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F18 CLA215 Exam 3
Take-home version







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Directions:

  • electronic copy: e-mail me at victor.leuci@westminster-mo.edu; the name of your attached file should be:
    • F18-215-E3-Last Name, First Name (e.g. F18-215-E3-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)
    • when citing the ancient material from Maurizio's text book, mention the ancient author (if there is one), the ancient work (in italics), then the page number in Maurizio's book. If you mention the author and work earlier in the paragraph, then you just need the line numbers and the page numbers.
    • for the on-line translation, mention ancient author and work in your main text, then give the line numbers closest to what you are referring to in your in-text citation. E.g. Dionysos explains to the audience that he is coming to Thebes disguised as a human (1-23)
  • 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
    • Maurizio: for example: Hymn 4: To Hermes. [give what Maurizio has on page xi] In Classical Myth in Context. Lisa Maurizio. New York: Oxford University Press. 2016.
    • Leonard & McClure: "The 7 Great Deeds of Ma-ui" [give what L & M have at the bottom of the page]. In Myth & Knowing. Scott Leonard & Michael McClure. Boston: McGraw Hill. 2004.
    • web translation: for the web source here is what the entry should look like: Euripides. Bacchae. Transl. George Theodoridis. BacchicStage. 2005. https://bacchicstage.wordpress.com/euripides/bacchae/ Date accessed ...

Reminder: Source material must be from:

  • Hymn 4: To Hermes, (Maurizio's textbook)
  • Hymn 3: To Apollo, (Maurizio's textbook)
  • Hymn 27: To Artemis, (Maurizio's textbook)
  • Hymn 7: To Dionysus, (Maurizio's textbook)
  • Catullus, "Attis" (Maurizio's textbook)
  • Xenophon, An Ephesian Tale, (Maurizio's textbook)
  • Euripides, Bacchae, translation at BacchicStage or Maurizio's textbook for part of the play
  • "The 7 Great Deeds of Ma-ui" (Leonard & McClure's textbook)

Option 1: Write two 600-1000ish word essays on the two topics given below:


  1. Gentle/Terrible: We have seen that the 'priest' states: "Dionysus ... is by turns a most terrifying and a most gentle god to mortals" (208–210, 406; italics mine). Compare/contrast 1–2 of the following deities with Dionysus (use Bacchae above) with respect to how gentle or terrifying they are to mortals.
    • Apollo in Hymn 3: To Apollo, Maurizio, pp 349–358
    • Cybele in Catullus' Attis, Maurizio, pp 421–423
    • Eros in Xenophon, An Ephesian Tale, Maurizio, pp 374–379

    FYI: the word for "terrifying," deinos, has an interesting range of meanings: terrible, fearful, powerful (for good or ill), causing "awe," wondrous, marvellous, strange

  2. Tricksters: For 2 of the following,
    • Hermes (using Hymn 4: To Hermes),
    • Apollo (using Hymn 3: To Apollo),
    • Ma-ui (using "The 7 Great Deeds of Ma-ui" in Leonard & McClure's Myth & Knowing), and
    • Dionysus (using Euripides Bacchae, either in Maurizio or the on-line translation listed above; you may also use Hymn 7, but you must use the play)
    examine how they can be considered tricksters, using at least 2 the criteria set forth on pp 310–311. Make sure you specify which of the criteria you are using (can use different criteria for each individual).

  3. Liminality: If time travel were possible, and you could go back for a brief time as one of the following — Hermes, Apollo, Pentheus, Dionysus, Ma-ui — which would be your top 2 choices based on which would provide the best opportunity to experience the most interesting degree of reflection/change (for you) related to Turner's concepts regarding liminality (Maurizio, pp 412–413)."

    Some things to make sure you do:
    • In your introduction, among other things, rank all 5.
    • In the main body give evidence for your top two choices and also why the 1st is 1st, the 2nd is 2nd.
    • Make sure you give good examples from the actual myths that relate to the ideas expressed on pp 412–413.
    • If you pick Pentheus, then you must use examples from the entire play at BacchicStage
    • If you pick Dionysus, then you must use examples from the entire play at BacchicStage
    • If you pick Apollo, then you must use examples from Hymn 3: To Apollo (you may also use Hymn 4: To Hermes)

Option 2: Write one 1200-1800 word essay on one of the topics below:

  1. Gentle/Terrible: We have seen that the 'priest' states: "Dionysus ... is by turns a most terrifying and a most gentle god to mortals" (208–210, 406; italics mine). Compare/contrast 2–3 of the following deities with Dionysus (use Bacchae above) with respect to how gentle or terrifying they are to mortals.
    • Apollo in Hymn 3: To Apollo, Maurizio, pp 349–358
    • Cybele in Catullus' Attis, Maurizio, pp 421–423
    • Eros in Xenophon, An Ephesian Tale, Maurizio, pp 374–379

    FYI: the word for "terrifying," deinos, has an interesting range of meanings: terrible, fearful, powerful (for good or ill), causing "awe," wondrous, marvellous, strange

  2. Tricksters: For 3–4 of the following,
    • Hermes (using Hymn 4: To Hermes),
    • Apollo (using Hymn 3: To Apollo),
    • Ma-ui (using "The 7 Great Deeds of Ma-ui" in Leonard & McClure's Myth & Knowing), and
    • Dionysus (using Euripides Bacchae, either in Maurizio or the on-line translation listed above; you may also use Hymn 7, but you must use the play)
    examine how they can be considered tricksters, using at least 2 the criteria set forth on pp 310–311. Make sure you specify which of the criteria you are using (can use different criteria for each individual).

  3. Liminality: If "time travel" were possible, and you could go back for a brief time as one of the following — Hermes, Apollo, Pentheus, Dionysus, Ma-ui — which would be your top 3–4 choices based on which would provide the best opportunity to experience the most interesting degree of reflection/change (for you) related to Turner's concepts regarding liminality (Maurizio, pp 412–413)."

    Some things to make sure you do:
    • In your introduction, among other things, rank all 5.
    • In the main body give evidence for your each of your choices and also why the 1st is 1st, the 2nd is 2nd, etc.
    • Make sure you give good examples from the actual myths that relate to the ideas expressed on pp 412–413.
    • If you pick Apollo, then you must use examples from Hymn 3: To Apollo (you may also use Hymn 4: To Hermes)
    • If you pick Pentheus, then you must use examples from the entire play at BacchicStage (since you are using the entire play, you can then pick one less individual)
    • If you pick Dionysus, then you must use examples from the entire play at BacchicStage (since you are using the entire play, you can then pick one less individual)