Classical Civilisation: A Level

A LEVEL
Classical
Civilisation
A LEVEL
Specification
CLASSICAL
CIVILISATION
H408
For first assessment in 2019
Version 1.1 (May 2018)
ocr.org.uk/alevelclassicalcivilisation
Registered office: © 2018 OCR. All rights reserved.
1 Hills Road
Cambridge Copyright
CB1 2EU OCR retains the copyright on all its publications, including the specifications.
However, registered centres for OCR are permitted to copy material from
OCR is an exempt charity. this specification booklet for their own internal use.
Oxford Cambridge and RSA is a Company Limited by Guarantee. Registered

in England. Registered company number 3484466.
Disclaimer Specifications are updated over time. Whilst every effort is made to check all
documents, there may be contradictions between published resources and
the specification, therefore please use the information on the latest
specification at all times. Where changes are made to specifications these will
be indicated within the document, there will be a new version number
indicated, and a summary of the changes. If you do notice a discrepancy
between the specification and a resource please contact us at:
resources.feedback@ocr.org.uk
We will inform centres about changes to specifications. We will also publish

changes on our website. The latest version of our specifications will always be
those on our website (ocr.org.uk) and these may differ from printed versions.
Contents
1 Why choose an OCR A Level in Classical Civilisation?2

1a. Why choose an OCR qualification? 2
1b. Why choose an OCR A Level in Classical Civilisation? 3
1c. What are the key features of this specification? 4
1d. What is new in OCR A Level in Classical Civilisation? 4
1e. How do I find out more information? 5
2 The specification overview 6

2a. OCR’s A Level in Classical Civilisation (H408) 6
2b. Content of A Level in Classical Civilisation (H408) 7
2c. Content of The World of the Hero (H408/11) 8
2c. Content of Culture and the Arts (H408/21, H408/22, H408/23 and H408/24) 15
2c. Content of Beliefs and Ideas (H408/31, H408/32, H408/33 and H408/34) 32
2d. Prior knowledge, learning and progression 45
3 Assessment of A Level in Classical Civilisation 46

3a. Forms of assessment 46
3b. Assessment objectives (AO) 47
3c. Assessment availability 48
3d. Retaking the qualification 48
3e. Assessment of extended response 48
3f. Synoptic assessment 49
3g. Calculating qualification results 49
4 Admin: what you need to know50

4a. Pre-assessment 50
4b. Special consideration 52
4c. External assessment arrangements 52
4d. Results and certificates 53
4e. Post-results services 53
4f. Malpractice 53
5 Appendices53
5a. Overlap with other qualifications 54
5b. Accessibility 54
5c. References for visual/material sources 55
5d. Suggested secondary sources, scholars and academic works 59
Summary of updates 62
© OCR 2016
A Level in Classical Civilisation 1
1 Why choose an OCR A Level in Classical Civilisation?
1a. Why choose an OCR qualification?

Choose OCR and you’ve got the reassurance that We provide a range of support services designed to
1 you’re working with one of the UK’s leading exam

boards. Our new A Level in Classical Civilisation
help you at every stage, from preparation through to
the delivery of our speciﬁcations. This includes:
course has been developed in consultation with
teachers, employers and Higher Education to provide • A wide range of high-quality creative resources
learners with a qualification that’s relevant to them including:
and meets their needs. • Delivery Guides
We’re part of the Cambridge Assessment Group, • Transition Guides

Europe’s largest assessment agency and a • Topic Exploration Packs
department of the University of Cambridge. • Lesson Elements
Cambridge Assessment plays a leading role in
• … and much more.
developing and delivering assessments throughout
the world, operating in over 150 countries.
• Access to Subject Advisors to support
We work with a range of education providers, you through the transition and throughout
including schools, colleges, workplaces and other the lifetimes of the specifications.
institutions in both the public and private sectors.
Over 13,000 centres choose our A Levels, GCSEs and • CPD/Training for teachers to introduce the
vocational qualifications including Cambridge qualifications and prepare you for first
Nationals and Cambridge Technicals. teaching.
Our Specifications • Active Results – our free results analysis

service to help you review the performance
We believe in developing specifications that help you of individual learners or whole schools.
bring the subject to life and inspire your students to
achieve more. All A Level qualifications offered by OCR are
accredited by Ofqual, the Regulator for qualifications
We’ve created teacher-friendly specifications based offered in England. The accreditation number for
on extensive research and engagement with the OCR’s A Level in Classical Civilisation is QN603/0726/2.
teaching community. They’re designed to be
straightforward and accessible so that you can tailor
the delivery of the course to suit your needs. We aim
to encourage learners to become responsible for their
own learning, confident in discussing ideas,
innovative and engaged.
© OCR 2016
2 A Level in Classical Civilisation
1b. Why choose an OCR A Level in Classical Civilisation?
OCR’s A Level in Classical Civilisation has been institutions, and allows teachers to design a pathway
designed to provide learners with a broad, coherent
and rewarding study of the literature and culture of
of study for learners that is well suited both to
teachers’ expertise and learners’ needs. Familiar, 1
the classical world. It offers learners the opportunity popular topics are supplemented by innovative,
to study elements of the literature, visual/material exciting new ones, to form a creative, new approach
culture and thought of the classical world, and to the study of the classical world.
acquire an understanding of their social, historical
and cultural contexts. OCR’s A Level in Classical Civilisation will help learners
to understand the legacy of the classical world, whilst
This qualification has been developed in consultation equipping them to progress to higher education.
with teachers and stakeholders from a variety of
Aims and learning outcomes
OCR’s A Level in Classical Civilisation will encourage learners to:

• acquire a sophisticated level of knowledge and • further develop skills of critical analysis and
understanding of the literature and culture of evaluation and apply these to the range of
the classical world through studying a diverse source materials studied in order to gain
range of ancient material and making insight into aspects of the classical world
connections and comparisons between them
• articulate an informed response to the material
• understand classical literature, thought and studied, using a range of appropriate evidence
material culture in its context; including to formulate coherent arguments with
how issues and values relevant to the society substantiated evidence based judgements
in which they were created are reflected in
ancient sources and materials • acquire a sound basis for further study of the
classical world.
© OCR 2016
1c. What are the key features of this specification?
The key features of OCR’s A Level in Classical Civilisation for you and your learners are:
1 • the study of three distinct components, each

with clear and well-defined content and strong
• co-teachable options allowing for the AS Level
in Classical Civilisation to be taught alongside
supporting materials the first year of the A Level
• the chance to study both Greece and Rome, • the opportunity to study a wide range of topics
and their surrounding worlds and sources, which will inspire and motivate
learners to engage further with the classical
• one component offering the study of both world
Greek and Roman epic, including the oldest
surviving works of literature in the Western • an emphasis on enabling learners to respond
literary canon critically and engage with a wealth of sources
and ideas, equipping them with analytical skills
• a wide range of options in both of the other readily transferable to other subjects and
component groups, with no prohibited routes further study of the classical world.
and maximum flexibility in choosing your
course of study
1d. What is new in OCR A Level in Classical Civilisation?

This section is intended for teachers using OCR’s Classical Civilisation (H441) and the new version
current A Level in Classical Civilisation. It highlights (H408) for first teaching in September 2017:
the differences between the current A Level in
What stays the same? What’s changing?
• Familiar and popular areas of study such as • Prescribed ancient sources for all components
the epic and drama are still available as
• New topic areas, including those addressing
options
Classical Thought
• Opportunity to study both Greece and Rome
• Simplified assessment with fewer optional
• Opportunity to study visual/material culture questions and lower tariff questions
and literature
• OCR provided translations, free to use and
• Assessments still contain a mixture of available online
extended response and commentary questions
© OCR 2016
1e. How do I find out more information?
If you are already using OCR specifications you can Want to find out more?
contact us at: www.ocr.org.uk
Ask our Subject Advisors: 1
If you are not already a registered OCR centre then
you can find out more information on the benefits of Customer Contact Centre: 01223 553998
becoming one at: www.ocr.org.uk
Email: classics@ocr.org.uk
If you are not yet an approved centre and would like
to become one go to: www.ocr.org.uk Join our Classics community: http://social.ocr.org.uk/
groups/classics
Teacher support: www.ocr.org.uk
© OCR 2016
2 The specification overview
2a. OCR’s A Level in Classical Civilisation (H408)

Learners must take component H408/11, one from components H408/21 to H408/24 and one from
H408/31 to H408/34 to be awarded OCR’s A Level in Classical Civilisation.
2 Content Overview Assessment Overview

The World of the Hero
The World of the Hero
This is a compulsory component consisting of
an in-depth study of: H408/11 40%
• one of Homer’s Iliad or Odyssey 100 marks of total
• and Virgil’s Aeneid 2 hours 20 minutes A Level
This component is solely focused on the Written paper
study of literature in translation.
Component Group 2: Culture and the Arts

Learners must study one component in this
component group, chosen from: Culture and the Arts
H408/21, H408/22,
•
•
Greek Theatre (H408/21)
Imperial Image (H408/22) H408/23, H408/24 30%
• Invention of the Barbarian (H408/23) 75 marks of total
• Greek Art (H408/24)
1 hour 45 minutes A Level
Components in this group involve the study
of visual and material culture. In all except Written paper
Greek Art this is combined with the study of
literature in translation.
Component Group 3: Beliefs and Ideas

