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CINDERELLA Curriculum Connections California Content Standards Kindergarten Through Grade 12
San Francisco Operaʼs Rossiniʼs CINDERELLA Curriculum Connections California Content Standards Kindergarten through Grade 12 LANGUAGE ARTS WORD ANALYSIS, FLUENCY, AND VOCABULARY DEVELOPMENT Phonics and Phonemic Awareness: Letter Recognition: Name the letters in a word. Ex. Cinderella = C-i-n-d-e-r-e-l-l-a. Letter/Sound Association: Name the letters and the beginning and ending sound in a word. C-lorind-a Match and list words with the same beginning or ending sounds. Ex. Don Ramiro and Dandini have the same beginning letter “D” and sound /d/; but end with different letters and ending sounds. Additional examples: Don Ramiro, Don Magnifico, Alidoro; Cinderella, Clorinda. Syllables: Count the syllables in a word. Ex.: Cin-der-el-la Match and list words with the same number of syllables. Clap out syllables as beats. Ex.: 1 syllable 2 syllables 3 syllables bass = bass tenor = ten-or soprano = so-pra-no Phoneme Substitution: Play with the beginning sounds to make silly words. What would a “boprano” sound like? (Also substitute middle and ending sounds.) Ex. soprano, boprano, toprano, koprano. Phoneme Counting: How many sounds in a word? Ex. sing = 4 Phoneme Segmentation: Which sounds do you hear in a word? Ex. sing = s/i/n/g. Reading Skills: Build skills using the subtitles on the video and related educator documents. Concepts of Print: Sentence structure, punctuation, directionality. Parts of speech: Noun, verb, adjective, adverb, prepositions. Vocabulary Lists: Ex. Cinderella, Opera glossary, Music and Composition terms Examine contrasting vocabulary. Find words in Cinderella that are unfamiliar and find definitions and roots. Find the definitions of Italian words such as zito, piano, basta, soto voce, etcetera, presto. -
Pharaonic Egypt Through the Eyes of a European Traveller and Collector
Pharaonic Egypt through the eyes of a European traveller and collector Excerpts from the travel diary of Johann Michael Wansleben (1672-3), with an introduction and annotations by Esther de Groot Esther de Groot s0901245 Book and Digital Media Studies University of Leiden First Reader: P.G. Hoftijzer Second reader: R.J. Demarée 0 1 2 Pharaonic Egypt through the eyes of a European traveller and collector Excerpts from the travel diary of Johann Michael Wansleben (1672-3), with an introduction and annotations by Esther de Groot. 3 4 For Harold M. Hays 1965-2013 Who taught me how to read hieroglyphs 5 6 Contents List of illustrations p. 8 Introduction p. 9 Editorial note p. 11 Johann Michael Wansleben: A traveller of his time p. 12 Egypt in the Ottoman Empire p. 21 The journal p. 28 Travelled places p. 53 Acknowledgments p. 67 Bibliography p. 68 Appendix p. 73 7 List of illustrations Figure 1. Giza, BNF Ms. Italien 435, folio 104 p. 54 Figure 2. The pillar of Marcus Aurelius, BNF Ms. Italien 435, folio 123 p. 59 Figure 3. Satellite view of Der Abu Hennis and Der el Bersha p. 60 Figure 4. Map of Der Abu Hennis from the original manuscript p. 61 Figure 5. Map of the visited places in Egypt p. 65 Figure 6. Map of the visited places in the Faiyum p. 66 Figure 7. An offering table from Saqqara, BNF Ms. Italien 435, folio 39 p. 73 Figure 8. A stela from Saqqara, BNF Ms. Italien 435, folio 40 p. 74 Figure 9. -
2 the Cinderella Story in Antiquity
2 THE CINDERELLA STORY IN ANTIQUITY Cinderella can fairly be claimed as the best known of fairytales in modern times, as well as the first tale to be subjected to attempts at the ‘exhaustive’ collecting of its variants. It was long assumed that the story, or rather group of stories, did not date much further back than the early seventeenth century, when a recognisable form of it appeared as Basile’s La Gatta Cenerentola.1 But from time to time throughout this century discoveries have been made to show that the tale must be much older, and few who have seriously examined the evidence would be tempted to measure the tale as a whole by the yardstick of its most famous example, the version published by Charles Perrault in 1697.2 It can now be seen that a number of the Perrault