note for teachers of English Language Learners (ELLs): This assessment is designed to measure students’ ability to read and write in English. Therefore, educators will not see the level of scaffolding typically used in instructional materials to support ELLs—these would interfere with the ability to understand their mastery of these skills. If ELL students are receiving instruction in grade-level ELA content, they should be given access to unaltered practice assessment items to gauge their progress. Passages and items should not be modified; however, additional information about accommodations you may consider when administering this assessment to ELLs is available in the teacher section of this resource. The questions align to the following standards: RL.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. RL.9-10.2 Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text. RL.9-10.3 Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme. RL.9-10.4 Determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings; analyze the cumulative impact of specific word choice on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone). 1 RL.9-10.5 Analyze how an author’s choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise. RL.9-10.6 Analyze a particular point of view or cultural experience reflected in a work of literature from outside the United States, drawing on a wide reading of world literature. RL.9-10.7 Analyze the representation of a subject or a key scene in two different artistic mediums, including what is emphasized or absent in each treatment (e.g., Auden's "Musée des Beaux Arts" and Breughel's Landscape with the Fall of Icarus). W.9-10.2 Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content. W.9-10.4 Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. L.9-10.1 Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. L.9-10.2 Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing. L.0-10.3 Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening. 2 Contents Grade 10 - Mini-Assessment – Excerpt from Julius Caesar Print for students ......................................... 4 Information for Teachers: Quantitative and Qualitative Analyses of the Text ..................................... 17 Question Annotations: Correct Answers and Distractor Rationales .................................................... 19 Using the Mini-Assessments with English Language Learners………………………..………………………………... 25 Additional Resources for Assessment and CCSS Implementation ....................................................... 28 The assessment questions in this document align with the CCSS and reflect the instructional shifts implied by the standards. To learn more about these topics, please go to the following link: www.achievethecore.org 3 Grade 10 Mini-Assessment – Excerpt from Julius Caesar Act III, Scene ii Today you will read an excerpt from Julius Caesar, Act III, Scene ii by William Shakespeare, and watch a short video of part of the scene. You will then answer several questions based on the text and video. I will be happy to answer questions about the directions, but I will not help you with the answers to any questions. You will notice as you answer the questions that some of the questions have two parts. You should answer Part A of the question before you answer Part B, but you may go back and change your answer to Part A if you want to. Take as long as you need to read and answer the questions. If you do not finish when class ends, come see me to discuss when you may have additional time. Now read the passage, watch the video, and answer the questions. I encourage you to write notes in the margin as you read the passage. Excerpt from Julius Caesar, Act III, Scene ii by William Shakespeare (shortened for assessment purposes) Antony: Friends, Romans, countrymen, lend me your ears; I come to bury Caesar, not to praise him. The evil that men do lives after them; The good is oft interred with their bones; 5 So let it be with Caesar. The noble Brutus Hath told you Caesar was ambitious: If it were so, it was a grievous fault, And grievously hath Caesar answer'd it. Here, under leave of Brutus and the rest-- 10 For Brutus is an honourable man; So are they all, all honourable men-- Come I to speak in Caesar's funeral. He was my friend, faithful and just to me: But Brutus says he was ambitious; 15 And Brutus is an honourable man. He hath brought many captives home to Rome Whose ransoms did the general coffers fill: Did this in Caesar seem ambitious? 