UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS
in collaboration with
ASSOCIATION OF CAMBRIDGE SCHOOLS IN NEW ZEALAND Advanced Subsidiary Level
LATIN (School-based Assessment) 8282/02
Paper 2 Literature
Mark Total 100 marks
Additional Materials: Answer Booklet/Paper
October/November 2007
2 hours
READ THESE INSTRUCTIONS FIRST
If you have been given an Answer Booklet, follow the instructions on the front cover of the Booklet. Write your Centre number, index number and name on all the work you hand in.
Write in dark blue or black pen on both sides of the paper.
Do not use staples, paper clips, highlighters, glue or correction fluid.
Answer all questions from both sections of this examination paper. Each section is worth 50 marks.
You are reminded of the need for good English and clear presentation in your answers.
.
The number of marks is given in brackets [ ] at the end of each question or part question. At the end of the examination, fasten all your work securely together.
.
This paper consists of 9 printed pages and 3 blank pages.
© UCLES 2007 [Turn over
SECTION A: Verse Literature
QUESTION ONE
Virgil, Aeneid IV. 54–73.
his dictis impenso animum flammavit amore
spemque dedit dubiae menti solvitque pudorem. 55 principio delubra adeunt pacemque per aras
exquirunt; mactant lectas de more bidentes legiferae Cereri Phoeboque patrique Lyaeo, Iunoni ante omnes, cui vincla iugalia curae.
ipsa tenens dextra pateram pulcherrima Dido 60 candentis vaccae media inter cornua fundit,
aut ante ora deum pingues spatiatur ad aras,
instauratque diem donis, pecudumque reclusis pectoribus inhians spirantia consulit exta.
heu, vatum ignarae mentes! quid vota furentem, 65 quid delubra iuvant? est molles flamma medullas
interea et tacitum vivit sub pectore vulnus. uritur infelix Dido totaque vagatur
urbe furens, qualis coniecta cerva sagitta,
quam procul incautam nemora inter Cresia fixit 70 pastor agens telis liquitque volatile ferrum
nescius: illa fuga silvas saltusque peragrat
Dictaeos; haeret lateri letalis harundo.
Answer ALL of the following questions:
1. Translate lines 56 (principio) to 67 (vulnus). [14 marks]
2. Who has caused Dido’s heart to be set on fire? What was the [2 marks]
reason for this?
3. Pick out TWO details of the simile in lines 69-73 and relate each one to what is
4. happening in Carthage.
EITHER: [2 marks]
Comment on Virgil’s use of BOTH language AND imagery in this passage. You MUST quote the Latin to support your answer.
[4 marks]
OR:
Identify and explain fully the grammar of:
Phoebo (58)
deum (62)
coniecta sagitta (69)
fuga (72) [4 marks]
5. Scan line 66 (quid delubra … medullas), clearly marking the six feet of the hexameter and the main caesura. Identify ONE metrical or stylistic feature in the
line, and state the effect this feature produces. [5 marks]
[Total: 27 marks]
[Turn over
QUESTION TWO
Virgil, Aeneid IV. 604–629.
faces in castra tulissem
implessemque foros flammis natumque patremque 605 cum genere exstinxem, memet super ipsa dedissem.
Sol, qui terrarum flammis opera omnia lustras,
tuque harum interpres curarum et conscia Iuno, nocturnisque Hecate triviis ululata per urbes
et Dirae ultrices et di morientis Elissae, 610 accipite haec, meritumque malis advertite numen
et nostras audite preces. si tangere portus infandum caput ac terris adnare necesse est, et sic fata Iovis poscunt, hic terminus haeret,
at bello audacis populi vexatus et armis, 615 finibus extorris, complexu avulsus Iuli
auxilium imploret videatque indigna suorum
funera; nec, cum se sub leges pacis iniquae tradiderit, regno aut optata luce fruatur,
sed cadat ante diem mediaque inhumatus harena. 620 haec precor, hanc vocem extremam cum sanguine fundo.
tum vos, o Tyrii, stirpem et genus omne futurum exercete odiis, cinerique haec mittite nostro munera. nullus amor populis nec foedera sunto.
exoriare aliquis nostris ex ossibus ultor 625 qui face Dardanios ferroque sequare colonos,
nunc, olim, quocumque dabunt se tempore vires.
litora litoribus contraria, fluctibus undas
imprecor, arma armis: pugnent ipsique nepotesque.’
Answer ALL of the following questions:
1. Translate lines 604 (faces) to 612 (preces). [11 marks]
2. Who was the goddess Hecate mentioned in line 609? Why does Dido call upon her here? [1 mark]
3. Why does Dido refer to her people as Tyrii in line 622? [1 mark]
4. Who is the aliquis ultor mentioned in line 625? Explain this reference. [1 mark]
5. EITHER:
In this passage, Dido expresses her furious rage. Outline in detail at least FOUR other moods she exhibits in Aeneid IV, and for EACH state her mood and briefly describe the situation. [4 marks]
OR:
Identify and explain fully the grammar of:
tulissem (604) terris (613) complexu (616)
exoriare (625) [4 marks]
6. Find FIVE examples of different poetic, stylistic or metrical features in this passage.
For each quote the Latin, identify the feature, and suggest what effect may be produced.
DO NOT use the same type of feature more than once. [5 marks]
[Total: 23 marks]
[Turn over
SECTION B: Prose Literature
QUESTION ONE
Livy, ab Urbe Condita I. liv, 5-7
5 Itaque postquam satis virium conlectum ad omnes conatus videbat, tum ex suis unum sciscitatum Romam ad patrem mittit quidnam se facere vellet, quando quidem ut omnia unus publice Gabiis posset ei di dedissent.
6 Huic nuntio, quia, credo, dubiae fidei videbatur, nihil voce responsum est; rex velut deliberabundus in hortum aedium transit sequente nuntio filii; ibi inambulans tacitus summa papaverum capita dicitur baculo decussisse.
7 Interrogando exspectandoque responsum nuntius fessus, ut re imperfecta, redit Gabios; quae dixerit ipse quaeque viderit refert; seu ira seu odio seu superbia insita ingenio nullam eum vocem emisisse.
Answer ALL of the following questions:
1. Translate paragraphs 5, 6 and 7 (itaque postquam to vocem emisisse). [13 marks]
2. What were the traditional dates for Lucius Tarquinius’ rule of Rome? [1 mark]
3. Where was the city of Gabii in relation to Rome? [1 mark]
4. What did Sextus Tarquinius interpret his father’s peculiar actions to mean? [1 mark]
5. EITHER:
Outline in detail what you know of at least TWO of the opposing tribes which Rome faced during the monarchy. You must give specific facts for each tribe. [4 marks]
OR:
Identify and explain fully the grammar of:
sciscitatum (line 2) dubiae fidei (line 5) decussisse (line 8)
viderit (line 10) [4 marks]
7. Find one example from the passage of each of the following. You must quote the
Latin words relevant to the construction.
pluperfect subjunctive interrogative pronoun perfect passive infinitive
gerund
indirect object [5 marks]
[Total: 25 marks]
[Turn over
QUESTION TWO
Livy, ab Urbe Condita I. lix, 3-7.
3 Ut praeceptum erat iurant; totique ab luctu versi in iram, Brutum iam inde ad expugnandum regnum vocantem sequuntur ducem.
4 Elatum domo Lucretiae corpus in forum deferunt, concientque miraculo, ut fit, rei novae atque indignitate homines. Pro se quisque scelus regium ac vim queruntur.
5 Movet cum patris maestitia, tum Brutus castigator lacrimarum atque inertium querellarum auctorque quod viros, quod Romanos deceret, arma capiendi adversus hostilia ausos.
6 Ferocissimus quisque iuvenum cum armis voluntarius adest;
sequitur et cetera iuventus.
7 Inde patre praeside relicto Collatiae [ad portas] custodibusque datis ne quis eum motum regibus nuntiaret, ceteri armati duce Bruto Romam profecti.
Answer ALL of the following questions:
1. Translate paragraphs 3, 4,5 and 6 (ut praeceptum to cetera iuventus). [12 marks]
2. Name at least TWO of the men who are the subjects of the verb deferunt in line 3,
and for EACH describe briefly who he was. [2 marks]
3. Where had Lucretia’s husband just come from? [1 mark]
4. What did Lucretia actually die of? [1 mark]
5. EITHER:
Outline in detail at least FOUR of the official powers and privileges of the kings of
Rome. [4 marks]
OR:
Identify and explain fully the grammar of:
indignitate (line 4) deceret (line 7) nuntiaret (line 12)
duce Bruto (line 12) [4 marks]
6. Find one example from the passage of each of the following. You must quote the Latin words relevant to the construction.
locative case
superlative adjective
present participle
gerund
partitive genitive [5 marks]
[Total: 25 marks]
End of Questions
Showing posts with label Question Papers. Show all posts
Showing posts with label Question Papers. Show all posts
Thursday, 15 December 2011
EXAMINER’S REPORT AS HISTORY OF ART 2008 Paper 1 THE RENAISSANCE
EXAMINER’S REPORT AS HISTORY OF ART 2008
Paper 1 THE RENAISSANCE
MARKER’S COMMENTS
The most popular Options in the Renaissance paper were Option 2 and 3 with only a few candidates answering questions from Option 1 and 4. A few answered questions that were from Options obviously not studied which is a grave mistake.
An interesting range of questions were set for this paper, although several were rather long due to the addition of quotes, such as in Q9 and Q10 in Section A.
Also Q8 did not specify that examples of specific art works be included in the answer, which may have confused a few candidates as they limited their
answers to a general overview.
Some spelling and terminology confusions that require constant revision;
1. Words like medieval, divine, chiaroscuro, tempera, and Venetian were often spelt wrongly.
2. The use and understanding of the terms humanism and humanity need more clarification with many students, especially in a discussion about portraiture. The Tondo plate question revealed this concern as well.
3. Many students were unable to discern the differences between terminologies such as realism, naturalism and idealism.
A number of candidates answered the Section A and B questions from the same Option, and tried not to repeat relevant concepts, analyses of the same artists works, or theoretical developments of the period. One school of 25 candidates all answered the Section A and B questions from the same Option. This implies that maybe only one Option was studied, which is not the
intention of the course. This practise does disadvantage student learning,
understanding and being able to articulate the broader aspects of the
Renaissance period rather than focusing on one narrow section of it.
Many Section B answers were limited to mere descriptions of the plates, with very general comments demonstrating a limited understanding of the artists’ ideas and approaches. It is so important that students develop an understanding that works of art are products of their time and reflect the context of the social, cultural, religious and political events of that time.
Transitions in style between the various time periods from Medieval through the early Renaissance period and into the high Renaissance were sometimes expressed in very black and white terms by the candidates, particularly in religious subjects that were revealing aspects of naturalism as the concepts of humanist philosophies started to be implemented in art works.
The influence and use of the International Gothic style also needs to be
understood more fully within the context of the Early Renaissance up to 1500.
It is important that students broaden their reading to incorporate a wider field of influences and possible developments. This was noticeable in the portrait answers (Q8), where there was no mention of the impact of Northern portraits and oil painting techniques in particular from the 1430s onwards, on the development of the individual Italian Renaissance portrait in the 16th century.
It was uplifting to read many well planned, thoughtful and coherent essays where the students demonstrated excellent understanding of the question, used relevant works to illustrate their arguments, wrote legibly and with an obvious passion about the subject.
Paper 1 THE RENAISSANCE
MARKER’S COMMENTS
The most popular Options in the Renaissance paper were Option 2 and 3 with only a few candidates answering questions from Option 1 and 4. A few answered questions that were from Options obviously not studied which is a grave mistake.
An interesting range of questions were set for this paper, although several were rather long due to the addition of quotes, such as in Q9 and Q10 in Section A.
Also Q8 did not specify that examples of specific art works be included in the answer, which may have confused a few candidates as they limited their
answers to a general overview.
Some spelling and terminology confusions that require constant revision;
1. Words like medieval, divine, chiaroscuro, tempera, and Venetian were often spelt wrongly.
2. The use and understanding of the terms humanism and humanity need more clarification with many students, especially in a discussion about portraiture. The Tondo plate question revealed this concern as well.
3. Many students were unable to discern the differences between terminologies such as realism, naturalism and idealism.
A number of candidates answered the Section A and B questions from the same Option, and tried not to repeat relevant concepts, analyses of the same artists works, or theoretical developments of the period. One school of 25 candidates all answered the Section A and B questions from the same Option. This implies that maybe only one Option was studied, which is not the
intention of the course. This practise does disadvantage student learning,
understanding and being able to articulate the broader aspects of the
Renaissance period rather than focusing on one narrow section of it.
Many Section B answers were limited to mere descriptions of the plates, with very general comments demonstrating a limited understanding of the artists’ ideas and approaches. It is so important that students develop an understanding that works of art are products of their time and reflect the context of the social, cultural, religious and political events of that time.
Transitions in style between the various time periods from Medieval through the early Renaissance period and into the high Renaissance were sometimes expressed in very black and white terms by the candidates, particularly in religious subjects that were revealing aspects of naturalism as the concepts of humanist philosophies started to be implemented in art works.
The influence and use of the International Gothic style also needs to be
understood more fully within the context of the Early Renaissance up to 1500.
It is important that students broaden their reading to incorporate a wider field of influences and possible developments. This was noticeable in the portrait answers (Q8), where there was no mention of the impact of Northern portraits and oil painting techniques in particular from the 1430s onwards, on the development of the individual Italian Renaissance portrait in the 16th century.
It was uplifting to read many well planned, thoughtful and coherent essays where the students demonstrated excellent understanding of the question, used relevant works to illustrate their arguments, wrote legibly and with an obvious passion about the subject.
CAMBRIDGE INTERNATIONAL EXAMINATIONS General Certificate of Education Advanced Subsidiary Level Drama 8286/02 (New Zealand based syllabus)
CAMBRIDGE INTERNATIONAL EXAMINATIONS
General Certificate of Education Advanced Subsidiary Level
Drama 8286/02 (New Zealand based syllabus)
Additional materials:
Answer paper
Sample Paper
(This subject will first be examined in 2005)
Time allowed: 2 hours
Total marks: 60
INSTRUCTIONS TO CANDIDATES
Answer two questions on two different texts. Each question is worth 30 marks.
Each answer must refer to one of the following theatre genres or periods which MUST NOT be duplicated in the other answer:
Classical tragedy
Mediaeval mystery or morality plays
Elizabethan and Jacobean drama
Comedy of manners
Epic Theatre
New Zealand Theatre: the Maori voice
Contemporary New Zealand Theatre: looking at ourselves
Indicate your choice of theatre genre or period by stating clearly the question number and part for each answer.
All questions require answers in continuous prose. You are reminded of the need for good English and clear presentation in your answers.
You may support your answers with sketches and diagrams.
Select TWO questions and answer ONE part from each question.
Question 1 CLASSICAL TRAGEDY
Antigone Sophocles
EITHER
(a) How would you want your audience to respond to Creon? Explain how you would perform the role in order to achieve your aims.
OR
(b) Outline a stage design for Antigone and describe the ways in which the actors and chorus could use the space and other features of your design during Antigone’s first scene of conflict with Creon.
OR
(c) As a director, discuss the ways in which your knowledge of performance practice in Sophocles’ time could influence your proposed modern performance of Antigone.
Question 2 MEDIAEVAL MYSTERY OR MORALITY PLAYS
Everyman Anonymous
EITHER
(a) Describe how you would use vocal and physical skills to create the character of Everyman and engage your audience.
OR
(b) Describe what effects you want to create for your audience at the beginning of Everyman. Explain how you would use costumes, make up and/or set to achieve your aims.
OR
(c) As a director, discuss the ways in which your knowledge of performance practice in 15th century England could influence your proposed modern performance of Everyman.
Question 3 ELIZABETHAN and JACOBEAN DRAMA
A Midsummer Night’s Dream Shakespeare
EITHER
(a) Describe how you want your audience to respond to the characters of Helena and Hermia. Explain how you would direct the actors to achieve your aims.
OR
(b) Describe what effects you want to create for your audience in the fairy scenes of the play. Explain the staging ideas you would use to create these effects.
OR
(c) As a director, discuss the ways in which your knowledge of performance practice in Shakespeare’s time could influence your proposed modern performance of A Midsummer Night’s Dream.
Question 4 COMEDY OF MANNERS
The Importance of Being Earnest Oscar Wilde
EITHER
(a) Describe how you would perform the role of either Lady Bracknell or Algernon Moncrieff in order to create comedy for your audience.
OR
(b) Outline a stage design for The Importance of Being Earnest and describe the ways in which the actors could use the space and other features of your design during Acts 1 and 2 of the play.
OR
(c) The Importance of Being Earnest has echoes of several different genres of drama: well-made play, naturalism, farce and melodrama. As a director, discuss the ways in which one or more of these genres could influence your proposed performance of The Importance of Being Earnest.
Question 5 EPIC THEATRE
The Resistible Rise of Arturo Ui Bertolt Brecht
EITHER
(a) Describe how you would integrate Brecht’s concepts into your performance of the role of Emanuele Giri.
