Directions:

• electronic copy: e-mail me at victor.leuci@westminster-mo.edu; the name of your attached file should be:
  • F18-215-E4-Last Name, First Name (e.g. F18-215-E4-Leuci, Victor)
  • F18-215-P6-Last Name, First Name (e.g. F18-215-P6-Leuci, Victor)
• paper copy: bring to class or drop off in the box outside my office prior to the start of the in-class exam
• In-text Citations
  • you must have in-text citations for your sources of information (facts, theories, parts of myths, etc.)
  • every main body paragraph should have in-text citations (you want at least 2 good examples with citations per paragraph; exception to citations: the movies)
  • when citing the ancient material from Maurizio's text book, mention the ancient author (if there is one), the ancient work (in italics), then work numbers (if there are any), and then the page number in Maurizio's book
  • for the movie(s) make sure you
    • have a works cited entry that is correct (see below for what it should look like)
    • have good concrete examples, but you don't have to have in-text citations provided that you have mentioned what the name of the movie is in your introduction. However, if you use a copy of the script for direct quotes, then you do need an in-text citation: (Coen, "script, Oh Brother, Where Art Thou?") and you will need to include an entry for the script in your works cited "page."
    • link for the script of the Oh Brother, Where Art Thou?: click here
• Works Cited "Page" reminders:
  • to save paper, don't put on a separate page
  • in the same font, font size, etc. as your main text
  • use hanging indents
  • works cited entries for ancient authors from Maurizio's text book should follow the same format as the following example (for author, work, translator, etc. see xi–xiii): Virgil. The Aeneid. Transl. Frederick Ahl. Oxford World's Classics. Oxford University Press. 2008. In Classical Myth in Context. Lisa Maurizio. New York: Oxford University Press. 2016. Print.
  • for The Hunger Games movie: The Hunger Games. Directed by Gary Ross. Performers Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Elizabeth Banks, Lenny Kravitz, Stanley Tucci, Donald Sutherland. Lions Gate Entertainment. 2012.
  • for the Coen brothers' movie: Oh Brother, Where Art Thou?. Dir. Joel & Ethan Coen. Perf. George Clooney, Holly Hunter, John Turturro, Tim Blake Nelson, John Goodman. Touchstone. Pictures, 2000. DVD.

Take-Home Exam 4 & Paper 6

• Exam, Option 1: Write two 600-1000ish word essays on two of the topics given below:
• Exam, Option 2: Write one 1200-1800 word essay on one of the topics below (pay attention as each topic specifies what to do if doing option 2):
• Paper: chose one of the topics below and write a 600-100ish word essay (note: you can't write on the same individuals for both paper 6 and the exam!)
• Reminder: Each essay can't cover individuals covered in other essays on the exam or paper 6, i.e. if you write about Katniss for Paper 6, you can't write about Katniss for the exam (or if you do Paper 6, and Option 1, then you can't write about an individual in more than 1 essay)

Topics:

• Cersei Lannister in Game of Thrones
  • Source material: Their audition material consists of the
    • movies for Katniss, Penny
    • primary source material in Maurizio for Medea (Ch 11), Circe (i.e. Kirkê) (Ch12), Iphigenia (Ch13), and Thecla (Ch 13).
    • If you need extra source material, you may use the secondary source material in Maurizio's Chapters 11–13. Or you may use you may use more information from Ian Johnston's translations for Circe (books 10 and 12), click here and for Medea, click here; George Theodoridis' translation for Iphigenia, click here.
    
    
  • Prompt: You are the casting director for the The Game of Thrones series and you need to narrow down the possible canditates for the role of the Cersei Lannister. You will present these to executive producers David Benioff and D. B. Weiss for consideration. Make sure you have good argumentation with solid facts to back up your arguments. If recommending someone for the role, make sure you demonstrate why that person would be good, but also include reasons why the person might be bad (if there are some). If not recommending someone, focus on why that person would not be good for the role, but also include why she would be good, if applicable.
    
