AS Level Classical Civilisation Specification

ocr.org.uk/alevelclassicalcivilisation

Oxford Cambridge and RSA

Version 1.4 (February 2021)

H418For first assessment 2022

CLASSICALCIVILISATIONH008For first assessment in 2018

AS LEVEL

Specification

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1© OCR 2021 AS Level in Classical Civilisation

Contents

1 WhychooseanOCRASLevelinClassicalCivilisation? 21a. WhychooseanOCRqualification? 21b. WhychooseanOCRASLevelinClassicalCivilisation? 31c. Whatarethekeyfeaturesofthisspecification? 41d. WhatisnewinOCRASLevelinClassicalCivilisation? 41e. HowdoIfindoutmoreinformation? 5

2 Thespecificationoverview 62a. OCR’sASLevelinClassicalCivilisation(H008) 62b. ContentofASLevelinClassicalCivilisation(H008) 72c. ContentofTheWorldoftheHero(H008/11) 82c. ContentofCultureandtheArts(H008/21andH008/22) 122c. ContentofGreekTheatre(H008/21) 132c. ContentofImperialImage(H008/22) 172d. Priorknowledge,learningandprogression 20

3 AssessmentofASLevelinClassicalCivilisation 213a. Formsofassessment 213b. Assessmentobjectives(AO) 223c. Assessmentavailability 223d. Retakingthequalification 233e. Assessmentofextendedresponse 233f. Synopticassessment 233g. Calculatingqualificationresults 23

4 Admin:whatyouneedtoknow 244a. Pre-assessment 244b. Specialconsideration 254c. Externalassessmentarrangements 254d. Resultsandcertificates 264e. Post-results services 264f. Malpractice 26

5 Appendices 275a. Overlapwithotherqualifications 275b. Accessibility 275c. Referencesforvisual/materialsources 28

Summaryofupdates 30

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AS Level in Classical Civilisation

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1 Why choose an OCR AS Level in ClassicalCivilisation?

1a. WhychooseanOCRqualification?

ChooseOCRandyou’vegotthereassurancethatyou’reworkingwithoneoftheUK’sleadingexamboards.OurnewASLevelinClassicalCivilisationcoursehasbeendevelopedinconsultationwithteachers,employersandHigherEducationtoprovidelearnerswithaqualificationthat’srelevanttothemandmeetstheirneeds.

We’repartoftheCambridgeAssessmentGroup,Europe’slargestassessmentagencyandadepartmentoftheUniversityofCambridge.CambridgeAssessmentplaysaleadingroleindevelopinganddeliveringassessmentsthroughouttheworld,operatinginover150countries.

Weworkwitharangeofeducationproviders,includingschools,colleges,workplacesandotherinstitutionsinboththepublicandprivatesectors.Over13,000centreschooseourASLevels,GCSEsandvocationalqualificationsincludingCambridgeNationals,andCambridgeTechnicals.

OurSpecifications

Webelieveindevelopingspecificationsthathelpyoubringthesubjecttolifeandinspireyourstudentstoachievemore.

We’vecreatedteacher-friendlyspecificationsbasedonextensiveresearchandengagementwiththeteachingcommunity.They’redesignedtobestraightforwardandaccessiblesothatyoucantailorthedeliveryofthecoursetosuityourneeds.Weaimtoencouragelearnerstobecomeresponsiblefor theirownlearning,confidentindiscussingideas,innovativeandengaged.

Weprovidearangeofsupportservicesdesignedtohelpyouateverystage,frompreparationthrough tothedeliveryofourspecifications.Thisincludes:

• Awiderangeofhigh-qualitycreativeresourcesincluding:

•• Delivery Guides

•• TransitionGuides

•• TopicExplorationPacks

•• LessonElements

•• …andmuchmore.

• AccesstoSubjectAdvisorstosupportyouthroughthetransitionandthroughoutthelifetimesofthespecifications.

• CPD/Trainingforteacherstointroducethequalificationsandprepareyouforfirstteaching.

• ActiveResults–ourfreeresultsanalysis servicetohelpyoureviewtheperformance of individual learners or whole schools.

AllASLevelqualificationsofferedbyOCRareaccreditedbyOfqual,theRegulatorforqualificationsofferedinEngland.TheaccreditationnumberforOCR’sASLevelinClassicalCivilisationisQN603/0671/3.


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1b. WhychooseanOCRASLevelinClassicalCivilisation?

OCR’sASLevelinClassicalCivilisationhasbeendesignedtoprovidelearnerswithabroad,coherentandrewardingstudyoftheliteratureandcultureoftheclassicalworld.Itofferslearnerstheopportunitytostudyelementsoftheliterature,visual/materialcultureandthoughtoftheclassicalworld,andacquireanunderstandingoftheirsocial,historicalandculturalcontexts.

Thisqualificationhasbeendevelopedinconsultationwithteachersandstakeholdersfromavarietyof

institutions,andallowsteacherstodesignapathwayof study for learners that is well suited both to teachers’expertiseandlearners’needs.Familiar,populartopicsarejoinedbyinnovative,excitingnewideas,toformacreative,newapproachtothestudyof the classical world.

OCR’sASLevelinClassicalCivilisationwillhelplearnerstounderstandthelegacyoftheclassicalworld,whilstequippingthemtoprogressto highereducation.

Aimsandlearningoutcomes

OCR’sASLevelinClassicalCivilisationwillencouragelearnersto:

• acquireasophisticatedlevelofknowledgeandunderstandingoftheliteratureandcultureoftheclassicalworldthroughstudyingadiverserangeofancientmaterialandmakingconnectionsandcomparisonsbetweenthem

• understandclassicalliterature,thoughtandmaterialcultureinitscontext;includinghowissues and values relevant to the society in whichtheywerecreatedarereflectedinancientsourcesandmaterials

• furtherdevelopskillsofcriticalanalysisandevaluationandapplythesetotherangeofsourcematerialsstudiedinordertogaininsightinto aspects of the classical world

• articulateaninformedresponsetothematerialstudied,usingarangeofappropriateevidencetoformulatecoherentargumentswithsubstantiatedevidencebasedjudgements

• acquire a sound basis for further study of the classical world.

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1c. Whatarethekeyfeaturesofthisspecification?

ThekeyfeaturesofOCR’sASLevelinClassicalCivilisationforyouandyourlearnersare:

1d. WhatisnewinOCRASLevelinClassicalCivilisation?