OR
(b) Choose two or three sections of the play and explain how and why you would exploit their comic potential in order to communicate Brecht’s serious purpose.
OR
(c) As a director, explain how your ideas for staging The Resistible Rise of Arturo Ui would communicate the play’s political message to your audience.
Question 6 NEW ZEALAND THEATRE: THE MAORI VOICE
Briar Grace-Smith
EITHER
(a) Describe how you would use vocal and physical skills to create the role of Kui/Aggie Rose and engage your audience.
OR
(b) Describe the atmosphere you want to create in three specific, contrasting scenes of and explain how your design ideas for set and/or lighting would assist in the creation of that atmosphere.
OR
(c) As a director, discuss the ways in which cultural and social issues could influence your proposed performance of .
[Turn over
Question 7 NEW ZEALAND THEATRE: LOOKING AT OURSELVES
Children of the Poor Mervyn Thompson
(an adaptation of the novel by John A. Lee)
EITHER
(a) Explain how you would play the role of Albany Porcello in order to gain the sympathies of your audience.
OR
(b) Describe how you would use a range of chorus techniques to create the world of the play.
OR
(c) As a director, explain how your ideas for staging Children of the Poor would communicate themes and issues of the play to your audience.
General Certificate of Education Advanced Subsidiary Level
Drama 8286/02 (New Zealand based syllabus)
Additional materials:
Answer paper
Sample Paper
(This subject will first be examined in 2005)
Time allowed: 2 hours
Total marks: 60
INSTRUCTIONS TO CANDIDATES
Answer two questions on two different texts. Each question is worth 30 marks.
Each answer must refer to one of the following theatre genres or periods which MUST NOT be duplicated in the other answer:
Classical tragedy
Mediaeval mystery or morality plays
Elizabethan and Jacobean drama
Comedy of manners
Epic Theatre
New Zealand Theatre: the Maori voice
Contemporary New Zealand Theatre: looking at ourselves
Indicate your choice of theatre genre or period by stating clearly the question number and part for each answer.
All questions require answers in continuous prose. You are reminded of the need for good English and clear presentation in your answers.
You may support your answers with sketches and diagrams.
Select TWO questions and answer ONE part from each question.
Question 1 CLASSICAL TRAGEDY
Antigone Sophocles
EITHER
(a) How would you want your audience to respond to Creon? Explain how you would perform the role in order to achieve your aims.
OR
(b) Outline a stage design for Antigone and describe the ways in which the actors and chorus could use the space and other features of your design during Antigone’s first scene of conflict with Creon.
OR
(c) As a director, discuss the ways in which your knowledge of performance practice in Sophocles’ time could influence your proposed modern performance of Antigone.
Question 2 MEDIAEVAL MYSTERY OR MORALITY PLAYS
Everyman Anonymous
EITHER
(a) Describe how you would use vocal and physical skills to create the character of Everyman and engage your audience.
OR
(b) Describe what effects you want to create for your audience at the beginning of Everyman. Explain how you would use costumes, make up and/or set to achieve your aims.
OR
(c) As a director, discuss the ways in which your knowledge of performance practice in 15th century England could influence your proposed modern performance of Everyman.
Question 3 ELIZABETHAN and JACOBEAN DRAMA
A Midsummer Night’s Dream Shakespeare
EITHER
(a) Describe how you want your audience to respond to the characters of Helena and Hermia. Explain how you would direct the actors to achieve your aims.
OR
(b) Describe what effects you want to create for your audience in the fairy scenes of the play. Explain the staging ideas you would use to create these effects.
OR
(c) As a director, discuss the ways in which your knowledge of performance practice in Shakespeare’s time could influence your proposed modern performance of A Midsummer Night’s Dream.
Question 4 COMEDY OF MANNERS
The Importance of Being Earnest Oscar Wilde
EITHER
(a) Describe how you would perform the role of either Lady Bracknell or Algernon Moncrieff in order to create comedy for your audience.
OR
(b) Outline a stage design for The Importance of Being Earnest and describe the ways in which the actors could use the space and other features of your design during Acts 1 and 2 of the play.
OR
(c) The Importance of Being Earnest has echoes of several different genres of drama: well-made play, naturalism, farce and melodrama. As a director, discuss the ways in which one or more of these genres could influence your proposed performance of The Importance of Being Earnest.
Question 5 EPIC THEATRE
The Resistible Rise of Arturo Ui Bertolt Brecht
EITHER
(a) Describe how you would integrate Brecht’s concepts into your performance of the role of Emanuele Giri.
OR
(b) Choose two or three sections of the play and explain how and why you would exploit their comic potential in order to communicate Brecht’s serious purpose.
OR
(c) As a director, explain how your ideas for staging The Resistible Rise of Arturo Ui would communicate the play’s political message to your audience.
Question 6 NEW ZEALAND THEATRE: THE MAORI VOICE
Briar Grace-Smith
EITHER
(a) Describe how you would use vocal and physical skills to create the role of Kui/Aggie Rose and engage your audience.
OR
(b) Describe the atmosphere you want to create in three specific, contrasting scenes of and explain how your design ideas for set and/or lighting would assist in the creation of that atmosphere.
OR
(c) As a director, discuss the ways in which cultural and social issues could influence your proposed performance of .
[Turn over
Question 7 NEW ZEALAND THEATRE: LOOKING AT OURSELVES
Children of the Poor Mervyn Thompson
(an adaptation of the novel by John A. Lee)
EITHER
(a) Explain how you would play the role of Albany Porcello in order to gain the sympathies of your audience.
OR
(b) Describe how you would use a range of chorus techniques to create the world of the play.
OR
(c) As a director, explain how your ideas for staging Children of the Poor would communicate themes and issues of the play to your audience.
UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS in collaboration with ASSOCIATION OF CAMBRIDGE SCHOOLS IN NEW ZEALAND Advanced Subsidiary Level LATIN (School-based Assessment) 8282/02 Paper 2 Literature
UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS
in collaboration with
ASSOCIATION OF CAMBRIDGE SCHOOLS IN NEW ZEALAND Advanced Subsidiary Level
LATIN (School-based Assessment) 8282/02
Paper 2 Literature
Mark Total 100 marks
Additional Materials: Answer Booklet/Paper
October/November 2007
2 hours
READ THESE INSTRUCTIONS FIRST
If you have been given an Answer Booklet, follow the instructions on the front cover of the Booklet. Write your Centre number, index number and name on all the work you hand in.
Write in dark blue or black pen on both sides of the paper.
Do not use staples, paper clips, highlighters, glue or correction fluid.
Answer all questions from both sections of this examination paper. Each section is worth 50 marks.
You are reminded of the need for good English and clear presentation in your answers.
.
The number of marks is given in brackets [ ] at the end of each question or part question. At the end of the examination, fasten all your work securely together.
.
This paper consists of 9 printed pages and 3 blank pages.
© UCLES 2007 [Turn over
QUESTION ONE
Virgil, Aeneid IV. 54–73.
his dictis impenso animum flammavit amore
spemque dedit dubiae menti solvitque pudorem. 55 principio delubra adeunt pacemque per aras
exquirunt; mactant lectas de more bidentes legiferae Cereri Phoeboque patrique Lyaeo, Iunoni ante omnes, cui vincla iugalia curae.
ipsa tenens dextra pateram pulcherrima Dido 60 candentis vaccae media inter cornua fundit,
aut ante ora deum pingues spatiatur ad aras,
instauratque diem donis, pecudumque reclusis pectoribus inhians spirantia consulit exta.
heu, vatum ignarae mentes! quid vota furentem, 65 quid delubra iuvant? est molles flamma medullas
interea et tacitum vivit sub pectore vulnus. uritur infelix Dido totaque vagatur
urbe furens, qualis coniecta cerva sagitta,
quam procul incautam nemora inter Cresia fixit 70 pastor agens telis liquitque volatile ferrum
nescius: illa fuga silvas saltusque peragrat
Dictaeos; haeret lateri letalis harundo.
2. Who has caused Dido’s heart to be set on fire? What was the [2 marks]
reason for this?
3. Pick out TWO details of the simile in lines 69-73 and relate each one to what is
4. happening in Carthage.
EITHER: [2 marks]
Comment on Virgil’s use of BOTH language AND imagery in this passage. You MUST quote the Latin to support your answer.
[4 marks]
OR:
Identify and explain fully the grammar of:
Phoebo (58)
deum (62)
coniecta sagitta (69)
fuga (72) [4 marks]
5. Scan line 66 (quid delubra … medullas), clearly marking the six feet of the hexameter and the main caesura. Identify ONE metrical or stylistic feature in the
line, and state the effect this feature produces. [5 marks]
[Total: 27 marks]
[Turn over
Virgil, Aeneid IV. 604–629.
faces in castra tulissem
implessemque foros flammis natumque patremque 605 cum genere exstinxem, memet super ipsa dedissem.
Sol, qui terrarum flammis opera omnia lustras,
tuque harum interpres curarum et conscia Iuno, nocturnisque Hecate triviis ululata per urbes
et Dirae ultrices et di morientis Elissae, 610 accipite haec, meritumque malis advertite numen
et nostras audite preces. si tangere portus infandum caput ac terris adnare necesse est, et sic fata Iovis poscunt, hic terminus haeret,
at bello audacis populi vexatus et armis, 615 finibus extorris, complexu avulsus Iuli
auxilium imploret videatque indigna suorum
funera; nec, cum se sub leges pacis iniquae tradiderit, regno aut optata luce fruatur,
sed cadat ante diem mediaque inhumatus harena. 620 haec precor, hanc vocem extremam cum sanguine fundo.
tum vos, o Tyrii, stirpem et genus omne futurum exercete odiis, cinerique haec mittite nostro munera. nullus amor populis nec foedera sunto.
exoriare aliquis nostris ex ossibus ultor 625 qui face Dardanios ferroque sequare colonos,
nunc, olim, quocumque dabunt se tempore vires.
litora litoribus contraria, fluctibus undas
imprecor, arma armis: pugnent ipsique nepotesque.’
2. Who was the goddess Hecate mentioned in line 609? Why does Dido call upon her here? [1 mark]
3. Why does Dido refer to her people as Tyrii in line 622? [1 mark]
4. Who is the aliquis ultor mentioned in line 625? Explain this reference. [1 mark]
5. EITHER:
In this passage, Dido expresses her furious rage. Outline in detail at least FOUR other moods she exhibits in Aeneid IV, and for EACH state her mood and briefly describe the situation. [4 marks]
OR:
Identify and explain fully the grammar of:
tulissem (604) terris (613) complexu (616)
exoriare (625) [4 marks]
6. Find FIVE examples of different poetic, stylistic or metrical features in this passage.
For each quote the Latin, identify the feature, and suggest what effect may be produced.
DO NOT use the same type of feature more than once. [5 marks]
[Total: 23 marks]
[Turn over
QUESTION ONE
Livy, ab Urbe Condita I. liv, 5-7
5 Itaque postquam satis virium conlectum ad omnes conatus videbat, tum ex suis unum sciscitatum Romam ad patrem mittit quidnam se facere vellet, quando quidem ut omnia unus publice Gabiis posset ei di dedissent.
6 Huic nuntio, quia, credo, dubiae fidei videbatur, nihil voce responsum est; rex velut deliberabundus in hortum aedium transit sequente nuntio filii; ibi inambulans tacitus summa papaverum capita dicitur baculo decussisse.
7 Interrogando exspectandoque responsum nuntius fessus, ut re imperfecta, redit Gabios; quae dixerit ipse quaeque viderit refert; seu ira seu odio seu superbia insita ingenio nullam eum vocem emisisse.
2. What were the traditional dates for Lucius Tarquinius’ rule of Rome? [1 mark]
3. Where was the city of Gabii in relation to Rome? [1 mark]
4. What did Sextus Tarquinius interpret his father’s peculiar actions to mean? [1 mark]
5. EITHER:
Outline in detail what you know of at least TWO of the opposing tribes which Rome faced during the monarchy. You must give specific facts for each tribe. [4 marks]
OR:
Identify and explain fully the grammar of:
sciscitatum (line 2) dubiae fidei (line 5) decussisse (line 8)
viderit (line 10) [4 marks]
7. Find one example from the passage of each of the following. You must quote the
Latin words relevant to the construction.
pluperfect subjunctive interrogative pronoun perfect passive infinitive
gerund
indirect object [5 marks]
[Total: 25 marks]
[Turn over
QUESTION TWO
Livy, ab Urbe Condita I. lix, 3-7.
3 Ut praeceptum erat iurant; totique ab luctu versi in iram, Brutum iam inde ad expugnandum regnum vocantem sequuntur ducem.
4 Elatum domo Lucretiae corpus in forum deferunt, concientque miraculo, ut fit, rei novae atque indignitate homines. Pro se quisque scelus regium ac vim queruntur.
5 Movet cum patris maestitia, tum Brutus castigator lacrimarum atque inertium querellarum auctorque quod viros, quod Romanos deceret, arma capiendi adversus hostilia ausos.
6 Ferocissimus quisque iuvenum cum armis voluntarius adest;
sequitur et cetera iuventus.
7 Inde patre praeside relicto Collatiae [ad portas] custodibusque datis ne quis eum motum regibus nuntiaret, ceteri armati duce Bruto Romam profecti.
2. Name at least TWO of the men who are the subjects of the verb deferunt in line 3,
and for EACH describe briefly who he was. [2 marks]
3. Where had Lucretia’s husband just come from? [1 mark]
4. What did Lucretia actually die of? [1 mark]
5. EITHER:
Outline in detail at least FOUR of the official powers and privileges of the kings of
Rome. [4 marks]
OR:
Identify and explain fully the grammar of:
indignitate (line 4) deceret (line 7) nuntiaret (line 12)
duce Bruto (line 12) [4 marks]
6. Find one example from the passage of each of the following. You must quote the Latin words relevant to the construction.
locative case
superlative adjective
present participle
gerund
partitive genitive [5 marks]
[Total: 25 marks]
End of Questions
in collaboration with
ASSOCIATION OF CAMBRIDGE SCHOOLS IN NEW ZEALAND Advanced Subsidiary Level
LATIN (School-based Assessment) 8282/02
Paper 2 Literature
Mark Total 100 marks
Additional Materials: Answer Booklet/Paper
October/November 2007
2 hours
READ THESE INSTRUCTIONS FIRST
If you have been given an Answer Booklet, follow the instructions on the front cover of the Booklet. Write your Centre number, index number and name on all the work you hand in.
Write in dark blue or black pen on both sides of the paper.
Do not use staples, paper clips, highlighters, glue or correction fluid.
Answer all questions from both sections of this examination paper. Each section is worth 50 marks.
You are reminded of the need for good English and clear presentation in your answers.
.
The number of marks is given in brackets [ ] at the end of each question or part question. At the end of the examination, fasten all your work securely together.
.
This paper consists of 9 printed pages and 3 blank pages.
© UCLES 2007 [Turn over
QUESTION ONE
Virgil, Aeneid IV. 54–73.
his dictis impenso animum flammavit amore
spemque dedit dubiae menti solvitque pudorem. 55 principio delubra adeunt pacemque per aras
exquirunt; mactant lectas de more bidentes legiferae Cereri Phoeboque patrique Lyaeo, Iunoni ante omnes, cui vincla iugalia curae.
ipsa tenens dextra pateram pulcherrima Dido 60 candentis vaccae media inter cornua fundit,
aut ante ora deum pingues spatiatur ad aras,
instauratque diem donis, pecudumque reclusis pectoribus inhians spirantia consulit exta.
heu, vatum ignarae mentes! quid vota furentem, 65 quid delubra iuvant? est molles flamma medullas
interea et tacitum vivit sub pectore vulnus. uritur infelix Dido totaque vagatur
urbe furens, qualis coniecta cerva sagitta,
quam procul incautam nemora inter Cresia fixit 70 pastor agens telis liquitque volatile ferrum
nescius: illa fuga silvas saltusque peragrat
Dictaeos; haeret lateri letalis harundo.
2. Who has caused Dido’s heart to be set on fire? What was the [2 marks]
reason for this?
3. Pick out TWO details of the simile in lines 69-73 and relate each one to what is
4. happening in Carthage.
EITHER: [2 marks]
Comment on Virgil’s use of BOTH language AND imagery in this passage. You MUST quote the Latin to support your answer.
[4 marks]
OR:
Identify and explain fully the grammar of:
Phoebo (58)
deum (62)
coniecta sagitta (69)
fuga (72) [4 marks]
5. Scan line 66 (quid delubra … medullas), clearly marking the six feet of the hexameter and the main caesura. Identify ONE metrical or stylistic feature in the
line, and state the effect this feature produces. [5 marks]
[Total: 27 marks]
[Turn over
Virgil, Aeneid IV. 604–629.
faces in castra tulissem
implessemque foros flammis natumque patremque 605 cum genere exstinxem, memet super ipsa dedissem.
