Achievement StandardSubject Reference Classical Studies 2.5Title Demonstrate understanding of the relationship

between aspects of the classical world and aspects of other cultures.

Level 2 Credits 6 Assessment InternalSubfield Social Science StudiesDomain Classical StudiesStatus Registered Status date 17 November

2011Review date 31 December 2018 Date

published20 November 2014

This achievement standard involves demonstrating understanding of the relationship between aspects of the classical world and aspects of other cultures.Achievement Criteria

Achievement Achievement with Merit

Achievement with Excellence

Demonstrate understanding of the relationship between aspects of the classical world and aspects of other cultures.

Demonstrate in-depth understanding of the relationship between aspects of the classical world and aspects of other cultures.

Demonstrate perceptive understanding of the relationship between aspects of the classical world and aspects of other cultures.

Explanatory Notes1 This achievement standard is derived from Level 7 of the

Social Sciences learning area of The New Zealand Curriculum, Learning Media, Ministry of Education, 2007, and is related to the material in the Teaching and Learning Guide for Classical Studies, Ministry of Education, 2010 at http://seniorsecondary.tki.org.nz.

2 Demonstrate understanding involves: Using primary source evidence. Giving an explanation of the relationship between

aspects of the classical world and aspects of other cultures.

Demonstrate in-depth understanding involves: Giving an informed explanation of the relationship

between aspects of the classical world and aspects of other cultures.

Features of an informed explanation include: Using primary source evidence of specific relevance to

the context. Explaining a range of aspects and/or factors.Demonstrate perceptive understanding involves: Giving an explanation that shows insight into the

relationship between aspects of the classical world and aspects of other cultures, e.g. messages conveyed by decorative features of Roman architecture found in public architecture in New Zealand.

Features of a perceptive understanding may include but are not limited to: Reasons for similarities and differences. Themes and patterns. Cultural expectations and codes of behaviour. Recognition of limitations of sources of evidence.

3 Other cultures refers to other post-classical cultures.4 Relationship may include:

Exploring the influence of classical ideas and values on other cultures.

Comparing and contrasting aspects of the classical world with aspects of other cultures.

Conditions of Assessment related to this achievement standard can be found at http://ncea.tki.org.nz/Resources-for-Internally-Assessed-Achievement-Standards .

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2.5 Internal AssessmentYour internal assessment requires you to demonstrate understanding of the relationship/s between a Homeric hero and a textual hero from a post-classical time period (after AD 600).

A relationship/s can be demonstrated through two different ways: Exploring the influence of classical ideas and values on other cultures.

o For example, exploring how the personality traits of the Homeric hero have had an influence on the personality traits of a textual hero from a different time period.

Comparing and contrasting aspects of the classical world with aspects of other cultures.o For example, comparing and contrasting the Homeric hero to a textual hero from

a different time period.

Textual Heroes:Listed below are some examples of post-classical textual heroes that you could focus on for your internal. Your hero must come from a text (this can be written or visual) as you must provide primary source evidence to back up your claims. You do not have to choose a hero from this list. In class, you will briefly look at the heroes in bold.

Atticus Finch from To Kill a Mockingbird, novel by Harper Lee. Beowulf, Old English poem. Forrest Gump from Forrest Gump, novel by Winston Groom, film by Robert

Zemeckis. Frodo Baggins from The Lord of the Rings Trilogy by J.R.R. Tolkien. Harry Potter from the Harry Potter books by J.K. Rowling – particularly Harry Potter

and the Deathly Hallows. Huckleberry Finn from the Adventures of Huckleberry Finn, novel by Mark Twain. Jack Reacher, novels by Lee Child. James Bond, novels by Ian Fleming. Katniss Everdeen from The Hunger Games Trilogy, novels by Suzanne Collins. Lemuel Gulliver from Gulliver’s Travels, novel by Jonathan Swift. Lisbeth Salander from the Millennium Trilogy by Stieg Larsson. Nicholas Nickleby from The Life and Adventures of Nicholas Nickleby, novel by

Charles Dickens. Percy Jackson from the Percy Jackson and the Olympians series, novels by Rick

Riordan. Robin Hood from the Merry Adventures of Robin Hood, novel by Howard Pyle. Robinson Crusoe from Robinson Crusoe, novel by Daniel Defoe. Tintin from The Adventures of Tintin, comics by Hergé. Trish Prior from the Divergent series, novels by Veronica Roth.