ThissectionisintendedforteachersusingOCR’scurrentASLevelinClassicalCivilisation.IthighlightsthedifferencesbetweenthecurrentASLevelin

ClassicalCivilisation(H041)andthenewversion(H008)forfirstteachinginSeptember2017:

Whatstaysthesame? What’schanging?

• Familiarandpopularareasofstudysuchasthe epic anddramaarestillavailableasoptions

• OpportunitytostudybothGreeceandRome

• Opportunitytostudyvisual/materialcultureand literature

• Assessmentsstillcontainamixtureofextendedresponseandcommentaryquestionsandconsistsoftwo1hour30minuteexams

• Prescribedancientsourcesforallcomponents

• Simplifiedassessmentwithfeweroptionalquestionsandlowertariffquestions

• OCRprovidedtranslations,freetouseandavailable online

• OutcomesintheASLevelnolongercounttowardsperformanceintheALevel

• thestudyoftwodistinctcomponents,eachwithclearandwell-definedcontentandstrongsupportingmaterials

• thechancetostudybothGreeceandRome,andtheirsurroundingworlds

• onecomponentofferingthestudyofGreekepic,theoldestsurvivingworksofliteratureinthe Western literary canon

• twooptionsintheothercomponentgroup,withnoprohibitedcombinations

• co-teachablewiththefirstyearofOCR’sALevelinClassicalCivilisation

• theopportunitytostudyarangeoftopicsandsources,whichwillinspireandmotivatelearnerstoengagefurtherwiththeclassicalworld

• anemphasisonenablinglearnerstorespondcriticallyandengagewithawealthofsourcesandideas,equippingthemwithanalyticalskillsreadilytransferabletoothersubjectsandfurtherstudyofClassicalsubjects.


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1e. HowdoIfindoutmoreinformation?

IfyouarealreadyusingOCRspecificationsyoucancontactusat:www.ocr.org.uk

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2 Thespecificationoverview

2a. OCR’sASLevelinClassicalCivilisation(H008)

LearnersmusttakecomponentH008/11,andonefromcomponentsH008/21andH008/22tobeawardedOCR’sASLevelinClassicalCivilisation.

ContentOverview AssessmentOverview

TheWorldoftheHero

This is a compulsorycomponentconsistingofanin-depthstudyof:

• eitherHomer’sIliad or Odyssey

Thiscomponentissolelyfocusedonthestudyofliteratureintranslation.

TheWorldoftheHero(H008/11)

65marks

1hour30

minutespaper

50%of totalAS Level

ComponentGroup2:CultureandtheArts

Learnersmuststudyonecomponentinthiscomponentgroup,chosenfrom:

• GreekTheatre(H008/21)• ImperialImage(H008/22)

Componentsinthisgroupinvolvethe studyofvisualandmaterialculturecombinedwiththestudyofliteratureintranslation.

CultureandtheArts(H008/21,H008/22)

65marks

1hour30

minutespaper

50%of totalAS Level


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2b. ContentofASLevelinClassicalCivilisation(H008)

OCR’sASLevelinClassicalCivilisationcaneitherbuildontheknowledge,understandingandskillsestablishedatGCSE(9–1),orprovideanintroductionto the study of the classical world.

LearnerscanstudymaterialfrombothGreeceandRomeandtheirsurroundingworlds.Thismaterialwillencompassaspectsofliteratureandvisual/materialcultureintheirrespectivesocial,historicalandculturalcontexts.Learnerswillstudyarangeofevidence,andusethistoformsubstantiatedjudgementsandresponses.

AlllearnerswillstudycomponentH008/11,The World of the Hero, andonefurthercomponent fromthecomponentgroup Culture and the Arts (H008/21andH008/22).Therearenoprohibitedcombinationsorroutesthroughthequalification.

TheimportantandeverpopularliterarygenreofepicformsthebasisofourmandatorycomponentThe World of the Hero (H008/11).ThiscomponentwillexploreeitherHomer’sIliad or Odyssey. The works of HomerarethefoundationoftheWesternliterarycanon,andtheGreeksthemselvesconsideredthemthe bedrock of Greek culture. With their unique composition,andexcitingtalesofgodsandheroes,theseworksofliteratureformanexcellentgroundingforexplorationoftheclassicalworld.

ThecomponentgroupCulture and the Arts (H008/21andH008/22)containstwooptionsforstudy,bothofwhichincludevisual/materialcultureandliterature.Thestudyofthephysicalremainsoftheancientworldiscrucialtoacomprehensiveunderstandingofit,andthesecomponentsmaketheclassicalworldmoretangibleforlearners,engagingthemmorefullyintheirstudies.Thecombinationofthiswithliteratureallowsforcontextualisingofsourcesandaricherunderstandingofthethemesofthecomponents.

Knowledge,UnderstandingandSkills

In all components of OCR’s AS Level in Classical Civilisationlearnerswillberequiredto:

• understand,interpret,evaluateandanalysearangeofevidencefromclassicalsourcesintheirsocial,historicalandculturalcontext

• evaluate and use this evidence to produce analyticalresponses,andeffectivelysubstantiatedjudgements

• presentthesejudgementsinaclear,conciseandlogicalmanner.

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2c. ContentofTheWorldoftheHero(H008/11)

In this compulsorycomponentlearnerswillstudyoneofeitherHomer’s Iliad or Odyssey. Learners will developanincreasinglysophisticatedlevelofknowledgeandunderstandingoftheepicsthemselves,thewayinwhichtheywerecomposed,andthereligious,culturalandsocialvaluesandbeliefs of its society.

TheworksofHomerwereconsideredbytheGreeksthemselvestobethefoundationofGreekculture,standingastheydoatthebeginningoftheWesternliterarycanon.Thiscomponentprovideslearnerswiththeopportunitytoappreciatethelastinglegacyof

theHomericworldandtoexploreitsattitudesandvalues.TheepicsofHomer,withtheirheroes,godsandexcitingnarratives,havebeenincontinuousstudysincetheirconception,andremainpopularwith learners and teachers today.

Learnersshouldstudythetopics,prescribedsources,andknowledge,skillsandunderstandinglistedforeachoptioninconjunctionwithoneanother,takingathematic,holisticapproach.Thiscomponentshouldalsobestudiedinthecontextofthespecification-wideknowledge,skillsandunderstandinglistedinSection2b.

Homer’sIliad

This or Homer’s ‘Odyssey’ should be studied.

