GCE Classical Civilisation Mark Scheme Unit
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Introduction
Southern Ontario Model United Nations Assembly XLIV Crisis: Second Punic War Introduction: Delegates, Welcome to the Southern Ontario Model United Nations Assembly’s Second Punic War Historical Crisis. The Second Punic War, also known as the Hannibalic War, was a conflict that occurred from 218 – 201 BCE in the Western Mediterranean. The war was fought between Carthage, a dominant commercial empire, and the emerging power of Rome. This conflict marked the second time that the two powers had fought, and with Rome having been victorious in the first Punic War thirty years prior, Carthage was eager for revenge. It also featured the rise to the annals of history a variety of great men, such as legendary Carthaginian general Hannibal Barca and Publius Cornelius Scipio Africanus. The rise of Rome in the Western Mediterranean would lead to an epic showdown that would change the course of history. In this particular committee, the SOMA Crisis Staff and Heads will create a simulation of these historical events, hopefully making them as enjoyable and interesting as possible, while maintaining historical fidelity. This background guide will give you a basic Page |1 Southern Ontario Model United Nations Assembly XLIV Crisis: Second Punic War knowledge of both the situation and how you, as a delegate, can influence the Crisis, but further research, as well as inquiry into the process of Crisis is welcome and encouraged. With all this in mind, we are excited to welcome you to SOMA XLIV Crisis Committee and we hope you enjoy your time with us. Margaret Fei Clarke VandenHoven Alec Sampaleanu Helen Kwong Director of Crisis Head of Crisis Jr. -
Bad Girls Handout Revised
STEPHANIE DRAY LILY OF THE NILE A NOVEL OF www.stephaniedray.com CLEOPATRA’S : DAUGHTER Hits Bookshelves January 2011 A survey of women’s history through the eyes of a historical fiction Bad Girls of the Ancient World novelist. HOW TO FALL AFOUL OF THE PATRIARCHY IN THREE EASY STEPS PICK UP A WEAPON Though examples of warrior women can be found in ancient literature even before the appearance of the Amazons in Homer’s tales, women who fought were considered to be unnatural. DABBLE IN PHILOSOPHY, RELIGION OR MAGIC For the ancients, religion was mostly a matter Queen Cleopatra VII, of Egypt for the state. The idea that a god of the pantheon might take a personal interest in a woman beyond seducing her or punishing her was preposterous. Consequently, priestesses were often viewed with suspicion. Alexander the Great’s mother, Olympias, was always suspected of sorcery, in part, because King Phillip fell in love with her during a religious initiation. Queen Zenobia of Palmyra Olympias of Macedonia BE SEXY Ancient man feared female sexuality and the These historical women have been painted and sway it might have over his better judgment. sculpted throughout the ages. If well-behaved The surest propaganda against an ancient women seldom make history, this should tell you queen was to depict her as a licentious seductress; a charge that has never clung with something about these ladies. more tenacity to any woman than it has to Cleopatra VII of Egypt. Copyright © 2011 Stephanie Dray, All Rights Reserved BAD GIRLS OF THE ANCIENT WORLD! PAGE2 Queen Dido commits suicide Pierre-Narcisse, baron Guérin’s painting of the famous but fictional romance between Dido and Aeneas Timeline & Relationships Dido of Carthage 800 BC Cleopatra Selene’s husband, King Dido Juba II, claimed descent from this legendary queen Queen Dido of Carthage (also Olympias of Macedonia 375 BC Alexander the Great was the son known as Elissa) was of this ambitious woman. -
The Story of Carthage, Because One Has to Tell It Without Sympathy, and from the Standpoint of Her Enemies
li^!*^'*,?*^','. K lA, ZT—iD v^^ )A Cfce ®tor? of tfte iSations. CARTHAGE THE STORY OF THE NATIONS. Large Crown 8vo, Cloth, Illustrated, ^s. 1. ROME. Arthur Oilman, M.A. 2. THE JEWS. Prof. J. K. Hosmer. 3. GERMANY. Rev. S. Baring-Gould, M.A. 4. CARTHAGE. Prof. A. J. Church. 5. ALEXANDER'S EMPIRE. Prof. J. P. Mahaffy. 6. THE MOORS IN SPAIN. Stanley Lane-Poole. 7. ANCIENT EGYPT. Canon Raw- LINSON. 8. HUNGARY. Prof. A. Vambery. 9. THE SARACENS. A. Oilman, M.A. 10. IRELAND. Hon. Emily Lawless. 11. THE GOTHS. Henry Bradley. 12. CHALD^A. Z. A. Ragozin. 13. THE TURKS. Stanley Lane-Poole. 14. ASSYRIA. Z. A. Ragozin. 15. HOLLAND. Prof. J. E. Thorold Rogers. 