Percy Jackson from Percy Jackson and the OlympiansPercy Jackson and the Lightning Thief Blurb

Look, I didn’t want to be a half-blood. I never asked to be the son of a Greek god.I was just a normal kid, going to school, playing basketball, skateboarding. The usual. Until I accidentally vaporised my maths teacher. That’s when things really started going wrong. Now I spend my time fighting with swords, battling monsters with my friends and generally trying to stay alive. This is the one where Zeus, God of the Sky, thinks I’ve stolen his lightning bolt – and making Zeus angry is a very bad idea.1

1 Blurb and snippets on pages 3 and 4 of this workbook are from:Riordan, Rick, Percy Jackson and the Lightning Thief, Penguin, London, 2005.

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Percy Jackson – the Hero:Percy Jackson is the hero of the Percy Jackson and the Olympians series by Rick Riordan. Set in modern-day USA, Percy discovers that he is a demigod, the son of Poseidon, when he is attacked by one of his teachers, who is a Fury. There are many ancient Greek elements within the Percy Jackson series; supernatural creatures like the Minotaur, satyrs, centaurs, Charon the ferryman, the Olympians. Percy is a classic hero who has a quest to complete and demonstrates a variety of heroic attributes in the process.Below is a snippet from The Lightning Thief. Read it and make a note of Percy’s heroic qualities and traits in the space provided.Looking at her sent chills up my back. And that was before she sat up on her stool and opened her mouth. A green mist poured from the mummy’s mouth, coiling over the floor in thick tendrils, hissing like twenty-thousand snakes. I stumbled over myself trying to get to the trapdoor, but it slammed shut. Inside my head, I heard a voice, slithering into one ear and coiling around my brain: I am the spirit of Delphi, speaker of the prophecies of Phoebus Apollo, slayer of the mighty Python. Approach, seeker, and ask.I wanted to say, No thanks, wrong door, just looking for the bathroom. But I forced myself to take a deep breath.The mummy wasn’t alive. She was some kind of gruesome receptacle for something else, the power that was now swirling around me in the green mist. But its presence didn’t feel evil, like my demonic maths teacher Mrs Dodds or the Minotaur. It felt more like the Three Fates I’d seen knitting the yarn outside the highway fruit stand: ancient, powerful and definitely not human. But not particularly interested in killing me, either.I got up the courage to ask, ‘What is my destiny?’The mist swirled more thickly, collecting right in front of me and around the table, playing cards. Their faces became clearer. It was Smelly Gabe and his buddies.My fists clenched, though I knew this poker party couldn’t be real. It was an illusion, made out of mist.Gabe turned towards me and spoke in the rasping voice of the Oracle: You shall go west, and face the god who has turned.His buddy on the right looked up and said in the same voice: You shall find what was stolen, and see it safely returned.The guy on the left threw in two poker chips, then said: You shall be betrayed by one who calls you a friend.Finally Eddie, our building super, delivered the worst line of all: And you shall fail to save what matters most, in the end.The figures begun to dissolve. At first I was too stunned to say anything, but as the mist retreated, coiling into a huge green serpent and slithering back into the mouth of the mummy, I cried, ‘Wait! What do you mean? What friend? What will I fail to save?’ […]‘Well?’ Chiron asked me.I slumped into a chair at the pinochle table. ‘She said I would retrieve what was stolen.’Grover sat forward, chewing excitedly on the remains of a Diet Coke can. ‘That’s great!’

