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The Relationship of PSAT/NMSQT Scores and AP Examination Grades
Research Notes Office of Research and Development RN-02, November 1997 The Relationship of PSAT/NMSQT Scores and AP® Examination Grades he PSAT/NMSQT, which measures devel- Recent analyses have shown that student per- oped verbal and quantitative reasoning, as formance on the PSAT/NMSQT can be useful in Twell as writing skills generally associated identifying additional students who may be suc- with academic achievement in college, is adminis- cessful in AP courses. PSAT/NMSQT scores can tered each October to nearly two million students, identify students who may not have been initially the vast majority of whom are high school juniors considered for an AP course through teacher or and sophomores. PSAT/NMSQT information has self-nomination or other local procedures. For been used by high school counselors to assist in many AP courses, students with moderate scores advising students in college planning, high school on the PSAT/NMSQT have a high probability of suc- course selection, and for scholarship awards. In- cess on the examinations. For example, a majority formation from the PSAT/NMSQT can also be very of students with PSAT/NMSQT verbal scores of useful for high schools in identifying additional 46–50 received grades of 3 or above on nearly all of students who may be successful in Advanced the 29 AP Examinations studied, while over one- Placement courses, and assisting schools in deter- third of students with scores of 41–45 achieved mining whether to offer additional Advanced grades of 3 or above on five AP Examinations. Placement courses. There are substantial variations across AP subjects that must be considered. -
The Chief Turning Point in the Long Course
C H A P T E R 4 T R L he chief turning point in the long course At the same time his social reforms, aimed chie y at of Roman history came in 31 BCE , with the the upper classes, were intended to return his subjects nal collapse of the Roman Republic, and to traditional family values. Laws provided tax breaks its replacement by an Imperial system of for large families and penalized couples who did not Tgovernment. Augustus, the rst emperor, was faced produce children and those who remained unmar- with the task of restoring peace. During his long reign, ried. Adultery became a crime against the state. the spread of economic prosperity produced a hard- Yet despite the success of Augustus’s political and working middle class, loyal to the central government. economic policies, it is doubtful if his moral reform- ing zeal met with more than polite attention. His own daughter and granddaughter, both named Julia, were notorious for their scandalous affairs. To make matters worse, one of the lovers of his daughter Julia was a son of the Emperor’s old enemy, Mark Antony, whose defeat and suicide in 31 BCE had brought the Republic crashing down. Whatever his personal feel- ings, duty compelled Augustus to banish Julia to a remote Mediterranean island. A few years later he had to nd another distant location for the banishment of his granddaughter. He hushed up the details of both scandals, but there was much gossip. Augustus himself created a personal image of ancient Roman frugality and morality, although on his death-bed he gave a clue as to his own more com- plex view of his life. -
Advanced Placement Program Information Night
Advanced Placement Program Information Night Columbia High School https://tinyurl.com/yae9e75x Welcome Columbia High School is committed to every student’s success. We believe access to rigorous coursework, such as Advanced Placement® (AP®), plays an important role in that success. https://tinyurl.com/yae9e75x What We’ll Cover • What is it Like to Take AP® courses? • Advanced Placement® Course Offerings? • AP® Exams • The Benefits • Next Steps: Help Your Child Make the Best Choices https://tinyurl.com/yae9e75x ® What is it like to take AP Courses? https://tinyurl.com/yae9e75x ® Advanced Placement : The Basics ● The Advanced Placement Program is run by a non-profit organization, the College Board. The College Board is also responsible for the PSAT and SAT tests. ● AP® courses are college-level courses offered in high school. ● AP® Courses reflect what is taught in top, introductory college courses. ● Students take AP® Exams at the end of the course, measuring their mastery of college-level work. ● A score of 3 or higher on an AP® Exam may earn students college credit and/or placement into advanced courses in college. ® AP Myths & Realities Myth Reality AP® courses are for students who always get good AP® courses are for any students who are academically grades. prepared and motivated to take college-level courses.. AP® courses are too stressful. It's no secret that AP® courses are challenging, but the support you will receive from your classmates and teachers can help you manage the workload. I don't think I will score high enough on the AP® You don’t need to score a 5. -