Learners must study one component in this
component group, chosen from: Beliefs and Ideas
• Greek Religion (H408/31) H408/31, H408/32,
• Love and Relationships (H408/32) H408/33, H408/34 30%
•
•
Politics of the Late Republic (H408/33)
Democracy and the Athenians 75 marks of total
(H408/34) 1 hour 45 minutes A Level
Components in this group involve of an area Written paper
of classical thought, in combination with
either the study of literature in translation or
visual/material culture.
© OCR 2016
2b. Content of A Level in Classical Civilisation (H408)
OCR’s A Level in Classical Civilisation can either build Western literary canon, and the Greeks themselves
on the knowledge, understanding and skills considered them the cornerstone of Greek culture. In
established at GCSE (9–1), or provide an introduction his Aeneid Virgil pays homage to Homer, but also to
to the study of the classical world. Rome and its leader, Augustus. With their unique
composition, and exciting tales of gods and heroes,
2
All learners will study material from both Greece and these works of literature form an excellent grounding
Rome and their surrounding worlds, drawn from for exploration of the classical world.
diverse time periods ranging from Archaic Greece to
Imperial Rome. This material will encompass aspects The component group Culture and the Arts (H408/21
of literature, visual/material culture and classical to H408/24) contains four options for study, all of
thought in their respective social, historical and which involve the study of visual/material culture.
cultural contexts. Learners will study a range of The study of the physical remains of the ancient
evidence, and use this to form substantiated world is crucial to a comprehensive understanding of
judgements and responses. it, and this component group includes a variety of
possible options and a great deal of flexibility for
All learners will study component H408/11, The teachers. These components make the classical world
World of the Hero, and two further components, one more tangible for learners, engaging them more fully
from each of the two component groups; Culture and in their studies.
the Arts (H408/21 to H408/24) and Beliefs and Ideas
(H408/31 to H408/34). There are no prohibited Finally, in Beliefs and Ideas (H408/31 to H408/34)
combinations or routes through the qualification. learners are given the opportunity to explore some of
the ideas and ideals important not only to the ancient
The important and ever popular literary genre of epic world but also to the modern one. From ideas about
forms the basis of our mandatory component The love to those about democracy, learners will examine
World of the Hero (H408/11). This component will thought provoking and interesting concepts that will
explore both Greek and Roman epic, with the study develop their ability to evaluate and analyse ideas as
of either Homer’s Iliad or Odyssey and Virgil’s Aeneid. well as sources.
The works of Homer are the foundation of the
Knowledge, Understanding and Skills
In all components of OCR’s A Level in Classical Civilisation Learners will be required to:
• understand, interpret, evaluate and analyse a understanding of the literature, ideas and
range of evidence from classical sources in materials studied, as well as their cultural
their social, historical and cultural context context
• evaluate and use this evidence to produce • make use of knowledge and understanding of
analytical responses, and effectively relevant secondary scholars and academics in
substantiated judgements order to further develop their analysis and
• present these judgements in a clear, concise argument. Examples of such secondary scholars
and logical manner and academic works for each component can
• develop their knowledge, skills and be found in Appendix 5d, these are not a
understanding over the two year linear A Level prescriptive list however, and are intended as
course to evaluate with appropriate levels of guidance and support only.
sophistication, demonstrating a deep, complex
© OCR 2016
2c. Content of The World of the Hero (H408/11)
In this compulsory component learners will study one This component also provides learners with the
of either Homer’s Iliad or Odyssey, as well as Virgil’s opportunity to appreciate Virgil’s Aeneid, a
Aeneid. Learners will develop an increasingly cornerstone and landmark in Western literature.
sophisticated level of knowledge and understanding Drawing inspiration from Homer, as well as from
of the epics themselves, the way in which they were his own cultural and political context, Virgil
2
composed, and the religious, cultural and social explored what it was to be a hero in the Roman
values and beliefs of its society. Both texts should be world and created a work which has proven
studied in equal levels of depth and should require an enduringly popular.
equal amount of teaching time.
Learners should study the topics, prescribed sources,
The poems of Homer were considered by the Greeks and knowledge, skills and understanding listed for
themselves to be a foundation of Greek culture, each option in conjunction with one another, taking
standing as they do at the beginning of the Western a thematic, holistic approach. This component should
literary canon. This component provides learners with also be studied in the context of the specification-
the opportunity to appreciate the lasting legacy of wide knowledge, skills and understanding listed in
the Homeric world and to explore its attitudes and Section 2b, including the requirement to make use
values. The epics of Homer, with their heroes, gods of relevant secondary scholars and academics to
and exciting narratives, have been in continuous support their analysis and argument. Examples of
study since their conception, and remain popular such secondary scholars and academic works for this
with learners and teachers today. component can be found in Appendix 5d. These are
not a prescriptive list and are intended as guidance
and support only.
© OCR 2016
Homer’s Iliad
This or Homer’s ‘Odyssey’ should be studied.
Key topics Learners should have studied the following:
• structure and plot of the epic

• language of the epic including the use of speeches, formulae, similes
and other narrative and descriptive techniques and their effects
2
Literary techniques and • literary context in which the Iliad was created and handed down
composition including:
• oral tradition and context
• transmission of the text
• whether it was the work of one or more poets
• concept, values and behaviour of a hero including the ideas of timē
(honour) and kleos (reputation)
• life in Troy and the Greek war camp
The heroic world: • characterisation of major and minor characters
characterisation and themes • the portrayal of war
• death and mortality
• menis (wrath, anger)
• reconciliation
• power of fate
• role of the immortals and relationship between immortals and
mortals
The social, cultural and • family and friendship
religious context • hospitality and guest friendship (xenia)
• relationships between men and women, parents and children
• part played by women in the epic and their position in society
• role of slaves
© OCR 2016
Prescribed Books 1, 3, 4, 6, 9, 10, 16, 17, 18, 19, 22, 23, 24
When studying literature • ways in which writers shape meanings in classical texts
learners will be required to • ways in which classical texts might be interpreted by different readers
show knowledge and or audiences both in an ancient and modern context
understanding of: • ways in which classical texts relate to the historical, social, political,
religious and cultural contexts in which they are written and received
2 • ways in which classical texts relate to literary traditions and genres of

the classical world.
When studying literature • respond critically to texts and consider how the attitudes and values
learners should be able to: of the classical world or author are expressed
• apply their knowledge of cultural contexts to support, substantiate
and inform evidence-based judgements about the classical texts
• use classical texts to demonstrate an understanding of the social,
historical and cultural context of the classical world, with recognition,
where appropriate, of the complex issues of reliability and the
difference between what a text might say and what can be inferred
from this
• critically explore and explain the possibility of different responses to a
text from different audiences, from the classical period, up until the
modern day.
Learners may use any translation of the text. Where a translation is printed on the question paper two versions
will be provided, these will be taken from:
• omer, ‘Iliad’ translated by E.V. Rieu, revised translation by D.C.H. Rieu (Penguin)
H
• ‘Homer: The Iliad – The Killing Fields of Troy’, translated by A.S. Kline, online at
http://www.poetryintranslation.com
© OCR 2016
Homer’s Odyssey
This or Homer’s ‘Iliad’ should be studied.
• structure and plot of the epic