Key topics Learnersshouldhavestudiedthefollowing:

Literarytechniquesandcomposition

• structure and plot of the epic• languageoftheepicincludingtheuseofspeeches,formulae,similesand

othernarrativeanddescriptivetechniquesandtheireffects• literarycontextinwhichtheIliadwascreatedandhandeddownincluding:

•• oraltraditionandcontext•• transmissionofthetext•• whetheritwastheworkofoneormorepoets

Theheroicworld:characterisationandthemes

• concept,valuesandbehaviourofaheroincludingtheideasoftimē (honour)and kleos(reputation)

• lifeinTroyandtheGreekwarcamp• characterisationofmajorandminorcharacters• the portrayal of war• deathandmortality• menis (wrath,anger)• reconciliation

Thesocial,culturalandreligiouscontext

• power of fate• roleoftheimmortalsandrelationshipbetweenimmortalsandmortals• familyandfriendship• hospitalityandguestfriendship(xenia)• relationshipsbetweenmenandwomen,parentsandchildren• partplayedbywomenintheepicandtheirpositioninsociety• role of slaves


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PrescribedBooks 1,3,4,6,9,10,16,17,18,19,22,23,24

When studying literature learners will be required to show knowledge and understanding of:

• waysinwhichwritersshapemeaningsinclassicaltexts• waysinwhichclassicaltextsmightbeinterpretedbydifferentreadersor

audiencesbothinanancientandmoderncontext• waysinwhichclassicaltextsrelatetothehistorical,social,political,

religiousandculturalcontextsinwhichtheyarewrittenandreceived• waysinwhichclassicaltextsrelatetoliterarytraditionsandgenresof

the classical world.

When studying literature learners should be able to:

• respondcriticallytotextsandconsiderhowtheattitudesandvaluesoftheclassicalworldorauthorareexpressed

• applytheirknowledgeofculturalcontextstosupport,substantiateandinformevidence-basedjudgementsabouttheclassicaltexts

• useclassicaltextstodemonstrateanunderstandingofthesocial,historicalandculturalcontextoftheclassicalworld,withrecognition,whereappropriate,ofthecomplexissuesofreliabilityandthedifferencebetweenwhatatextmightsayandwhatcanbeinferredfromthis

• criticallyexploreandexplainthepossibilityofdifferentresponsestoatextfromdifferentaudiences,fromtheclassicalperiod,upuntilthemodernday.

Learners may use any translation of the text. Where a translation is printed on the question paper two versions will be provided. These will be taken from the following sources, with such modifications as seem appropriate to the examiners:

• Homer, ‘Iliad’ translated by E.V. Rieu, revised translation by D.C.H. Rieu (Penguin)• ‘Homer: The Iliad – The Killing Fields of Troy’, translated by A.S. Kline, online at

http://www.poetryintranslation.com


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Homer’sOdyssey

This or Homer’s ‘Iliad’ should be studied.


Literarytechniquesandcomposition

• structure and plot of the epic• languageoftheepicincludingnarrativeanddescriptivetechniquesandtheir

effects;suchasspeeches,formulae,flashback,andsimiles• literarycontextinwhichtheOdysseywascreatedandhandeddownincluding:

•• oraltraditionandcontext•• transmissionofthetext•• whetheritwastheworkofoneormorepoets

Theheroicworld:characterisationandthemes

• concept,valuesandbehaviourofahero,includingtheideasoftime(honour)and kleos(reputation)

• howthedifferentsocietiesdepictedintheOdyssey are characterised and portrayed

• characterisationofmajorandminorcharacters• nostos (homecoming)• disguise• recognition• fantasy and the supernatural

Thesocial,culturalandreligiouscontext

• power of fate• roleoftheimmortals• relationshipbetweenimmortalsandmortals• justiceandrevenge• hospitalityandguestfriendship(xenia)• family• relationshipsbetweenmenandwomen,parentsandchildren• partplayedbywomenintheepicandtheirpositioninsociety• role of slaves


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PrescribedBooks 1,5,6,7,8,9,10,11,12,13,16,17,18,19,21,22,23



audiencesbothinanancientandmoderncontext• waysinwhichclassicaltextsrelatetothehistorical,social,political,religious

andculturalcontextsinwhichtheyarewrittenandreceived• waysinwhichclassicaltextsrelatetoliterarytraditionsandgenresofthe

classical world.






Learners may use any translation of the text. Where a translation is printed on the question paper two versions will be provided. These will be taken from the following sources, with such modifications as seem appropriate to the examiners:

• Homer, ‘Odyssey’ translated by E.V. Rieu, revised translation by D.C.H. Rieu (Penguin) • ‘Homer: Odyssey – The Wanderings of Odysseus’, translated by A.S. Kline, online at



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2c. ContentofCultureandtheArts(H008/21andH008/22)

ThefollowingpagesoutlinethecomponentsavailableforstudyinComponentGroup2:CultureandtheArts.

• GreekTheatre(H008/21)• ImperialImage(H008/22)

Learnersmuststudyoneofthesecomponents.Bothincludeastudyofvisual/materialcultureandliterature.

Thelistedtopicsshouldformthefocusofstudy,whichgivesstructuretothelearners’explorationofthethemeofthecomponent.Thesetopicshavebeenchoseninordertogiveabroadoverviewofthemyriadissuesinherentineachtheme,andtogiveastrongunderstandingofthecontextofthesourcesstudied.

Eachcomponentcontainsalistof‘PrescribedSources’.Theseareamandatorypartofthestudy ofeachcomponentandlearnersshouldbepreparedtoresponddirectlytotheseintheassessmentincommentarystylequestions.Onlysourceson theselistswillbeusedforthesequestions, howeverinextendedresponseslearnersmay draw on any appropriate sources and evidence they have studied.

Learnersshouldstudythetopics,prescribedsources,andknowledge,skillsandunderstandinglistedforeachoptioninconjunctionwithoneanother,takingathematic,holisticapproach.Thiscomponentshouldalsobestudiedinthecontextofthespecification-wideknowledge,skillsandunderstandinglistedinSection2b.


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2c. ContentofGreekTheatre(H008/21)

ThedramaproducedintheancientGreektheatreformssomeofthemostpowerfulliteratureoftheancientworld,andhashadaprofoundandwide-reachinginfluenceonmodernculture.