features such as glass slipper, pumpkin coach, clock striking midnight, and others, are not essential, or even necessarily characteristic, of the orally transmitted story. Taken as a whole, the hundreds of versions known present the heroine under a variety of names: Cinderella, Ashiepattle and Popelutschka are the most obvious European variations; sometimes she has sisters (often less beautiful, rather than ugly), sometimes not; sometimes she has a fairy godmother helper, sometimes a helpful animal or plant, sometimes even a fairy godfather, or some combination of such forces. The basic framework for the story printed by Aarne-Thompson can be slightly abridged as follows:3 I The persecuted heroine 1. The heroine is abused by her stepmother and stepsisters; she stays on the hearth and ashes; and 2. -
Kalasiris and Charikleia: Mentorship and Intertext in Heliodorus' Aithiopika
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 5-2017 Kalasiris and Charikleia: Mentorship and Intertext in Heliodorus' Aithiopika Lauren Jordan Wood College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Classical Literature and Philology Commons Recommended Citation Wood, Lauren Jordan, "Kalasiris and Charikleia: Mentorship and Intertext in Heliodorus' Aithiopika" (2017). Undergraduate Honors Theses. Paper 1004. https://scholarworks.wm.edu/honorstheses/1004 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Kalasiris and Charikleia: Mentorship and Intertext in Heliodorus’ Aithiopika A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in Classical Studies from The College of William and Mary by Lauren Wood Accepted for ___________________________________ (Honors, High Honors, Highest Honors) ________________________________________ William Hutton, Director ________________________________________ Vassiliki Panoussi ________________________________________ Suzanne Hagedorn Williamsburg, VA April 17, 2017 Wood 2 Kalasiris and Charikleia: Mentorship and Intertext in Heliodorus’ Aithiopika Odyssean and more broadly Homeric intertext figures largely in Greco-Roman literature of the first to third centuries AD, often referred to in scholarship as the period of the Second Sophistic.1 Second Sophistic authors work cleverly and often playfully with Homeric characters, themes, and quotes, echoing the traditional stories in innovative and often unexpected ways. First to fourth century Greek novelists often play with the idea of their protagonists as wanderers and exiles, drawing comparisons with the Odyssey and its hero Odysseus. -
Sappho's Brothers Song and the Fictionality of Early Greek Lyric Poetry
chapter 7 Sappho’s Brothers Song and the Fictionality of Early Greek Lyric Poetry André Lardinois It is a good time to be working on Sappho.1 Twelve years ago two new poems were published, including the so-called Tithonos poem, in which Sappho (or better: the I-person) complains about the onset of old age.2 The number of publications devoted to this poem was starting to dry up, when suddenly a new set of papyri was discovered in 2014. One might be forgiven for suspecting that a creative papyrologist was behind these finds, but it looks like the papyri are genuine and that we owe them to the gods and to the enduring popularity of Sappho’s poetry in antiquity. The new discovery consists of five papyrus fragments, preserving the re- mains of no less than nine poems of Sappho.3 Among these are five com- plete stanzas of a previously unknown song, which Obbink has labelled ‘Broth- ers Poem’ or ‘Brothers Song’.4 This article deals mainly with this poem, pre- served on P. Sapph. Obbink and re-edited by Obbink in the opening chapter of this volume. The argument consists of four parts. First I will say some- thing about the authenticity of the Brothers Song. Next I will discuss what we know about Sappho’s brothers from the ancient biographical tradition and other fragments of Sappho. Then I will discuss the content of the Broth- ers Song in more detail and, finally, I will present my interpretation of the song. 1 Oral versions of this paper were delivered at the universities of Amsterdam, Basel, Groningen, Leiden, Nijmegen and Oxford. -
Who Is Cinderella,...Or Cinderfella?