AP® Art History Exam
SAMPLE QUESTIONS AP® Art History Exam Originally published in the October 2013 AP Art History Curriculum Framework About the College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of over 6,000 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success – including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators, and schools. For further information, visit www. collegeboard.org. AP® Equity and Access Policy The College Board strongly encourages educators to make equitable access a guiding principle for their AP® programs by giving all willing and academically prepared students the opportunity to participate in AP. We encourage the elimination of barriers that restrict access to AP for students from ethnic, racial, and socioeconomic groups that have been traditionally underserved. Schools should make every effort to ensure their AP classes reflect the diversity of their student population. The College Board also believes that all students should have access to academically challenging course work before they enroll in AP classes, which can prepare them for AP success. It is only through a commitment to equitable preparation and access that true equity and excellence can be achieved. -
AP® Art History Practice Exam
Sample Responses from the AP® Art History Practice Exam Sample Questions Scoring Guidelines Student Responses Commentaries on the Responses Effective Fall 2015 AP Art History Practice Exam Sample Responses About the College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of over 6,000 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success — including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators, and schools. For further information, visit www.collegeboard.org. AP® Equity and Access Policy The College Board strongly encourages educators to make equitable access a guiding principle for their AP® programs by giving all willing and academically prepared students the opportunity to participate in AP. We encourage the elimination of barriers that restrict access to AP for students from ethnic, racial, and socioeconomic groups that have been traditionally underserved. Schools should make every effort to ensure their AP classes reflect the diversity of their student population. The College Board also believes that all students should have access to academically challenging course work before they enroll in AP classes, which can prepare them for AP success. -
Imperial Image Prescribed Sources: Study Notes 2
Open University Department of Classical Studies Resources for A-Level Classical Civilisation Imperial Image Prescribed Sources: Study Notes 2 Prima Porta Statue Propertius Elegies 3.4 (War and Peace) Propertius Elegies 3.11 (Woman’s Power) Propertius Elegies 3.12 (Chaste and Faithful Galla) Propertius Elegies 4.6. (The Temple of Palatine Apollo) Ovid Metamorphoses 15.745-870 Suetonius Life of Augustus The Forum of Augustus Coin: Octavian/Restorer of laws and rights Coin: Augustus/Comet Coin: Augustus/Gaius and Lucius Caesar Imperial Image Augustus of Prima Porta (Statue) Context: Parthia: What?: Statue of Augustus. • Decoration includes a depiction of the return of When?: c. 20 BC. the Parthian standards. Where?: Found at Villa of Livia at Prima Porta. • Crassus lost these legionary standards to the Material: Marble (may have been a copy of a bronze statue Parthians in 53 BC. 40,000 Roman soldiers were set up elsewhere in Rome). killed. Height: 2.08 metres. • Tiberius negotiated the return of the standards in 20 BC. • The return of the standards was presented as Parthia submitting to Roman control, but Parthia remained an independent state. Stance/Posture: At the Feet: • Standing statue of a male. • Adjacent to the right leg is a cupid riding a • The figure appears young and athletic. dolphin. • Musculature is defined in the arms, legs and • This addition gave stability to the statue. breastplate. • The dolphin recalls Venus’ birth from the sea. • The pose and weight distribution echoes the • Venus was the mother of Aeneas, an ancestor of Doryphoros statue type, an embodiment of the Julian clan. -
2014 AP ART HISTORY Description AP Art