• language of the epic including narrative and descriptive techniques and their
effects; such as speeches, formulae, flashback, and similes 2
Literary techniques • literary context in which the Odyssey was created and handed down
and composition including:
• oral tradition and context
• transmission of the text
• whether it was the work of one or more poets
• concept, values and behaviour of a hero, including the ideas of timē (honour)
and kleos (reputation)
• how the different societies depicted in the Odyssey are characterised and
The heroic world: portrayed
characterisation and • characterisation of major and minor characters
themes • nostos (homecoming)
• disguise
• recognition
• fantasy and the supernatural
• power of fate
• role of the immortals
• relationship between immortals and mortals
• justice and revenge
The social, cultural
• hospitality and guest friendship (xenia)
and religious context
• family
• role of slaves
© OCR 2016
Prescribed Books 1, 5, 6, 7, 8, 9, 10, 11, 12, 13, 16, 17, 18, 19, 21, 22, 23
When studying • ways in which writers shape meanings in classical texts

literature learners • ways in which classical texts might be interpreted by different readers or
will be required to audiences both in an ancient and modern context
show knowledge and • ways in which classical texts relate to the historical, social, political, religious
understanding of: and cultural contexts in which they are written and received
2 • ways in which classical texts relate to literary traditions and genres of the
classical world.
When studying • respond critically to texts and consider how the attitudes and values of the
literature learners classical world or author are expressed
should be able to: • apply their knowledge of cultural contexts to support, substantiate and inform
evidence-based judgements about the classical texts
• use classical texts to demonstrate an understanding of the social, historical
and cultural context of the classical world, with recognition, where
appropriate, of the complex issues of reliability and the difference between
what a text might say and what can be inferred from this
• critically explore and explain the possibility of different responses to a text
from different audiences, from the classical period, up until the modern day.
• omer, ‘Odyssey’ translated by E. V. Rieu, revised translation by D. C. H. Rieu (Penguin)
H
• ‘Homer: Odyssey – The Wanderings of Odysseus’, translated by A.S. Kline, online at
http://www.poetryintranslation.com
© OCR 2016
Virgil’s Aeneid
This must be studied as part of this component.
• composition of the epic

Literary techniques and
•
•
structure and plot of the epic
language of the epic including the use of speeches, themes, flashback,
2
composition
similes and other narrative and descriptive techniques and their effects
• Homeric influence
• concepts, values and behaviour of a Greek and Roman hero
• characterisation of major and minor characters
The heroic world:
• role of Aeneas in Rome’s Imperial destiny
characterisation and
• portrayal of war
themes
• the portrayal of different nations; Trojans, Greeks, Carthaginians,
Italians
• moral values implicit in the Aeneid including pietas (duty to gods, state
and family) and its contrast with furor
• importance of fate and destiny
The social, cultural and • role of the immortals and the relationship between mortals and
religious context immortals
• family and friendship
• Augustan context in which the Aeneid was produced including:
• the political and historical background of the civil war
Historical and political • Augustus’ rise to power and consolidation of his rule
background • Virgil’s relationship to Augustus and his regime and the extent to which
they are promoted within the epic
• promotion of the Roman Empire
© OCR 2016
Prescribed Books 1, 2, 4, 6, 7, 8, 9, 10, 11, 12
learners will be required to • ways in which classical texts might be interpreted by different readers
show knowledge and or audiences both in an ancient and modern context
2 • ways in which classical texts relate to literary traditions and genres of

the classical world.
When studying literature • respond critically to texts and consider how the attitudes and values of
learners should be able to: the classical world or author are expressed
• apply their knowledge of cultural contexts to support, substantiate and
inform evidence-based judgements about the classical texts
• use classical texts to demonstrate an understanding of the social,
historical and cultural context of the classical world, with recognition,
where appropriate, of the complex issues of reliability and the
difference between what a text might say and what can be inferred
from this
modern day.
• Virgil, ‘Aeneid’ translated by D. West (Penguin)
• Virgil, ‘The Aeneid’, translated by A.S. Kline, online at http://www.poetryintranslation.com
© OCR 2016
2c. Content of Culture and the Arts (H408/21, H408/22, H408/23
and H408/24)
The following pages outline the components available Each component contains a list of ‘Prescribed
for study in Component Group 2: Culture and the Sources’. These are a mandatory part of the study of
Arts. each component and learners should be prepared to
respond directly to these in the assessment in
•
•
Imperial Image (H408/22)
commentary style questions. Only sources on these
lists will be used for these questions, however in
2
• Invention of the Barbarian (H408/23) extended responses learners may draw on any
• Greek Art (H408/24) appropriate sources and evidence they have studied.
Learners must study one of these components. Learners should study the topics, prescribed sources,
and knowledge, skills and understanding listed for
All of these components include a study of visual/ each option in conjunction with one another, taking a
material culture; from the study of theatres and vases thematic, holistic approach. This component should
depicting performances, to Persian art and also be studied in the context of the specification-
archaeological sites, to Roman coins and architecture. wide knowledge, skills and understanding listed in
The sources for components H408/21, H408/22 and Section 2b, including the requirement to make use
H408/23 are equally weighted between visual/ of relevant secondary scholars and academics to
material culture and literature. The sources for support their analysis and argument. Examples of
component H408/24, Greek Art, are entirely visual/ such secondary scholars and academic works for
material however, as befits the focus of the each option within this component can be found in
component. Appendix 5d. These are not a prescriptive list and are
intended as guidance and support only.
The listed topics should form the focus of study,
which gives structure to the learners’ exploration of
the theme of the component. These topics have been
chosen in order to give a broad overview of the
myriad issues inherent in each theme, and to give a
strong understanding of the context of the sources
studied.
© OCR 2016
2c. Content of Greek Theatre (H408/21)
The drama produced in the ancient Greek theatre This study of the production of Greek drama is
forms some of the most powerful literature of the coupled with an in–depth study of three plays, all of
ancient world, and has had a profound and wide- which have proven to be enduring favourites. The
reaching influence on modern culture. themes and concepts explored by these plays are of
significant relevance and interest as much to the
2
To fully understand this cultural phenomenon modern audience as they were to that of the original
requires study of not only the plays but the context in performance.
which their form and production developed. To
develop this understanding this component involves The plays and material culture included in the
the study of the physical theatre space used by the specification provide learners with a range of
Greeks to stage their dramas, and also depictions of interesting sources which will allow them to explore,
this staging in the visual/material record. evaluate and understand this aspect of ancient
culture and its relevance to us in the modern world.
• role and significance of drama and the theatre in ancient Athenian