‘What did the Oracle say exactly?’ Chiron pressed. ‘This is important.’My ears were still tingling from the reptilian voice. ‘She…she said I would go west and face a god who had turned. I would retrieve what was stolen and see it safely returned.’‘I knew it,’ Grover said.Chiron didn’t look satisfied. ‘Anything else?’I didn’t want to tell him.What friend would betray me? I didn’t have that many. And the last line – I would fail to save what mattered most. What kind of Oracle would send me on a quest and tell me, Oh, by the way, you’ll fail.How could I confess that?‘No,’ I said. ‘That’s about it.’He studied my face. ‘Very well, Percy. But know this: the Oracle’s words often have double meanings. Don’t dwell on them too much. The truth is not always clear until events come to pass.’I got the feeling he knew I was holding back something bad, and he was trying to make me feel better.‘Okay,’ I said, anxious to change topics. ‘So where do I go? Who’s this god in the west?’‘Ah, think, Percy,’ Chiron said. ‘If Zeus and Poseidon weaken each other in a war, who stands to gain?’‘Somebody else who wants to take over?’ I guessed.‘Yes, quite. Someone who harbours a grudge, who has been unhappy with his lot since the world was divided aeons ago, whose kingdom would grow powerful with the deaths of millions. Someone who hates his brothers for forcing him into an oath to have no more children, an oath that both of them have broken.’I thought about my dreams, the evil voice that had spoken from under the ground. ‘Hades.’Chiron nodded. ‘The Lord of the Dead is the only possibility.’ […]We passed the Monte Carlo and the MGM. We passed pyramids, a pirate ship and the Statue of Liberty, which was a pretty small replica, but still made me homesick.I wasn’t sure what we were looking for. Maybe just a place to get out of the heat for a few minutes, find a sandwich and a glass of lemonade, make a new plan for getting west.We must have taken a wrong turn, because we found ourselves at a dead end, standing in front of the Lotus Hotel and Casino. The entrance was a huge neon flower, the petals lighting up and blinking. No on was going in our out, but the

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glittering chrome doors were open, spilling out air conditioning that smelled like flowers – lotus blossom, maybe. I’d never smelled one, so I wasn’t sure.The doorman smiled at us. ‘Hey, kids. You look tired. You want to come in and sit down?’I’d learned to be suspicious, the last week or so. I figured anybody might be a monster of a god. You just couldn’t tell. But this guy was normal. One look at him, and I could see. Besides, I was so relieved to hear somebody who sounded sympathetic that I nodded and said we’d love to come in. inside, we took one look around, and Grover said, ‘Whoa.’ […]I’m not sure when I first realised something was wrong.Probably, it was when I noticed the guy standing next to me at VR sharpshooters. He was about thirteen, I guess, but his clothes were weird. I thought he was some Elvis impersonator’s son. He wore bell-bottoms and a red T-shirt with black piping, and his hair was permed and gelled like a New Jersey girl’s on homecoming night.We played a game of sharpshooters together and he said, ‘Groovy, man. Been here two weeks, and the games keep getting better and better.’Groovy?Later, while we were talking, I said something “rocked”, and he looked at me kind of puzzled, as if he’d never heard the word used that way before. He said his name was Darrin, but as soon as I started asking him questions he got bored with me and started to go back to the computer screen.I said, ‘Hey, Darrin?’‘What?’‘What year is it?’He frowned at me. ‘In the game?’‘No. In real life.’He had to think about it. ‘1977.’‘No,’ I said, getting a little scared. ‘Really.’‘Hey, man. Bad vibes. I got a game happening.’After that he totally ignored me.I started talking to people, and I found it wasn’t easy. They were glued to the TV screen, or the video game, or their food, or whatever. I found a guy who told me it was 1985. Another guy told me it was 1993.they all claimed they hadn’t been in here very long, a few days, a few weeks at most. They didn’t really know and they didn’t care.Then it occurred to me: how long had I been here? It seemed like only a couple of hours, but was it?I tried to remember why we were here. We were going to Los Angeles. We were supposed to find the entrance to the Underworld. My mother…for a scary second, I had trouble remembering her name. Sally. Sally Jackson. I had to find her. I had to stop Hades from causing World War III. […]The security guard’s desk was a raised podium, so we had to look up at him.He was tall and elegant, with chocolate-coloured skin and bleached-blond hair shaved military style. He wore tortoiseshell shades and a silk Italian suit that matched his hair. A black rose was pinned to his lapel under a silver name tag.I read the name tag, then looked at him in bewilderment. ‘Your name is Chiron?’