4 When that the poor have cried, Caesar hath wept: 20 Ambition should be made of sterner stuff: Yet Brutus says he was ambitious; And Brutus is an honourable man. You all did see that on the Lupercal1 I thrice presented him a kingly crown, 25 Which he did thrice refuse: was this ambition? Yet Brutus says he was ambitious; And, sure, he is an honourable man. I speak not to disprove what Brutus spoke, But here I am to speak what I do know. 30 You all did love him once, not without cause: What cause withholds you then, to mourn for him? O judgment! thou art fled to brutish beasts, And men have lost their reason. Bear with me; My heart is in the coffin there with Caesar, 35 And I must pause till it come back to me. First Citizen: Methinks there is much reason in his sayings. Second Citizen: If thou consider rightly of the matter, Caesar has had great wrong. Antony: But yesterday the word of Caesar might 40 Have stood against the world; now lies he there. And none so poor to do him reverence. O masters, if I were disposed to stir Your hearts and minds to mutiny and rage, I should do Brutus wrong, and Cassius wrong, 45 Who, you all know, are honourable men: I will not do them wrong; I rather choose To wrong the dead, to wrong myself and you, Than I will wrong such honourable men. But here's a parchment with the seal of Caesar; 50 I found it in his closet, 'tis his will: 1 A yearly Roman festival that celebrated the god of fertility 5 Let but the commons hear this testament-- Which, pardon me, I do not mean to read-- And they would go and kiss dead Caesar's wounds And dip their napkins in his sacred blood, 55 Yea, beg a hair of him for memory, And, dying, mention it within their wills, Bequeathing it as a rich legacy Unto their issue. Fourth Citizen We'll hear the will: read it, Mark Antony. Antony: 60 Have patience, gentle friends, I must not read it; It is not meet2 you know how Caesar loved you. You are not wood, you are not stones, but men; And, being men, bearing the will of Caesar, It will inflame you, it will make you mad: 65 'Tis good you know not that you are his heirs; For, if you should, O, what would come of it! Fourth Citizen: Read the will; we'll hear it, Antony; You shall read us the will, Caesar's will. Antony: Will you be patient? will you stay awhile? 70 I have o'ershot myself to tell you of it: I fear I wrong the honourable men Whose daggers have stabb'd Caesar; I do fear it.
Load more

Recommended publications
  • The Tragedy of Julius Caesar ______
    THE TRAGEDY OF JULIUS CAESAR ___________________________ by Dan Gurskis based on the play by William Shakespeare THE TRAGEDY OF JULIUS CAESAR FADE IN: A STATUE OF JULIUS CAESAR in a modern military dress uniform. Then, after a moment, it begins. First, a trickle. Then, a stream. Then, a rush. The statue is bleeding from the chest, the neck, the arms, the abdomen, the hands — dozens of wounds. DISSOLVE TO: EXT. HILLY COUNTRYSIDE — DAY Late winter. The ground is mottled with patches of snow and ice. BURNED IN are the words: "Kosovo, soon after the unrest." Somewhere in the distance, an open-topped Jeep bounces along a rutted, twisting road. INT. OPEN-TOPPED JEEP — MOVING FLAVIUS and MARULLUS, two military officers in uniform, occupy the front passenger's seat and the rear seat, respectively. An ENLISTED MAN is behind the wheel. The three ride in silence for a moment, huddled against the cold, wind whipping through their hair. There is a casual almost careless air to the men. If they do not feel invincible, they feel at the very least unconcerned. Even the machine gun mounted on the rear of the Jeep goes unattended. Just then, automatic sniperfire RINGS OUT of the surrounding woods. The windshield SHATTERS. The driver's forehead explodes in a spray of blood and bone. He slumps over the steering wheel, pulling it hard to the side. ANGLE ON THE JEEP swerving off the road, flipping down an embankment. All three men are thrown from the Jeep, which comes to rest on its side. The driver, clearly dead, lies wide-eyed in a ditch.