16. PERSIA. S.W.Benjamin. London ; T. PISHEE UNWIN, 2 6, Paternoster Square, E.G. CARTHAGE OR THE EMPIRE OF AFRICA ALFRED J. CHURCH, M.A. '* PROFESSOR OF LATIN IN UNIVERSITY COLLEGE, LONDON, AUTHOR OP STORIES FROM HOMER," ETC., ETC. WITH THE COLLABORA TION OF ARTHUR OILMAN, M.A. THIRD EDITION, gtrnhon T. FISHER UNWIN 26 PATERNOSTER SQUARE NEW YORK : O. P. PUTNAM'S SONS MDCCCLXXXVII SEEN BY PRESERVATION SERVICES M } 7 4Q«^ Entered at Stationers' Hall By T. fisher UNWIN. Copyright by G. P. Putnam's Sons, 1886 (For the United States of America), PREFACE. It is difficult to tell the story of Carthage, because one has to tell it without sympathy, and from the standpoint of her enemies. It is a great advantage, on the other hand, that the materials are of a manage- able amount, and that a fairly complete narrative may be given within a moderate compass. -
Witches and Wives. Female Crusade for the Acquisition of Meaningful Roles Iln Jacobean Drama
EPOS, XVII (2001), págs. 279-293 WITCHES AND WIVES: FEMALE CRUSADE POR THE ACQUISITION OF MEANINGFUL ROLES ESf JACOBEAN DRAMA SoNiA HERNÁNDEZ SANTANO Universidad de Huelva ABSTRACT The crisU of absoluti«n. and the reUgious tensions in the fir«t decades of IT" " , ,, „, the level of social and famÜial organizaüon. The pa- century m Europe were felt at the level ot so concerning the rela- triarchal system began to fad and ^^yf^ll^Z^Z gender crisis became one tionship between sexes were brou^t -t» q"-»^-- « ^^^^^^^ ^^^^ ^„j„^,¿ of the most popular «ubjects for dram» -he« '^ ^ ^^^ ^ „^^„, with new volees which enabled them to v-d^-» t^e p^^ ^^^^^^^,^ ^^ ^^^^^^^ risking their reputations of '¿-1-;-^ J^^^^^^l ^„„,, ,ere achieving over the T^esecondhalf of the l^th centu,. ^d ü.^-;dec^^^^^^^^^ aperiodofsocidandreligioustensionsmE^o^. .^ Renaissance testantism and Catholicism meant a menacing ms thought and prívate social relationships. 280 SONIA HERNÁNDEZ SANTANO In the last years of Elizabethan supremacy and during the whole reign of James I, the stability of the English Court began to be threatened by challenges to the existing political regime that were mining the peace of England. The mo- narch's absolute sovereignty over the nation and his/her authority to dispense laws without the consent of the House of Commons was now beginning to be questioned by the Nobiüty. The Humanist thrust allowed individual voices to emerge, if not in an oven way, as a subliminal subversión. The whole system of political authority, which for a long period of time had been paralleled by the hierarchical organization of the patriarchal system, was now beginning to shake in its foundations. -
The Private Theaters in Crisis: Strategies at Blackfriars and Paul’S, 1606–07
ABSTRACT Title of Document: THE PRIVATE THEATERS IN CRISIS: STRATEGIES AT BLACKFRIARS AND PAUL’S, 1606–07 Christopher Bryan Love, Ph.D., 2006 Directed By: Professor Theodore B. Leinwand, Department of English This study addresses the ways in which the managers and principal playwrights at second Paul’s and second Blackfriars approached opportunities in the tumultuous 1606–07 period, when the two troupes were affected by extended plague closures and threatened by the authorities because of the Blackfriars’ performance of offensive satires. I begin by demonstrating that Paul’s and Blackfriars did not neatly conform to the social and literary categories or commercial models typically employed by scholars. Instead, they were collaborative institutions that readily adapted to different circumstances and situations. Their small size, different schedules, and different economics gave them a flexibility generally unavailable to the larger, more thoroughly commercial adult companies. Each chapter explores a strategy used by the companies and their playwrights to negotiate a tumultuous theatrical market. The first chapter discusses the mercenary methods employed by the private children’s theaters. Occasionally, plays or play topics were commissioned by playgoers, and some performances at Paul’s and Blackfriars may even have been “private” in the sense of closed performances for exclusive audiences. In this context, I discuss Francis Beaumont’s The Knight of the Burning Pestle (Blackfriars, 1607), in which Beaumont uses the boorish citizens George and Nell to lay open the private theaters’ mercenary methods and emphasize sophisticated playgoers’ stake in the Blackfriars theater. The second chapter discusses the ways private-theater playwrights used intertextuality to entertain the better sort of playgoers, especially those who might buy quartos of plays. -
Exotic, Erotic, Heroic?