He leaned across the desk. I couldn’t see anything in his glasses except my own reflection, but his smile was sweet and cold, like a python’s, right before it eats you.‘What a precious young lad.’ He had a strange accent – British, maybe, but also as if he learned English as a second language. ‘tell me, mate, do I look like a centaur?’‘N-no.’‘Sir,’ he added smoothly.‘Sir,’ I said.He pinched the name tad and ran his finger under the letters. ‘Can you read this, mate? It says C-H-A-R-O-N. Say it with me: CARE-ON.’‘Charon.’‘Amazing! Now: Mr Charon.’‘Mr Charon,’ I said.‘Well done.’ He sat back. ‘I hate being confused with that old horse-man. And now, how many I help you little dead ones?’His question caught in my stomach like a fastball. I looked at Annabeth for support.‘We want to go to the Underworld,’ she said.Charon’s mouth twitched. ‘Well, that’s refreshing.’‘It is?’ she asked.‘Straightforward and honest. No screaming. No “there must be a mistake, Mr Charon”.’ He looked us over. ‘How did you die, then?;I nudged Grover.‘Oh,’ he said. ‘Um…drowned…in the bathtub.’‘All three of you?’ Charon asked.We nodded.‘Big bathtub.’ Charon looked mildly impressed. ‘I don’t suppose you have coins for passage. Normally, with adults, you see, I could charge your American Express, or add the ferry price to your last cable bill. But with children….alas, you never died prepare. Suppose you’ll have to take a seat for a few centuries.‘Oh, but we have coins.’ I set three golden drachmas on the counter, part of the stash I’d found in Crusty’s office desk.‘Well, now…’ Charon moistened his lips. ‘Real drachmas. Real golden drachmas. I haven’t seen those in…’His fingers hovered greedily over the coins.We were so close.Then Charon looked at me. That cold stare behind his glasses seemed to bore a hole through my chest. ‘Here now,’ he said. ‘You couldn’t read my name correctly. Are you dyslexic, lad?’‘No,’ I said. ‘I’m dead.’Charon leaned forward and took a sniff. ‘You’re not dead. I should’ve known. You’re a godling.’‘We have to get to the Underworld,’ I insisted.

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Percy’s heroic traits:

Example/quote from text: Comparison to Odysseus:

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Frodo Baggins from The Lord of the RingsThe Lord of the Rings: Fellowship of the Ring Plot Blurb

In a sleepy village in the Shire a young hobbit is entrusted with an immense task. He must make a perilous journey across Middle-earth to the Cracks of Doom, there to destroy the Ruling Ring of Power – the only thing that prevents the Dark Lord’s evil dominion.2

Frodo Baggins – the Hero:Frodo Baggins is the reluctant hero of the Lord of the Rings franchise. After inheriting his cousin Bilbo Baggin’s property, Frodo is told by Gandalf that he must go on a journey to destroy Bilbo’s ring, the Ring. Frodo is full of trepidation and self-doubt, constantly trying to pass the ring onto those he thinks are stronger and more worthy than he is. He completes his journey only because he doesn’t have another option.

As you watch a section of the Fellowship of the Ring film, make notes in the space provided below. 3 What types of heroic traits does Frodo demonstrate? How are these similar or different to the traits demonstrated by Homeric heroes? You will also want to think about the quest that Frodo and his comrades have to endure.

Frodo’s heroic traits:

Example/quote from text: Comparison to Odysseus:

2 Tolkien, J.R.R., The Lord of the Rings: The Fellowship of the Ring, Grafton, London, 1991.3 Jackson, Peter, Lord of the Rings: The Fellowship of the Ring, New Line Cinema, 2001, 1hr, 43mins, Chapter 27.

