...Texts and Ideas: Antiquity and Enlightenment Dr. Jeffrey Rubenstein Paper #1 Outline and Rough draft due in recitation sections on October 2-3 and will be returned Oct 8-10. Final Papers due October 15. No late submissions will be accepted without prior approval. Papers should be emailed to NYU classes AND a hardcopy turned in. Directions: * Select one out of the following three questions. Write an essay of approximately and no more than 1200 –1500 words. (Use the “word count” function in your word processor). * Quoting: you should quote from the text. Make sure that the quotes do not take up too large a part of your paper and only supplement (rather than substitute) your own words. Whenever you quote, you MUST provide a citation in parentheses. Here are some examples: (Symposium, 175E), (Exodus 22:1). Quotes should not stand on their own. They should be attached to some part of a non-quoted sentence (it can be as short as: For example, “……..” or Sophocles states, “…………”). * How to begin your paper: Jump straight to answering the question. Do not summarize the text, but rather write with a reader who is familiar with the text in mind. Also avoid general sayings such as “In human history, women have always been subordinated” or “Leaders tend to be very interesting figures.” One way to start your paper is with a question you will be answering. But don’t use the same wording – try to rephrase it, paraphrase it, or break it up. * Make sure you have a thesis...
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...Makai Montague Ms. Novak English 10CP Per. 2 15 January 2016 Antigone “It is no weakness for the wisest man to learn when he is wrong, know when to yield” (Sc. 3.608-609). King Creon certainly did not yield to anyone’s opinion except his own. In the Greek play Antigone, Sophocles uses King Creon as an example of a leader who is prideful and sexist, resulting in failure and tragedy. King Creon allows his pride and stubbornness to stand in the way of listening to others. When he learns that Antigone buried the body of Polyneices, he is angered that someone dared disobey his decree. He disregards Antigone when she tells him that some believes her action of burying Polyneices is honorable. Similarly, he obstinately disregarded his son Haemon when he suggested the same: “But I hear whispers spoken in the dark; on every side I hear voices of pity for this poor girl, doomed to the cruelest death, and most unjust, that ever women suffered for an honorable action-burying a brother who was killed in battle” (Sc. 3.590-596). King Creon’s prideful response was that as a king, he was only responsible for himself: “Indeed! Am I to take lessons at my time of life from a fellow of his age?”(Sc. 3.624-625). A good statesman takes into consideration what the people around them have to say, not push advice away because they feel too proud to take it from someone younger. Furthermore, King Creon later gets a visit from Teiresias, a blind prophet who foretells the future. The prophecy says that...
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...the play Antigone written by Sophocles, Creon is the tragic hero. Creon was a king. His tragic flaw was that he has too much pride and this causes a downfall for him. Creon will not listen to anyone. He is very stubborn and he doesn’t notice that he might be doing the wrong thing. Creon said, “Let him do, or dream to do, more than a man can. He shall not save these girls from death” (i.628-629). Creon said this because he is making sure no one will help the girls because they did a bad thing in Creon’s eyes. Creon had a free choice. His free choice was to either listen or ignore the Sentry. The Sentry came to Creon to tell him that Polyneices was getting buried by his sister Antigone. Creon didn’t believe it. He said harshly, “You’re figure of speech may entertain you now; but unless you bring me the man, you will get very little profit from them in the end” (i.271-273)....
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...In Antigone, the protagonist Creon is a tragic hero who struggles with internal dilemmas. The fatal decisions that set him down a tragic path are rooted in his inner conflict. Creon must discern between the importance of civil law and divine law, and this tension created illuminates the central idea that defying the Gods ends in detriment. The conflicting force of civil law is most appealing to Creon. This starts to build his tension towards the God’s principles. Creon has the most power and control under civil law. By being a new, inexperienced king, he feels a need to prove to his people the strength and supremacy he can guarantee. In consequence, he makes a narrow-minded law, where no one shall bury Polynices due to Polynice’s betrayal to the state Whoever defies this ruling will face...
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...not have made any evolutionary progress without the guidance of a higher figure over them. From Jesus to Alexander the Great to George Washington to even Adolf Hitler, the world has been filled with surprising… yet amazing leaders. One thing that has been of analysis lately, though, was if nobility plays a role in becoming an effective leader and to what extent does personal responsibility extend to the welfare of others. After analyzing fictional superiors it has become clear that everyone has their own “perfect way” of heading a group. It is known that everyone has done questionable things, but what type of role does it play when it’s while inspiring people that need motivation and...