1 Who is Cinderella, … or Cinderfella? Donna Rohanna Patterson Elementary School Overview Rationale Objectives Strategies Classroom Activities Annotated Bibliography/Resources Appendices/Standards Overview Folk and fairy tale stories comprise most of the stories children hear from birth to 2nd grade. They are used not only to entertain, but often as teaching stories about the dangers and values of life. These very same stories are shared in many cultures around the world. Although they vary in characters, setting, and texture from one continent to the next, they remain some of the most powerful stories for teaching and learning during the early years. Folk and fairy tales have initiated children into the ways of the world probably from time immemorial. Many have changed over time to homogenize into the variety that we often see and hear today to meet a more generic audience, often leaving behind the tales geographic and social origins. By exposing students to a variety of multicultural renditions of a classic Fairy Tale they can begin to relate to these stories in new ways, leading to a richer literary experience. Fairy Tales written through ethnic eyes also give a great deal of cultural information, which can result in a richer experience for the students and students. We can then appreciate the origins and adaptations as they have migrated through time and space. These stories help to make sense of the world for young children. Folk and fairy tales were not meant only for entertainment, they provide a social identity, and instill values as well as teaching lessons. In my own experience I have found that classrooms are often filled with students that either come from other countries or have families that do. -
Bibliography of Cinderella Stories & Films
DOCUMENT RESUME ED 435 998 CS 216 934 AUTHOR Rodriguez-Price, Marisol TITLE Bibliography of Cinderella Stories & Films. PUB DATE 1999-11-00 NOTE 25p. PUB TYPE Reference Materials Bibliographies (131) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Adolescent Literature; Annotated Bibliographies; *Childrens Literature; Elementary Secondary Education; *Fairy Tales; *Films; *Picture Books; Recreational Reading; Thematic Approach IDENTIFIERS *Cinderella; *Cinderella Myth; Universality ABSTRACT This annotated bibliography considers diverse versions of Cinderella, including books for all ages and reading abilities and film versions. The bibliography is organized into four categories: picture books, books for youths, books for adults with a Cinderella theme, and Cinderella films. Noting that Cinderella is one of the few stories with many different versions and that almost every country in the world has a version of Cinderella, the bibliography points out that cross-cultural comparisons are not difficult for such a well-known story. The bibliography contains 38 annotations for picture books, 6 annotations of books for young readers, 2 annotations for adult books with a Cinderella theme, and 3 Cinderella videos. (NKA) Reproductions supplied by EDRS are the best that can be made from the original document. Bibliography of Cinderella Stories & Films. by Marisol Rodriguez-Price U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement ST COPY AVAILABLE PERMISSION TO REPRODUCE AND EDUCATIONAL RESOURCES INFORMATION DISSEMINATE THIS MATERIAL HAS CENTER (ERIC) BEEN GRANTED BY Ell This document has been reproducedas received from the person or organization originating it. PeLcrt9Ct¢ 2 Minor changes have been made to Pr improve reproduction quality. 2 ° Points of view or opinions stated in this TO THE EDUCATIONAL RESOURCES document do not necessarily represent INFORMATION CENTER (ERIC) official OERI position or policy. -
Egyptian Cinderella Comprehension Questions – Answer Sheet LO