    If you've never watched the series, Cersei has the following qualities:
    • "She’s a character who’s very protective of her children. ... There’s certainly a great level of narcissism in Cersei. She has an almost sociopathic view of the world and civilization." Gilmore, Mikal (April 23, 2014). "George R.R. Martin: The Rolling Stone Interview". Rolling Stone.
    • she has a long running incestuous relationship with her twin, Jaime Lannister
    • has no hesitation lying, bribing, intimidating, and killing others to get what she wants
    
    
  • Paper 6 & Option 1: 2 from the following: Katniss, Penny, Medea, Circe (i.e. Kirkê), Iphigenia, Thecla.
  • Option 2: 3-4 from the following: Katniss, Penny, Medea, Circe (i.e. Kirkê), Iphigenia, Thecla.


• Arya Stark in Game of Thrones
  • Source material: Their audition material consists of the
    • movies for Katniss, Penny
    • primary source material in Maurizio for Medea (Ch 11), Circe (i.e. Kirkê) (Ch12), Iphigenia (Ch13), and Thecla (Ch 13).
    • If you need extra source material, you may use the secondary source material in Maurizio's Chapters 11–13. Or you may use you may use more information from Ian Johnston's translations for Circe (books 10 and 12), click here and for Medea, click here; George Theodoridis' translation for Iphigenia, click here.
    
    
  • Prompt: You are the casting director for the The Game of Thrones series and you need to narrow down the possible canditates for the role of the Arya Stark. You will present these to executive producers David Benioff and D. B. Weiss for consideration. Make sure you have good argumentation with solid facts to back up your arguments. If recommending someone for the role, make sure you demonstrate why that person would be good, but also include reasons why the person might be bad (if there are some). If not recommending someone, focus on why that person would not be good for the role, but also include why she would be good, if applicable.
    
    If you've never watched the series, Arya Stark has the following qualities:
    • "She is tomboyish, headstrong, feisty, independent, disdains traditional female pursuits, and is often mistaken for a boy. She wields a smallsword named Needle." Arya Stark. Wikipedia. click here
    • kills to exact vengeance on those who have harmed her or her family
    • learns how to impersonate others from the assassins guild (Seasons 5-6)
    • occasionally refuses to kill those who don't deserve to die, e.g. Lady Crane (Season 6)
    
    
  • Paper 6 & Option 1: 2 from the following: Katniss, Penny, Medea, Circe (i.e. Kirkê), Iphigenia, Thecla.
  • Option 2: 3-4 from the following: Katniss, Penny, Medea, Circe (i.e. Kirkê), Iphigenia, Thecla.


• Grindelwald in Fantastic Beasts: The Crimes of Grindelwald
  • Source material: Their audition material consists of the
    • movies for Peeta, gamemaker Seneca Crane, announcer Caesar Flickerman, the sheriff, and Big Dan T
    • primary source material in Maurizio for Odysseus (Ch 12), Aeneas (Ch10 & 12), and Gilgamesh (Ch 10 & 12).
    • If you need extra source material, you may use the primary and secondary source material in Maurizio's Chapter 10 & 12 for Aeneas and Gilgamesh, and the secondary source material in Maurizio's Ch 12 for Odysseus.
    
    
  • Prompt: You are the casting director for the Fantastic Beasts films and you need to narrow down the possible canditates for the role of the Gellert Grindelwald. You will present these to the director David Yates for consideration. Make sure you have good argumentation with solid facts to back up your arguments. If recommending someone for the role, make sure you demonstrate why that person would be good, but also include reasons why the person might be bad (if there are some). If not recommending someone, focus on why that person would not be good for the role, but also include why she would be good, if applicable.
    
    If you've never watched the movie, the scripts of both movies provide a description of the qualities that Gellert Grindelwald possesses:
    • from the first movie (when in disguise):
      • has an "air of intense confidence"(7); can "appear sympathetic" (43) or "patronizing but authoritative"(157) or "menacing"(157) or "easily cowes people"(47) depending on the circumstances
      • in a fight "his reactions are marvelous, astounding" (236); has "immense power"(246)
      • throughout the movie pursues a "weapon" he can use to accomplish his goals (true of the second movie as well)
      • interested in "mass slaughter for the greater good" (158)
      • "intrigued, almost excited" by a "scene of decimation" has an "interest in causing mass disruption" (221)
      • excellent at disguise (true of the second movie as well)
      all quotes above taken from Rowling, J.K. Fantastic Beasts and Where to Find Them: The Original Screenplay. New York: Scholastic. 2016.
    