Sol, qui terrarum flammis opera omnia lustras,
tuque harum interpres curarum et conscia Iuno, nocturnisque Hecate triviis ululata per urbes
et Dirae ultrices et di morientis Elissae, 610 accipite haec, meritumque malis advertite numen
et nostras audite preces. si tangere portus infandum caput ac terris adnare necesse est, et sic fata Iovis poscunt, hic terminus haeret,
at bello audacis populi vexatus et armis, 615 finibus extorris, complexu avulsus Iuli
auxilium imploret videatque indigna suorum
funera; nec, cum se sub leges pacis iniquae tradiderit, regno aut optata luce fruatur,
sed cadat ante diem mediaque inhumatus harena. 620 haec precor, hanc vocem extremam cum sanguine fundo.
tum vos, o Tyrii, stirpem et genus omne futurum exercete odiis, cinerique haec mittite nostro munera. nullus amor populis nec foedera sunto.
exoriare aliquis nostris ex ossibus ultor 625 qui face Dardanios ferroque sequare colonos,
nunc, olim, quocumque dabunt se tempore vires.
litora litoribus contraria, fluctibus undas
imprecor, arma armis: pugnent ipsique nepotesque.’
2. Who was the goddess Hecate mentioned in line 609? Why does Dido call upon her here? [1 mark]
3. Why does Dido refer to her people as Tyrii in line 622? [1 mark]
4. Who is the aliquis ultor mentioned in line 625? Explain this reference. [1 mark]
5. EITHER:
In this passage, Dido expresses her furious rage. Outline in detail at least FOUR other moods she exhibits in Aeneid IV, and for EACH state her mood and briefly describe the situation. [4 marks]
OR:
Identify and explain fully the grammar of:
tulissem (604) terris (613) complexu (616)
exoriare (625) [4 marks]
6. Find FIVE examples of different poetic, stylistic or metrical features in this passage.
For each quote the Latin, identify the feature, and suggest what effect may be produced.
DO NOT use the same type of feature more than once. [5 marks]
[Total: 23 marks]
[Turn over
QUESTION ONE
Livy, ab Urbe Condita I. liv, 5-7
5 Itaque postquam satis virium conlectum ad omnes conatus videbat, tum ex suis unum sciscitatum Romam ad patrem mittit quidnam se facere vellet, quando quidem ut omnia unus publice Gabiis posset ei di dedissent.
6 Huic nuntio, quia, credo, dubiae fidei videbatur, nihil voce responsum est; rex velut deliberabundus in hortum aedium transit sequente nuntio filii; ibi inambulans tacitus summa papaverum capita dicitur baculo decussisse.
7 Interrogando exspectandoque responsum nuntius fessus, ut re imperfecta, redit Gabios; quae dixerit ipse quaeque viderit refert; seu ira seu odio seu superbia insita ingenio nullam eum vocem emisisse.
2. What were the traditional dates for Lucius Tarquinius’ rule of Rome? [1 mark]
3. Where was the city of Gabii in relation to Rome? [1 mark]
4. What did Sextus Tarquinius interpret his father’s peculiar actions to mean? [1 mark]
5. EITHER:
Outline in detail what you know of at least TWO of the opposing tribes which Rome faced during the monarchy. You must give specific facts for each tribe. [4 marks]
OR:
Identify and explain fully the grammar of:
sciscitatum (line 2) dubiae fidei (line 5) decussisse (line 8)
viderit (line 10) [4 marks]
7. Find one example from the passage of each of the following. You must quote the
Latin words relevant to the construction.
pluperfect subjunctive interrogative pronoun perfect passive infinitive
gerund
indirect object [5 marks]
[Total: 25 marks]
[Turn over
QUESTION TWO
Livy, ab Urbe Condita I. lix, 3-7.
3 Ut praeceptum erat iurant; totique ab luctu versi in iram, Brutum iam inde ad expugnandum regnum vocantem sequuntur ducem.
4 Elatum domo Lucretiae corpus in forum deferunt, concientque miraculo, ut fit, rei novae atque indignitate homines. Pro se quisque scelus regium ac vim queruntur.
5 Movet cum patris maestitia, tum Brutus castigator lacrimarum atque inertium querellarum auctorque quod viros, quod Romanos deceret, arma capiendi adversus hostilia ausos.
6 Ferocissimus quisque iuvenum cum armis voluntarius adest;
sequitur et cetera iuventus.
7 Inde patre praeside relicto Collatiae [ad portas] custodibusque datis ne quis eum motum regibus nuntiaret, ceteri armati duce Bruto Romam profecti.
2. Name at least TWO of the men who are the subjects of the verb deferunt in line 3,
and for EACH describe briefly who he was. [2 marks]
3. Where had Lucretia’s husband just come from? [1 mark]
4. What did Lucretia actually die of? [1 mark]
5. EITHER:
Outline in detail at least FOUR of the official powers and privileges of the kings of
Rome. [4 marks]
OR:
Identify and explain fully the grammar of:
indignitate (line 4) deceret (line 7) nuntiaret (line 12)
duce Bruto (line 12) [4 marks]
6. Find one example from the passage of each of the following. You must quote the Latin words relevant to the construction.
locative case
superlative adjective
present participle
gerund
partitive genitive [5 marks]
[Total: 25 marks]
End of Questions
UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS in collaboration with ASSOCIATION OF CAMBRIDGE SCHOOLS IN NEW ZEALAND Advanced Subsidiary Level LATIN (School-based Assessment) 8282/01 Paper 1 Language
UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS
in collaboration with
ASSOCIATION OF CAMBRIDGE SCHOOLS IN NEW ZEALAND Advanced Subsidiary Level
LATIN (School-based Assessment) 8282/01
Paper 1 Language
Mark Total 100 marks
Additional Materials: Answer Booklet/Paper
October/November 2010
2 hours
READ THESE INSTRUCTIONS FIRST
If you have been given an Answer Booklet, follow the instructions on the front cover of the Booklet. Write your Centre number, index number and name on all the work you hand in.
Write in dark blue or black pen on both sides of the paper.
Do not use staples, paper clips, highlighters, glue or correction fluid.
Answer questions from any two of the three sections of this examination paper. Each section is worth 50 marks.
Do not attempt more then two sections.
You are reminded of the need for good English and clear presentation in your answers.
The number of marks is given in brackets [ ] at the end of each question or part question. At the end of the examination, fasten all your work securely together.
This paper consists of 7 printed pages and 1 blank page.
© UCLES 2010 [Turn over
SECTION A: Translation of Latin Prose
QUESTION ONE
Translate into English. Write your translation on alternate lines.
Against the Morini and the Menapii
Caesar leads an expedition against the Morini and the Menapii;
they withdraw into their woods and swamps, from which they make an attack
Eodem fere tempore Caesar, etsi prope exacta
iam aestas erat, tamen quod omni Gallia pacata Morini Menapiique super erant qui in armis essent neque ad eum umquam legatos de pace misissent, arbitratus id bellum celeriter confici posse, eo exercitum adduxit. Qui longe alia ratione ac reliqui Galli bellum gerere coeperunt. Nam
quod intellegebant maximas nationes, quae proelio contendissent, pulsas superatasque esse, continentesque silvas ac paludes habebant, eo se suaque omnia contulerunt. Ad quarum initium silvarum cum Caesar pervenisset castraque munire instituisset neque hostis interim visus esset, dispersis in opere nostris subito ex omnibus
partibus silvae evolaverunt et in nostros impetum fecerunt.
Nostri celeriter arma ceperunt eosque in silvas
reppulerunt et compluribus interfectis longius impeditioribus
locis secuti paucos ex suis deperdiderunt.
Caesar, de bello Gallico III.28
[50 marks]
Glossary
prope [adverb] almost
exigo, -igere, -egi, -actum [passive, of time] come to an end
paco, -are, -avi, -atum make peaceful, pacify
super sum, esse, fui remain, be left
Qui = at illi [the Morini and the Menapii]
alia ratione ac = aliter quam natio, -onis F., tribe
continens, -ntis [adjective] extending continuously
quarum = illarum instituo, -uere, -ui, -utum = incipio, -ere dispergo, -gere, -si, -sum scatter
nostri = milites nostri evolo, -are, -avi rush out
complures, -es, -a [adjective as noun] many men longius [comparative adverb] too far impeditus, -a, -um [of terrain] not easily passable sui = milites sui
deperdo, -ere, idi, -itum lose
[Turn over
SECTION B: Translation of Latin Poetry
QUESTION ONE
Translate into English. Write your translation on alternate lines.
The sack of Troy: how Deiphobus died
Deiphobus, the husband of Helen after Paris died, was betrayed by Helen to the Greeks and killed;
in the Underworld his soul tells Aeneas what happened
namque ut supremam falsa inter gaudia noctem egerimus, nosti: et nimium meminisse necesse est. cum fatalis equus saltu super ardua venit
Pergama et armatum peditem gravis attulit alvo, illa chorum simulans euhantes orgia circum ducebat Phrygias; flammam media ipsa tenebat ingentem et summa Danaos ex arce vocabat.
tum me confectum curis somnoque gravatum infelix habuit thalamus, pressitque iacentem dulcis et alta quies placidaeque simillima morti. egregia interea coniunx arma omnia tectis emovet, et fidum capiti subduxerat ensem: intra tecta vocat Menelaum et limina pandit, scilicet id magnum sperans fore munus amanti, et famam exstingui veterum sic posse malorum.
Virgil, Aeneid VI. 513-527
[50 marks]
Glossary
namque = nam
ut [conjunction] how ago, agere, egi, actum pass, spend [time] nosti = novisti
fatalis, -is, -e fateful, sent by fate
saltus, -us M., leap
super… /Pergama [= over (the walls of) the citadel] Pergama, -orum N., pl., the citadel of Troy peditem [singular for plural]
alvus, -i F., belly
chorus, -i M., dance
euhans, -ntis [participle] celebrating
[in Bacchic ritual] orgia, -orum N., pl., (Bacchic) rites circum [adverb] around
Phrygia, -ae F., Phrygian (Trojan) woman
gravo, -are, avi, -atum overpower
thalamus, -i M., bedroom
egregius, -a, -um excellent [here ironically]
emovet = aufert
capiti [D. had his sword under his pillow] sub-duco, -cere, -xi, -ctum take [from under something] pando, -ere open
amans, -ntis M., F., lover [Menelaus]
[Turn over
SECTION C: Latin Grammar
Answer BOTH Question One and Question Two.
QUESTION ONE
Choose any FIVE of the following sentences. Do NOT attempt more than FIVE sentences. For each sentence, translate the sentence into English and identify and explain the construction or constructions of the underlined word or words.
Example: Caesar milites misit qui castra defenderent.
Caesar sent soldiers to defend the camp.
qui… defenderent = relative clause in subjunctive mood expressing purpose; verb in imperfect tense in secondary sequence after misit.
(i) Graii equum illum fecerunt multo maiorem urbis portis. (ii) Captivi talia passi nobis est miserendum.
(iii) Quomodo illis persuadeamus ut equum intra moenia agant?
(iv) Hostium arma induerant quibus eos fallerent.
(v) Quantum virtutis ille coniuge amissa praebebat!
(vi) Si tum mihi paruisses nunc tibi auxilium libentius darem. (vii) Negavit se lapides in fratrem eius umquam iecisse.
(viii) Dubitabam utrum domi manerem an rus proficiscerer.
[20 marks]
QUESTION TWO
Translate any TEN sentences into Latin (the conventions of Latin word order should be followed):
(i) The Gauls tried to escape by retreating into the woods.
(ii) He ordered that they all sail immediately to the same place.
(iii) When the barbarians saw the ships approaching they ran to the shore. (iv) I do not know whether Roman soldiers could swim.
(v) But they were prevented by their armour from doing it easily. (vi) We feared the chariots, which the enemy used with great skill. (vii) He burned the houses of those who were unwilling to surrender. (viii) When you arrive in Rome report all this to the Senate.
(ix) Although they hated all Greeks they spared him.
(x) His mother promised she would bring them help in every danger. (xi) She was so surprised she suddenly fell to the ground.
(xii) I am ashamed that I do not remember those names better. (xiii) Seeing this he had returned home to save his family.
(xiv) He decided to fight again until he died in his own city.
(xv) If the gods had not sent a sign his father would never have departed.
[30 marks]
End of questions
in collaboration with
ASSOCIATION OF CAMBRIDGE SCHOOLS IN NEW ZEALAND Advanced Subsidiary Level
LATIN (School-based Assessment) 8282/01
Paper 1 Language
Mark Total 100 marks
Additional Materials: Answer Booklet/Paper
October/November 2010
2 hours
READ THESE INSTRUCTIONS FIRST
If you have been given an Answer Booklet, follow the instructions on the front cover of the Booklet. Write your Centre number, index number and name on all the work you hand in.
Write in dark blue or black pen on both sides of the paper.
Do not use staples, paper clips, highlighters, glue or correction fluid.
Answer questions from any two of the three sections of this examination paper. Each section is worth 50 marks.
Do not attempt more then two sections.
You are reminded of the need for good English and clear presentation in your answers.
The number of marks is given in brackets [ ] at the end of each question or part question. At the end of the examination, fasten all your work securely together.
This paper consists of 7 printed pages and 1 blank page.
© UCLES 2010 [Turn over
SECTION A: Translation of Latin Prose
QUESTION ONE
Translate into English. Write your translation on alternate lines.
Against the Morini and the Menapii
Caesar leads an expedition against the Morini and the Menapii;
they withdraw into their woods and swamps, from which they make an attack
Eodem fere tempore Caesar, etsi prope exacta
iam aestas erat, tamen quod omni Gallia pacata Morini Menapiique super erant qui in armis essent neque ad eum umquam legatos de pace misissent, arbitratus id bellum celeriter confici posse, eo exercitum adduxit. Qui longe alia ratione ac reliqui Galli bellum gerere coeperunt. Nam
quod intellegebant maximas nationes, quae proelio contendissent, pulsas superatasque esse, continentesque silvas ac paludes habebant, eo se suaque omnia contulerunt. Ad quarum initium silvarum cum Caesar pervenisset castraque munire instituisset neque hostis interim visus esset, dispersis in opere nostris subito ex omnibus
partibus silvae evolaverunt et in nostros impetum fecerunt.
Nostri celeriter arma ceperunt eosque in silvas
reppulerunt et compluribus interfectis longius impeditioribus
locis secuti paucos ex suis deperdiderunt.
Caesar, de bello Gallico III.28
[50 marks]
Glossary
prope [adverb] almost
exigo, -igere, -egi, -actum [passive, of time] come to an end
paco, -are, -avi, -atum make peaceful, pacify
super sum, esse, fui remain, be left
Qui = at illi [the Morini and the Menapii]
alia ratione ac = aliter quam natio, -onis F., tribe
continens, -ntis [adjective] extending continuously
quarum = illarum instituo, -uere, -ui, -utum = incipio, -ere dispergo, -gere, -si, -sum scatter
nostri = milites nostri evolo, -are, -avi rush out
complures, -es, -a [adjective as noun] many men longius [comparative adverb] too far impeditus, -a, -um [of terrain] not easily passable sui = milites sui
deperdo, -ere, idi, -itum lose
[Turn over
SECTION B: Translation of Latin Poetry
QUESTION ONE
Translate into English. Write your translation on alternate lines.
The sack of Troy: how Deiphobus died
Deiphobus, the husband of Helen after Paris died, was betrayed by Helen to the Greeks and killed;
in the Underworld his soul tells Aeneas what happened
namque ut supremam falsa inter gaudia noctem egerimus, nosti: et nimium meminisse necesse est. cum fatalis equus saltu super ardua venit
Pergama et armatum peditem gravis attulit alvo, illa chorum simulans euhantes orgia circum ducebat Phrygias; flammam media ipsa tenebat ingentem et summa Danaos ex arce vocabat.
tum me confectum curis somnoque gravatum infelix habuit thalamus, pressitque iacentem dulcis et alta quies placidaeque simillima morti. egregia interea coniunx arma omnia tectis emovet, et fidum capiti subduxerat ensem: intra tecta vocat Menelaum et limina pandit, scilicet id magnum sperans fore munus amanti, et famam exstingui veterum sic posse malorum.
Virgil, Aeneid VI. 513-527
[50 marks]
Glossary
namque = nam
ut [conjunction] how ago, agere, egi, actum pass, spend [time] nosti = novisti
fatalis, -is, -e fateful, sent by fate
saltus, -us M., leap
super… /Pergama [= over (the walls of) the citadel] Pergama, -orum N., pl., the citadel of Troy peditem [singular for plural]
alvus, -i F., belly
chorus, -i M., dance
euhans, -ntis [participle] celebrating
[in Bacchic ritual] orgia, -orum N., pl., (Bacchic) rites circum [adverb] around
Phrygia, -ae F., Phrygian (Trojan) woman
gravo, -are, avi, -atum overpower
thalamus, -i M., bedroom
egregius, -a, -um excellent [here ironically]
emovet = aufert
capiti [D. had his sword under his pillow] sub-duco, -cere, -xi, -ctum take [from under something] pando, -ere open
amans, -ntis M., F., lover [Menelaus]
[Turn over
SECTION C: Latin Grammar
Answer BOTH Question One and Question Two.
QUESTION ONE
Choose any FIVE of the following sentences. Do NOT attempt more than FIVE sentences. For each sentence, translate the sentence into English and identify and explain the construction or constructions of the underlined word or words.