134 6 Exotic, Erotic, Heroic? Women of Carthage in Western Imagination Marta García Morcillo ‘Salammbô in her splendour was blended with Tanit, and seemed the very genius of Carthage, and its embodied soul’ Flaubert, Salammbô, ch. 15 (transl. E. Powys Mathers) Preface Dido, Sophonisba and the anonymous wife of Hasdrubal – the general who defended the city in 146 BCE – have for centuries inspired the imagination of artists and travellers searching for traces of the grandeur of Punic Carthage. When, in 1807, Chateaubriand visited Tunis and the famous Acropolis of Byrsa, he was inevitably disappointed by the desolate scenery he encountered. Carthage’s indecipherable ruins were certainly no match for the striking memories left by Hannibal and his military campaigns, but also for those left by the heroic women who embodied the spirit of the city and its tragic fate.1 A similar experience in 1862 inspired Flaubert’s most uncanny creature, the fictional Salammbô, who was about to become the epitome of fin-de-siècle feminised eroticism as moulded by Orientalism. Salammbô was the titular character of a historical novel set during the Mercenary War (240 to 238 BCE), through which Flaubert aimed to ‘resurrect Carthage’. Like the legendary and historical 135 women that preceded and succeeded her, Salammbô was affected by the character and destiny of the Punic city, but also by something dark that inhabits the depths of every human soul. In the following pages, I will discuss the afterlives of the historical, legendary and fictional women of Carthage in the modern arts. The chapter is divided into four sections that propose four types of characterisations, following a diachronic approach: the tragic, the exotic, the vanished and the resurrected woman. -
A Dictionary of Names
A Dictionary of Names Dates are 'A.o.' unless otherwise stated; they also conform to modem usage, not to the elaborate chronological scheme which Ralegh had to construct in the light of the accepted short age of the world (see entry under 'Adam'). The entries on the kings of Israel and Judah are clarified in the table given below, p. 4I5· Abel: 2nd son of Adam (q.v.) Abia: see next entry Abijah: King of Judah (see Table, p. 4I 5) Abraham (21st cent. B.c.?): Hebrew patriarch, led his family from Chaldea to Canaan, then Egypt 'Academics': adherents of Plato's philosophy Achilles: the Greek hero of the Trojan war Adam: according to tradition, the first man (estimated by Ralegh to have been created in 403 I B.c.) Adonis: beloved of Venus, killed by a boar Aelian (3rd cent. or earlier): Roman historian Aemilius Paulus: see Paulus Aemilius Aemilius, Paulus (d. I 529): Italian chronicler of French history Agar: see Hagar Agathocles: tyrant of Syracuse (3I6-304 B.c.) and king (304-289) Agathon (late 5th cent. B.c.): Athenian tragic poet Agesilaus II (445-361 B.c.): Spartan king and general Agricola, G. Julius (37-93): Roman general and statesman Ahab: King of Israel (see Table, p. 41 5), personification of wickedness Ahaz: King of Judah (see Table, p. 4I 5) Ahaziah: King of Israel (see Table, p. 41 5) Ahaziah (also Jehoahaz): King of Judah (see Table, p. 41 5) Alba: see Alva AlbiU:ovanus Pedo ( rst cent.): Roman poet Alcinous: in the Odyssey, king of the Phaeacians Alcuin (c. -
139 AMY GOLAHNY Rembrandt's Artemisia
AMY GOLAHNY Rembrandt's Artemisia: Arts Patron* One of the more vexing questions of identity in Rembrandt studies has been posed by the seated woman in the Prado canvas of i634 (fig. I). She has been called Sopho- nisba or Artemisia. The two ancient queens share certain circumstances, most par- ticularly a drink, that each consumes for opposing purposes. Sophonisba's drink is a poison draught that is her death sentence brought about by her disloyalty to her husband, and Artemisia's, an ash-and-herb mixture that is homage to her deceased husband. Confusion between Sophonisba and Artemisia is understandable. In the literature of the nineteenth and twentieth centuries, the figure has been known consistently as Sophonisba, with