society, including, the religious context of the dramatic festivals
• the organisation of the City Dionysia, including the make up and
involvement of the theatre audience
• structure of the theatre space, and how this developed during the
Drama and the theatre in
5th and 4th centuries BC including:
ancient Athenian society
• machinery associated with the theatre; the crane and the wheel
platform, and how they contributed to the staging of Greek
drama
• the representation in visual and material culture of theatrical and
dramatic scenes
• the origins of tragedy and how it developed during the 5th century BC,
including its relationship to satyr-plays
• the contributions of Aeschylus, Sophocles and Euripides
• use of actors and the Chorus
• use of masks, costumes and props
Nature of tragedy
• common themes of tragedy
• the relationship between the cultural context and subject matter of the
plays
• Aristotle’s theories about tragedy, including peripeteia (reversal of
fortune), hamartia (tragic mistake), catharsis (purging of emotions)
© OCR 2016
• the origins of comedy and how it developed during the 5th century BC,
including the contribution of Aristophanes
• use of actors and the Chorus
• use of masks, costumes and props
Nature of (old) comedy
• types of humour, comic techniques and effects
• the common themes of comedy
• the relationship between the cultural context and subject matter of the
plays
With reference to all the set plays:
2
• plot structure
Literary techniques, • plot devices, including messenger speeches, agon, parabasis
structure, and dramatic • use and choice of language, literary devices and descriptive techniques,
conventions including imagery and dramatic irony
• characterisation, including the role of the chorus
• styles and techniques of the different playwrights
With reference to Oedipus the King and Bacchae:
• ancient religious concepts, beliefs and practices, including:
• the role of the gods
• fate and free will
• prophecy and prophets
• religious rituals and acts
• importance of the polis (city), including:
Social, political and • position and role of men, women and slaves in society
religious themes in • political ideas and ideals
tragedy • importance of family relationships
• tragic heroism, including:
• the nature of heroes and heroism
• justice and revenge
• possible interpretation of these themes and motifs by both ancient and
modern audiences
• the representation of such themes and motifs in the visual/material
record
With reference to Frogs:
• the representation and satire of tragedy
• ancient religious concepts, beliefs and practices, including:
• the role of the gods
• death and the afterlife
Social, political and
• importance of the polis (city), including:
religious themes in
• position and role of men, women and slaves in society
comedy
• political ideas and ideals
• possible interpretation of these themes and motifs by both ancient and
modern audiences
• the representation of such themes and motifs in the visual/material
record
© OCR 2016
Prescribed Literary Sophocles’ Oedipus the King
Sources Euripides’ Bacchae
Aristophanes’ Frogs
literature learners will • ways in which classical texts might be interpreted by different readers or
be required to show audiences both in an ancient and modern context
knowledge and • ways in which classical texts relate to the historical, social, political,
2 understanding of:
•
ways in which classical texts relate to literary traditions and genres of the
classical world.
should be able to: • apply their knowledge of cultural contexts to support, substantiate and
Learners may use any translation of the texts. Where a translation is printed on the question paper it will be
taken from:
• for Oedipus the King, translation by Fagles, in The Three Theban Plays (Penguin)
• for Bacchae and Frogs, the appropriate volume of Cambridge Translations from Greek Drama
Prescribed Theatre of Dionysus at Athens The death of Pentheus, red-figure