Example: Caesar milites misit qui castra defenderent.
Caesar sent soldiers to defend the camp.
qui… defenderent = relative clause in subjunctive mood expressing purpose; verb in imperfect tense in secondary sequence after misit.
(i) Graii equum illum fecerunt multo maiorem urbis portis. (ii) Captivi talia passi nobis est miserendum.
(iii) Quomodo illis persuadeamus ut equum intra moenia agant?
(iv) Hostium arma induerant quibus eos fallerent.
(v) Quantum virtutis ille coniuge amissa praebebat!
(vi) Si tum mihi paruisses nunc tibi auxilium libentius darem. (vii) Negavit se lapides in fratrem eius umquam iecisse.
(viii) Dubitabam utrum domi manerem an rus proficiscerer.
[20 marks]
QUESTION TWO
Translate any TEN sentences into Latin (the conventions of Latin word order should be followed):
(i) The Gauls tried to escape by retreating into the woods.
(ii) He ordered that they all sail immediately to the same place.
(iii) When the barbarians saw the ships approaching they ran to the shore. (iv) I do not know whether Roman soldiers could swim.
(v) But they were prevented by their armour from doing it easily. (vi) We feared the chariots, which the enemy used with great skill. (vii) He burned the houses of those who were unwilling to surrender. (viii) When you arrive in Rome report all this to the Senate.
(ix) Although they hated all Greeks they spared him.
(x) His mother promised she would bring them help in every danger. (xi) She was so surprised she suddenly fell to the ground.
(xii) I am ashamed that I do not remember those names better. (xiii) Seeing this he had returned home to save his family.
(xiv) He decided to fight again until he died in his own city.
(xv) If the gods had not sent a sign his father would never have departed.
[30 marks]
End of questions
UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS in collaboration with ASSOCIATION OF CAMBRIDGE SCHOOLS IN NEW ZEALAND Advanced Subsidiary Level LATIN (School-based Assessment)
UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS
in collaboration with
ASSOCIATION OF CAMBRIDGE SCHOOLS IN NEW ZEALAND Advanced Subsidiary Level
LATIN (School-based Assessment) 8282/01
Paper 1 Language
Mark Total 100 marks
Additional Materials: Answer Booklet/Paper
October/November 2007
2 hours
READ THESE INSTRUCTIONS FIRST
If you have been given an Answer Booklet, follow the instructions on the front cover of the Booklet. Write your Centre number, index number and name on all the work you hand in.
Write in dark blue or black pen on both sides of the paper.
Do not use staples, paper clips, highlighters, glue or correction fluid.
Answer questions from any two of the three sections of this examination paper. Each section is worth 50 marks.
Do not attempt more then two sections.
You are reminded of the need for good English and clear presentation in your answers.
The number of marks is given in brackets [ ] at the end of each question or part question. At the end of the examination, fasten all your work securely together.
.
This paper consists of 7 printed pages and 1 blank page.
© UCLES 2007 [Turn over
QUESTION ONE
Translate into English. Write your translation on alternate lines.
Farewell Old King
Tarquinius Superbus, himself the son of a previous king of
Rome, brutally deposes Servius Tullius and takes his throne.
Huic orationi Servius cum intervenisset trepido nuntio excitatus, extemplo a vestibulo curiae magna voce, “Quid hoc” inquit, “Tarquini, est? Qua tu audacia me vivo vocare ausus es patres aut in sede considere mea?”
Cum ille ferociter ad haec respondisset, — se patris sui tenere sedem; filium regis multo potiorem regni heredem quam servum; illum diu insultavisse dominis — clamor ab utriusque fautoribus oritur et concursus populi fiebat in curiam, apparebatque eum regnaturum esse qui vicisset.
Tum Tarquinius, multo et aetate et viribus validior, medium arripit Servium, elatumque e curia in inferiorem partem per gradus deiecit; inde ad cogendum senatum in curiam rediit.
Fit fuga regis apparitorum atque comitum; ipse prope exsanguis, cum sine regio comitatu domum se reciperet, ab eis qui missi ab Tarquinio fugientem consecuti erant interficitur.
Livy, ab Urbe Condita, 1. 48 (adapted) [50 marks]
Ser vius , –i M., Servius T ull ius inte rve nio , –ir e, – ven i, –ve ntu m interrup t ( + dative) trep id us , –a, – um alar ming
exte mp lo (adv.) , im m edia te ly
Tar qu in ius, – i M., T arqui nius Super bus
pot io r, – io r, – iu s more pre fer able
here s, h ere dis M., he ir
ins u lto , –are , –a vi, –at u m tra mpl e o n, i nsul t ( + da tive)
fauto r, fa utor is M., supp orter
con cur sus , – us M., rush arr ip io , –er e, – ui, ar rept u m seize effero , effer re, e xtu li, e latu m carry ou t infe rior , –ior , –ius lower
app ar itor , ap par it or is M., a ttenda nt
exsa ng uis, – is , –e lifeless
reg iu s, –a , –um royal
co mitatu s, – us M., re tinu e, e nto urage
con seq uo r, – i, c o nsec utu s s u m = s eq uor , – i, s ecut us su m
[Turn over
QUESTION ONE
Translate into English. Write your translation on alternate lines.
The Souls of the Dead Return to the Light
During a tour of the underworld, Anchises shows Aeneas the souls which, after being cleansed, are to be returned to new bodies in the world above.
Meanwhile Aeneas sees, in a valley set aside, a woodland and rustling forest thickets, and the river Lethe that floats past peaceful dwellings. Around it hovered tribes and peoples unnumbered.
ac veluti in pratis ubi apes aestate serena
floribus insidunt variis et candida circum
lilia funduntur, strepit omnis murmure campus. horrescit visu subito causasque requirit inscius Aeneas, quae sint ea flumina porro, quive viri tanto complerint agmine ripas.
tum pater Anchises: “animae, quibus altera fato corpora debentur, Lethaei ad fluminis undam securos latices et longa oblivia potant.
has equidem memorare tibi atque ostendere coram, iampridem hanc prolem cupio enumerare meorum, quo magis Italia mecum laetere reperta.”
“o pater, anne aliquas ad caelum hinc ire putandum est sublimes animas iterumque ad tarda reverti
corpora? quae lucis miseris tam dira cupido?”
Virgil, Aeneid VI. 706–721. [50 marks]
ac v elut i … u bi (conj.) , jus t as w hen
prat u m, – i N., mea dow
apes , ap is F., bee
sere nus , –a , –um clear, cl oudl ess
ins ido , –er e, ins ed i, ins ess u m settle (on)
liliu m, – i N., l ily
fun do , –ere , fu di, fus u m pour for th , be abu ndan t, be wid ely s pread
strep o, – ere , –u i, –it u m resound , r ing mur mur , mur mur is N., h um m ing hor resc o , –ere , h orr ui shudder
vis us , –us M., sig ht sub itu s, – a, – um sudden req uiro , –ere , re qu is iv i, req uisit u m ask
ins cius , –a , –um unaware
Aenea s, Ae ne ae M., Aene as
–ve (conj.) , or
co mp le rint = c o mple ver int
Anc his es , A nc hisis M., Anchis es ( the father o f Ae neas)
Leth aeu s, –a , –um Leth ean , o f the river L ethe (h aving drunk fro m this riv er in ord er to for get th eir previ ous life, s ouls are re ady to assu me new bod ies in the w orld abov e)
secu rus , –a , –um carefree , soo thi ng latex , latic is M., flui d, dra ugh t ob liviu m, –i N., forg etful ness pot o, –a re , – av i, – atu m drink
equ ide m (adv.) , for my p art, perso nally
ia mpr ide m long since
pro le s, p ro lis F., descen dan ts, o ffsprin g
enu mera re, – are , –av i, – atu m count
laet or , –ar i, laetat us s u m rejoice , be gl ad ; laet ere = laeter is ann e (conj.) , surely
puta nd u m est = “o ne m ust think” sub limis, – is , –e raised alo ft, u pli fted cup ido , cu pid in is F., desire
[Turn over
SECTION C: Latin Grammar
Answer BOTH Question One and Question Two.
QUESTION ONE
Choose any FIVE of the following sentences. For each sentence, translate into English and identify and explain the construction of the underlined words. Do NOT attempt more than FIVE sentences.
Example: Caesar milites misit qui castra defenderent.
Caesar sent soldiers to defend the camp.
qui … defenderent = purpose clause (qui replaces ut with a verb of motion)
defenderent = imperfect subjunctive in secondary sequence after misit
(i) Tales non sunt qui hoc facere vereantur. (ii) Adiuva me quo facilius id fiat.
(iii) Fessis pugnando militibus quies data est.
(iv) Non possum contineri quin de hac re loquar. [contineo, –ere, –ui = restrain] (v) Si praemium promiseris, hoc facere conabor.
(vi) Equites tribus diebus se sequi iussit.
(vii) Ille in hoc oppido maximae auctoritatis esse videtur.
(viii) Dum haec geruntur, una legio ad oppugnandum missa est.
[20 marks]
QUESTION TWO
Translate any TEN sentences into Latin (the conventions of Latin word order should be followed):
(i) Having captured many enemies, the general decided to depart. (ii) Surely he did not tell them where he had hidden the money?
(iii) He was so angry that no-one laughed.
(iv) He was afraid that the citizens might create him king. (v) Our teacher will say that we have not learnt enough. (vi) We advise you to stand on the wall.
(vii) The guards had prevented many soldiers from entering the temple. (viii) When shall I have an opportunity to capture this city?
(ix) I shall keep the boys at home until they finish their work. (x) The king will place soldiers to guard the bridge.
(xi) Although we are poor, let us not become unhappy.
(xii) If you had not shouted, I would have easily captured the beautiful eagle. (xiii) They were not allowed to wait for us here.
(xiv) Let us leave the boat before the storm arises.
(xv) Since we have reached the coast, let us stay here.
[30 marks]
End of Questions
in collaboration with
ASSOCIATION OF CAMBRIDGE SCHOOLS IN NEW ZEALAND Advanced Subsidiary Level
LATIN (School-based Assessment) 8282/01
Paper 1 Language
Mark Total 100 marks
Additional Materials: Answer Booklet/Paper
October/November 2007
2 hours
READ THESE INSTRUCTIONS FIRST
If you have been given an Answer Booklet, follow the instructions on the front cover of the Booklet. Write your Centre number, index number and name on all the work you hand in.
Write in dark blue or black pen on both sides of the paper.
Do not use staples, paper clips, highlighters, glue or correction fluid.
Answer questions from any two of the three sections of this examination paper. Each section is worth 50 marks.
Do not attempt more then two sections.
You are reminded of the need for good English and clear presentation in your answers.
The number of marks is given in brackets [ ] at the end of each question or part question. At the end of the examination, fasten all your work securely together.
.
This paper consists of 7 printed pages and 1 blank page.
© UCLES 2007 [Turn over
QUESTION ONE
Translate into English. Write your translation on alternate lines.
Farewell Old King
Tarquinius Superbus, himself the son of a previous king of
Rome, brutally deposes Servius Tullius and takes his throne.
Huic orationi Servius cum intervenisset trepido nuntio excitatus, extemplo a vestibulo curiae magna voce, “Quid hoc” inquit, “Tarquini, est? Qua tu audacia me vivo vocare ausus es patres aut in sede considere mea?”
Cum ille ferociter ad haec respondisset, — se patris sui tenere sedem; filium regis multo potiorem regni heredem quam servum; illum diu insultavisse dominis — clamor ab utriusque fautoribus oritur et concursus populi fiebat in curiam, apparebatque eum regnaturum esse qui vicisset.
Tum Tarquinius, multo et aetate et viribus validior, medium arripit Servium, elatumque e curia in inferiorem partem per gradus deiecit; inde ad cogendum senatum in curiam rediit.
Fit fuga regis apparitorum atque comitum; ipse prope exsanguis, cum sine regio comitatu domum se reciperet, ab eis qui missi ab Tarquinio fugientem consecuti erant interficitur.
Livy, ab Urbe Condita, 1. 48 (adapted) [50 marks]
Ser vius , –i M., Servius T ull ius inte rve nio , –ir e, – ven i, –ve ntu m interrup t ( + dative) trep id us , –a, – um alar ming
exte mp lo (adv.) , im m edia te ly
Tar qu in ius, – i M., T arqui nius Super bus
pot io r, – io r, – iu s more pre fer able
here s, h ere dis M., he ir
ins u lto , –are , –a vi, –at u m tra mpl e o n, i nsul t ( + da tive)
fauto r, fa utor is M., supp orter
con cur sus , – us M., rush arr ip io , –er e, – ui, ar rept u m seize effero , effer re, e xtu li, e latu m carry ou t infe rior , –ior , –ius lower
app ar itor , ap par it or is M., a ttenda nt
exsa ng uis, – is , –e lifeless
reg iu s, –a , –um royal
co mitatu s, – us M., re tinu e, e nto urage
con seq uo r, – i, c o nsec utu s s u m = s eq uor , – i, s ecut us su m
[Turn over
QUESTION ONE
Translate into English. Write your translation on alternate lines.
The Souls of the Dead Return to the Light
During a tour of the underworld, Anchises shows Aeneas the souls which, after being cleansed, are to be returned to new bodies in the world above.
Meanwhile Aeneas sees, in a valley set aside, a woodland and rustling forest thickets, and the river Lethe that floats past peaceful dwellings. Around it hovered tribes and peoples unnumbered.
ac veluti in pratis ubi apes aestate serena
floribus insidunt variis et candida circum
lilia funduntur, strepit omnis murmure campus. horrescit visu subito causasque requirit inscius Aeneas, quae sint ea flumina porro, quive viri tanto complerint agmine ripas.
tum pater Anchises: “animae, quibus altera fato corpora debentur, Lethaei ad fluminis undam securos latices et longa oblivia potant.
has equidem memorare tibi atque ostendere coram, iampridem hanc prolem cupio enumerare meorum, quo magis Italia mecum laetere reperta.”
“o pater, anne aliquas ad caelum hinc ire putandum est sublimes animas iterumque ad tarda reverti
corpora? quae lucis miseris tam dira cupido?”
Virgil, Aeneid VI. 706–721. [50 marks]
ac v elut i … u bi (conj.) , jus t as w hen
prat u m, – i N., mea dow
apes , ap is F., bee
sere nus , –a , –um clear, cl oudl ess
ins ido , –er e, ins ed i, ins ess u m settle (on)
liliu m, – i N., l ily
fun do , –ere , fu di, fus u m pour for th , be abu ndan t, be wid ely s pread
strep o, – ere , –u i, –it u m resound , r ing mur mur , mur mur is N., h um m ing hor resc o , –ere , h orr ui shudder
vis us , –us M., sig ht sub itu s, – a, – um sudden req uiro , –ere , re qu is iv i, req uisit u m ask
ins cius , –a , –um unaware
Aenea s, Ae ne ae M., Aene as
–ve (conj.) , or
co mp le rint = c o mple ver int
Anc his es , A nc hisis M., Anchis es ( the father o f Ae neas)
Leth aeu s, –a , –um Leth ean , o f the river L ethe (h aving drunk fro m this riv er in ord er to for get th eir previ ous life, s ouls are re ady to assu me new bod ies in the w orld abov e)
secu rus , –a , –um carefree , soo thi ng latex , latic is M., flui d, dra ugh t ob liviu m, –i N., forg etful ness pot o, –a re , – av i, – atu m drink
equ ide m (adv.) , for my p art, perso nally
ia mpr ide m long since
pro le s, p ro lis F., descen dan ts, o ffsprin g
enu mera re, – are , –av i, – atu m count
laet or , –ar i, laetat us s u m rejoice , be gl ad ; laet ere = laeter is ann e (conj.) , surely
puta nd u m est = “o ne m ust think” sub limis, – is , –e raised alo ft, u pli fted cup ido , cu pid in is F., desire
[Turn over
SECTION C: Latin Grammar
Answer BOTH Question One and Question Two.
QUESTION ONE
Choose any FIVE of the following sentences. For each sentence, translate into English and identify and explain the construction of the underlined words. Do NOT attempt more than FIVE sentences.
Example: Caesar milites misit qui castra defenderent.
Caesar sent soldiers to defend the camp.
qui … defenderent = purpose clause (qui replaces ut with a verb of motion)
defenderent = imperfect subjunctive in secondary sequence after misit
(i) Tales non sunt qui hoc facere vereantur. (ii) Adiuva me quo facilius id fiat.
(iii) Fessis pugnando militibus quies data est.
(iv) Non possum contineri quin de hac re loquar. [contineo, –ere, –ui = restrain] (v) Si praemium promiseris, hoc facere conabor.
(vi) Equites tribus diebus se sequi iussit.
(vii) Ille in hoc oppido maximae auctoritatis esse videtur.
(viii) Dum haec geruntur, una legio ad oppugnandum missa est.
[20 marks]
QUESTION TWO
Translate any TEN sentences into Latin (the conventions of Latin word order should be followed):
(i) Having captured many enemies, the general decided to depart. (ii) Surely he did not tell them where he had hidden the money?