two dissenting voices presenting her as Artemi- sia.' The label of Sophonisba has been tenacious, and, in the exceptional cases where she has been labelled Artemisia, the reasons for identifying her are not fully explained. By examining what is shown in the picture and the relevant textual sources, we may ascertain her identity as Artemisia, and better understand the im- age as a unique invention reflecting literary allusion and artistic rivalry. The composition of the picture is a pyramid: at the apex, the massive woman ensconced in a chair, visible only as blue-velvet armrests; and at the base, a kneel- ing maid and a table bearing a large folio. The sweep of the maid's arm echoes the curved edge of the table top. The signature and date, prominently inscribed on one blue velvet armrest, may be a later addition, but the date is plausible and Rem- brandt's authorship has not been doubted.' Sophonisba's Story In his history of the wars between the Romans and Numidians, Livy related So- phonisba's story.3 Sophonisba left her first husband Syphax, the Numidian king fighting the Romans, to gain favor from Masinissa, another north African king, in his alliance with Rome; she begged Masinissa to marry her so that she would be protected from the Romans, who distrusted her and regarded her as a traitor to her own land. -
The Tragedy of Desire from Dante to Shakespeare - 19186
Syllabus love and death: the tragedy of desire from Dante to Shakespeare - 19186 Last update 16-08-2018 HU Credits: 2 Degree/Cycle: 1st degree (Bachelor) Responsible Department: General & Compar. Literature Academic year: 0 Semester: 1st Semester Teaching Languages: Hebrew Campus: Mt. Scopus Course/Module Coordinator: Dr. Gur Zak Coordinator Email: [email protected] Coordinator Office Hours: Tuesday, 15-16 Teaching Staff: Dr. Gur Zak page 1 / 3 Course/Module description: The course will examine the development of the tragedy of passion from Dante to Shakespeare by giving particular attention to the way Renaissance authors have engaged in dialogue with the tragedy of Dido and Aeneas as recounted in Virgil's Aeneid 4. Given that the conflict between pietas and passion inheres at the core of the Virgilian text, we will explore how Renaissance authors have appropriated and commented upon this seminal conflict. Course/Module aims: Attaining deep knowledge of the development of the tragedy of passion from Dante to Shakespeare. Examining the role of intertextuality in Renaissance literature. Reflecting on the ethical, political, and gendered dimensions of the Renaissance tragedy of passion. Learning outcomes - On successful completion of this module, students should be able to: Demonstrate deep knowledge of the genre of tragedy in the Renaissance Discuss in an intelligent, informed, and critical manner the ethical, political, and gendered uses of tragedy Attendance requirements(%): 100% Teaching arrangement and method of instruction: Course/Module Content: 1. The Tragedy of Passion in the Aeneid: Dido and Aeneas. 2. Medieval Dido 3. Dido, Francesca, Beatrice: Dante 4. Dido, Sophonisba, Laura: Petrarch 5. -
Ceremonial and Infernal Nuptials in John Marston's Sophonisba Adrian
‘Virtue perforce is vice’: Ceremonial and Infernal Nuptials in John Marston’s Sophonisba Adrian Blamires University of Reading [email protected] John Marston’s The Wonder of Women, or The Tragedy of Sophonisba (1605-6) is one of the most neglected and least understood major dramatic works of its era. With its exotic locations, love rivalry, political machinations, battles, supernatural thrills, lustful villain, compromised hero, and brave, beautiful heroine, Sophonisba would appear to have everything. Yet many regard the play as dull and forbidding, a foursquare, bombastic, high-minded dud. Most critics emphasise its formal austerity, locating Sophonisba securely in the neoclassical tradition. T.S. Eliot calls the play ‘Senecal rather than Shakespearean’, and Philip Finkelpearl suggests it has ‘more affinities with Gorbuduc than with the nearly simultaneous King