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Harry Potter from the Harry Potter SeriesHarry Potter and the Deathly Hallows Blurb

Harry has been burdened with a dark, dangerous and seemingly impossible task: that of locating and destroying Voldemort’s remaining Horcruxes. Never has Harry felt so alone, or faced a future so full of shadows. But Harry must somehow find within himself the strength to complete the task he has been given. He must leave the warmth, safety and companionship of The Burrow and follow without fear or hesitation the inexorable path laid out for him…4

Harry Potter – the Hero:Harry Potter is the archetype of the typical hero. He is courageous, intelligent, athletic, and loyal. He fits into a lot of heroic stereotypes: he’s an orphan; on a quest to defeat evil, to find himself and find out who his parents really were; he encounters a plethora of supernatural creatures; ending in the final battle of good versus evil, where good wins.

As you watch a section of Harry Potter and the Deathly Hallows, make notes in the space provided below. 5 What types of heroic traits does Harry demonstrate in the clip? How are these similar or different to the traits demonstrated by Homeric heroes? You will also want to think about the quest that Harry and his friends have to endure, particularly the quest demonstrated in the last films and the last book. Harry’s heroic

traits:Example/quote from text: Comparison to

Odysseus:

Katniss Everdeen from The Hunger GamesThe Hunger Games: Catching Fire Blurb

4 Rowling, J.K., Harry Potter and the Deathly Hallows, Bloomsbury, London, 2007.5 Yates, David, Harry Potter and the Deathly Hallows: Part One, Warner Brothers, 2010, 10mins. Chapter 4.

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Against all odds, Katniss Everdeen and Peeta Mellark are still alive. Katniss should be relieved, but now there are whispers of a rebellion against the Capitol – a rebellion that Katniss and Peeta may have helped create.As the nation watches Katniss and Peeta, the stakes are higher than ever. One false move and the consequences will be unimaginable.6

Katniss Everdeen – the Hero:Katniss Everdeen believes she has fallen into the role of a hero accidentally, but it is quite clear to the audience that she is indeed heroic. She is seen as a point of comparison to the ‘career’ tributes from Districts One, Two and Four and this is demonstrated by her selection of allies for the Hunger Games. She often chooses the weakest, most unlikely companions; her weaknesses and strengths are clearly defined in the films/novels and she struggles to be ‘likeable’, which could win her favours with the citizens of the Capitol.

As you watch a section of The Hunger Games: Catching Fire, make notes in the space provided below. 7 What types of heroic traits does Katniss demonstrate in the clip? How are these similar or different to the traits demonstrated by Homeric heroes?

Katniss’ heroic traits:

Example/quote from text: Comparison to Odysseus:

2.5 Internal Assessment: The Hero Through TimeNow that you have examined a range of post-classical heroes, it is time for you to decide which post-classical hero you will compare to Odysseus. 6 Collins, Suzanne, The Hunger Games: Catching Fire, Scholastic Children’s Books, London, 2009.7 Lawrence, Francis, The Hunger Games: Catching Fire, Lionsgate, 2013, 1hour, 17mins, 30secs., chapter 10.

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You want to choose a post-classical hero that has clear links to the Odyssey. You will be focusing on the relationship between the Homeric hero, Odysseus, from the Odyssey and a post-classical hero. You will demonstrate this relationship by choosing aspects that are similar or different between Odysseus and your post-classical hero and explain them using primary source evidence from both Homer’s Odyssey and your post-classical text. My Homeric hero is: OdysseusMy post-classical textual hero is: My textual hero is from (the movie/book title):

Describe Odysseus’ background. Consider his marital status, age, gender etc.

Provide Primary Source Evidence for Odysseus’ background.

Describe your post-classical hero’s background. Consider your hero’s marital status, age, gender etc.

Provide Primary Source Evidence for your post-classical hero’s background.

Describe the personality traits of Odysseus.

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Provide Primary Source Evidence for Odysseus’ personality.

Describe the personality traits of your post-classical hero.

Provide Primary Source Evidence for your post-classical hero’s personality.