Tofullyunderstandthisculturalphenomenonrequiresstudyofnotonlytheplaysbutthecontextinwhichtheirformandproductiondeveloped.Todevelopthisunderstandingthiscomponentinvolvesthe study of the physical theatre space used by the Greekstostagetheirdramas,andalsodepictionsofthisstaginginthevisual/materialrecord.

ThisstudyoftheproductionofGreekdramaiscoupledwithanin-depthstudyofthreeplays,allofwhichhaveproventobeenduringfavourites.Thethemesandconceptsexploredbytheseplaysareofsignificantrelevanceandinterestasmuchtothemodernaudienceastheyweretothatoftheoriginalperformance.

Theplaysandmaterialcultureincludedinthespecificationprovidelearnerswitharangeofinterestingsourceswhichwillallowthemto explore,evaluateandunderstandthisaspect of ancient culture and its relevance to us in the modernworld.


Dramaandthetheatreinancient Athenian society

• roleandsignificanceofdramaandthetheatreinancientAtheniansociety,includingthereligiouscontextofthedramaticfestivals

• theorganisationoftheCityDionysia,includingthemakeupandinvolvementofthetheatreaudience

• structureofthetheatrespace,andhowthisdevelopedduringthe5th and 4th centuries BC,including:•• machineryassociatedwiththetheatre:thecraneandthe

wheelplatform,andhowtheycontributedtothestagingofGreekdrama

• therepresentationinvisualandmaterialcultureoftheatricalanddramaticscenes

Natureoftragedy

• theoriginsoftragedyandhowitdevelopedduringthe5thcenturyBC,includingitsrelationshiptosatyr-plays

• thecontributionsofAeschylus,SophoclesandEuripides• use of actors and the Chorus• useofmasks,costumesandprops• commonthemesoftragedy• therelationshipbetweentheculturalcontextandsubjectmatterof

the plays• Aristotle’stheoriesabouttragedy,includingperipeteia (reversalof

fortune), hamartia (tragicmistake), catharsis (purgingofemotions)

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Natureof(old)comedy

• theoriginsofcomedyandhowitdevelopedduringthe5thcenturyBC• thecontributionofAristophanes• use of actors and the Chorus• useofmasks,costumesandprops• typesofhumour,comictechniquesandeffects• thecommonthemesofcomedy• therelationshipbetweentheculturalcontextandsubjectmatterof

the plays

Literarytechniques,structure,anddramaticconventions

Withreferencetoallthesetplays:• plot structure• plotdevices,includingmessengerspeeches,agon, parabasis• useandchoiceoflanguage,literarydevicesanddescriptive

techniques,includingimageryanddramaticirony• characterisation,includingtheroleofthechorus• stylesandtechniquesofthedifferentplaywrights

Social,politicalandreligiousthemesintragedy

With reference to Oedipus the King and Bacchae:• ancientreligiousconcepts,beliefsandpractices,including:

•• theroleofthegods•• fate and free will•• prophecy and prophets•• religiousritualsandacts

• importanceofthepolis(city),including:•• positionandroleofmen,womenandslavesinsociety•• politicalideasandideals

• importanceoffamilyrelationships• tragicheroism,including:

•• thenatureofheroesandheroism•• justiceandrevenge

• possibleinterpretationofthesethemesandmotifsbybothancientandmodernaudiences

• therepresentationofsuchthemesandmotifsinthevisual/materialrecord

Social,politicalandreligiousthemes in comedy

With reference to Frogs:• therepresentationandsatireoftragedy• ancientreligiousconcepts,beliefsandpractices,including:

•• theroleofthegods•• deathandtheafterlife

• importanceofthepolis(city),including:•• positionandroleofmen,womenandslavesinsociety•• politicalideasandideals

• possibleinterpretationofthesethemesandmotifsbybothancientandmodernaudiences

• therepresentationofsuchthemesandmotifsinthevisual/materialrecord


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PrescribedLiterarySources

Sophocles’ Oedipus the King

Euripides’Bacchae

Aristophanes’Frogs



audiencesbothinanancientandmoderncontext• waysinwhichclassicaltextsrelatetothehistorical,social,political,

religiousandculturalcontextsinwhichtheyarewrittenandreceived• waysinwhichclassicaltextsrelatetoliterarytraditionsandgenresofthe

classical world.






Learners may use any translation of the text. Where a translation is printed on the question paper it will be taken from the following sources, with such modifications as seem appropriate to the examiners:

• forOedipustheKing,translation by Fagles, in The Three Theban Plays (Penguin)• for BacchaeandFrogs, the appropriate volume of CambridgeTranslationsfromGreekDrama

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PrescribedVisual/MaterialSources

TheatreofDionysusatAthens

TheatreofThorikos,acoastaldeme ofAttica

Volutekraterbythe“Pronomos”painter,depictingteamofactorscelebratingwithcostumes,masks,aulosplayer,playwrightandDionysus

BellkraterbyMcDanielPainter,“CheironVase”

Red-figurecolumnkraterinmanneriststyle,“BaselDancers”

Black-figureoinochoedepictingtwochorus-membersdressedasbirds

Red-figurebellkraterbySchillerPainter,depictingscenewithwine-skin&bootsfromWomen at the Thesmophoria (Thesmophoriazusae)

ThedeathofPentheus,red-figurekylixattributedtoDouris,c.480BC

Krater“ChoregosVase”or“ComicAngels”,choregoiwithAegisthusandPyrrhias

CalyxkraterfragmentbyCapodarsopainter,depictingJocastaandOedipustheKing

Red-figurecalyxkraterdepictingMedea’s escape

PelikebyPhialepainterdepictingtragicactorsdressing

Red-figure‘maenad’stamnosbyDinosPainter

Red-figurevasefragmentSingleactorpossiblyplayingPerseusand2audiencemembers/judges

When studying visual/material culture learners will be required to show knowledge and understanding of:

• theappearance,style,contentandoriginallocation(asapplicable)ofthesources

• whatthesourcescantellusabouttheclassicalworld,andwhattheycannot

• thewaysinwhichthesocial,political,religiousandculturalcontextofproductionimpactsonthecreationofvisual/materialculture

• appropriatemethodsofanalysisandinterpretation,includingissuesofpurpose,productionandform

• therangeofpossibleinterpretationsofvisual/materialculturewhenlookedatfromdifferentperspectives,inanancientandmoderncontext.