(iii) He was so angry that no-one laughed.
(iv) He was afraid that the citizens might create him king. (v) Our teacher will say that we have not learnt enough. (vi) We advise you to stand on the wall.
(vii) The guards had prevented many soldiers from entering the temple. (viii) When shall I have an opportunity to capture this city?
(ix) I shall keep the boys at home until they finish their work. (x) The king will place soldiers to guard the bridge.
(xi) Although we are poor, let us not become unhappy.
(xii) If you had not shouted, I would have easily captured the beautiful eagle. (xiii) They were not allowed to wait for us here.
(xiv) Let us leave the boat before the storm arises.
(xv) Since we have reached the coast, let us stay here.
[30 marks]
End of Questions
UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS in collaboration with ASSOCIATION OF CAMBRIDGE SCHOOLS IN NEW ZEALAND Advanced Subsidiary Level LATIN (School-based Assessment)
UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS
in collaboration with
ASSOCIATION OF CAMBRIDGE SCHOOLS IN NEW ZEALAND Advanced Subsidiary Level
LATIN (School-based Assessment) 8282/01
Paper 1 Language
Mark Total 100 marks
Additional Materials: Answer Booklet/Paper
October/November 2008
2 hours
READ THESE INSTRUCTIONS FIRST
If you have been given an Answer Booklet, follow the instructions on the front cover of the Booklet. Write your Centre number, index number and name on all the work you hand in.
Write in dark blue or black pen on both sides of the paper.
Do not use staples, paper clips, highlighters, glue or correction fluid.
Answer questions from any two of the three sections of this examination paper. Each section is worth 50 marks.
Do not attempt more then two sections.
You are reminded of the need for good English and clear presentation in your answers.
The number of marks is given in brackets [ ] at the end of each question or part question. At the end of the examination, fasten all your work securely together.
.
This paper consists of 7 printed pages and 1 blank page.
UCLES 2008 [Turn over
SECTION A: Translation of Latin Prose
QUESTION ONE
Translate into English. Write your translation on alternate lines.
A Message to a Camp under Siege
Cicero (brother of the orator) is under siege by Gauls; Caesar sends a message
ibi ex captivis cognoscit quae apud Ciceronem gerantur quantoque in periculo res sit. tum cuidam ex equitibus Gallis magnis praemiis persuadet, uti ad Ciceronem epistulam deferat. hanc Graecis conscriptam litteris mittit, ne intercepta epistula nostra ab hostibus consilia cognoscantur. si adire non possit, monet ut tragulam cum epistula ad ammentum deligata intra munitionem castrorum abiciat. in litteris scribit se cum legionibus profectum celeriter adfore; hortatur ut pristinam virtutem retineat. Gallus periculum veritus, ut erat praeceptum, tragulam mittit. haec casu ad turrem adhaesit neque a nostris biduo animadversa tertio die a quodam milite conspicitur, dempta ad Ciceronem defertur. ille perlectam in conventu militum
recitat maximaque omnes laetitia adficit. tum fumi incendiorum procul videbantur, quae res omnem dubitationem adventus legionum expulit.
Caesar, De Bello Gallico V.48, 2-10
[50 marks]
Glossary
apud [prep., + acc.] in the vicinity of equitibus Gallis [Gallic cavalry among Caesar’s forces] uti = ut
conscribo, -bere, -psi, -ptum = scribo, -ere intercipio, -ipere, -epi, eptum intercept nostra [with consilia]
tragula, -ae F., spear fitted with throwing strap
ammentum, -i N., throwing strap
deligo, -are, -avi, -atum bind, tie munitio, -onis F., fortification abicio, -cere throw pristinus, -a, -um old, former
praecipio, -ipere, -epi, -eptum command, order
turris, -is F., tower
adhaereo, -rere, -si, sum stick, become fixed neque… animadversa = et… non animadversa demo, -ere, -psi, -ptum take away, take down perlego, -egere, -egi, -ectum read through
conventus, -us M., assembly, gathering
recito, -are read aloud
laetitia, -ae F., joy
adficio, -icere, -eci, -ectum inspire [someone with emotion (abl.)]
incendium, -ii N., fire
dubitatio, -onis F., doubt
[Turn over
SECTION B: Translation of Latin Poetry
QUESTION ONE
Translate into English. Write your translation on alternate lines.
Aeneas kills Turnus
Aeneas has wounded Turnus; Turnus has appealed for mercy. Aeneas notices that Turnus is wearing spoils he has taken from Pallas, Aeneas’ young ally and protégé.
stetit acer in armis
Aeneas volvens oculos dextramque repressit;
et iam iamque magis cunctantem flectere sermo coeperat, infelix umero cum apparuit alto
balteus et notis fulserunt cingula bullis Pallantis pueri, victum quem vulnere Turnus straverat atque umeris inimicum insigne gerebat. ille, oculis postquam saevi monimenta doloris exuviasque hausit, furiis accensus et ira terribilis: 'tune hinc spoliis indute meorum eripiare mihi? Pallas te hoc vulnere, Pallas immolat et poenam scelerato ex sanguine sumit.' hoc dicens ferrum adverso sub pectore condit fervidus; ast illi solvuntur frigore membra
vitaque cum gemitu fugit indignata sub umbras.
Virgil, Aeneid XII. 938-952
[50 marks]
Glossary
reprimo, -imere, -essi restrain cunctor, -ari delay, hesitate flecto, -ere bend, move sermo, -onis M., speech coepi, -isse begin
balteus, -i M., sword belt
fulgeo, -gere, -si shine
cingulum, -i N., belt [here: plural for sing.] bulla, -ae F., medallion [ornament on belt] Pallas, -antis Pallas
sterno, -ere, stravi lay flat, lay low inimicus, -a, -um belonging to an enemy insigne, -is N., decoration monimentum, -i N., reminder
exuviae, -arum F., spoils
haurio, -rire, -si drink in [here: metaphorically]
furiae, -arum F., madness, frenzy
accendo, -dere, -di, -sum inflame
terribilis, -is, -e terrible, terrifying spolium, -ii N., spoil, booty induo, -uere, -ui, -utum clothe [+ ablative: in] eripiare = eripiaris
immolo, -are sacrifice sceleratus, -a, -um [adj.] criminal fervidus, -a, -um boiling
ast = at frigus, -oris N., cold
[Turn over
SECTION C: Latin Grammar
Answer BOTH Question One and Question Two.
QUESTION ONE
Choose any FIVE of the following sentences. For each sentence, translate into English and identify and explain the construction of the underlined word or words. Do NOT attempt more than FIVE sentences.
Example: Caesar milites misit qui castra defenderent.
Caesar sent soldiers to defend the camp.
qui… defenderent = relative clause in subjunctive mood expressing purpose; verb in imperfect tense in secondary sequence after misit.
(i) Fortunae tuae mihi maximae curae sunt.
(ii) Quot Romanorum imperatores esse deos crediderunt? (iii) Ubi eras, cum eum occisum esse audivisti?
(iv) Equus ille ambulat quasi aliquis eum laeserit.
(v) Felix esse nemo potest qui rei publicae sit hostis. (vi) Dum statua illa in templo fuit urbs incolumis stetit. (vii) Dic mihi hodie quid cras facturus sis.
(viii) Si tum diligentius laboravissem nunc celerius scriberem.
[20 marks]
QUESTION TWO
Translate any TEN sentences into Latin (the conventions of Latin word order should be followed):
(i) My father often sends me to buy books.
(ii) When you have finished this work I shall give you a new cloak. (iii) I used to please my sister by telling her that story.
(iv) She told the slave to return all the money to her. (v) As I was leaving yesterday I met them returning.
(vi) While you were away at Rome your dog died of an illness. (vii) They used many trees to build that bridge.
(viii) When the ship was seen we knew we would be saved.
(ix) If you had said those things who would have believed you? (x) Ask him what he knows about the Gauls.
(xi) Although her husband had returned home she remained in the garden. (xii) We hear that Caligula wanted to make a horse a consul.
NOTE: Caligula: Caligula, -ae
(xiii) Let us go now, lest they find us here.
(xiv) The citizens were so frightened that they left the town immediately. (xv) I could not persuade him to love his enemies.
[30 marks]
End of questions
in collaboration with
ASSOCIATION OF CAMBRIDGE SCHOOLS IN NEW ZEALAND Advanced Subsidiary Level
LATIN (School-based Assessment) 8282/01
Paper 1 Language
Mark Total 100 marks
Additional Materials: Answer Booklet/Paper
October/November 2008
2 hours
READ THESE INSTRUCTIONS FIRST
If you have been given an Answer Booklet, follow the instructions on the front cover of the Booklet. Write your Centre number, index number and name on all the work you hand in.
Write in dark blue or black pen on both sides of the paper.
Do not use staples, paper clips, highlighters, glue or correction fluid.
Answer questions from any two of the three sections of this examination paper. Each section is worth 50 marks.
Do not attempt more then two sections.
You are reminded of the need for good English and clear presentation in your answers.
The number of marks is given in brackets [ ] at the end of each question or part question. At the end of the examination, fasten all your work securely together.
.
This paper consists of 7 printed pages and 1 blank page.
UCLES 2008 [Turn over
SECTION A: Translation of Latin Prose
QUESTION ONE
Translate into English. Write your translation on alternate lines.
A Message to a Camp under Siege
Cicero (brother of the orator) is under siege by Gauls; Caesar sends a message
ibi ex captivis cognoscit quae apud Ciceronem gerantur quantoque in periculo res sit. tum cuidam ex equitibus Gallis magnis praemiis persuadet, uti ad Ciceronem epistulam deferat. hanc Graecis conscriptam litteris mittit, ne intercepta epistula nostra ab hostibus consilia cognoscantur. si adire non possit, monet ut tragulam cum epistula ad ammentum deligata intra munitionem castrorum abiciat. in litteris scribit se cum legionibus profectum celeriter adfore; hortatur ut pristinam virtutem retineat. Gallus periculum veritus, ut erat praeceptum, tragulam mittit. haec casu ad turrem adhaesit neque a nostris biduo animadversa tertio die a quodam milite conspicitur, dempta ad Ciceronem defertur. ille perlectam in conventu militum
recitat maximaque omnes laetitia adficit. tum fumi incendiorum procul videbantur, quae res omnem dubitationem adventus legionum expulit.
Caesar, De Bello Gallico V.48, 2-10
[50 marks]
Glossary
apud [prep., + acc.] in the vicinity of equitibus Gallis [Gallic cavalry among Caesar’s forces] uti = ut
conscribo, -bere, -psi, -ptum = scribo, -ere intercipio, -ipere, -epi, eptum intercept nostra [with consilia]
tragula, -ae F., spear fitted with throwing strap
ammentum, -i N., throwing strap
deligo, -are, -avi, -atum bind, tie munitio, -onis F., fortification abicio, -cere throw pristinus, -a, -um old, former
praecipio, -ipere, -epi, -eptum command, order
turris, -is F., tower
adhaereo, -rere, -si, sum stick, become fixed neque… animadversa = et… non animadversa demo, -ere, -psi, -ptum take away, take down perlego, -egere, -egi, -ectum read through
conventus, -us M., assembly, gathering
recito, -are read aloud
laetitia, -ae F., joy
adficio, -icere, -eci, -ectum inspire [someone with emotion (abl.)]
incendium, -ii N., fire
dubitatio, -onis F., doubt
[Turn over
SECTION B: Translation of Latin Poetry
QUESTION ONE
Translate into English. Write your translation on alternate lines.
Aeneas kills Turnus
Aeneas has wounded Turnus; Turnus has appealed for mercy. Aeneas notices that Turnus is wearing spoils he has taken from Pallas, Aeneas’ young ally and protégé.
stetit acer in armis
Aeneas volvens oculos dextramque repressit;
et iam iamque magis cunctantem flectere sermo coeperat, infelix umero cum apparuit alto
balteus et notis fulserunt cingula bullis Pallantis pueri, victum quem vulnere Turnus straverat atque umeris inimicum insigne gerebat. ille, oculis postquam saevi monimenta doloris exuviasque hausit, furiis accensus et ira terribilis: 'tune hinc spoliis indute meorum eripiare mihi? Pallas te hoc vulnere, Pallas immolat et poenam scelerato ex sanguine sumit.' hoc dicens ferrum adverso sub pectore condit fervidus; ast illi solvuntur frigore membra
vitaque cum gemitu fugit indignata sub umbras.
Virgil, Aeneid XII. 938-952
[50 marks]
Glossary
reprimo, -imere, -essi restrain cunctor, -ari delay, hesitate flecto, -ere bend, move sermo, -onis M., speech coepi, -isse begin
balteus, -i M., sword belt
fulgeo, -gere, -si shine
cingulum, -i N., belt [here: plural for sing.] bulla, -ae F., medallion [ornament on belt] Pallas, -antis Pallas
sterno, -ere, stravi lay flat, lay low inimicus, -a, -um belonging to an enemy insigne, -is N., decoration monimentum, -i N., reminder
exuviae, -arum F., spoils
haurio, -rire, -si drink in [here: metaphorically]
furiae, -arum F., madness, frenzy
accendo, -dere, -di, -sum inflame
terribilis, -is, -e terrible, terrifying spolium, -ii N., spoil, booty induo, -uere, -ui, -utum clothe [+ ablative: in] eripiare = eripiaris
immolo, -are sacrifice sceleratus, -a, -um [adj.] criminal fervidus, -a, -um boiling
ast = at frigus, -oris N., cold
[Turn over
SECTION C: Latin Grammar
Answer BOTH Question One and Question Two.
QUESTION ONE
Choose any FIVE of the following sentences. For each sentence, translate into English and identify and explain the construction of the underlined word or words. Do NOT attempt more than FIVE sentences.
Example: Caesar milites misit qui castra defenderent.
Caesar sent soldiers to defend the camp.
qui… defenderent = relative clause in subjunctive mood expressing purpose; verb in imperfect tense in secondary sequence after misit.
(i) Fortunae tuae mihi maximae curae sunt.
(ii) Quot Romanorum imperatores esse deos crediderunt? (iii) Ubi eras, cum eum occisum esse audivisti?
(iv) Equus ille ambulat quasi aliquis eum laeserit.
(v) Felix esse nemo potest qui rei publicae sit hostis. (vi) Dum statua illa in templo fuit urbs incolumis stetit. (vii) Dic mihi hodie quid cras facturus sis.
(viii) Si tum diligentius laboravissem nunc celerius scriberem.
[20 marks]
QUESTION TWO
Translate any TEN sentences into Latin (the conventions of Latin word order should be followed):
(i) My father often sends me to buy books.
(ii) When you have finished this work I shall give you a new cloak. (iii) I used to please my sister by telling her that story.
(iv) She told the slave to return all the money to her. (v) As I was leaving yesterday I met them returning.
(vi) While you were away at Rome your dog died of an illness. (vii) They used many trees to build that bridge.
(viii) When the ship was seen we knew we would be saved.
(ix) If you had said those things who would have believed you? (x) Ask him what he knows about the Gauls.
(xi) Although her husband had returned home she remained in the garden. (xii) We hear that Caligula wanted to make a horse a consul.
NOTE: Caligula: Caligula, -ae
(xiii) Let us go now, lest they find us here.
(xiv) The citizens were so frightened that they left the town immediately. (xv) I could not persuade him to love his enemies.
[30 marks]
End of questions
EXAMINER’S REPORT 2008 HISTORY OF NEW ZEALAND
EXAMINER’S REPORT 2008
HISTORY OF NEW ZEALAND Paper 8248/01
Paper 1
General Comments
All candidates tackled the examination in a positive manner. Only one candidate was clearly out of their depth. The source based question once again proved to be the more challenging section of the exam for those students who adopted a formulaic approach in their answers. However, again this year, a number of candidates made astute cross-references between the sources to construct a sound, comparative evaluation and arrive at a convincing judgement. One candidate usefully added a relevant degree of own knowledge. Candidates who performed less well in essays often knew a sound amount of content but did not shape it to the specific question being asked.
Comments on specific questions
Question 1
Candidates who performed less well in this question usually sought to challenge the validity of a particular source or sources. Few candidates noted that Source D, although superficially attacking the hypothesis, in fact supported it. The Source emphasised James Stephen’s pervasive influence in the making of Imperial policy towards New Zealand in the period just before
1840. Candidates sometimes wasted a considerable effort in trying to disprove the relevance of a particular source. If such an effort is undertaken,
it requires great skill and care. Every Source has been chosen for a considerable degree of relevance to the hypothesis. Argument as to why a particular Source might be more or less preferred in terms of analysis of the hypothesis was often deficient in answers. Statements cross-referencing one or more Sources with others need to be reinforced with brief examples to provide evidence for the argument.
Question 2
Generally this question was answered in a competent manner. Candidates rightly focused upon the much greater degree of cooperation than conflict which existed between 1800 and 1840. One candidate, usefully, even used early clashes between Maori and Pakeha in the period of discovery before
1800 to illuminate later content in the essay answer. There was often,
however, little discussion on those episodes of conflict which did occur and
analysis of the reasons why these occurred. Incidents such as Elizabeth ,
Harriet and Alligator were often glossed over in a single sentence.