    [Show full text]
  • 12 AUGUST 2017 “For There Is Nothing Either Good Or Bad, but Thinking Makes It So.“ Hamlet, Act II, Scene 2
    29 JUNE – 12 AUGUST 2017 “For there is nothing either good or bad, but thinking makes it so.“ Hamlet, Act II, Scene 2. Ramsey Island, Dargonwater. Friday. June. DIRECTOR ASSISTANT DIRECTOR MARK KILMURRY SHAUN RENNIE CAST CREW ROY DESIGNER ANDREW HANSEN HUGH O’CONNOR NEVILLE LIGHTING DESIGNER DAVID LYNCH BENJAMIN BROCKMAN ANGUS SOUND DESIGNER DARYL WALLIS CRAIG REUCASSEL DRAMATURGY GORDON JANE FITZGERALD CHRIS TAYLOR STAGE MANAGER STEPHANIE LINDWALL WITH SPECIAL THANKS TO: ASSISTANT STAGE MANAGER SLADE BLANCH / DANI IRONSIDE Jacqui Dark as Denise, WARDROBE COORDINATOR Shaun Rennie as DJ Kirk, ALANA CANCERI Vocal Coach Natasha McNamara, MAKEUP Kanen Breen & Kyle Rowling PEGGY CARTER First performed by Stephen Joseph Theatre, Scarborough in May 1992. NEVILLE’S ISLAND @Tim Firth Copyright agent: Alan Brodie Representation Ltd. www.alanbrodie.com RUNNING TIME APPROX 2 HOURS 10 MINUTES INCLUDING INTERVAL 02 9929 0644 • ensemble.com.au TIM FIRTH – PLAYWRIGHT Tim’s recent theatre credits include the musicals: THE GIRLS (West End, Olivier Nomination), THIS IS MY FAMILY (UK Theatre Award Best Musical), OUR HOUSE (West End, Olivier Award Best Musical) and THE FLINT STREET NATIVITY. His plays include NEVILLE’S ISLAND (West End, Olivier Nomination), CALENDAR GIRLS (West End, Olivier Nomination) SIGN OF THE TIMES (West End) and THE SAFARI PARTY. Tim’s film credits include CALENDAR GIRLS, BLACKBALL, KINKY BOOTS and THE WEDDING VIDEO. His work for television includes MONEY FOR NOTHING (Writer’s Guild Award), THE ROTTENTROLLS (BAFTA Award), CRUISE OF THE GODS, THE FLINT STREET NATIVITY and PRESTON FRONT (Writer’s Guild “For there is nothing either good or bad, but thinking makes it so.“ Award; British Comedy Award, RTS Award, BAFTA nomination).
    [Show full text]
  • The Architecture of Marcus Vitruvius Pollio, in Ten Books
    www.e-rara.ch The architecture of Marcus Vitruvius Pollio, in ten books Vitruvius London, 1826 Bibliothek Werner Oechslin Shelf Mark: A04a ; app. 851 Persistent Link: http://dx.doi.org/10.3931/e-rara-19442 Life of Vitruvius. www.e-rara.ch Die Plattform e-rara.ch macht die in Schweizer Bibliotheken vorhandenen Drucke online verfügbar. Das Spektrum reicht von Büchern über Karten bis zu illustrierten Materialien – von den Anfängen des Buchdrucks bis ins 20. Jahrhundert. e-rara.ch provides online access to rare books available in Swiss libraries. The holdings extend from books and maps to illustrated material – from the beginnings of printing to the 20th century. e-rara.ch met en ligne des reproductions numériques d’imprimés conservés dans les bibliothèques de Suisse. L’éventail va des livres aux documents iconographiques en passant par les cartes – des débuts de l’imprimerie jusqu’au 20e siècle. e-rara.ch mette a disposizione in rete le edizioni antiche conservate nelle biblioteche svizzere. La collezione comprende libri, carte geografiche e materiale illustrato che risalgono agli inizi della tipografia fino ad arrivare al XX secolo. Nutzungsbedingungen Dieses Digitalisat kann kostenfrei heruntergeladen werden. Die Lizenzierungsart und die Nutzungsbedingungen sind individuell zu jedem Dokument in den Titelinformationen angegeben. Für weitere Informationen siehe auch [Link] Terms of Use This digital copy can be downloaded free of charge. The type of licensing and the terms of use are indicated in the title information for each document individually. For further information please refer to the terms of use on [Link] Conditions d'utilisation Ce document numérique peut être téléchargé gratuitement.