How and why is Odysseus a hero?

Provide Primary Source Evidence to show this.

How and why is your post-classical hero a hero?

Provide Primary Source Evidence to show this.

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What similarities are there between Odysseus and your post-classical

hero?

What differences are there between Odysseus and your post-classical

hero?

Primary Source Evidence Primary Source Evidence

Describe the society that Odysseus lived in. Focus particularly on the ideas and values that have had a direct influence on the behaviour and actions of

Odysseus.

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Provide Primary Source Evidence for Odysseus’ society.

Describe the society that your post-classical hero lives in. Focus particularly on the ideas and values that have had a direct influence on the behaviour and

actions of your hero.

Provide Primary Source Evidence for your post-classical hero’s society.

Essay Plan:The Relationship Between Odysseus and a Post-Classical Literary

Hero

Paragraph One: The first connection between Odysseus and my post-classical hero is e.g. leadership traits:

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Paragraph Two: The second connection between Odysseus and my post-classical hero is e.g. striving for glory/reputation/acknowledgement:

Paragraph Three: The third connection between Odysseus and my post-classical hero is e.g. the involvement of supernatural forces that help and/or hinder the hero:

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LEVEL 2 CLASSICAL STUDIES 2016RANGITOTO COLLEGE INTERNAL ASSESSMENT

CLASSICAL STUDIES

Classical Studies AS91204 version 2Demonstrate understanding of the relationship between

aspects of the classical world and aspects of other cultures.Resource title: The Hero Across Time

6 Credits

University Entrance – Reading Credits

NCEA Literacy Credits

Name: Teacher: GTV | MCG | KRP

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Internal Assessment Resource

Student instructions

ConditionsThis assessment task will take three weeks of homework time and two weeks of in-class-time. On completion of the assessment you must sign and hand in an authenticity certificate to verify that their work is your own (found on p.20). You must submit an accurate bibliography that includes all sources you have used in this activity. This will be used for authentication purposes. For more information on referencing and bibliographies, please check http://www.rangiclassics.com/revision--internals-tips.html (scroll down to Classical Studies Bibliography Format).

Introduction You have analysed passages from Homer’s Odyssey and you have learnt about a variety of different post-classical heroes in class which has helped you to develop an understanding of the relationship between Odysseus, a Homeric hero and a post-classical hero. This assessment activity requires you to demonstrate perceptive understanding of the relationship between classical heroes, through Homer’s Odyssey and post-classical heroes, through a textual hero (examples of textual heroes are listed on page 2 in this workbook). You will demonstrate your understanding by explaining this relationship.In your explanation, you should consider a range of aspects/factors by exploring different aspects of the relationship between Odysseus and a post-classical hero. You should also consider features such as: Reasons for similarities and differences. Themes and patterns. Cultural expectations and codes of behaviour. Limitations of sources of evidence.Support your explanation with primary and secondary source evidence that is specific and relevant to the context.

Task This internal requires you to explain the relationship between aspects of the classical world and aspects of other cultures. In this case, you will:

Explain the relationship between Homer’s Odyssey and a post-classical textual hero.

Showing the relationship can be made by explaining similarities and differences in plot, characterisation, key values/themes, etc.

Exploring the influences of classical ideas and values on other cultures. Comparing and contrasting aspects of the classical world with aspects of other

cultures.You will present your assessment in the form of a written report or essay. The report may be supported by: star diagrams, flow charts, pictures and symbols, tables etc. You should aim to write 1,000 to 1,500 words , keeping in mind that the quality of your ideas is more important that the quantity of words you write.

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2.5 Epic History versus Epic FilmAchieved Merit Excellence – in addition to Merit

Demonstrate understanding of the relationship between aspects of the classical world and aspects of other cultures.

Demonstrate in-depth understanding of the relationship between aspects of the classical world and aspects of other cultures.

Demonstrate perceptive understanding of the relationship between aspects of the classical world and aspects of other cultures.

Explain the relationship between Homer’s Odyssey and a textual hero, for example: key values/themes and/or messages.