Visual/Material kylix attributed to Douris, c.480 BC
Theatre of Thorikos, a coastal deme of
Sources
Attica Krater “Choregos Vase” or “Comic
Angels”, choregoi with Aegisthus
Volute krater by the “Pronomos”
and Pyrrhias
painter, depicting team of actors
celebrating with costumes, masks, aulos Calyx krater fragment by Capodarso
player, playwright and Dionysus painter, depicting Jocasta and
Oedipus the King
Bell krater by McDaniel Painter,
“Cheiron Vase” Red-figure calyx krater depicting
Medea’s escape
Red-figure column krater in mannerist
style, “Basel Dancers” Pelike by Phiale painter depicting
tragic actors dressing
Black-figure oinochoe depicting two
chorus-members dressed as birds Red-figure ‘maenad’ stamnos by
Dinos Painter
Red-figure bell krater by Schiller Painter,
depicting scene with wine-skin & boots Red-figure vase fragment Single
from Women at the Thesmophoria actor possibly playing Perseus and 2
(Thesmophoriazusae) audience members / judges
© OCR 2016
When studying visual/ • the appearance, style, content and original location (as applicable) of
material culture learners the sources
will be required to • what the sources can tell us about the classical world, and what they
show knowledge and cannot
understanding of: • the ways in which the social, political, religious and cultural context of
production impacts on the creation of visual/material culture
• appropriate methods of analysis and interpretation, including issues of
•
purpose, production and form
the range of possible interpretations of visual/material culture when 2
looked at from different perspectives, in an ancient and modern
context.
When studying visual/ • respond critically to artefacts, identifying different possible
material culture learners interpretations, taking account of issues such as those of audience and
should be able to: purpose
• know and understand how materials and artefacts relate to their wider
context and how this social, historical, political, religious and cultural
context affected their creation and interpretation
• evaluate the usefulness of visual/material culture when investigating
the classical world
inform their judgements
• use their understanding of visual/material culture to demonstrate an
understanding of the social, historical and cultural context of the
classical world with recognition, of the limitations of evidence (such as
the issue of fragmentary or relocated material)
• critically explore and explain the possibility of different responses to
materials from different audiences, from the classical period, up until
the modern day.
Specific references for the visual/material sources can be found in Appendix 5c of this specification.
© OCR 2016
2c. Content of Imperial Image (H408/22)
The idea of a politician ‘spinning’ their public image is The key topics are broken-down by aspects of
one which is very familiar from our contemporary Augustus’ public image, often accompanied by one of
media; and so this exploration of a Roman politician his official titles. This will allow learners to assess the
and his successful propaganda campaign is both highly effectiveness of each strand of his self-presentation, as
relevant and engaging for learners. well as the effectiveness of his public image as a
whole. The final key topic is concerned with
2 Augustus Caesar was, through careful management of representations of Augustus in later art and literature,
public opinion, able to convince a society that was enabling learners to assess how successful Augustus’
fundamentally anti-monarchical to turn away from its self-presentation was in the long-term.
republican values and to accept one-man rule.
Through an examination of the literature and visual/
material culture of the period, this component allows
learners to examine the ways in which Augustus
conveyed his personal brand to all social classes of
Rome.

• the benefits for Augustus of associating himself with Julius Caesar, including:
• popularity with the plebeian class and the army
• military strength
• the illustrious men and gods that are ancestors of the Julian clan
Divi filius
• how he sought to achieve this association
• the possible dangers of association with Julius Caesar and how Augustus
sought to distance himself from the problematic aspects of Julius Caesar’s
public image
• the presentation of Augustus as a capable military commander whose wars
were glorious and impressive
• the reality of the military victories, including the involvement of Agrippa
• the portrayal and justification of civil wars
Imperator
• the significance of the triumph in Roman society and of Augustus’ own triple
triumph
• the presentation of campaigns at the edges of the Empire as beneficial to
Rome, and to individual Romans
• the idea of Augustus as Rome’s religious leader and representations of this
role
• Augustus’ role in restoring religious observances that had fallen out of
practice
• the restoration and building of temples and altars
‘Augustus’ • the positions Augustus held in Roman civic religion and changes to religious
practice in his reign, including:
• the worship of the Lares
• the worship of Augustus’ family genius
• representations of Augustus as personally close to the gods, including his
relationship with Apollo, and the notion that he was semi-divine himself
© OCR 2016
• myths of the Saturnian Golden Age and Augustus as a new Saturn or a
saviour
• Augustus’ improvements to the city of Rome and the quality of life of Roman
Culture hero
citizens, including the building programme
• the significance of the Secular Games
• the use of the iconography and language of peace and plenty
• the significance of the title Pater Patriae and Augustus’ presentation as a
•
father to the Roman state
the encouragement of morality and “proper” behaviour regarding marriage, 2
adultery, childbearing, religion and luxury
• Augustus as a role model for proper Roman male behaviour, including:
Pater Patriae
• modest living
• personal qualities of virtus (valour, manliness, excellence and courage);
clementia (mercy, clemency); pietas (duty to the gods, state, and
family); iustitia (justice, fairness, equity)
• the intended role of the imperial family as role models
• The effectiveness of Augustus’ self-presentation in creating an imperial image
that lasted beyond his lifetime through an examination of later sources,
Later representations including:
• selections from Suetonius’ Lives of the Twelve Caesars
• the Sebasteion at Aphrodisias
© OCR 2016
Prescribed Literary Res Gestae Divi Augusti Ovid
Sources • Metamorphoses 15.745–870
Horace
• Epodes 9 Suetonius
• Odes 1.37, 3.6, 3.14, 4.4, 4.15 • The Lives of the Twelve Caesars:
• Carmen Saeculare Augustus 7–11, 17, 20–22, 26,
28–29, 31, 34, 53, 56–58, 64–65,
Propertius 68–71, 95
2 • Elegies 3.4, 3.11, 3.12, 4.6
knowledge and • ways in which classical texts relate to the historical, social, political, religious
• ways in which classical texts relate to literary traditions and genres of the
classical world.
taken from the ‘OCR Literary Sources for Imperial Image’ booklet available for free on the OCR website.
© OCR 2016
Prescribed Visual/ The Ara Pacis Augustae Octavian Denarius, obv. bare head of
Material Sources Octavian, rev. Pax standing left holding
Mausoleum of Augustus
olive branch and cornucopiae
The Forum of Augustus in Rome
Aureus, Gaius and Lucius as princeps
The Sebasteion at Aphrodisias iuventutis, obv. Augustus head
laureate, rev. Gaius and Lucius Caesar
Augustus of Prima Porta statue
standing veiled with shields and
Relief depicting Octavian from the priestly symbols 2
Kalabsha Gate
Aureus obv. Bareheaded portrait of
Head of Livia Augustus, rev. sacrificial implements
above tripod and patera
Aureus, obv. bare head of Octavian,
rev. head of Julius Caesar with laurel Aureus obv. Portrait of Augustus with
wreath laurel wreath, rev. eight rayed comet
with tail pointing upward
Aureus, obv. head of Octavian, rev.
Octavian seated on bench holding
scroll
When studying visual/ • the appearance, style, content and original location (as applicable) of the
material culture sources
learners will be • what the sources can tell us about the classical world, and what they cannot
required to show • the ways in which the social, political, religious and cultural context of
knowledge and production impacts on the creation of visual/material culture
understanding of: • appropriate methods of analysis and interpretation, including issues of
• the range of possible interpretations of visual/material culture when looked
at from different perspectives, in an ancient and modern context
When studying visual/ • respond critically to artefacts, identifying different possible interpretations,
material culture taking account of issues such as those of audience and purpose
learners should be • know and understand how materials and artefacts relate to their wider
able to: context and how this social, historical, political, religious and cultural context
affected their creation and interpretation
• evaluate the usefulness of visual/material culture when investigating the
classical world
understanding of the social, historical and cultural context of the classical
world with recognition, of the limitations of evidence (such as the issue of
fragmentary or relocated material)
materials from different audiences, from the classical period, up until the
modern day.
© OCR 2016
2c. Content of Invention of the Barbarian (H408/23)
This component allows learners to explore how the In the innovative topic focusing on the reality of
Greeks saw themselves as distinct from their Persian culture, learners will analyse how far the
‘barbarian’ neighbours. With issues of race and Greek stereotype of the Persians was based on fact or
stereotypes so prevalent in the modern world, this prejudice. They will be encouraged to question
component raises matters which will resonate with assumptions and think critically about portrayals of
2 learners and encourage them to think about their
own society and beliefs.
difference and identity.
Finally, learners will examine depictions of the