Disease, war, resulting population disruption and decline and the impact of
‘legal’ measures to relieve Maori of their land led to the later nineteenth
century view that Maori were a dying race. Even some Maori commented that just as rats of European origin were supplanting the Kiore, Maori themselves were being supplanted by European peoples. In this context, the task of the white settler government was simply to ‘smooth the pillow’ of this dying race. However, although this view was usually eloquently contested, few candidates explored in any detail the various government measures designed to achieve that smooth pillow. Maori would have been justified in feeling that there was not a great deal of gentle smoothing of the pillow, either.
Question 4
This question was usually tackled in a competent manner. Most answers agreed with the notion that the question of sovereignty lay at the heart of the conflicts which occurred between 1860 and 1872. There was little discussion of the historiographical dimension to the debate over the origins of conflict. However, candidates rightly emphasised the role of the King Movement in generating the issue of sovereignty and noting the origins of conflict in differing interpretations of the Treaty of Waitangi. The later conflicts involving Titokowaru and Te Kooti received less detailed analysis in most answers.
Question 5
Answers to this question tended to focus upon economic development in general and did not link content to the type of resource being exploited or even its ultimate destination and use in terms of fuelling an Industrial Revolution. A very few candidates even muddled renewable and non- renewable resources. Answers tended to focus upon Gold, almost to the exclusion of any other activity such as Sealing, Whaling or even Timber exploitation. Candidates often had the material at their disposal to create a much better answer but simply got into a mode of writing about economic development within New Zealand. There was little discussion of New Zealand’s links to the European Industrial Revolution and even the development of an export trade of butter and frozen meat to feed the urban industrial working population of Great Britain. Even the development of renewable resources could involve the decimation of an existing non- renewable resource. Reference could have been made to Rollo Arnold’s work on the extent of massive bushfires in the 1870s-1890s that resulted in the belief, by some contemporaries, that New Zealand was ‘burning’. Fires which destroyed vast areas of forest did provide a renewable resource, eventually – grassland farming. However, much unstable land was cleared of forest and the result was rapid erosion. The majority of answers lacked such a wider perspective.
Michael King has argued that Vogel made the major contribution to the development of a functioning nation. New Zealand needed basic infrastructures, including the development of transport and communications systems, to become a functioning nation. Most candidates who answered this question made at least passing reference to technological advances throughout the nineteenth century. Improvements were made in both transport and communications. These developments were not always directly linked with the effective functioning of New Zealand’s economic and political systems in the later nineteenth century. Some of the required planning and capital had come from provincial governments in the 1850s and 1860s. However, development was limited by provincial rivalries and the lack of funds. Vogel’s abolition of the provincial assemblies received scant attention yet it was central to any development of a national perspective. Vogel recognised the need for a national programme for development. The Vogel initiatives arguably provided the ‘nervous system’ for a functioning nation. Reference should have been made to the way Vogel was instrumental in developing a national as opposed to a provincial infrastructure and even national mentality. Too often time was spent by candidates in attacking various perceived shortcomings of the Vogel initiatives.
Question 7
The few answers to this question focused, often ingeniously, upon small groups of settlers, in the early contact period. There was less discussion of the experiences of the later waves of migrants. Occasionally there was some reference to the impact of the depression of the 1880s upon migrant expectations and experiences but this was usually not developed.
Question 8
The one candidate who attempted this question should not have done so. However, the Liberal Government would still provide a relevant and interesting topic for student analysis. It is a compact period and the Liberal government and its reforms can be studied in a way in which this topic could provide future examination candidates with content which is accessible and adaptable to any specific question.
HISTORY OF NEW ZEALAND Paper 8248/01
Paper 1
General Comments
All candidates tackled the examination in a positive manner. Only one candidate was clearly out of their depth. The source based question once again proved to be the more challenging section of the exam for those students who adopted a formulaic approach in their answers. However, again this year, a number of candidates made astute cross-references between the sources to construct a sound, comparative evaluation and arrive at a convincing judgement. One candidate usefully added a relevant degree of own knowledge. Candidates who performed less well in essays often knew a sound amount of content but did not shape it to the specific question being asked.
Comments on specific questions
Question 1
Candidates who performed less well in this question usually sought to challenge the validity of a particular source or sources. Few candidates noted that Source D, although superficially attacking the hypothesis, in fact supported it. The Source emphasised James Stephen’s pervasive influence in the making of Imperial policy towards New Zealand in the period just before
1840. Candidates sometimes wasted a considerable effort in trying to disprove the relevance of a particular source. If such an effort is undertaken,
it requires great skill and care. Every Source has been chosen for a considerable degree of relevance to the hypothesis. Argument as to why a particular Source might be more or less preferred in terms of analysis of the hypothesis was often deficient in answers. Statements cross-referencing one or more Sources with others need to be reinforced with brief examples to provide evidence for the argument.
Question 2
Generally this question was answered in a competent manner. Candidates rightly focused upon the much greater degree of cooperation than conflict which existed between 1800 and 1840. One candidate, usefully, even used early clashes between Maori and Pakeha in the period of discovery before
1800 to illuminate later content in the essay answer. There was often,
however, little discussion on those episodes of conflict which did occur and
analysis of the reasons why these occurred. Incidents such as Elizabeth ,
Harriet and Alligator were often glossed over in a single sentence.
Disease, war, resulting population disruption and decline and the impact of
‘legal’ measures to relieve Maori of their land led to the later nineteenth
century view that Maori were a dying race. Even some Maori commented that just as rats of European origin were supplanting the Kiore, Maori themselves were being supplanted by European peoples. In this context, the task of the white settler government was simply to ‘smooth the pillow’ of this dying race. However, although this view was usually eloquently contested, few candidates explored in any detail the various government measures designed to achieve that smooth pillow. Maori would have been justified in feeling that there was not a great deal of gentle smoothing of the pillow, either.
Question 4
This question was usually tackled in a competent manner. Most answers agreed with the notion that the question of sovereignty lay at the heart of the conflicts which occurred between 1860 and 1872. There was little discussion of the historiographical dimension to the debate over the origins of conflict. However, candidates rightly emphasised the role of the King Movement in generating the issue of sovereignty and noting the origins of conflict in differing interpretations of the Treaty of Waitangi. The later conflicts involving Titokowaru and Te Kooti received less detailed analysis in most answers.
Question 5
Answers to this question tended to focus upon economic development in general and did not link content to the type of resource being exploited or even its ultimate destination and use in terms of fuelling an Industrial Revolution. A very few candidates even muddled renewable and non- renewable resources. Answers tended to focus upon Gold, almost to the exclusion of any other activity such as Sealing, Whaling or even Timber exploitation. Candidates often had the material at their disposal to create a much better answer but simply got into a mode of writing about economic development within New Zealand. There was little discussion of New Zealand’s links to the European Industrial Revolution and even the development of an export trade of butter and frozen meat to feed the urban industrial working population of Great Britain. Even the development of renewable resources could involve the decimation of an existing non- renewable resource. Reference could have been made to Rollo Arnold’s work on the extent of massive bushfires in the 1870s-1890s that resulted in the belief, by some contemporaries, that New Zealand was ‘burning’. Fires which destroyed vast areas of forest did provide a renewable resource, eventually – grassland farming. However, much unstable land was cleared of forest and the result was rapid erosion. The majority of answers lacked such a wider perspective.
Michael King has argued that Vogel made the major contribution to the development of a functioning nation. New Zealand needed basic infrastructures, including the development of transport and communications systems, to become a functioning nation. Most candidates who answered this question made at least passing reference to technological advances throughout the nineteenth century. Improvements were made in both transport and communications. These developments were not always directly linked with the effective functioning of New Zealand’s economic and political systems in the later nineteenth century. Some of the required planning and capital had come from provincial governments in the 1850s and 1860s. However, development was limited by provincial rivalries and the lack of funds. Vogel’s abolition of the provincial assemblies received scant attention yet it was central to any development of a national perspective. Vogel recognised the need for a national programme for development. The Vogel initiatives arguably provided the ‘nervous system’ for a functioning nation. Reference should have been made to the way Vogel was instrumental in developing a national as opposed to a provincial infrastructure and even national mentality. Too often time was spent by candidates in attacking various perceived shortcomings of the Vogel initiatives.
Question 7
The few answers to this question focused, often ingeniously, upon small groups of settlers, in the early contact period. There was less discussion of the experiences of the later waves of migrants. Occasionally there was some reference to the impact of the depression of the 1880s upon migrant expectations and experiences but this was usually not developed.
Question 8
The one candidate who attempted this question should not have done so. However, the Liberal Government would still provide a relevant and interesting topic for student analysis. It is a compact period and the Liberal government and its reforms can be studied in a way in which this topic could provide future examination candidates with content which is accessible and adaptable to any specific question.
EXAMINER’S REPORT History of Art 8285/02 2008
EXAMINER’S REPORT History of Art 8285/02 2008
Paper 2 Modern Art Marker’s Report
This year candidates managed their time very well, giving (more or less) equal time
to Sections A and B of the examination. However a preliminary remark must be made about the importance of legible writing in an examination script. Despite the
examiner’s desire to find points deserving a mark it is impossible to do so when points cannot be understood because there are no legible letters in the written words - only
a little squiggle among other squiggles.
Also, many students need to be reminded that English is written in sentences. A sentence begins with a capital letter and ends with a full stop. Meaning often becomes incoherent in long rambling paragraphs without punctuation.
Candidates need not spend time writing out the question or introducing their essays with generalizations that simply repeat material from the exam paper - (e.g. “...These artists both developed different painting techniques and subject-matter in their paintings.” or “.... there are great similarities and differences in the two works.”) No marks are awarded for these meaningless statements. Each statement or observation needs to be backed up with an explanation or an example.
In Section A a majority of candidates chose to answer Question 1, and while some students addressed the question with appropriate examples of relevant works, many wrote their essay about the development of Cubism rather than the evolution of styles with an explanation of the key differences between them. Students were able to give
a fair idea of the progression of Cubist development, but tended to have very little
knowledge beyond 1912’s Still-life with Chair Caning’ There is still a very shallow understanding of Synthetic Cubism demonstrated by many students. Synthetic Cubist innovations are at the centre of answers to this question about key differences. A few candidates handled these differences very well, however.
A number of candidates answered Question 2, but very few were able to explain how “technical innovations ..... affected the development of early 20th century art” in anything but a simple and naive way. It would be very advantageous for students to practise analysis of questions so that they do what the questions ask them to do (explain, or outline or evaluate or discuss - what exactly?)
Question 3 asked candidates to apply a statement about abstraction to the work of an artist, and most students chose to write about Mondrian. While the development of style was generally outlined in a satisfactory way the best essays made use of appropriate key words to relate Mondrian’s style to colour, poetry, and music (words like purity, neo-plasticism, Theosophy). No student was able to explain the revolutionary way ‘space’ works in Mondrian’s paintings.
There were no answers to Option 2.
The answers in Option 3 were disappointing. Question 7 asked for an evaluation - not about process, but rather about product. There was very little real understanding of the artists’ works. Question 8 required some definition and discussion around “mass- produced urban media”.
Many students seem to have a very simplistic understanding of American history and society. This question demanded examples of art works derived from advertising and
the things advertised, and some analysis of the characteristics of mass-produced urban media. Most students only mentioned the work of two artists, but the best answers began with these characteristics and elaborated with examples of Pop art works by different artists
In Section B the time allocation was much better managed than in previous years. Question 13 was mostly satisfactory although some students did not realize that
Sonia Delaunay was a woman. Answers to Question 15 were generally very poor. Many candidates knew nothing at all about the works under discussion and demonstrated a naive and shallow understanding of the works and their relationship to ‘feminism’. Despite this lack of knowledge there was often a determined effort to elaborate on this subject rather than the stylistic features or historical context of the works. (It may surprise some art historians to hear that Lichtenstein was such a
“feminist”!) No student made reference to the type of subject matter he selected from
comic-books, or the way his choice reflected the popular culture of America at the time.
Paper 2 Modern Art Marker’s Report
This year candidates managed their time very well, giving (more or less) equal time
to Sections A and B of the examination. However a preliminary remark must be made about the importance of legible writing in an examination script. Despite the
examiner’s desire to find points deserving a mark it is impossible to do so when points cannot be understood because there are no legible letters in the written words - only
a little squiggle among other squiggles.
Also, many students need to be reminded that English is written in sentences. A sentence begins with a capital letter and ends with a full stop. Meaning often becomes incoherent in long rambling paragraphs without punctuation.
Candidates need not spend time writing out the question or introducing their essays with generalizations that simply repeat material from the exam paper - (e.g. “...These artists both developed different painting techniques and subject-matter in their paintings.” or “.... there are great similarities and differences in the two works.”) No marks are awarded for these meaningless statements. Each statement or observation needs to be backed up with an explanation or an example.
In Section A a majority of candidates chose to answer Question 1, and while some students addressed the question with appropriate examples of relevant works, many wrote their essay about the development of Cubism rather than the evolution of styles with an explanation of the key differences between them. Students were able to give
a fair idea of the progression of Cubist development, but tended to have very little
knowledge beyond 1912’s Still-life with Chair Caning’ There is still a very shallow understanding of Synthetic Cubism demonstrated by many students. Synthetic Cubist innovations are at the centre of answers to this question about key differences. A few candidates handled these differences very well, however.
A number of candidates answered Question 2, but very few were able to explain how “technical innovations ..... affected the development of early 20th century art” in anything but a simple and naive way. It would be very advantageous for students to practise analysis of questions so that they do what the questions ask them to do (explain, or outline or evaluate or discuss - what exactly?)
Question 3 asked candidates to apply a statement about abstraction to the work of an artist, and most students chose to write about Mondrian. While the development of style was generally outlined in a satisfactory way the best essays made use of appropriate key words to relate Mondrian’s style to colour, poetry, and music (words like purity, neo-plasticism, Theosophy). No student was able to explain the revolutionary way ‘space’ works in Mondrian’s paintings.
There were no answers to Option 2.
The answers in Option 3 were disappointing. Question 7 asked for an evaluation - not about process, but rather about product. There was very little real understanding of the artists’ works. Question 8 required some definition and discussion around “mass- produced urban media”.
Many students seem to have a very simplistic understanding of American history and society. This question demanded examples of art works derived from advertising and
the things advertised, and some analysis of the characteristics of mass-produced urban media. Most students only mentioned the work of two artists, but the best answers began with these characteristics and elaborated with examples of Pop art works by different artists
In Section B the time allocation was much better managed than in previous years. Question 13 was mostly satisfactory although some students did not realize that
Sonia Delaunay was a woman. Answers to Question 15 were generally very poor. Many candidates knew nothing at all about the works under discussion and demonstrated a naive and shallow understanding of the works and their relationship to ‘feminism’. Despite this lack of knowledge there was often a determined effort to elaborate on this subject rather than the stylistic features or historical context of the works. (It may surprise some art historians to hear that Lichtenstein was such a
“feminist”!) No student made reference to the type of subject matter he selected from
comic-books, or the way his choice reflected the popular culture of America at the time.
ACSNZ EXAMINER’S REPORT AS HISTORY OF ART 2008
EXAMINER’S REPORT AS HISTORY OF ART 2008
Paper 1 THE RENAISSANCE
MARKER’S COMMENTS
The most popular Options in the Renaissance paper were Option 2 and 3 with only a few candidates answering questions from Option 1 and 4. A few answered questions that were from Options obviously not studied which is a grave mistake.
An interesting range of questions were set for this paper, although several were rather long due to the addition of quotes, such as in Q9 and Q10 in Section A.
Also Q8 did not specify that examples of specific art works be included in the answer, which may have confused a few candidates as they limited their
answers to a general overview.
Some spelling and terminology confusions that require constant revision;
1. Words like medieval, divine, chiaroscuro, tempera, and Venetian were often spelt wrongly.
2. The use and understanding of the terms humanism and humanity need more clarification with many students, especially in a discussion about portraiture. The Tondo plate question revealed this concern as well.
3. Many students were unable to discern the differences between terminologies such as realism, naturalism and idealism.
A number of candidates answered the Section A and B questions from the same Option, and tried not to repeat relevant concepts, analyses of the same artists works, or theoretical developments of the period. One school of 25 candidates all answered the Section A and B questions from the same Option. This implies that maybe only one Option was studied, which is not the
intention of the course. This practise does disadvantage student learning,
understanding and being able to articulate the broader aspects of the
Renaissance period rather than focusing on one narrow section of it.
Many Section B answers were limited to mere descriptions of the plates, with very general comments demonstrating a limited understanding of the artists’ ideas and approaches. It is so important that students develop an understanding that works of art are products of their time and reflect the context of the social, cultural, religious and political events of that time.
Transitions in style between the various time periods from Medieval through the early Renaissance period and into the high Renaissance were sometimes expressed in very black and white terms by the candidates, particularly in religious subjects that were revealing aspects of naturalism as the concepts of humanist philosophies started to be implemented in art works.
The influence and use of the International Gothic style also needs to be
understood more fully within the context of the Early Renaissance up to 1500.