Provide an informed explanation of the relationship between Homer’s Odyssey and a textual hero, for example: key values/themes and/or messages.

Provide an insightful explanation of the relationship between Homer’s Odyssey and a textual hero, for example: characters, key values/themes and/or messages.

Use primary source evidence from the Odyssey and the novel/film about your chosen hero to support your explanation.

Use specific and relevant primary source evidence from the Odyssey and the novel/film about your chosen hero to support your explanation.Explain a range of different aspects and/or factors that relate to the relationship between the Odyssey and a textual hero.

Show an understanding of the wider historical context from both texts.Select at least one of the following points to examine perceptively:

Reasons for similarities and differences. Themes and patterns. Links to cultural expectation and/or

codes of behaviour. Recognition of limitations of evidence.

For more information about the E criteria, see box below.

For Excellence: Select AT LEAST one of the following points to examine perceptively (other points are possible, please discuss with your teacher):

Reasons for similarities and differences: e.g. reasons why the hero is different across time. You might consider factors such as plot, audience appeal etc. e.g. reasons for similarities and differences between the Homeric values and the values displayed in the film/novel about your textual hero.

Cultural expectations and codes of behaviour: e.g. the behaviour and attitude of Odysseus versus the behaviour and attitude of the textual hero.

Themes and patterns: e.g. the aspects of the hero that are demonstrated across the two texts.

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Recognition of limitations of sources of evidence: e.g. the recognition that our understanding of a Homeric hero comes only from the texts of Homer.

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Checkpoints and hand-in date

The due date for this assessment is Monday, July 3 rd YOU MUST SUBMIT YOUR PRINTED INTERNAL TO K5 BEFORE 8:40AM ON THIS DATE.

There will also be two check-in points along the way. 1. The first checkpoint will be Wednesday, June 14 th . You must have chosen your

textual hero and shared this with your teacher by this date.2. The second checkpoint will be Tuesday, June 20 th . You must submit a draft to

your teacher by this date.3. The third and final check point will be Wednesday, June 28 th . You must submit a

final draft to your teacher by this date.

These checkpoints are designed for a variety of reasons: For your teacher to give you feedback on your work. They will give you

suggestions for things to fix up/consider adding and will let you know what is working well.

For your teacher to ensure that you are up to date and you are not leaving things to the last minute.

For you to get an idea about how you’re going before you hand in your final copy.

NB: These check-ins are a requirement of your internal and are not optional.

Submission Checklist Submit a copy of your written report. Submit a bibliography. Submit the signed Authenticity Certificate. Submit the named marking schedule.

Resources NB: Books from the Rangitoto College Library have been put on desk copy. You will have

access to these while in the library.

Remember to check out www.rangiclassics.com for interesting websites and tips for success.

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Assessment schedule: Classical Studies 91204 Architecture for Art’s Sake?Evidence/Judgements for

AchievementEvidence/Judgements forAchievement with Merit

Evidence/Judgements forAchievement with Excellence

The student has demonstrated understanding of the relationship between classical architecture and contemporary New Zealand public buildings.

The student has: Given an explanation of the relationship between

classical architecture and contemporary New Zealand public buildings.

Used primary source evidence.

For example:Some architects choose to incorporate features of classical architecture in the design of public buildings to create an impression of tradition, authority, and stability.Located in the heart of Wellington, Parliament House was designed by architects John Campbell and Claude Paton to replace the previous building destroyed by fire in 1907. Its main entrance is supported by impressive marble Ionic freestanding and engaged columns. A relief sculpture can be seen above the main door depicting the Royal Coat of Arms.The architects have incorporated these classical architectural features to give the impression that our government will always be stable and lasting, and that the laws created in this building will provide security for New Zealanders.

The student has demonstrated in-depth understanding of the relationship between classical architecture and contemporary New Zealand public buildings.

The student has: Given an informed explanation, including a range

of aspects/factors, of the relationship between classical architecture and contemporary New Zealand public buildings.

Used primary source evidence of specific relevance to the context.