The first topic introduces the learner to the Greek Persians in the work of Herodotus and Aeschylus, and
world and asks how united the Greeks were as a the idea of barbarians in Greek myth, including why
people. The second explores the possible lack of the Greeks were fascinated by female barbarians in
cohesion of the Greeks during the events of the particular. This close analysis of literary and artistic
Persian Wars. Learners will then look into how the sources gives learners the opportunity to work with a
image of the barbarian as being distinct from, and variety of material, creating an engaging course of
inferior to, the Greeks emerged and persisted. study.
• the geographical extent of the Greek world and the range of cultures it
encompassed
Greek identity
• the autonomy of the poleis (cities) and relations between them
• the extent to which a ‘Greek’ cultural identity could be said to exist
• relations between Greek poleis (cities) and attempts to unify the Greeks during
this period of conflict
The Persian Wars
• the divisions and unity of the Greeks as reflected in Herodotus’ narrative of key
and Greek (dis)
events
unity
• varying responses to the Persian threat; poleis (cities) which medised, and
those which did not
• pre-Classical ideas of the ‘barbarian’ including the origin of the term and its
original connotations
• the role of binary oppositions (for example Greek/foreigner; man/woman;
slave/free) in the Greek world view
• the typical depiction of barbarians in classical Greek sources, including:
Greeks and • the standard visual depiction of ‘barbarians’ in Greek art
barbarians • their way of life and customs
• their character
• politics and hierarchy
• their religion and rituals
• the role of the historical context in this ‘invention’ of the barbarian, including:
• the role of the Persian wars in crystallising images of foreign peoples
© OCR 2016
• the Amazons, including:
• their appearance and behaviour
• how their behaviour and values set them apart from the Greeks
• Medea, with study of Euripides’ Medea, including:
Depictions and • the plot, structure, characterisation and themes
portrayals; • the context in which the play was produced
mythical barbarians • how the plot and Medea’s character is formed by her status as
•
a barbarian
how Medea’s actions may have been viewed by the audience
2
• how gender is linked to the sense of ‘other’ and danger associated with
barbarian characters
• Aeschylus’ portrayal of the Persians in The Persians, including:
• the plot, structure, characterisation (including chorus) and themes
• the context in which the play was produced
• characteristics and ‘un-Greek’ nature of the Persians
• the behaviour and characterisation of Xerxes
Depictions and
• Herodotus’ portrayal of the Persians in the prescribed sections, including:
portrayals;
• characteristics and ‘un-Greek’ nature of the Persians
historical
• the behaviour and characterisation of Xerxes
barbarians
• the tyrannical and quasi-godlike behaviour of Xerxes
• Herodotus’ accounts of the supernatural (including oracles)
• Herodotus’ narrative and literary devices
• comparison of Aeschylus’ and Herodotus’ depictions of the Greeks, Persians
and the Greek victory
• the Achaemenid dynasty and the Persian political system, including:
• the king, his subjects and government of the empire including tributes
and satrapies
• the representation of kings and imperialism in Persian sources
• the artistic and cultural achievements of the Achaemenid dynasty, including:
• the cultural significance of Persepolis and the Palace of Darius at Susa
The reality of Persia
• the relationship between Achaemenid and Greek art, and the influence
of each on the other
• the contrast of the ‘reality’ of Persian culture and society with the Greek
view, including:
• the extent to which Herodotus shows familiarity with the reality of
Persia
© OCR 2016
Prescribed Aeschylus’ Persians
Literary Sources
Euripides’ Medea
Herodotus’ The Histories Books 1.1, 1.131–140; 2.48–58; 4.110–117, 4.168–181;