It is important that students broaden their reading to incorporate a wider field of influences and possible developments. This was noticeable in the portrait answers (Q8), where there was no mention of the impact of Northern portraits and oil painting techniques in particular from the 1430s onwards, on the development of the individual Italian Renaissance portrait in the 16th century.
It was uplifting to read many well planned, thoughtful and coherent essays where the students demonstrated excellent understanding of the question, used relevant works to illustrate their arguments, wrote legibly and with an obvious passion about the subject.
Paper 1 THE RENAISSANCE
MARKER’S COMMENTS
The most popular Options in the Renaissance paper were Option 2 and 3 with only a few candidates answering questions from Option 1 and 4. A few answered questions that were from Options obviously not studied which is a grave mistake.
An interesting range of questions were set for this paper, although several were rather long due to the addition of quotes, such as in Q9 and Q10 in Section A.
Also Q8 did not specify that examples of specific art works be included in the answer, which may have confused a few candidates as they limited their
answers to a general overview.
Some spelling and terminology confusions that require constant revision;
1. Words like medieval, divine, chiaroscuro, tempera, and Venetian were often spelt wrongly.
2. The use and understanding of the terms humanism and humanity need more clarification with many students, especially in a discussion about portraiture. The Tondo plate question revealed this concern as well.
3. Many students were unable to discern the differences between terminologies such as realism, naturalism and idealism.
A number of candidates answered the Section A and B questions from the same Option, and tried not to repeat relevant concepts, analyses of the same artists works, or theoretical developments of the period. One school of 25 candidates all answered the Section A and B questions from the same Option. This implies that maybe only one Option was studied, which is not the
intention of the course. This practise does disadvantage student learning,
understanding and being able to articulate the broader aspects of the
Renaissance period rather than focusing on one narrow section of it.
Many Section B answers were limited to mere descriptions of the plates, with very general comments demonstrating a limited understanding of the artists’ ideas and approaches. It is so important that students develop an understanding that works of art are products of their time and reflect the context of the social, cultural, religious and political events of that time.
Transitions in style between the various time periods from Medieval through the early Renaissance period and into the high Renaissance were sometimes expressed in very black and white terms by the candidates, particularly in religious subjects that were revealing aspects of naturalism as the concepts of humanist philosophies started to be implemented in art works.
The influence and use of the International Gothic style also needs to be
understood more fully within the context of the Early Renaissance up to 1500.
It is important that students broaden their reading to incorporate a wider field of influences and possible developments. This was noticeable in the portrait answers (Q8), where there was no mention of the impact of Northern portraits and oil painting techniques in particular from the 1430s onwards, on the development of the individual Italian Renaissance portrait in the 16th century.
It was uplifting to read many well planned, thoughtful and coherent essays where the students demonstrated excellent understanding of the question, used relevant works to illustrate their arguments, wrote legibly and with an obvious passion about the subject.
ACSNZ EXAMINER’S REPORT AS DRAMA 2008
EXAMINER’S REPORT AS DRAMA 2008
Paper 8286/02
Written examination
Marker’s Report
General comments
This year four schools were involved in the examination, answering questions from Antigone, A Midsummer Night’s Dream, Children of the Poor, The Importance of Being Earnest, and The Resistable Rise of Arturo Ui. A range of abilities was demonstrated in the examination.
Candidates should be very clear early on about the ‘ Overall Production Concept ’ (OPC) and should aim to develop this in detail. Candidates who took this approach, and were consistent with it throughout their answer, were generally able to access marks at the top of the mark scheme.
Those answers that did not have a clear OPC were at times a little confused and led to obvious contradictions in the answers.
Effective answers used short but relevant quotations from the play extract to justify their interpretations. Answers that did not reference the play in terms of quotations were rather ungrounded, and although candidates appeared to understand the text, the answers were not fixed to specific scenes or lines from the plays. Seeing the play in performance and therefore understanding the staging possibilities, often enabled candidates to access the higher end of the mark scheme. Staging a play in a specific place facilitated discussion of the use of space with real insight . Generalisations in answers led candidates to discuss plot rather than the play in performance and could only achieve marks at the lower end of the mark schem e.
Candidates should use correct terminology in order to be specific about their production intentions . The stage should be discussed from the actor’s point of view – some answers referred to movement around the stage in a rather vague manner. Stronger answers referenced actors’ movements from a starting position. For example, “entry upstage right onto the block which is on the right of the stage.” Any movement from this point should then refer to an actor’s right or left and whether movement is downstage, upstage or to centre stage.
In the questions relating to ‘acting’, candidates who either imagined themselves in the role, or who had actually taken part in a production gave the most effective answers . Candidates are encouraged to take ownership of their production intentions and, rather than suggesting “perhaps the character jumps to the left on the stage”, are advised to give more definite directions such as, “she jumps to the left”, giving a specific textual reference.
Weaker answers tended to repeat rather than build on initial ideas. This was not helpful and meant they could only gain marks within the lower bands. Each paragraph should address a new idea and be supported with diagrams where necessary and textual reference to give depth.
The use of clearly annotated diagrams as well as the use of colour was helpful in understanding the design concepts. Those candidates who answered design questions – whether on set or costume – who did not draw a diagram to explain their ideas tended to produc e weaker responses. Design requires an element of drawing and those questions that relied on contrasting costumes had more impact where designs were clearly explained.
Comments on specific questions Question 1 CLASSICAL TRAGEDY Antigone Sophocles
Que stion 1 (a)
This question asked candidates to interpret the role of Haemon from an actor’s viewpoint in the scene where he confronts his father, Creon. Candidates were required to indicate what they would want to convey about Haemon’s character using spec ific examples from the text.
Detailing with apposite information from the OPC assisted the actor’s interpretation of the role and a short textual outline was helpful to the clarity of the answer. Long plot outlines or, in fact, totally plot -driven answers were not helpful.
Strong answers provided firm acting advice for the role of Haemon and took on the role for themselves . These candidates were very clear about ho w they would move in the space and interact with other characters on the stage, and used effective textual referencing to support their acting interpretation. Responses which included ‘unheard’ characters such as Creon’s wife were innovative. Candidates who were specific about the use of body, voice, movement and space giving clear information as to gesture and facial expression with clear understanding as to why they had made these decisions were more successful. The use of the text to assist the way in which this answer was argued was a real help to some candidates.
Some questions focused too much on one aspect of Dramatic Techniques such as voice, whilst ignoring the need for an actor to be in role from head to toe.
Question 1 (b)
Candidates were required to outline the set that they would use for the play with close reference to the text. An explanation of how the plan would help communicate the play’s message to the audience was also needed.
Candidates needed to be aware of the time in which the play was going to be set whilst recognising the original setting of the play. This meant that the OPC needed to be described in detail so that design decisions were based on this concept . Whilst it was important for candidates to understand the context of the play, this should not have been the main focus of the answer. The OPC should have, therefore, a strong theme or idea that the set designer is trying to express, and the question should be argued with regard to this theme. Supporting this with references to the text and pertinent moments within it was helpful in responding to this question. It was extremely important that detailed diagrams are drawn for this type of answer and labelled fully in order to make best use of them.
Question 1 (c)
This question required candidates to explain how, as a director, they wanted the chorus to move and deliver their lines.
It was extremely useful for candidates to explain the role of chorus both historically and within the context of the play. Added to this, strong design ideas – costume and mask – and OPC were helpful in explaining the importance of the role of the chorus.
This question was primarily about direction and therefore answers needed to specifically direct the actors in the space and in their interaction on stage. Candidates who used direct textual referencing wrote stronger answers, and some were imaginative and explored the range of characterisation given to the chorus within the play. Referencing should be as brief as possible, and needs to support the directorial commands for the actors.
Recounting the plot was not helpful and candidates needed to focus on body, voice, movement, and space as well as mentioning costume, staging, set, and technologies that might influence the actors’ performances . Good answers focused on the candidate’s intentions as a director with effective reference to the text.
Question 2 MEDIAEVAL MYSTERY OR MORALITY PLAYS
No candidates answered questions in this section.
Question 3 ELIZABETHAN AND JACOBEAN DRAMA
A Midsummer Night’s Dream Shakespeare
Question 3 (a)
In this question candidates were asked to explore the character of Puck and how an actor might attempt to create the character with the use of voice and physicality.
This was an actor question and was asking for an actor’s interpretation of the role. In order to answer this question in depth candidates needed to decide the setting of the play – time, place and the director’s intention in terms of design. Strong answers referred to the many times Puck is seen within the play and addressed the role of Puck in terms of use of body, voice, movement and space. Answers needed to be supported with effective use of text and required analysis of Puck in relation to other characters on the stage: those he interacts with and those he observes or follows.
This question required an in-depth knowledge of the play and how the role of Puck develops within it. It was useful for candidates to also think about costume in terms of movement, and also to consider the stage setting and the way in which it influences and assists the actor’s movement around the space.
Question 3 (b)
Candidates were asked to choose two contrasting characters, discuss costume design for them and explain how their design ideas would demonstrate their overall approach to costume design.
Candidates needed to consider the OPC when answering this question. The play was written during the reign of Elizabeth I but the question does not require the play to be set at this time. The costume designer works collaboratively with the director and would need to have a thorough understanding of the ideas the director wants to focus on, their needs in terms of design and how that design relates to the setting of the play. Choosing two contrasting characters was extremely important and candidates who examined one character from the fairy world and anot her from the human world were better able to respond to the idea of contrast, and address with some conviction the second part of the play.
The most clear answers were those where candidates used drawings of their designs to support the ideas expressed in their essays. Understanding of the functions of the contrasting characters was important to the answering of this question and referencing events in the text was useful in supporting candidates’ responses.
Question 3 (c)
No candidates answered this question.
Question 4 COMEDY OF MANNERS
The Importance of Being Earnest Oscar Wilde
Question 4 (a)
Candidates in this question were asked to explain, from an actor’s perspective, how they wanted the audience to respond to the role of Lane the Butler and how they would use voice, movement and space to build the character to achieve this.
Candidates needed to explain their OPC for the production and the play in context, referring to the genre of
Comedy of Manners and how this would influence the actor’s interpretation of the role.
The best responses showed an understanding of the importance of the minor character, and also how Lane supports Algernon within the early scenes. Candidates needed to explain in depth how the actor would create the role with focused reference to body, voice, movement and space, and how they would use the text to support their ideas. Confusion over interpretation meant that some answers lacked direction or a clear insight into the part and the role of a butler within a Victorian household.
The comedy within the role needed to be addressed and, in particular, how candidates wished the audience to respond to their interpretation of the role. Status is an important part of the answer and candidates were required to show an understanding of the accepted conventions of the time and how Wilde manages to explore status within Act One. Some candidates relied on a ‘working class in opposition to aristocratic class’ response which ignored the subtle subtext of the relationship between Algernon and Lane. Reference to Lane’s costume was useful to give an insight into how his role is further established in the eyes of the audience.
Question 4 (b)
Candidates in this question were to consider costume design for two characters: Algernon and Jack with reference to the quotation “That is better than being overdressed as you are.”
Explanations of the OPC and the setting of the play were useful and gave context to the dress that was expected of the era. Specific information about colour, texture and style were appropriate to the question, and details about how the characters change costumes for the different locations was also necessary. Design drawings of the costumes and the changes that would be made supported stronger answers and gave an obvious visual aid to the reader. Some confusion between the roles of Jack and Ernest, and Algernon and Bunbury were evident and closer textual reference was required in these answers.
Question 4 (c)
Candidates were asked to describe how they would direct the play in order to bring out the way Wilde examines conventions within his society to show their absurdity.
This was a big question and required candidates to discuss a number of issues: set design, costume design, acting style and characterisation within the play. Candidates needed to explain their OPC with reference to the context of the setting and genre of the play and to consider Wilde’s world and how this influenced his writing. It was also necessary for candidates to understand how the play would have been received within a Victorian context and how, as a director, they could make these ideas relevant to a modern audience.
Both setting and character were focuses of this piece and careful reference to text and choosing appropriate moments which reflected the key themes of the play enabled candidates to produce imaginative and well considered responses. Some candidates became a little confused as to the messages within the text and did not use it to support their answers. Actions and thematic concer ns needed to be linked to support this answer.
Question 5 EPIC THEATRE
The Resistible Rise of Arturo Ui Bertholt Brecht
Question 5 (a)
In this question candidates were asked to examine the role of Roma as the ghost in Scene 14 and to indicate how this is similar or different to other scenes in the play when he was alive.
This was an actor question and as such required the candidate to consider the role of Roma from an actor’s point of view. Candidates needed to provide detail about Scene 14 quoting specific lines from the text to support their answer using body, voice, movement and space to interpret Roma’s role as a ghost. It is useful to the actor to consider the role of the OPC in this question and the context of the writing. However, long paragraphs about Brechtian theory and the background of the play were not useful unless they were fed directly into the reasons for performing the role in a particular way. Those essays that referenced the theory and the relevance of the role within context creat ed a much stronger response. Comparing this scene with a
number of scenes that Roma is in, for example scenes 10 and 11, was a key part of the response. A clear understanding of Roma’s role and interpretation in these scenes was necessary and the OPC should feed into this in relation to whether the actor’s interpretation is similar or different in these scenes. This was a complex question and needed careful referencing to the text to support the answer.
Question 5 (b)
In this question candidates were asked to consider the role of the set designer and the Brechtian devices that could be employed and incorporated into the set.
The question needed a discussion of the OPC and the themes which are paramount in the play. Strong answers showed a clear understan ding of Brecht’s theories about reality and the theatre and used them to support their responses. Innovation was the key to this question and whilst candidates could include the concept of mimimalistic set, exposed stage lighting and use of placards, the answer required them to think of design ideas that went beyond the basics of the theory. The need to challenge the audience with the design ideas had to be considered in order to create a fresh and imaginative response to Brecht’s original ideas. Drawings of set design were helpful in supporting candidates’ responses. Candidates who had been to see Hurst’s Threepenny Opera were able to reinvent some of the innovations they saw in this production to good effect in this answer.
Question 5 (c)
In this question candidates were required to examine Scene 12 in the play and explain how a director would ask the actors to play the scene with reference to the overall production ideas for the play.
Firstly, this question required candidates to consider the director’s OPC, and it was imperative to discuss this in relation to the Brechtian theories of reality and theatre. Answers needed to consider the challenges the scene holds for actors and how the director is going to use those challenges to communicate with impact to the audience. Specific instructions for the actors about voice, body, movement and space were required in terms of the director’s OPC. There also needed to be due consideration of the two sections of the scene – that which occurs in normal speech patterns and the section that occurs in rhyme. Candidates needed to consider the director’s role in informing the audience and in asking the actors to interpret the two sections to make a strong impact on the audience. Textual referencing and use of the context of the play were important in this answer. Diagrams were also useful in explaining the setting of the scene within the whole.
Question 6 NEW ZEALAND THEATRE: THE MAORI VOICE
No candidates answered questions in this section.
Question 7 NEW ZEALAND TH EATRE: LOOKING AT OURSELVES
Children of the Poor Mervyn Thompson (an adaptation of the novel by John A Lee) Question 7 (a)
Candidates were asked to consider from an actor’s perspective how they would develop the role of Rose
throughout the play.
This answer required candidates to explain the OPC of the play and the themes that are focused on in the play. They should do this in relation to the character of Rose and how the context of the setting affects her life as she grows up and loses her innocence. Actors must consider this role in relation to the use of body, voice, movement and space, and candidates needed to convey the process of how Rose hardens herself to the circumstance and situation around her and relate this to the concept of the play. Examining the role of Rose in relation to other characters was important, particularly Rose with Albany, Rose before the Vaudeville and Rose and the children at Christmas. An understanding of Rose’s plight and that of the poor within the play should be conveyed to the audience – the context of the idea of Thompson’s episodic play.
Question 7 (b)
Candidates were asked to consider set design in relation to the social message of Children of the Poor and how their ideas would help the audience understand this message.
This question needed to be discussed with a strong understanding of the idea of the OPC. Setting the play on a well known space was useful as it gave the reader a clear understanding of where the set was within the acting space and in relation to the audience. Detail was required of the set and how that set would change for the different scenes within the play. Considerations of layout, colour, set pieces and symbolism were all important to the answering of this question.
The set design needed to support the social message that candidates were hoping to represent, and effective textual referencing backed this up. Imaginative responses and clever use of set and set pieces were an integral part of this question and a consideration of how the actors would use the set were all relevant to successful answers. Labelled diagrams were a necessity in responding to this type of question.
Question 7 (c)
No candidates answered this question.
Paper 8286/02
Written examination
Marker’s Report
General comments
This year four schools were involved in the examination, answering questions from Antigone, A Midsummer Night’s Dream, Children of the Poor, The Importance of Being Earnest, and The Resistable Rise of Arturo Ui. A range of abilities was demonstrated in the examination.
Candidates should be very clear early on about the ‘ Overall Production Concept ’ (OPC) and should aim to develop this in detail. Candidates who took this approach, and were consistent with it throughout their answer, were generally able to access marks at the top of the mark scheme.
Those answers that did not have a clear OPC were at times a little confused and led to obvious contradictions in the answers.