2014 AP ART HISTORY Description AP Art History teachers will be engaged in an exploration of various methods used to meet the goals of the new AP Art History curriculum and prepare students for success on the reformatted AP Art History Exam. “Nuts and Bolts” topics that will be discussed include: an examination of the AP Art History course description, developing a syllabus, and resources, and pacing. Strategies will be shared for student recruitment and building support with parents and the school community. A close examination of the AP exam will include how it is structured, grading of the exam, and what students are expected to know and do on it. Instructional strategies for helping students develop the writing and higher order thinking skills necessary for success in an AP Art History class will be shared with participants. Topics such as the teaching of context and form, document based questions, resources, review strategies, and a comparative approach to cultural topics will also be explored during the week. Jaime Rollans has been teaching AP Art History for twenty-eight of her thirty-eight years of teaching. Since 1994, she has been teaching at W. D. Mills University Studies High School in Little Rock, Arkansas where she teaches a history of philosophy in addition to AP Art History. Jaime taught AP Art History, world history, AP European History and served as the Talented and Gifted Facilitator for North Pulaski High School in Jacksonville, Arkansas, from 1976 through 1994. Jaime is a consultant to the College Board in AP Art History and social studies. -
PDF of the Notes
Notes __________________________________ These notes aspire neither to completeness nor to the naming of the first respective orig- inator of a thought or a theory. Since this work is more a research report than an academic treatise, such aspirations would actually be neither required nor useful. However, should we have violated any rights of primogeniture, this did not happen intentionally and we hereby apologize beforehand, and promise to mend our ways. We also would like to express our gratitude in advance for any references, tips, or clues sent to us. For abbreviations of collected editions and lexicons, journals and serials, monographs and terms see Ziegler & Sontheimer (1979). For the Greek authors’ names and titles see Liddell & Scott (1996) and for the Latin ones Glare (1996). The Gospel texts translated into English were quoted on the basis of the King James Ver- sion of 1611. In some cases the Revised Standard Version of 1881 and the New American Bible of 1970 were relied on. These three translations often differ from each other considerably. Although they all, even the Catholic one, make use of the original languages rather than the Vulgate as a basis for translation, they have the tendency to read the text of the New Testament according to the current interpreta- tion and to amalgamate it with the Old, so that in critical points the newer transla- tions are overtly conflicting with the Greek original text, arbitrarily interpreting e. g. thalassa, properly ‘sea’, as lake, Christos, ‘Christ’, as Messiah, adapting the orthog- raphy of the proper names in the New Testament to those in the Old, e.g. -
Wilkinson 1 Philip Wilkinson Dr. Berghof HCS17 18 June 2017 The
Wilkinson 1 Philip Wilkinson Dr. Berghof HCS17 18 June 2017 The Chiasmus of the Augustus of Prima Porta and its Propagandistic Utility Ignoring the frequently sidelined chiasmus of the Augustus of Prima Porta risks overlooking the propagandistic utility of the statue that directs thought and discourse by conveying Rome’s progressively expanding military and political power and preservation of past administrative and civil systems. Most importantly, however, the statue accomplishes this with ambiguous connotations so as to understate the impact of the transformation of Roman government into an autocratic and centralized imperial entity. Scholars such as Arias give passing credence to the chiastic shape of the statue (Arias 277) without noticing how it directs the attention of the audience to progressive and conservative themes. Others, such as Pollini, manage to recognize the chiastic form, also referred to as contrapposto, and the manner in which it creates an aesthetic sense of authority and majesty while comparing the statue to the Greek Doryphoros (Pollini 270). Nonetheless, they fail to recognize the chiastic structure of the statue that moves beyond the expression of individualistic emotions and traits to consist of national narratives that critique and glorify the restructuring of Roman civilization’s allocation of martial and bureaucratic power. Moreover, this previously ignored chiasmus goes further by providing the statue’s audience the ability to understand the progressive and conservative themes from a variety of different angles, settings, and directions of viewing the chiasmus. Going even further, the chiasmus also draws attention in towards a metaphor for Rome’s geopolitical empire: the Wilkinson 2 statue’s cuirass, rich in symbolism and icons recounting the recovery of Rome’s sacred standards from Parthia. -
Greek Styles and Greek Art in Augustan Rome: Issues of the Present Versus