For example:Some architects choose to incorporate features of classical architecture in the design of public buildings to create an impression of tradition, authority, and stability.Located in the heart of Wellington, Parliament House was designed by architects John Campbell and Claude Paton to replace the previous building destroyed by fire in 1907. Its main entrance is supported by impressive marble Ionic freestanding and engaged columns and a relief sculpture can be seen above the main door depicting the Royal Coat of Arms.The architects have incorporated these classical architectural features to give the impression that our government will always be stable and lasting, and that the laws created in this building will provide security for New Zealanders.

The incorporation of these features links to the origins of democracy and the religious architecture of ancient Athens. The Propylaia is a monumental gateway onto the Acropolis designed by the architect Mnesikles in 437–432 BC. It is a Doric structure with three Ionic columns flanking either side of the central entranceway.

The student has demonstrated perceptive understanding of the relationship between classical architecture and contemporary New Zealand public buildings.

The student has: Given an explanation that shows insight, including

a range of aspects/factors, of the relationship between classical architecture and contemporary New Zealand public buildings. Which may include an understanding of: Reasons for similarities and differences. Themes and patterns. Cultural expectations and codes of behaviour. Recognition of limitations of sources of

evidence. Used primary source evidence of specific relevance

to the context.

For example:Some architects choose to incorporate features of classical architecture in the design of public buildings to present an image of a modern Golden Age. Architectural forms such as Ionic columns are used to create an impression of tradition, authority, and stability.Located in the heart of Wellington, Parliament House was designed by architects John Campbell and Claude Paton to replace the previous building destroyed by fire in 1907. Its main entrance is supported by impressive marble Ionic freestanding and engaged columns and a relief sculpture can be seen above the main door depicting the Royal Coat of Arms.The architects have incorporated these classical architectural features to give the impression that our government will always be stable and lasting, and that the laws created in this building will provide security for New Zealanders.

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Final grades will be decided using professional judgement based on a holistic examination of the evidence provided against the criteria in the Achievement Standard.

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Student Name: Teacher: GTV | MCG | KRP

Marking Schedule – This is used as a guideline for your marker.Standard Title Demonstrate understanding of the relationship between aspects of the classical world

and aspects of other culturesStandard 91204 Version 2 Level 2 Credits 6

Achieved Merit ExcellenceDemonstrate understanding of the relationship between aspects of the classical world and aspects of other cultures.

Demonstrate in-depth understanding of the relationship between aspects of the classical world and aspects of other cultures.

Demonstrate perceptive understanding of the relationship between aspects of the classical world and aspects of other cultures.

Non-assessed tasks ():Bibliography

Key requirements (): A M EHas provided an explanation of the relationship between aspects of the classical world and another culture(s) (L).Has used primary source evidence to support their explanation (PSEa).Has provided an informed explanation of the relationship between aspects of the classical world and another culture(s) (IE).Has used primary source evidence of specific relevance to the context (PSEm).Has explained a range of aspects/factors relating to the relationship (RAF).Has provided an explanation which shows insight (I) into the relationship between aspects of the classical world and another culture(s) and includes an understanding of the wider cultural context (C).Has demonstrated understanding of some of the following perceptively: providing and explaining reasons for similarities and differences (RSD), explaining themes and patterns (TP), explaining cultural expectations and codes of behaviour (CC). Note: other points are possible.CIRCLE OVERALL GRADE N A M EResubmission: Y NReason:

Comments:

Marker & Date: Fix-Up Marker & Date:

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Check-Marker & Date: Classics Studies 91204Authenticity certificate

Name: ______________________________________________________________________________

Option: C | D | F Teacher Code: KRP | GTV | MCG

I state that this task is an original piece of work that I completed on my own, with some direction from my teacher, for this subject, this year.

I understand what the term Plagiarism means and state that there are no plagiarised pieces of information within my work.

I accept that if there is evidence to the contrary, I will receive a NOT ACHIEVED grade for the Achievement Standard/s in question.

Signed: ______________________________________________________________________________

Date: ________________________________________________________________________________

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