When studying visual/material culture learners should be able to:

• respondcriticallytoartefacts,identifyingdifferentpossibleinterpretations,takingaccountofissuessuchasthoseofaudienceandpurpose

• knowandunderstandhowmaterialsandartefactsrelatetotheirwidercontextandhowthissocial,historical,political,religiousandculturalcontextaffectedtheircreationandinterpretation

• evaluatetheusefulnessofvisual/materialculturewheninvestigatingtheclassical world

• applytheirknowledgeofculturalcontextstosupport,substantiateandinformtheirjudgements

• usetheirunderstandingofvisual/materialculturetodemonstrateanunderstandingofthesocial,historicalandculturalcontextoftheclassicalworldwithrecognition,ofthelimitationsofevidence(suchastheissueoffragmentaryorrelocatedmaterial)

• criticallyexploreandexplainthepossibilityofdifferentresponsestomaterialsfromdifferentaudiences,fromtheclassicalperiod,upuntilthemodernday.

Specific references for the visual/material sources can be found in Appendix 5c of this specification.


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2c. ContentofImperialImage(H008/22)

Theideaofapolitician‘spinning’theirpublicimageisonewhichisveryfamiliarfromourcontemporarymedia;andsothisexplorationofaRomanpoliticianandhissuccessfulpropagandacampaignisbothhighlyrelevantandengagingforlearners.

AugustusCaesarwas,throughcarefulmanagementofpublicopinion,abletoconvinceasocietythatwasfundamentallyanti-monarchicaltoturnawayfromitsrepublicanvaluesandtoacceptone-manrule.Throughanexaminationoftheliteratureandvisual/materialcultureoftheperiod,thiscomponentallowslearnerstoexaminethewaysinwhichAugustus

conveyed his personal brand to all social classes of Rome.

The key topics are broken-down by aspects of Augustus’publicimage,oftenaccompaniedbyoneofhisofficialtitles.Thiswillallowlearnerstoassesstheeffectivenessofeachstrandofhisself-presentation,aswellastheeffectivenessofhispublicimageasawhole.ThefinalkeytopicisconcernedwithrepresentationsofAugustusinlaterartandliterature,enablinglearnerstoassesshowsuccessfulAugustus’self-presentationwasinthelong-term.


Divi filius

• thebenefitsforAugustusofassociatinghimselfwithJuliusCaesar,including:•• popularitywiththeplebeianclassandthearmy•• militarystrength•• theillustriousmenandgodsthatareancestorsoftheJulianclan

• howhesoughttoachievethisassociation• thepossibledangersofassociationwithJuliusCaesarandhowAugustussought

todistancehimselffromtheproblematicaspectsofJuliusCaesar’spublicimage

Imperator

• thepresentationofAugustusasacapablemilitarycommanderwhosewarsweregloriousandimpressive

• therealityofthemilitaryvictories,includingtheinvolvementofAgrippa• theportrayalandjustificationofcivilwars• thesignificanceofthetriumphinRomansocietyandofAugustus’owntriple

triumph• thepresentationofcampaignsattheedgesoftheEmpireasbeneficialtoRome,

andtoindividualRomans

‘Augustus’

• theideaofAugustusasRome’sreligiousleaderandrepresentationsofthisrole• Augustus’roleinrestoringreligiousobservancesthathadfallenoutofpractice• therestorationandbuildingoftemplesandaltars• thepositionsAugustusheldinRomancivicreligionandchangestoreligious

practiceinhisreign,including:•• the worship of the Lares •• theworshipofAugustus’familygenius

• representationsofAugustusaspersonallyclosetothegods,includinghisrelationshipwithApollo,andthenotionthathewassemi-divinehimself

Culturehero

• mythsoftheSaturnianGoldenAgeandAugustusasanewSaturnorasaviour• Augustus’improvementstothecityofRomeandthequalityoflifeofRoman

citizens,includingthebuildingprogramme• thesignificanceoftheSecularGames• theuseoftheiconographyandlanguageofpeaceandplenty

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Pater Patriae

• thesignificanceofthetitlePater Patriae andAugustus’presentationasafathertotheRomanstate

• theencouragementofmoralityand“proper”behaviourregardingmarriage,adultery,childbearing,religionandluxury

• AugustusasarolemodelforproperRomanmalebehaviour,including:•• modestliving•• personalqualitiesofvirtus (valour,manliness,excellenceandcourage);

clementia(mercy,clemency);pietas (dutytothegods,state,andfamily);iustitia (justice,fairness,equity)

• theintendedroleoftheimperialfamilyasrolemodels

Laterrepresentations

• TheeffectivenessofAugustus’self-presentationincreatinganimperialimagethatlastedbeyondhislifetimethroughanexaminationoflatersources,including:•• selectionsfromSuetonius’Lives of the Twelve Caesars •• the Sebasteion at Aphrodisias

PrescribedLiterarySources

Res Gestae Divi Augusti

Horace• Epodes 9 • Odes 1.37, 3.6, 3.14, 4.4, 4.15• Carmen Saeculare

Propertius• Elegies 3.4, 3.11, 3.12, 4.6

Ovid • Metamorphoses15.745–870

Suetonius • The Lives of the Twelve Caesars:

Augustus 7–11, 17, 20–22, 26, 28–29, 31, 34, 53, 56–58, 64–65, 68–71, 95



audiencesbothinanancientandmoderncontext• waysinwhichclassicaltextsrelatetothehistorical,social,political,religious

andculturalcontextsinwhichtheyarewrittenandreceived• waysinwhichclassicaltextsrelatetoliterarytraditionsandgenresofthe

classical world.






Learners may use any translation of the text. Where a translation is printed on the question paper it will be taken from the ‘OCR Literary Sources for Imperial Image’ booklet available for free on the OCR website, with such modifications as seem appropriate to the examiners.