    [Show full text]
  • Julius Caesar © 2015 American Shakespeare Center
    THE AMERICAN SHAKESPEARE CENTER STUDY GUIDE Julius Caesar © 2015 American Shakespeare Center. All rights reserved. The following materials were compiled by the Education and Research Department of the American Shakespeare Center, 2015. Created by: Cass Morris, Academic Resources Manager; Sarah Enloe, Director of Education and Research; Ralph Cohen, ASC Executive Founding Director and Director of Mission; Jim Warren, ASC Artistic Director; Jay McClure, Associate Artistic Director; ASC Actors and Interns. Unless otherwise noted, all selections from Julius Caesar in this study guide use the stage directions as found in the 1623 Folio. All line counts come from the Norton Shakespeare, edited by Stephen Greenblatt et al, 1997. The American Shakespeare Center is partially supported by a grant from the Virginia Commission for the Arts and the National Endowment for the Arts. American Shakespeare Center Study Guides are part of Shakespeare for a New Generation, a national program of the National Endowment for the Arts in partnership with Arts Midwest. -2- Dear Fellow Educator, I have a confession: for almost 10 years, I lived a lie. Though I was teaching Shakespeare, taking some joy in pointing out his dirty jokes to my students and showing them how to fight using air broadswords; though I directed Shakespeare productions; though I acted in many of his plays in college and professionally; though I attended a three-week institute on teaching Shakespeare, during all of that time, I knew that I was just going through the motions. Shakespeare, and our educational system’s obsession with him, was still a bit of a mystery to me.
    [Show full text]
  • Petrarch and Boccaccio Mimesis
    Petrarch and Boccaccio Mimesis Romanische Literaturen der Welt Herausgegeben von Ottmar Ette Band 61 Petrarch and Boccaccio The Unity of Knowledge in the Pre-modern World Edited by Igor Candido An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. The Open Access book is available at www.degruyter.com. ISBN 978-3-11-042514-7 e-ISBN (PDF) 978-3-11-041930-6 e-ISBN (EPUB) 978-3-11-041958-0 ISSN 0178-7489 This work is licensed under the Creative Commons Attribution NonCommercial-NoDerivatives 4.0 license. For more information, see http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2018 Igor Candido, published by Walter de Gruyter GmbH, Berlin/Boston Typesetting: Konvertus, Haarlem Printing and binding: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Dedicated to Ronald Witt (1932–2017) Contents Acknowledgments IX Igor Candido Introduction 1 H. Wayne Storey The
    [Show full text]
  • Did Caesar Destroy the Republic?
    Did Caesar Destroy the Republic? By John Green (adapted) Gaius Julius Caesar was born around 100 BCE to one of Rome’s leading patrician families. Coming from the senatorial class, it was natural that Caesar would serve in both the army and the Senate, which he did. He rose through the ranks, and after some top-notch generalling, and a gig as the governor of Spain, he decided to run for consul. In order to win, Caesar needed financial help, which he got from Crassus, one of Rome’s richest men. Crassus ran a private fire company whose business model was essentially, “hey, I notice your house is on fire. Give me some money and I’ll help you out with that.” Caesar succeeded in becoming consul in 59 BC and thereafter sought to dominate Roman politics by allying himself with Crassus and also with Rome’s other most powerful man, the general Pompey, a guy who loved Alexander the Great so much that he copied his hairstyle. Pompey, Crassus, and Caesar were the so-called first triumvirate, and the alliance worked out super well… for Caesar. After a year as consul that included getting the senate to pass laws largely because of intimidation by Pompey’s troops, Caesar became the governor of Gaul (modern day France), at least the southern part of Gaul that Rome controlled. He quickly conquered the rest of Gaul and his four loyal armies — or legions, as the Romans called them — became his source of power. Caesar continued his conquests, invading Britain and waging another successful war against the Gauls.
    [Show full text]
  • Ancient Rome
    HISTORY AND GEOGRAPHY Ancient Julius Caesar Rome Reader Caesar Augustus The Second Punic War Cleopatra THIS BOOK IS THE PROPERTY OF: STATE Book No. PROVINCE Enter information COUNTY in spaces to the left as PARISH instructed. SCHOOL DISTRICT OTHER CONDITION Year ISSUED TO Used ISSUED RETURNED PUPILS to whom this textbook is issued must not write on any page or mark any part of it in any way, consumable textbooks excepted. 1. Teachers should see that the pupil’s name is clearly written in ink in the spaces above in every book issued. 2. The following terms should be used in recording the condition of the book: New; Good; Fair; Poor; Bad. Ancient Rome Reader Creative Commons Licensing This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. You are free: to Share—to copy, distribute, and transmit the work to Remix—to adapt the work Under the following conditions: Attribution—You must attribute the work in the following manner: This work is based on an original work of the Core Knowledge® Foundation (www.coreknowledge.org) made available through licensing under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. This does not in any way imply that the Core Knowledge Foundation endorses this work. Noncommercial—You may not use this work for commercial purposes. Share Alike—If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one. With the understanding that: For any reuse or distribution, you must make clear to others the license terms of this work.