Egyptian Cinderella Comprehension Questions – Answer sheet LO: To use evidence from the text and inference skills to answer questions Steps to success: I can answer questions by finding evidence in a story I have heard. I can use inference to describe a character’s feelings and give evidence from the text for my answers. Using the video or the PDF of the book Egyptian Cinderella, find evidence in the text to answer these questions. Don’t forget to write the question number neatly in the margin in your book and write your answer in a full sentence! 1. Where was Rhodipis born and how did she get to Egypt? Rhodopis was born in Greece and she was stolen by Pirates who took her to Egypt. 2. Write 3 ways that Rhodopis looked different to the other servant girls. The servant girls had straight hair, tanned copper skin and brown eyes. Rhodopis had tangled hair, pale skin and green eyes. 3. How did the servant girls feel about Rhodopis? What evidence in the text tells you that? The servant girls did not like her because they teased her and called her names. “Rosy Rhodopis” scoffed the servant girls, hissing her name. 4. In the text it says ‘Rhodopis always hurried to do their bidding’, what do you think ‘bidding’ means? Use the story to help you. Anything that explains ‘bidding’ means ‘orders’ . 5. What did Rhodopis sometimes do when her chores were done? When her chores were done, Rhodopis would dance for her animal friends. 6. How did the Egyptian servants feel when they saw Rhodopis’s slippers and why? The servants felt jealous because they had ‘clumsy sandals made from Papyrus’ and her slippers were dainty and beautiful. -
Symbolism in Three Version of Cinderella Stories: an Analysis of Representation
SYMBOLISM IN THREE VERSION OF CINDERELLA STORIES: AN ANALYSIS OF REPRESENTATION THESIS BY: ARINDA ANGGANA RARAS REG. NUMBER: A03215004 ENGLISH DEPARTMENT FACULTY OF ARTS AND HUMANITIES UIN SUNAN AMPEL SURABAYA 2019 v ABSTRACT Raras, Arinda A. (2019). Symbolism In Three Version Of Cinderella Stories: An Analysis Of Representation. English Department, UIN Sunan Ampel Surabaya. Advisor: Wahju Kusumajanti, M.Hum. Keywords: Cinderella, Representation, Symbolism, Fairytale Cinderella is one of the most remarkable short stories in all ages. Cinderella was the best-known fairy tale, and probably the best liked in every region in the world. This study tries to analyze the three versions of Cinderella stories, the stories are written by Katharine Pyle, Charles Perrault, and the animation movie is produced by Walt Disney. This study focuses on the symbols which appear in Cinderella stories. The researcher uses Representation theory by Stuart Hall to find out about the meanings of the symbols. The method of this research is qualitative research. The data sources of this research are the three versions of Cinderella stories. The result of this study is the researcher finds out the symbols which dominantly appear in the stories. The symbols are: the glass slipper reprsents about true identity, gentleness, and purity; the gown represents about double identity and unsual beauty; the pumpkin represents about transition, wealth, and relationship; the animals represents about temerity and lower class; and the characters represents about struggle, God, dream, and jealousy. The symbols are found because Pyle, Perrault and Disney use the items which are dominant, and mostly have the connection to Cinderella. -
Herodotus, the Old Sappho and the Newest Sappho Giulia Donelli University of Bristol, UK
e-ISSN 2724-1564 Lexis Num. 39 (n.s.) – Giugno 2021 – Fasc. 1 Herodotus, the Old Sappho and the Newest Sappho Giulia Donelli University of Bristol, UK Abstract This paper focuses on Herodotus’ mention of Sappho in the Histories (2.134-5). Through the analysis of some of the extant sources on the involvement of her brother Charaxus with the hetaira Doricha/Rhodopis, it advances an interpretation of Sappho’s fr. 55 V as relevant to the affair. It then draws attention to Herodotus’ descrip- tion of courtesans, in the same context, with the poetic term ἀοίδιμος. The adjective occurs only once in Homer, in the self-deprecating words that Helen speaks to Hector (Il. 6.354-8). Such Homeric echo might be understood as triggering an allusion to Sappho’s own treatment of Helen in fr. 16 V: Helen’s behaviour in that poem in fact closely matches no one other’s than Charaxus’ own. The possibility that Herodotus might be engaging with more than one Sapphic poem in this context finds a parallel in his engagement with Pindar’s poetry in 3.38, where, it has been argued, he ‘contaminates’ two distinct Pin- daric intertexts (frr. 169a and 215 S.