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PrescribedVisual/MaterialSources

TheAraPacisAugustae

MausoleumofAugustus

TheForumofAugustusinRome

TheSebasteionatAphrodisias

AugustusofPrimaPortastatue

OctavianandIsis:relieffromtheKalabsha Gate

Head of Livia

Aureus,obv.bareheadofOctavian,rev.headofJuliusCaesarwithlaurelwreath

Aureus, obv.headofOctavian,rev.Octavianseatedonbenchholdingscroll

Denarius,obv.bareheadofOctavian,rev.Paxstandingleftholdingolivebranchandcornucopia

Aureus,GaiusandLuciusasprinceps iuventutis, obv.Augustusheadlaureate,rev.GaiusandLuciusCaesarstandingveiledwithshieldsandpriestlysymbols

Denarius,obv.BareheadedportraitofAugustus,rev.sacrificialimplementsabovetripodandpatera

Denarius,obv.PortraitofAugustuswithoakwreath,rev.eightrayedcometwithtailpointingupward

When studying visual/material culture learners will be required to show knowledge and understanding of:

• theappearance,style,contentandoriginallocation(asapplicable)ofthesources

• whatthesourcescantellusabouttheclassicalworld,andwhattheycannot• thewaysinwhichthesocial,political,religiousandculturalcontextof

productionimpactsonthecreationofvisual/materialculture• appropriatemethodsofanalysisandinterpretation,includingissuesof

purpose,productionandform• therangeofpossibleinterpretationsofvisual/materialculturewhenlookedat

fromdifferentperspectives,inanancientandmoderncontext.

When studying visual/material culture learners should be able to:

• respondcriticallytoartefacts,identifyingdifferentpossibleinterpretations,takingaccountofissuessuchasthoseofaudienceandpurpose

• knowandunderstandhowmaterialsandartefactsrelatetotheirwidercontextandhowthissocial,historical,political,religiousandculturalcontextaffectedtheircreationandinterpretation

• evaluatetheusefulnessofvisual/materialculturewheninvestigatingtheclassical world

• applytheirknowledgeofculturalcontextstosupport,substantiateandinformtheirjudgements

• usetheirunderstandingofvisual/materialculturetodemonstrateanunderstandingofthesocial,historicalandculturalcontextoftheclassicalworldwithrecognition,ofthelimitationsofevidence(suchastheissueoffragmentaryorrelocatedmaterial)

• criticallyexploreandexplainthepossibilityofdifferentresponsestomaterialsfromdifferentaudiences,fromtheclassicalperiod,upuntilthemodernday.

Specific references for the visual/material sources can be found in Appendix 5c of this specification.

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2d. Priorknowledge,learningandprogression

LearnersundertakingthisASLevelcoursemayhavefollowedaKeyStage4programmeofstudywhichincludedClassicalCivilisationorrelatedsubjects,andthisspecificationbuildsontheknowledge,understandingandskillsspecifiedforGCSE(9–1)ClassicalCivilisation.However,priorknowledgeorlearningrelatedtothesubjectisnotarequirement.

OCR’sASLevelinClassicalCivilisationprovidesasuitablefoundationforALevelClassicalCivilisation,andalsothestudyofClassicalCivilisation,relatedcourses,orthoseusingthesameskillsofanalysis,

evaluationandextendedwrittenargumentinFurtherandHigherEducation.

Inaddition,duetoitswideranging,engagingmaterial,andemphasisoncriticalanalysis,italsooffersaworthwhilecourseofstudyforlearnerswhodonotwishtoprogressontoahigherlevelofeducation.Thevariousskillsrequiredprovideastrongfoundationforprogressiondirectlyintoemployment.

Findoutmoreatwww.ocr.org.uk


3

3 AssessmentofASLevelinClassicalCivilisation

3a. Formsofassessment

OCR’sASLevelinClassicalCivilisationconsistsoftwocomponentsthatareexternallyassessed.

TheWorldoftheHero(H008/11)

This compulsorycomponentisanexternallyassessed,writtenexaminationtestingAO1andAO2.

Theexaminationisworth65marks and lasts 1hourand30minutes. This represents 50% of the total marksfortheASLevel.

Thiscomponenthastwooptions:Option1containsquestionsonHomer’sIliadwhileOption2containsquestionsonHomer’sOdyssey. Learners should answerthequestionsrelevanttothetexttheyhavestudied.Bothoptionshavetwosections.

SectionAcontainsshortanswerquestions,responsestotwostimulifromtheprescribedbooks,andashorteressayquestion.

SectionBcontainsachoiceofonefromtwoessays.

Therearefourquestiontypesinthisexam,theyare:

• shortanswerquestions

• 8markstimulusquestions

• 16markessay

• 25markessay.

CultureandtheArts(H008/21,H008/22)

Learnersmuststudyonecomponentfromthiscomponentgroupchosenfrom:

• GreekTheatre(H008/21)

• ImperialImage(H008/22)

Thiscomponentisanexternallyassessed,writtenexaminationtestingAO1andAO2.

Theexaminationisworth65marks and lasts 1hourand30minutes. This represents 50% of the total marksfortheASLevel.

There are twosectionsineachcomponent.

SectionAcontainsshortanswerquestions,responsestotwostimulifromtheprescribedbooks,andashorteressayquestion.

SectionBcontainsachoiceofonefromtwoessays.

Therearefourquestiontypesinthisexam,theyare:

• shortanswerquestions

• 8markstimulusquestions

• 16markessay

• 25markessay.

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3b. Assessmentobjectives(AO)

TherearetwoAssessmentObjectivesinOCR’sASLevelinClassicalCivilisation.Thesearedetailedinthetablebelow.

Learnersareexpectedto:

AssessmentObjective

AO1

Demonstrateknowledgeandunderstandingof:

• literatureandeithervisual/materialcultureorclassicalthought

• howsourcesandideasreflect,andinfluence,theirculturalcontexts

• possibleinterpretationsofsources,perspectivesandideasbydifferentaudiencesandindividuals.

AO2Criticallyanalyse,interpretandevaluateliteratureandeithervisual/materialcultureorclassicalthought,usingevidencetomakesubstantiatedjudgementsandproducecoherentandreasonedarguments.

MarkdistributionofAOweightingsinOCR’sASLevelinClassicalCivilisation

Therelationshipbetweentheassessmentobjectivesandthecomponentsintermsofmarks are shown in the followingtable:

Component AO1 AO2 Total

TheWorldoftheHero(H008/11) 32 33 65

GreekThreatre(H008/21)ImperialImage(H008/22)

32 33 65

Total 64 66 130

3c. Assessment availabilityTherewillbeoneexaminationseriesavailableeachyearinMay/Junetoall learners.

Allexaminedcomponentsmustbetakeninthesameexaminationseriesattheendofthecourse.

ThisspecificationwillbecertificatedfromtheJune2018examinationseriesonwards.


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3d. Retakingthequalification

Learnerscanretakethequalificationasmanytimesastheywish.TheymusttakeH008/11,andonefromH008/21andH008/22.