    [Show full text]
  • The World's Measure: Caesar's Geographies of Gallia and Britannia in Their Contexts and As Evidence of His World Map
    The World's Measure: Caesar's Geographies of Gallia and Britannia in their Contexts and as Evidence of his World Map Christopher B. Krebs American Journal of Philology, Volume 139, Number 1 (Whole Number 553), Spring 2018, pp. 93-122 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/ajp.2018.0003 For additional information about this article https://muse.jhu.edu/article/687618 Access provided at 25 Oct 2019 22:25 GMT from Stanford Libraries THE WORLD’S MEASURE: CAESAR’S GEOGRAPHIES OF GALLIA AND BRITANNIA IN THEIR CONTEXTS AND AS EVIDENCE OF HIS WORLD MAP CHRISTOPHER B. KREBS u Abstract: Caesar’s geographies of Gallia and Britannia as set out in the Bellum Gallicum differ in kind, the former being “descriptive” and much indebted to the techniques of Roman land surveying, the latter being “scientific” and informed by the methods of Greek geographers. This difference results from their different contexts: here imperialist, there “cartographic.” The geography of Britannia is ultimately part of Caesar’s (only passingly and late) attested great cartographic endeavor to measure “the world,” the beginning of which coincided with his second British expedition. To Tony Woodman, on the occasion of his retirement as Basil L. Gildersleeve Professor of Classics at the University of Virginia, in gratitude. IN ALEXANDRIA AT DINNER with Cleopatra, Caesar felt the sting of curiosity. He inquired of “the linen-wearing Acoreus” (linigerum . Acorea, Luc. 10.175), a learned priest of Isis, whether he would illuminate him on the lands and peoples, gods and customs of Egypt. Surely, Lucan has him add, there had never been “a visitor more capable of the world” than he (mundique capacior hospes, 10.183).
    [Show full text]
  • Roman Republic to Roman Empire
    Roman Republic to Roman Empire Start of the Roman Revolution By the second century B.C., the Senate had become the real governing body of the Roman state. Members of the Senate were usually wealthy landowners, and they remained Senators for life. Rome’s government had started out as a Republic in which citizens elected people to represent them. But the Senate was filled with wealthy aristocrats who were not elected. Rome was slowly turning into an aristocracy, and the majority of middle and lower class citizens began to resent it. Land was usually at the center of class struggles in Rome. The wealthy owned most of the land while the farmers had found themselves unable to compete financially with the wealthy landowners and had lost most of their lands. As a result, many of these small farmers drifted to the cities, especially Rome, forming a large class of landless poor. Changes in the Roman army soon brought even worse problems. Starting around 100 B.C. the Roman Republic was struggling in several areas. The first was the area of expansion. The territory of Rome was expanding quickly and the republic form of government could not make decisions and create stability for the new territories. The second major struggle was that due to expansion, the Republic was also experiencing problems with collecting taxes from its citizens. The larger area of the growing Roman territory created difficulties with collecting taxes from a larger population. Government officials had to go to each town, this would take several months to reach the whole extent of Roman territory.