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...Drama in schools second edition Like theatre, drama in schools can unlock the use of imagination, intellect, empathy and courage. Through it, ideas, responses and feelings can be expressed and communicated. It carries the potential to challenge, to question and to bring about change. Jude Kelly (theatre director and founder of Metal) Contents Foreword 2 1 Introduction 4 2 Why drama in schools? 6 3 Recognising good drama 9 3.1 What does good drama look like at the Foundation Stage? 9 3.2 What does good drama look like at Key Stages 1 and 2? 12 3.3 What does good drama look like at Key Stage 3? 18 3.4 What does good drama look like at Key Stage 4? 22 3.5 What does good drama look like at post-16? 24 3.6 What does good drama look like in special schools? 26 3.7 What does a good drama enrichment programme look like? 27 4 Structuring drama in schools 32 4.1 Level descriptions for drama 33 5 Policy, facilities, resources 41 5.1 Useful points for schools managers and subject leaders to consider 41 5.2 What does a good school policy for drama look like? 42 5.3 What do good facilities and resources in drama look like? 44 6 Conclusion 46 Appendix 1 Drama and the early learning goals within 48 the Foundation Stage Appendix 2 The National Curriculum for England – English 50 Appendix 3 Drama within the Primary Strategy...
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...August Regime.Axis occupation (collaborationist regime).Civil War.Military Junta.Third Hellenic Republic | History by topic.Art.Constitution.Economy.Military.Names | History of Greece | | Neolithic Greece.Neolithic Greece | Greek Bronze Age.Helladic.Cycladic.Minoan.Mycenaean | Ancient Greece.Homeric Greece.Archaic Greece.Classical Greece.Hellenistic Greece.Roman Greece | Medieval Greece.Byzantine Greece.Frankish and Latin states.Ottoman Greece | | Ancient Greece was a civilization belonging to a period of Greek history that lasted from the Archaic period of the 8th to 6th centuries BCto the end ofantiquity (c. 600 AD). Immediately following this period was the beginning of the Early Middle Ages and the Byzantine era. Included in ancient Greece is the period ofClassical Greece, which flourished during the 5th to 4th centuries BC. Classical Greece began with the repelling of a Persian invasion by Athenian leadership. Because of conquests by Alexander the Great of Macedonia, Hellenistic civilization flourished fromCentral Asia to the western end of the Mediterranean Sea. Classical Greek culture, especially philosophy, had a powerful influence on the Roman Empire, which carried a version of it to many parts of the Mediterranean Basin andEurope. For this reason Classical Greece is generally considered to be the seminal culture which provided the foundation of modern Western culture and is considered as the cradle of Western civilization. Chronology Classical Antiquity in...
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...THE FIRST FILIPINO Republie of the Philippines Department of Education & Culture NATIONAL HISTORICAL COMMISSION Manila FERDINAND E. MARCOS President Republic of the Philippines JUAN L. MANUEL Secretary of Education & Culture ESTEBAN A. DE OCAMPO Chairman DOMINGO ABELLA Member HORACIO DE LA COSTA, S. J. Member GODOFREDO L. ALCASID Ex-Oficio Member TEODORO A. AGONCILLO Member EMILIO AGUILAR CRUZ Member SERAFIN D. QUIASON Ex-Oficio Member FLORDELIZA K. MILITANTE Exccutive Director RAMON G. CONCEPCION Chief, Administrative Division BELEN V. FORTU Chief, Budget & Fiscal Division JOSE C. DAYRIT Chief, Research & Publications Division AVELINA M. CASTAÑEDA Chief, Special & Commemorative Events Division ROSAURO G. UNTIVERO Historical Researcher & Editor EULOGIO M. LEAÑO Chief Historical Writer-Translator & Publications Officer GENEROSO M. ILANO Auditor JOSE RIZAL (1861-1896) THE FIRST FILIPINO A Biography of José Rizal by LEÓN Ma. GUERRERO with an introduction by CARLOS QUI R INO ( Awarded First Prize in the Rizal Biography Contest held under the auspices of the José Rizal National Centennial Commission in 1961) NATIONAL HISTORICAL COMMISSION Manila 1974 First Printing 1963 Second Printing 1965 Third Printing 1969 Fourth Printing 1971 Fifth Printing 1974 This Book is dedicated by the Author to the other Filipinos Speak of me as I am; nothing extenuate, Nor set down aught in malice, Shakespeare: °the/Lo. Paint my picture truly like me, and not flatter me at all ; but...
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...Instructor’s Manual and Test Bank to accompany A First Look at Communication Theory Sixth Edition Em Griffin Wheaton College prepared by Glen McClish San Diego State University and Emily J. Langan Wheaton College Published by McGrawHill, an imprint of The McGrawHill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright Ó 2006, 2003, 2000, 1997, 1994, 1991 by The McGrawHill Companies, Inc. All rights reserved. The contents, or parts thereof, may be reproduced in print form solely for classroom use with A First Look At Communication Theory provided such reproductions bear copyright notice, but may not be reproduced in any other form or for any other purpose without the prior written consent of The McGrawHill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. PREFACE Rationale We agreed to produce the instructor’s manual for the sixth edition of A First Look at Communication Theory because it’s a first-rate book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...
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