3e. Assessmentofextendedresponse

Theassessmentmaterialsforthisqualificationprovidelearnerswiththeopportunitytodemonstratetheir ability to construct and develop a sustained and

coherentlineofreasoningandmarksforextendedresponsesareintegratedintothemarkingcriteria.

3f. Synopticassessment

Synopticassessmentisthelearners’understandingoftheconnectionsbetweendifferentelementsofthesubject.Itinvolvestheexplicitdrawingtogetherofknowledge,skillsandunderstandingwithindifferentparts of the AS Level course.

TheemphasisofsynopticassessmentistoencouragetheunderstandingofClassicalCivilisationasadiscipline.

Synopticityisembeddedinthisspecificationbyrequiringstudentstostudyoptionswhichcontainmaterialfrommorethanoneoftheareasofstudy ofliteratureandvisual/materialculture.Thiscombiningofdifferenttypesofmaterial,ideasandsourceswillenablelearnerstodemonstratesynthesisofknowledge,skillsandunderstanding,andprovideachallenging,engagingcourseforalllearners.

3g. Calculatingqualificationresults

Alearner’soverallqualificationgradeforASLevelinClassicalCivilisationwillbecalculatedbyaddingtogethertheirmarksfromthetwocomponentstakentogivetheirtotalweightedmark.

Thismarkwillthenbecomparedtothequalificationlevelgradeboundariesfortheentryoptiontakenbythelearnerandfortherelevantexamseriestodeterminethelearner’soverallqualificationgrade.

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4

4 Admin:whatyouneedtoknow

Theinformationinthissectionisdesignedtogiveanoverviewoftheprocessesinvolvedinadministeringthisqualificationsothatyoucanspeaktoyourexamsofficer.AllofthefollowingprocessesrequireyoutosubmitsomethingtoOCRbyaspecificdeadline.

MoreinformationabouttheprocessesanddeadlinesinvolvedateachstageoftheassessmentcyclecanbefoundintheAdministrationareaoftheOCRwebsite.

OCR’s Admin overview is available on the OCR website at www.ocr.org.uk/administration.

Entryoption Components

Entrycode Title Code Title Assessment type

H008AClassicalCivilisation

OptionA11 The World of the Hero ExternalAssessment

21 Greek Theatre ExternalAssessment

H008BClassicalCivilisation

OptionB11 The World of the Hero ExternalAssessment

22 ImperialImage ExternalAssessment

4a. Pre-assessment

Estimatedentries

Estimatedentriesareyourbestprojectionofthenumberoflearnerswhowillbeenteredforaqualificationinaparticularseries.Estimatedentries

shouldbesubmittedtoOCRbythespecifieddeadline.Theyarefreeanddonotcommityourcentre in any way.

Finalentries

Final entries provide OCR with detailed data for each learner,showingeachassessmenttobetaken.Itisessentialthatyouusethecorrectentrycode,consideringtherelevantentryrules.

FinalentriesmustbesubmittedtoOCRbythepublished deadlines or late entry fees will apply.

AlllearnerstakinganASLevelinClassicalCivilisationmustbeenteredforoneofthefollowingentryoptions:

http://www.ocr.org.uk/administration


4

4b. Specialconsideration

Specialconsiderationisapost-assessmentadjustmenttomarksorgradestoreflecttemporaryinjury,illnessorotherindispositionatthetimetheassessmentwastaken.

DetailedinformationabouteligibilityforspecialconsiderationcanbefoundintheJCQpublication A guide to the special consideration process.

4c. Externalassessmentarrangements

RegulationsgoverningexaminationarrangementsarecontainedintheJCQInstructions for conducting examinations.

Headofcentreannualdeclaration

The Head of Centre is required to provide a declarationtotheJCQaspartoftheannualNCNupdate,conductedintheautumnterm,toconfirmthatthecentreismeetingalloftherequirementsdetailedinthespecification.

Any failure by a centre to provide the Head of Centre AnnualDeclarationwillresultinyourcentrestatusbeingsuspendedandcouldleadtothewithdrawalofour approval for you to operate as a centre.

PrivateCandidates

PrivatecandidatesmayenterforOCRassessments.

Aprivatecandidateissomeonewhopursuesa course of study independently but takes an examinationorassessmentatanapprovedexaminationcentre.Aprivatecandidatemay beapart-timestudent,someonetakingadistancelearningcourse,orsomeonebeingtutoredprivately.TheymustbebasedintheUK.

Private candidates need to contact OCR approved centres to establish whether they are prepared to hostthemasaprivatecandidate.ThecentremaychargeforthisfacilityandOCRrecommendsthat thearrangementismadeearlyinthecourse.

FurtherguidanceforprivatecandidatesmaybefoundontheOCRwebsite:http://www.ocr.org.uk


26© OCR 2021


4

4d. Resultsandcertificates

GradeScale

ASLevelqualificationsaregradedonthescale:A,B,C,D,E,whereAisthehighest.LearnerswhofailtoreachtheminimumstandardforEwillbeUnclassified(U).

OnlysubjectsinwhichgradesAtoEareattainedwillberecordedoncertificates.

Results

Results are released to centres and learners for informationandtoallowanyqueriestoberesolvedbeforecertificatesareissued.

Centreswillhaveaccesstothefollowingresults’informationforeachlearner:

• thegradeforthequalification

• therawmarkforeachcomponent

• thetotalweightedmarkforthequalification.

Thefollowingsupportinginformationwillbeavailable:

• rawmarkgradeboundariesforeachcomponent

• weightedmarkgradeboundariesforeachentryoption.

Untilcertificatesareissued,resultsaredeemedtobeprovisionalandmaybesubjecttoamendment.

Alearner’sfinalresultswillberecordedonanOCRcertificate.Thequalificationtitlewillbeshownonthecertificateas‘OCRLevel3AdvancedSubsidiaryGCE inClassicalCivilisation’.

4e. Post-resultsservices

Anumberofpost-resultsservicesareavailable:

• Reviewofresults–Ifyouarenothappywiththeoutcomeofalearner’sresults,centresmayrequestareviewofmarking.Fulldetailsofthepost-results services are provided on the OCR website.

• Missingandincompleteresults–Thisserviceshouldbeusedifanindividualsubjectresultforalearnerismissing,orthelearnerhasbeenomittedentirelyfromtheresultssupplied.

• Accesstoscripts–Centrescanrequestaccesstomarkedscripts.