-M.). The contamination of thematically linked poems might in turn suggest, in both cases, sympotic reperformances as possible contexts for Herodotus’ reception of Greek lyric poetry. Keywords Herodotus. Sappho. Rhodopis. Homer. Pindar. Summary 1 Introduction. – 2 Herodotus’ Version (2.134-5): Rhodopis, Aesop, Charaxus and Sappho. – 3 Doricha: Ancient Sources, Modern Readings. – 4 Homer’s Helen, Sappho’s Helen and Herodotus’ Hetairai. -
Reflections on a New Poem by Sappho Concerning Her Anguish and Her Brothers Charaxos and Larichos
1 Reflections on a New Poem by Sappho concerning her Anguish and her Brothers Charaxos and Larichos Gautier Liberman Paper delivered at F.I.E.C. Bordeaux, August 2014 Translated from the French by Paul Ellis [original page-divisions in bold] Everything produced by Sappho is not a masterpiece and it cannot be denied, on account of a certain unquestioning or undiscerning admiration, that she composed poems whose interest lies not in their literary quality but in the biographical and historical perspective they provide. This is, in my opinion, the case with the main fragment contained in a column from a papyrus roll recently published by Dirk Obbink.1 This papyrus fragment, which belongs to a private individual in London, is dated by Obbink between the end of the second century AD and the middle of the following century. Obbink and two other scholars2 have published separately four other fragments from the same roll that belong to the Green Collection in Oklahoma City (inv. 105) and contain the remains of seven poems already partially known, numbered 5, 9, 15-18 and 26 in the collections of Lobel-Page and Voigt. The column we are dealing with contains traces of twenty-nine lines, or, in this case, seven Sapphic stanzas and the first line of an eighth stanza. A coronis indicates that the first six stanzas, in which the text is very well or fairly well preserved, belong to a single poem. The following poem was already known from P. Oxy. 1231 fr. 16 = Sappho fr. 26 Voigt. The text of the first stanza in the column implies the existence of at least one previous stanza: it is quite possible that the poem was composed of seven stanzas, which would not be at all surprising given the length of the known poems of Sappho. -
Classical Memories/Modern Identities Paul Allen Miller and Richard H
CLASSICAL MEMORIES/MODERN IDENTITIES Paul Allen Miller and Richard H. Armstrong, Series Editors All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. Ancient Sex New Essays EDITED BY RUBY BLONDELL AND KIRK ORMAND THE OHIO STATE UNIVERSITY PRESS • COLUMBUS All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. Copyright © 2015 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Ancient sex : new essays / edited by Ruby Blondell and Kirk Ormand. — 1 Edition. pages cm — (Classical memories/modern identities) Includes bibliographical references and index. ISBN 978-0-8142-1283-7 (cloth : alk. paper) 1. Sex customs—Greece—History. 2. Sex customs—Rome—History. 3. Gender identity in literature. 4. Sex in literature. 5. Homosexuality—Greece—History. I. Blondell, Ruby, 1954– editor. II. Ormand, Kirk, 1962– editor. III. Series: Classical memories/modern identities. HQ13.A53 2015 306.7609495—dc23 2015003866 Cover design by Regina Starace Text design by Juliet Williams Type set in Adobe Garamond Pro Printed by Thomson-Shore, Inc. Cover image: Bonnassieux, Jean-Marie B., Amor clipping his wings. 1842. Close-up. Marble statue, 145 x 67 x 41 cm. ML135;RF161. Photo: Christian Jean. Musée du Louvre © RMN-Grand Palais / Art Resource, NY Bryan E. Burns, “Sculpting Antinous” was originally published in Helios 35, no. 2 (Fall 2008). Reprinted with permission. The paper used in this publication meets the minimum requirements of the American Na- tional Standard for Information Sciences—Permanence of Paper for Printed Library Materials.