    
    • from the second movie:
      • "extremely powerful" (3)
      • persuasive: "we've had to change his guard 3 times — he's very ... persuasive" (3)
      • doesn't hesitate to kill ordinary people (36)
      • views muggles as "beast[s] of burden" (38)
      • but argues that muggles and love of them are "okay" when persuading Queenie to join him (245–246)
      all quotes above taken from Rowling, J.K. Fantastic Beasts: The Crimes of Grindelwald, The Original Screenplay. New York: Scholastic. 2018.
    
    
  • Paper 6 & Option 1: 2 from the following: Peeta, gamemaker Seneca Crane, announcer Caesar Flickerman, the sheriff or Big Dan T (but not both), Odysseus, Aeneas, Gilgamesh.
  • Option 2: 3-4 from the following: Peeta, gamemaker Seneca Crane, announcer Caesar Flickerman, the sheriff or Big Dan T (but not both), Odysseus, Aeneas, Gilgamesh.


• The Master:
  • Source material: Their audition material consists of the
    • movies for Peeta, advisor Haymitch Abernathy, announcer Caesar Flickerman, the sheriff, and Big Dan T
    • primary source material in Maurizio for Medea (Ch 11), Circe (i.e. Kirkê) (Ch12), & Odysseus (Ch 12).
    • If you need extra source material, you may use more information from Ian Johnston's translations: Circe (books 10 and 12), click here; Medea, click here; and Odysseus (books 9, 21, 22), click here.
    
    
  • Prompt: You are the casting director for the show Doctor Who and, since the previous "Master" (actually "Missy") did not stay on when Steven Moffat retired as showrunner, you need to narrow down the possible canditates whom you will present to the new showrunner Chris Chibnall for consideration. Make sure you have good argumentation with solid facts to back up your arguments. If recommending someone for the role, make sure you demonstrate why that person would be good, but also include reasons why the person might be bad (if there are some). If not recommending someone, focus on why that person would not be good for the role, but also include why the person would be good, if applicable.
    
    If you've never watched the show, the Master has the following qualities:
    • extremely smart & very versatile (good at doing many different types of things)
    • very persuasive & an effective liar
    • excellent at disguise
    • has no qualms about taking life
    • is "out to get the Doctor"
  
  
  • Paper 6 & Option 1: 2 from the following: Peeta, advisor Haymitch Abernathy, announcer Caesar Flickerman, the sheriff or Big Dan T, Medea, Circe (i.e. Kirkê), Odysseus.
  • Option 2: 3-4 from the following: Peeta, advisor Haymitch Abernathy, announcer Caesar Flickerman, the sheriff or Big Dan T, Medea (use both passages in Ch 11), Circe (i.e. Kirkê), Odysseus.


• Fate & Free Will
  • Source material:
    • the movies: The Hunger Games and Oh Brother, Where Art Thou? (or their scripts)
    • primary source material in Maurizio: the passage from the Iliad, book 24 (pp 462–466); the passage from the Aeneid, book 6 (pp 586–589).
    • If you need extra source material, you may use more information from Ian Johnston's translation of the Iliad, book 24 click here; and A. S. Kline's translation of the Aeneid, book 6, click here.
    
    
  • Prompt: As the following quote illustrates, the movie Oh Brother, Where Art Thou? highlights the roles of fate and free will in determining actions and results: "But fear not the obstacles in your path, for Fate has vouchsafed your reward. And though the road may wind, and yea, your hearts grow weary, still shall ye foller the way, even unto your salvation." In your essay compare the role of fate (and/or free will) in
    • Paper 6 & Option 1: One of the movies and one of the two passages listed above.
    • Option 2: both movies and both passages listed above.