Effective answers used short but relevant quotations from the play extract to justify their interpretations. Answers that did not reference the play in terms of quotations were rather ungrounded, and although candidates appeared to understand the text, the answers were not fixed to specific scenes or lines from the plays. Seeing the play in performance and therefore understanding the staging possibilities, often enabled candidates to access the higher end of the mark scheme. Staging a play in a specific place facilitated discussion of the use of space with real insight . Generalisations in answers led candidates to discuss plot rather than the play in performance and could only achieve marks at the lower end of the mark schem e.
Candidates should use correct terminology in order to be specific about their production intentions . The stage should be discussed from the actor’s point of view – some answers referred to movement around the stage in a rather vague manner. Stronger answers referenced actors’ movements from a starting position. For example, “entry upstage right onto the block which is on the right of the stage.” Any movement from this point should then refer to an actor’s right or left and whether movement is downstage, upstage or to centre stage.
In the questions relating to ‘acting’, candidates who either imagined themselves in the role, or who had actually taken part in a production gave the most effective answers . Candidates are encouraged to take ownership of their production intentions and, rather than suggesting “perhaps the character jumps to the left on the stage”, are advised to give more definite directions such as, “she jumps to the left”, giving a specific textual reference.
Weaker answers tended to repeat rather than build on initial ideas. This was not helpful and meant they could only gain marks within the lower bands. Each paragraph should address a new idea and be supported with diagrams where necessary and textual reference to give depth.
The use of clearly annotated diagrams as well as the use of colour was helpful in understanding the design concepts. Those candidates who answered design questions – whether on set or costume – who did not draw a diagram to explain their ideas tended to produc e weaker responses. Design requires an element of drawing and those questions that relied on contrasting costumes had more impact where designs were clearly explained.
Comments on specific questions Question 1 CLASSICAL TRAGEDY Antigone Sophocles
Que stion 1 (a)
This question asked candidates to interpret the role of Haemon from an actor’s viewpoint in the scene where he confronts his father, Creon. Candidates were required to indicate what they would want to convey about Haemon’s character using spec ific examples from the text.
Detailing with apposite information from the OPC assisted the actor’s interpretation of the role and a short textual outline was helpful to the clarity of the answer. Long plot outlines or, in fact, totally plot -driven answers were not helpful.
Strong answers provided firm acting advice for the role of Haemon and took on the role for themselves . These candidates were very clear about ho w they would move in the space and interact with other characters on the stage, and used effective textual referencing to support their acting interpretation. Responses which included ‘unheard’ characters such as Creon’s wife were innovative. Candidates who were specific about the use of body, voice, movement and space giving clear information as to gesture and facial expression with clear understanding as to why they had made these decisions were more successful. The use of the text to assist the way in which this answer was argued was a real help to some candidates.
Some questions focused too much on one aspect of Dramatic Techniques such as voice, whilst ignoring the need for an actor to be in role from head to toe.
Question 1 (b)
Candidates were required to outline the set that they would use for the play with close reference to the text. An explanation of how the plan would help communicate the play’s message to the audience was also needed.
Candidates needed to be aware of the time in which the play was going to be set whilst recognising the original setting of the play. This meant that the OPC needed to be described in detail so that design decisions were based on this concept . Whilst it was important for candidates to understand the context of the play, this should not have been the main focus of the answer. The OPC should have, therefore, a strong theme or idea that the set designer is trying to express, and the question should be argued with regard to this theme. Supporting this with references to the text and pertinent moments within it was helpful in responding to this question. It was extremely important that detailed diagrams are drawn for this type of answer and labelled fully in order to make best use of them.
Question 1 (c)
This question required candidates to explain how, as a director, they wanted the chorus to move and deliver their lines.
It was extremely useful for candidates to explain the role of chorus both historically and within the context of the play. Added to this, strong design ideas – costume and mask – and OPC were helpful in explaining the importance of the role of the chorus.
This question was primarily about direction and therefore answers needed to specifically direct the actors in the space and in their interaction on stage. Candidates who used direct textual referencing wrote stronger answers, and some were imaginative and explored the range of characterisation given to the chorus within the play. Referencing should be as brief as possible, and needs to support the directorial commands for the actors.
Recounting the plot was not helpful and candidates needed to focus on body, voice, movement, and space as well as mentioning costume, staging, set, and technologies that might influence the actors’ performances . Good answers focused on the candidate’s intentions as a director with effective reference to the text.
Question 2 MEDIAEVAL MYSTERY OR MORALITY PLAYS
No candidates answered questions in this section.
Question 3 ELIZABETHAN AND JACOBEAN DRAMA
A Midsummer Night’s Dream Shakespeare
Question 3 (a)
In this question candidates were asked to explore the character of Puck and how an actor might attempt to create the character with the use of voice and physicality.
This was an actor question and was asking for an actor’s interpretation of the role. In order to answer this question in depth candidates needed to decide the setting of the play – time, place and the director’s intention in terms of design. Strong answers referred to the many times Puck is seen within the play and addressed the role of Puck in terms of use of body, voice, movement and space. Answers needed to be supported with effective use of text and required analysis of Puck in relation to other characters on the stage: those he interacts with and those he observes or follows.
This question required an in-depth knowledge of the play and how the role of Puck develops within it. It was useful for candidates to also think about costume in terms of movement, and also to consider the stage setting and the way in which it influences and assists the actor’s movement around the space.
Question 3 (b)
Candidates were asked to choose two contrasting characters, discuss costume design for them and explain how their design ideas would demonstrate their overall approach to costume design.
Candidates needed to consider the OPC when answering this question. The play was written during the reign of Elizabeth I but the question does not require the play to be set at this time. The costume designer works collaboratively with the director and would need to have a thorough understanding of the ideas the director wants to focus on, their needs in terms of design and how that design relates to the setting of the play. Choosing two contrasting characters was extremely important and candidates who examined one character from the fairy world and anot her from the human world were better able to respond to the idea of contrast, and address with some conviction the second part of the play.
The most clear answers were those where candidates used drawings of their designs to support the ideas expressed in their essays. Understanding of the functions of the contrasting characters was important to the answering of this question and referencing events in the text was useful in supporting candidates’ responses.
Question 3 (c)
No candidates answered this question.
Question 4 COMEDY OF MANNERS
The Importance of Being Earnest Oscar Wilde
Question 4 (a)
Candidates in this question were asked to explain, from an actor’s perspective, how they wanted the audience to respond to the role of Lane the Butler and how they would use voice, movement and space to build the character to achieve this.
Candidates needed to explain their OPC for the production and the play in context, referring to the genre of
Comedy of Manners and how this would influence the actor’s interpretation of the role.
The best responses showed an understanding of the importance of the minor character, and also how Lane supports Algernon within the early scenes. Candidates needed to explain in depth how the actor would create the role with focused reference to body, voice, movement and space, and how they would use the text to support their ideas. Confusion over interpretation meant that some answers lacked direction or a clear insight into the part and the role of a butler within a Victorian household.
The comedy within the role needed to be addressed and, in particular, how candidates wished the audience to respond to their interpretation of the role. Status is an important part of the answer and candidates were required to show an understanding of the accepted conventions of the time and how Wilde manages to explore status within Act One. Some candidates relied on a ‘working class in opposition to aristocratic class’ response which ignored the subtle subtext of the relationship between Algernon and Lane. Reference to Lane’s costume was useful to give an insight into how his role is further established in the eyes of the audience.
Question 4 (b)
Candidates in this question were to consider costume design for two characters: Algernon and Jack with reference to the quotation “That is better than being overdressed as you are.”
Explanations of the OPC and the setting of the play were useful and gave context to the dress that was expected of the era. Specific information about colour, texture and style were appropriate to the question, and details about how the characters change costumes for the different locations was also necessary. Design drawings of the costumes and the changes that would be made supported stronger answers and gave an obvious visual aid to the reader. Some confusion between the roles of Jack and Ernest, and Algernon and Bunbury were evident and closer textual reference was required in these answers.
Question 4 (c)
Candidates were asked to describe how they would direct the play in order to bring out the way Wilde examines conventions within his society to show their absurdity.
This was a big question and required candidates to discuss a number of issues: set design, costume design, acting style and characterisation within the play. Candidates needed to explain their OPC with reference to the context of the setting and genre of the play and to consider Wilde’s world and how this influenced his writing. It was also necessary for candidates to understand how the play would have been received within a Victorian context and how, as a director, they could make these ideas relevant to a modern audience.
Both setting and character were focuses of this piece and careful reference to text and choosing appropriate moments which reflected the key themes of the play enabled candidates to produce imaginative and well considered responses. Some candidates became a little confused as to the messages within the text and did not use it to support their answers. Actions and thematic concer ns needed to be linked to support this answer.
Question 5 EPIC THEATRE
The Resistible Rise of Arturo Ui Bertholt Brecht
Question 5 (a)
In this question candidates were asked to examine the role of Roma as the ghost in Scene 14 and to indicate how this is similar or different to other scenes in the play when he was alive.
This was an actor question and as such required the candidate to consider the role of Roma from an actor’s point of view. Candidates needed to provide detail about Scene 14 quoting specific lines from the text to support their answer using body, voice, movement and space to interpret Roma’s role as a ghost. It is useful to the actor to consider the role of the OPC in this question and the context of the writing. However, long paragraphs about Brechtian theory and the background of the play were not useful unless they were fed directly into the reasons for performing the role in a particular way. Those essays that referenced the theory and the relevance of the role within context creat ed a much stronger response. Comparing this scene with a
number of scenes that Roma is in, for example scenes 10 and 11, was a key part of the response. A clear understanding of Roma’s role and interpretation in these scenes was necessary and the OPC should feed into this in relation to whether the actor’s interpretation is similar or different in these scenes. This was a complex question and needed careful referencing to the text to support the answer.
Question 5 (b)
In this question candidates were asked to consider the role of the set designer and the Brechtian devices that could be employed and incorporated into the set.
The question needed a discussion of the OPC and the themes which are paramount in the play. Strong answers showed a clear understan ding of Brecht’s theories about reality and the theatre and used them to support their responses. Innovation was the key to this question and whilst candidates could include the concept of mimimalistic set, exposed stage lighting and use of placards, the answer required them to think of design ideas that went beyond the basics of the theory. The need to challenge the audience with the design ideas had to be considered in order to create a fresh and imaginative response to Brecht’s original ideas. Drawings of set design were helpful in supporting candidates’ responses. Candidates who had been to see Hurst’s Threepenny Opera were able to reinvent some of the innovations they saw in this production to good effect in this answer.
Question 5 (c)
In this question candidates were required to examine Scene 12 in the play and explain how a director would ask the actors to play the scene with reference to the overall production ideas for the play.
Firstly, this question required candidates to consider the director’s OPC, and it was imperative to discuss this in relation to the Brechtian theories of reality and theatre. Answers needed to consider the challenges the scene holds for actors and how the director is going to use those challenges to communicate with impact to the audience. Specific instructions for the actors about voice, body, movement and space were required in terms of the director’s OPC. There also needed to be due consideration of the two sections of the scene – that which occurs in normal speech patterns and the section that occurs in rhyme. Candidates needed to consider the director’s role in informing the audience and in asking the actors to interpret the two sections to make a strong impact on the audience. Textual referencing and use of the context of the play were important in this answer. Diagrams were also useful in explaining the setting of the scene within the whole.
Question 6 NEW ZEALAND THEATRE: THE MAORI VOICE
No candidates answered questions in this section.
Question 7 NEW ZEALAND TH EATRE: LOOKING AT OURSELVES
Children of the Poor Mervyn Thompson (an adaptation of the novel by John A Lee) Question 7 (a)
Candidates were asked to consider from an actor’s perspective how they would develop the role of Rose
throughout the play.
This answer required candidates to explain the OPC of the play and the themes that are focused on in the play. They should do this in relation to the character of Rose and how the context of the setting affects her life as she grows up and loses her innocence. Actors must consider this role in relation to the use of body, voice, movement and space, and candidates needed to convey the process of how Rose hardens herself to the circumstance and situation around her and relate this to the concept of the play. Examining the role of Rose in relation to other characters was important, particularly Rose with Albany, Rose before the Vaudeville and Rose and the children at Christmas. An understanding of Rose’s plight and that of the poor within the play should be conveyed to the audience – the context of the idea of Thompson’s episodic play.
Question 7 (b)
Candidates were asked to consider set design in relation to the social message of Children of the Poor and how their ideas would help the audience understand this message.
This question needed to be discussed with a strong understanding of the idea of the OPC. Setting the play on a well known space was useful as it gave the reader a clear understanding of where the set was within the acting space and in relation to the audience. Detail was required of the set and how that set would change for the different scenes within the play. Considerations of layout, colour, set pieces and symbolism were all important to the answering of this question.
The set design needed to support the social message that candidates were hoping to represent, and effective textual referencing backed this up. Imaginative responses and clever use of set and set pieces were an integral part of this question and a consideration of how the actors would use the set were all relevant to successful answers. Labelled diagrams were a necessity in responding to this type of question.
Question 7 (c)
No candidates answered this question.
ACSNZ Question Paper Latin
LATIN
Paper 8282/01 & 02
Language and
Literature
General comments
This year saw a pleasing increase in the entry, from twenty to twenty-eight candidates, from two Centres. Just as was the case last year, the standard was very high, in both Centres equally. The Moderator was impressed by the ability of most candidates to translate unseen literature with a high degree of accuracy and to respond with sensitivity and appreciation to the prescribed literature.
The two question papers were again demanding but fair. On Paper 1 a number of candidates ignored the instruction to write their translations on alternate lines. Candidates should be reminded that they answer on two out of the three sections on this paper. In the rare cases where candidates attempt all three sections they may be credited for only two of them.
The marking of both papers was as ever accurate and generally clear.
Comments on specific papers
Paper 1 Language
This paper offered a choice of two sections out of three: a prose unseen, a verse unseen and a grammar section. The performance was generally even across all three sections, showing that candidates had been thoroughly prepared for all parts of the paper.
The best translations were almost flawless, showing a remarkable gras p of language and literary idiom. Most of those who attempted Section C showed an astonishingly thorough knowledge of even the more arcane rules of Latin syntax. Even the weaker candidates here, who made many elementary errors in the formation of verbs, handled many complexities with commendable accuracy.
Paper 2 Literature
This year the grammar alternatives were not so much more popular than the extended literary questions. Those who attempted the latter showed a highly attuned appreciation of literary style. The weaker candidates who chose the grammar alternatives generally struggled to make accurate identifications.
Translations were in most scripts almost word-perfect, proving a real strength. Several weaker candidates achieved high marks overall by virtue of their translations. Almost all candidates showed a thorough knowledge of the content of the texts, though some contextual references were less well known. Scansion was mostly well done and analysis of the rhythmical effects was mostly sound.
Conclusion
Congratulations are in order once again this year to all concerned in a highly successful assessment. The Moderator continues to be impressed by the knowledge that the study of Latin in New Zealand is being maintained at so impressive a standard.
\\Octopussy\wwwroot_octopussy\acsnz \_clientfiles \8282 moderators report.doc
Paper 8282/01 & 02
Language and
Literature
General comments
This year saw a pleasing increase in the entry, from twenty to twenty-eight candidates, from two Centres. Just as was the case last year, the standard was very high, in both Centres equally. The Moderator was impressed by the ability of most candidates to translate unseen literature with a high degree of accuracy and to respond with sensitivity and appreciation to the prescribed literature.
The two question papers were again demanding but fair. On Paper 1 a number of candidates ignored the instruction to write their translations on alternate lines. Candidates should be reminded that they answer on two out of the three sections on this paper. In the rare cases where candidates attempt all three sections they may be credited for only two of them.
The marking of both papers was as ever accurate and generally clear.
Comments on specific papers
Paper 1 Language
This paper offered a choice of two sections out of three: a prose unseen, a verse unseen and a grammar section. The performance was generally even across all three sections, showing that candidates had been thoroughly prepared for all parts of the paper.
The best translations were almost flawless, showing a remarkable gras p of language and literary idiom. Most of those who attempted Section C showed an astonishingly thorough knowledge of even the more arcane rules of Latin syntax. Even the weaker candidates here, who made many elementary errors in the formation of verbs, handled many complexities with commendable accuracy.
Paper 2 Literature
This year the grammar alternatives were not so much more popular than the extended literary questions. Those who attempted the latter showed a highly attuned appreciation of literary style. The weaker candidates who chose the grammar alternatives generally struggled to make accurate identifications.
Translations were in most scripts almost word-perfect, proving a real strength. Several weaker candidates achieved high marks overall by virtue of their translations. Almost all candidates showed a thorough knowledge of the content of the texts, though some contextual references were less well known. Scansion was mostly well done and analysis of the rhythmical effects was mostly sound.
Conclusion
Congratulations are in order once again this year to all concerned in a highly successful assessment. The Moderator continues to be impressed by the knowledge that the study of Latin in New Zealand is being maintained at so impressive a standard.
\\Octopussy\wwwroot_octopussy\acsnz \_clientfiles \8282 moderators report.doc
Subscribe to:
Posts (Atom)