4f. Malpractice

Anybreachoftheregulationsfortheconductofexaminationsandnon-examassessmentwork mayconstitutemalpractice(whichincludesmaladministration)andmustbereportedto OCR as soon as it is detected.

Detailedinformationonmalpracticecanbefound intheJCQpublicationSuspected Malpractice in Examinations and Assessments: Policies and Procedures.


5

5 Appendices

5a. Overlapwithotherqualifications

ThereisasmalldegreeofoverlapbetweenthecontentofthisspecificationandthoseforASLevelsinLatin,Classical Greek and Ancient History.

5b. Accessibility

Reasonableadjustmentsandaccessarrangementsallowlearnerswithspecialeducationalneeds,disabilitiesortemporaryinjuriestoaccesstheassessmentandshowwhattheyknowandcando,withoutchangingthedemandsoftheassessment.Applicationsfortheseshouldbemadebeforetheexaminationseries.Detailedinformationabouteligibilityforaccessarrangementscanbefound intheJCQAccess Arrangements and Reasonable Adjustments.

TheASLevelqualificationandsubjectcriteriahavebeenreviewedinordertoidentifyanyfeaturewhichcoulddisadvantagelearnerswhoshareaprotectedCharacteristicasdefinedbytheEqualityAct2010. Allreasonablestepshavebeentakentominimise anysuchdisadvantage.

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5

GreekTheatre(H008/21)

• Theatre of Dionysus at Athens• TheatreofThorikos,acoastaldemeofAttica• Volutekraterbythe“Pronomos”painter,

depictingteamofactorscelebrating,withcostumes,masks,aulos-player,playwright,Dionysus,c.410BC,intheNaplesMuseoNazionale(3240)

• BellkraterbyMcDanielPainter,“CheironVase”,CheironandXanthiasslave–comicscene,steps&lowstage,c.380–370BC,inBritishMuseum(1849,0620.13)

• Red-figurecolumnkraterinmanneriststyle,“BaselDancers”,tragicchorusinaction,infrontofsteppedaltar,c.500–490BC,inAntikenmuseum,Basel(BS415)

• Black-figureoinochoedepictingtwochorus-membersdressedasbirds,c.480BCinBritishMuseum(B509)

• Red-figurebellkraterbySchillerPainter,depictingscenewithwine-skin&bootsfromWomen at the Thesmophoria (Thesmophoriazusae),c.380–370BC,inMartinvonWagnerMuseum,Wurzburg(H5697)

• ThedeathofPentheus,red-figurekylixattributedtoDouris,c.480BC,inKimballArtMuseum,FortWorth,Texas,USA

• Red-figureVoluteKrater,“ChoregosVase”or“ComicAngels”,choregoiwithAegisthusandPyrrhias,c.400–390BCinPaulGettyMuseum,California(No.96.AE.29.J)

• Red-figurecalyxkraterfragmentbyCapodarsopainter,depictingJocastaandOedipustheKing,c.330BCinMuseoArcheologicoRegionale,Syracuse(“P.Orsi”66557)

• Red-figureCalyxKraterdepictingMedea’sescape,c.400–380BC,inClevelandMuseum ofArt(91.1)

• Red-figurepelikebyPhialepainterdepictingtragicactorsdressing,c.450BC,inMuseumofFineArts,Boston(98.883–11)

• Red-figure‘maenad’stamnosbyDinosPainter,late5thcentury,inNaples,MuseoNazionaleArcheologico

• Red-figurevasefragmentsingleactorpossiblyplayingPerseusandtwoaudiencemembers/judges,c.420–410BC,Vlastoscollection,Athens(ARV2,1215,1)

5c. Referencesforvisual/materialsources

Thefollowinglistscontaindetailedreferences,usingmuseumnumbersorothercommonapproaches toidentification,whichwillenableteachersand

learnerstobeclearandconfidentaboutwhatexamplesofvisual/materialculturetheyare expectedtostudy.


5

ImperialImage(H008/22)

• TheAraPacisAugustae• MausoleumofAugustus• TheForumofAugustusinRome• The Sebasteion at Aphrodisias• AugustusofPrimaPortastatue• OctavianandIsis:relieffromtheKalabsha

Gate,ÄgyptischesMuseum,Berlin• HeadofLivia,Louvre,Paris,(www.louvre.fr/en/

oeuvre-notices/livia)• Caesar’s heir aureus,obv.bareheadof

Octavian,rev.headofJuliusCaesarwithlaurelwreath,43BC(LACTOR17.H2,RRC490/2,BMCRRGaul74)

• Aureus,obv.headofOctavian,rev.Octavianseatedonbenchholdingscrollwithscrollboxatfeet,28BC,BritishMuseum(1995,0401.1)

• Denarius,obv.bareheadofOctavian,rev.Paxstandingleftholdingolivebranchandcornucopia,32–29BC(RIC252,RSC69)

• Gaius and Lucius as princeps iuventutis,aureus,obv.Augustusheadlaureate,rev.GaiusandLuciusCaesarstandingveiledwithshieldsandpriestlysymbols,2BC–AD11(LACTOR17.J58,RICAugustus205,BMCAugustus513)

• Denarius,obv.BareheadedportraitofAugustus,rev.sacrificialimplementsabovetripodandpatera,c.13BC(RICI410;RSC347)

• Denarius,obv.PotraitofAugustuswithoakwreath,rev.eightrayedcometwithtailpointingupward,c.19BC(RICI37a;RSC98)

http://www.louvre.fr/en/oeuvre-notices/livia

http://www.louvre.fr/en/oeuvre-notices/livia

30© OCR 2021


Summaryofupdates

Date Version Section Titleofsection ChangeMay2018 1.1 Front cover Disclaimer AdditionofdisclaimerApril2019 1.2 2c Content of The World of

theHero(H008/11)Content of Culture and the Arts(H008/21andH008/22)

Clarificationontheuseofresources

July2019 1.3 2c

5c

ContentofImperialImage(H008/22)

Referencesforvisual/materialsources

Minortypographicalamends

January2020 1.4 1e

Covers

4e

HowdoIfindoutmoreinformation?

Post-results services

References to the Online Support Centre included

WordingupdatedtoReviewofresults.

February2021 1.5 Updatetospecificationcovers tomeetdigitalaccessibilitystandards


32© OCR 2021


Our aim is to provide you with all the information and support you need to deliver our specifications.

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AS Level Classical Civilisation Specification