Originalveröffentlichung in: James I. Porter (Hrsg.), Classical Pasts. The Classical Traditions of Greece and Rome, Princeton; Oxford 2006, S. 237-269 Chapter 7 GREEK STYLES AND GREEK ART IN AUGUSTAN ROME: ISSUES OF THE PRESENT VERSUS RECORDS OF THE PAST Tonio Holscher Questions Roman art, as we have known since Winckelmann, was to a large extent shaped by “classical pasts,” by the inheritance of Greek art of various periods. In this, visual art corresponds to other domains of Roman culture, which in some respects can be described as a specific successor culture. Archaeological research has observed and evaluated this fact from controversial viewpoints.1 As long as the classical culture of Greece was valued as the highest measure of societal norms and artistic creation, no independent Roman strengths could be recognized in Roman art next to the Greek traditions; this was the basis for the sweeping negative judgment against “the art of the imitators.” Then, from around 1900, beginning with Franz Wickhoff and Alois Riegl,2 as the new archaeological arthistory developed a bold concept of cultural plurality and within this framework discovered and analyzed genuinely Roman forms and structures in visual art, the inherited Greek traditions were often judged to be a cultural burden and an interference in the development of an original Roman art. In neither case was the Greek inheritance seen as a productive element of Roman art. From the negative perspective, Roman art was of inferior impor tance because of its dependence on Greek models. On the positive side, it retained its originality and independence despite its occasional Greek overlay. -
AP Art History Syllabus
AP Art History Syllabus AP Art History Index Pages Curricular Requirements 2 Course Narrative 3 Learning Objectives 4 Resources 5-6 Course Sequence 7-8 Content Area 1: Global Prehistory 30,000-500 BCE 9 Content Area 2: Ancient Mediterranean 3500 BCE- 300 CE 10-11 Content Area 3: Early Europe and Colonials Americas 200-1750 CE 11-13 Content Area 4: Later Europe and Americas 1750-1980 CE 13-14 Content Area 5: Indigenous Americas 1000 BCE- 1980 CE 14-16 Content Area 6: Africa 1100-1980 CE 16-17 Content Area 7: West and Central Asia 500 BCE-1980 CE 17-18 Content Area 8: South, East, and Southeast Asia 300 BCE- 1980 CE 18-19 Content Area 9: The Pacific: 700-1980 CE 19-20 Content Area 10: Global Contemporary 1980 CE to Present 20-22 1 AP Art History Syllabus Curricular Requirements See Pages CR1a Students and teachers use a college-level art history 9, 10, 12, 13, 15, textbook. 17, 18, 19, 20, 22 CR1b Students and teachers use primary sources of different 9, 10, 12, 13, 15, types. 17, 18, 19, 20, 22 CR1c Students and teachers use secondary sources. 9, 10, 12, 13, 15, 17, 18, 19, 20, 21, 22 CR2 The big ideas and essential questions in the AP Art History 4, 9, 10, 15, 16, Course and Exam Description are used as a conceptual 17, 19, 20, 21 foundation for the course. CR3 Each of the 10 AP Art History content areas in the AP Art 7, 8, 9, 10, 12, History Course and Exam Description receives explicit 13, 14, 16, 17, attention. -
Augustus of Primaporta NAME
NAME: Augustus of Primaporta www.arthistoryinschools.org.uk © 2018 Art History in Schools CIO | Registered Charity No. 116451 arthistoryinschools @ahischarity @arthistoryinschools Reading and research Please make sure you read/watch and take notes from the following: http://web.mit.edu/21h.402/www/primaporta/ https://en.wikipedia.org/wiki/Augustus_of_Prima_Porta http://mv.vatican.va/4_ES/pages/z-Patrons/MV_Patrons_04_03.html https://www.khanacademy.org/humanities/ancient-art-civilizations/roman/early- empire/v/augustus-of-primaporta-1st-century-c-e-vatican-museums https://www.youtube.com/watch?v=3yoJhEhkwBY Honour & Fleming ‘A World History of Art’ pp196-197 Summary of Key Facts Date: Who is this a portrait of? Style Size Material Who commissioned it? Where was it found? Art historical terms and concepts To which genre does this work belong? Who is it a portrait of? When did he rule Rome? Where does he look? (gaze) Describe his pose? What is the name given to his raised arm? What is the effect of this gesture? Why does he wear a senator’s robe as well as a military breastplate? Who is the small figure at his ankle? www.arthistoryinschools.org.uk © 2018 Art History in Schools CIO | Registered Charity No. 116451 arthistoryinschools @ahischarity @arthistoryinschools Why is this significant? Why is he bare foot? Describe his hair and facial features? Why is this significant? Some parts of this figure are idealised and others realistic. Make sure you know which and why? How big is this figure compared to you? What is the effect of this? www.arthistoryinschools.org.uk © 2018 Art History in Schools CIO | Registered Charity No.