Lear’.1 For Irving Ribner it is an ‘exercise in Senecan imitation’ that does not ‘reflect [an] agonized struggle with the realities of the dramatist’s own age’.2 Some regard Marston’s claim not to have laboured ‘to relate anything as an historian, but to enlarge everything as a poet’ as artistic hubris.3 Craving validation from ‘worthier minds’, the poet-dramatist presents the play as produced for ‘such as may merit oil / And holy dew stilled from diviner heat’ (Prologue, 19, 23-4).4 But far from being considered a lofty, vatic masterpiece, his paean to the perfection of Sophonisba has been found tediously sententious, a work of ‘patent artificiality of subject 1 T.S. Eliot, Selected Essays (London: Faber, 1951, 3rd edition), p. 233; Philip J. -
Revision and Reconstruction of the Battles of Cannae (216 Bce) and Zama (202 Bce)
1 REVISION AND RECONSTRUCTION OF THE BATTLES OF CANNAE (216 BCE) AND ZAMA (202 BCE) Yozan D. Mosig and Imene Belhassen University of Nebraska at Kearney 2 Revision and Reconstruction in the Punic Wars: Cannae Revisited. Yozan D. Mosig and Imene Belhassen University of Nebraska-Kearney 2006 [Publication data: Mosig, Y., & Belhassen, I. (2006). Revision and reconstruction in the Punic Wars: Cannae revisited. The International Journal of the Humanities, 4(2), 103-110.] 3 Abstract The history of the wars between Carthage and Rome was rewritten by two pro-Roman historians, Polybius and Titus Livius. The former, while usually more reliable, revised facts that would have shown his employers, the Scipionic/Aemilian family, in an unfavorable light, while the latter, a clear Roman patriotic propagandist, embellished history to suit his purposes. Accounts of the wars by Carthaginian historians seem to have been lost or been conveniently destroyed. Nevertheless, gaps and contradictions in the Roman accounts, together with a modern understanding of human motivation and environmental circumstances, allow for the reconstruction of the original events. A case in point is the battle of Cannae, in 216 BCE, where a modern analysis reveals the real reasons for Hannibal’s victory, the true strengths of the armies of Romans and Carthaginians, the identity of the actual commander of the Roman forces, the correct casualty figures, and the likely reasons for Hannibal’s refusal to march on Rome following his great victory. 4 The battle of Cannae, between the multi-ethnic forces of the Carthaginian general Hannibal Barca and the much larger Roman army under the command of consuls Lucius Aemilius Paulus and Gaius Terentius Varro, in 216 BCE, was without a doubt one of the most significant battles in history. -
Subscription Edition
SUBSCRIPTION EDITION . (It'be· @lto~ of tbe Jaations. CARTHAGE THE STORY OF THE NATION S. • I. ROME. By ARTHUR GILMAN, 30. THE BYZANTINE EMPmE. M.A. Hy c. W. c. OllAN. o. THE JEWS, By Prof. J. K. 3'. SICILY: PhmDiclan, Greek HOSMER. and Roman. Hy (d. late 3. GERMANY. By Rev. S. BARING Prof. E. A. FREEMAN. GOULD M.A. 32. THE TUSCAN REPUBLICS, 4. CARTHAGE. By Prof. ALFRED By. ~~LLA DUFFY. J. CHURCH. 33. POLAND. By W. R. MORFILL, S. ALEXANDER'S EMPIRE. By M.A. Prof. J. P. MAHAFFV. 340 PARTBIA. By Prof. GEORGB 6. THE MOORS IN SPAIN. By RAWLINSON. C STANLEY LANE-POOLE. 35. AUSTRALIAN COMMON· 7. ANCIENT EGYl'T. By Prof. WEALTH. By GREVILLE GEOR~E RAWLINSON. TREGARTHEN. 8. HUNGARY. By Prof. ARMI"IU9 36. SPAIN. By H. E. WATTS. VAMBERY. 37. JAPAN. By DAVID MURRAV, 9. THE SARACENS. By ARtHUR Ph.D. GILMAN, M.A. 38. SOUTH AFRICA. By GEORGB 10. IRELAND. By the HOdl EMILV M. THRAL LAWLESS., 39. VENICE. By ALETHEA WIEL II. CHALDEA. By ZtNAiDE A. 40. THE CRUSADES. By T. A. RAGOZIN. AReHg" BOd C. L. KINGS· 12. THE GOTBS. By HENBV BRAD· FORD. LEY. 4'. VEDIC INDIA. By Z. A. RA· '3. ASSYRIA. By ZtNAiDE A. RA· GOZIN. COZIN. 42. WEST INDIES Jum THE '4. TURKEY. By STAHLEV LANE- SPANISH MAIN. By JAMES POOLE. ( RODWAY.. IS. HOLLAND. By Prof. J. E. 43. BOHEMIA. By C. EDMUND T..-OROLD ROGERS. (0 c MAURICE. 16. MEDLEVAL FRANCE. By 44. THB BALKANS. By W. GUSTAVE MASSON. MILLER, M.A. '7. PEP.8IA.