    [Show full text]
  • A Fork in the Road: the Catilinarian Conspiracy's Impact
    A Fork in the Road: The Catilinarian Conspiracy‘s Impact on Cicero‘s relationships with Pompey, Crassus` and Caesar Jeffrey Larson History 499: Senior Thesis June 13, 2011 © Jeffrey Larson, 2011 1 But concerning friendship, all, to a man, think the same thing: those who have devoted themselves to public life; those who find their joy in science and philosophy; those who manage their own business free from public cares; and, finally, those who are wholly given up to sensual pleasures — all believe that without friendship life is no life at all. .1 The late Roman Republic was filled with crucial events which shaped not only the political environment of the Republic, but also altered the personal and political relationships of the individuals within that Republic. Four of the most powerful, and most discussed, characters of this time are Marcus Tullius Cicero (106 BC – 43 BC), Gnaeus Pompeius Magnus (106 BC – 48 BC), Marcus Licinius Crassus (c. 115 BC – 53 BC), and Gaius Julius Caesar (c. 100 BC – 44 BC). These men often crossed paths and some even had close friendships with each other. Other than Pompeius, better known as Pompey, all the aforementioned individuals were involved, or reportedly involved, in one event which had profound effects on the personal and political relationships of all four individuals. This event is known as the Catilinarian Conspiracy of 63 BC. The Catilinarian Conspiracy was a pivotal episode in the politics of the Late Roman Republic that damaged both the political and personal relationships of Cicero, Pompey, Crassus, and Caesar. Politics in the Roman Republic was dominated by a small number of members of the senatorial class.
    [Show full text]
  • Andrew Hansen
    Andrew Hansen Comedian, musician, MC and The Chaser star Andrew Hansen is a comedian, pianist, guitarist, composer and vocalist as well as a writer and performer who is best known as a member of the Australian satirical team on ABC TV’s The Chaser. Andrew is very versatile on the corporate stage too. He can MC an event, give a custom-written comedy presentation or even compose and perform a song if inspired to do so. Andrew’s radio work includes shows on Triple M as well as composing and starring in the musical comedy series and ARIA Award winning album The Blow Parade (triple j, 2010). The Chaser’s TV shows include Media Circus (2014-15), The Hamster Wheel (2011-2013), Yes We Canberra! (2010), The Chaser’s War On Everything (2006-9), The Chaser Decides (2004, 2007) and CNNNN (2002-3). On the Seven network, Andrew produced The Unbelievable Truth (2012). He has also appeared as a guest on most Australian TV shows that have guests. In print he wrote for the humorous fortnightly newspaper The Chaser (1999-2005), eleven Chaser Annuals (Text Publishing, 2000-10), and for the recently launched Chaser Quarterly (2015). On stage Andrew composed and starred in the musical Dead Caesar (Sydney Theatre Company), did two national tours with The Chaser, and two live collaborations with Chris Taylor (One Man Show, 2014 and In Conversation with Lionel Corn, 2015). The Chaser team also runs a cool theatre in Sydney called Giant Dwarf. Andrew composed all The Chaser’s songs as well as the theme music for Media Circus and The Chaser’s War On Everything.
    [Show full text]
  • BOOK9 the Time of the Consuls of Rome
    BOOK9 The Time of the Consuls of Rome 1. (214) The Roman state was administered formerly by consuls, for 464 years until Julius Caesar the dictator. He was not born normally but, after his mother had died in the ninth month, they cut her open and delivered the baby. So he was called Caesar, for in the Roman language Caesar means "dissection", 2. After growing up and proving his courage, he was appointed triumvir with Pompeius Magnus and Crassus. The Roman state was administered by these three. After the murder of Crassus when he had been captured by the Persians in battle in Persian territory, Caesar the dictator remained fighting with his army in the western regions. When he was dismissed from the consulship, that is, the triumvirate; after a kind of scrutiny by the senate of Rome (215) and his father-in-law Pompeius Magnus, Julius Caesar was displeased and rebelled against the Romans. Winning over the Romans' enemies, he began a campaign against the senate of Romeand Pompeius Magnus. He reached Rome, captured it and killed all the senators. Pompeius set out against him but saw that he was unable to fight him, so he abandoned the western regions and went off to the East, intending to secure this region. Julius Caesar the dictator became absolute master of Rome and all the western regions, and began a campaign against Pompeius Magnus, Whenhe caught up with Pompeius, he killed him in the land of Egypt, as the most learned Lucan has written about him. This Caesar was the first to win sole control over the Romans amid great fear, and he laid claim to all authority.
    [Show full text]