7.8–19, 7.33–37, 7.100–105, 7.145–152; 8.49–63, 8.67–69, 8.70–103, 8.108–110,
8.117–120, 8.140–144
2 When studying
literature learners will
•
•
ways in which writers shape meanings in classical texts
ways in which classical texts might be interpreted by different readers or
classical world.
from different audiences, from the classical period, up until the modern day
taken from:
• Herodotus: ‘OCR Literary Sources for Invention of the Barbarian (H408/23)’ available for free on the OCR
website
• for Medea, the appropriate volume of Cambridge Translations from Greek Drama, trans. Harrison
• for The Persians translation by Vellacott, as in Prometheus Bound and Other Plays (Penguin)
© OCR 2016
Prescribed Visual/ Red figure kylix, Persian and a Greek The site of Persepolis, including the
Material Sources fighting, in the manner of the Gate of All Nations and the Apadana
Triptolemos Painter (including the relief on the eastern
staircase showing delegations from the
South frieze of the Temple of Athena
different peoples of the empire)
Nike from the Acropolis, Athens,
depicting the Greeks fighting the Gold armlets with griffins from the
Persians Oxus Treasure
Attic red figure kylix depicting Achilles
and Penthesilea, by the Penthesilea
Statuette of a naked youth from the
Oxus Treasure
2
Painter
The Tomb of Cyrus the Great,
The battle of Achilles and Penthesileia. Pasargardae
Lucanian red-figure bell-krater
The Cyrus Cylinder
Attic red figure krater depicting
Statue of Darius I from Susa
Hercules and the Amazons, attributed
to Euphronios Rock relief at Bisitun, showing Darius
the Great after his victory over
Frieze of temple of Apollo at Bassae
Gaumata and other rebel kings
(British Museum), showing Amazons
Head of a young Persian prince in lapis
lazuli, from the Apadana at Persepolis
Silver rhyton ending in a griffin
at from different perspectives, in an ancient and modern context.
classical world
modern day.
© OCR 2016
2c. Content of Greek Art (H408/24)
The 6th–4th centuries BC was a period of great the Greeks in 6th–4th centuries BC, including free-
change in the Greek world, and this is reflected in the standing sculpture, architectural sculpture and
art which was produced. In this component learners vase-painting.
will gain a thorough knowledge of the selected
aspects of Greek art, but they will also gain some Having undertaken this study, learners will appreciate
2 understanding of, and insight into, the context in
which it was created, particularly the areas of
the profound effect Greek art has had on the art of
later periods. This component will hone learners’
religion, society, values and history/politics. visual and analytical skills, develop their ability to
offer critical analyses, and enable them to articulate
Learners will have the opportunity to explore and an informed personal response to the works under
engage with a range of the visual arts produced by consideration.
Key Topics Learners should have studied the following:

• functions of free-standing sculpture including:
• cult statue, votive, grave marker, memorial
• purpose and positioning of different types of architectural sculpture
including:
Function
• metopes, Ionic friezes and pediments
• shapes and uses of pots, including:
• storage vessels, mixing pots, water pots, jugs and drinking cups,
cosmetic and athletic equipment
• effects of different types of materials, including:
• marble and bronze in free-standing sculpture
• limestone and marble in architectural sculpture
Materials • clay, added colour and slip
• advantages and limitations of different materials and shapes
• usefulness and limitations of damaged and/or reconstructed pieces
• usefulness and limitations of copies of free-standing sculpture
• block method of carving statues
• lost-wax method of casting bronze statues
• black figure technique in vase-painting, the use of added colour and
Techniques
incision
• red-figure technique in vase-painting, the use of different sized brushes and
diluted slip to create effects
© OCR 2016
• stylistic features and development of the kouros and the kore, including:
• pose, archaic smile, hair, adornment, geometric anatomy, elaborate
drapery
• stylistic features and development of the bronze statue, including:
• action pose, chased detail; added detail in different metals
• unity of theme and scale in architectural sculpture
Stylistic features and
• stylistic features and development of the black-figure technique, including:
development
• added white paint for female flesh, use of profile, frontal eye in
profile head, long fingers and feet, decorative motifs 2
• stylistic features and development of the red-figure technique, including:
• bi-lingual pots, use of black-figure decorative motifs, development of
profile eye
• Pioneer and Mannerist movements
• dominant verticals, horizontals and diagonals
• chiastic composition
• pose
• contrapposto
Composition
• portrayal of anatomy and physical form
• foreshortening and torsion
• portrayal of movement
• portrayal of emotion
Subject matter • mythology, including reflection of everyday life in mythological scenes
• themes in free-standing sculpture, including:
• mortals and gods
• concepts in 4th century BC sculpture
• themes in architectural sculpture, including:
• Medusa, Centauromachy, Trojan War
• themes in vase-painting, including:
• Achilles, Athena, Dionysus, Herakles, Trojan War
© OCR 2016
Prescribed Visual/ Free-standing sculpture
Material Sources
New York Kouros Diskobolos by Myron
Kleobis and Biton Doryphoros by Polykleitos
Berlin Standing Goddess Aphrodite of the Agora
Anavysos Kouros Eirene and Ploutos by Kephisodotos
Peplos Kore Hermes and Dionysus
2 Aristodikos Kouros
Delphic Charioteer
Aphrodite of Knidos by Praxiteles
Apoxyomenos by Lysippos
Artemision Zeus Antikytheran Youth
Architectural sculpture
• Pediments • Metopes
• Temple of Artemis, • Temple C, Selinus;
Corcyra Herakles and the
• Temple of Aphaia, Aigina Kerkopes
• Temple of Zeus, Olympia • Temple of Zeus, Olympia;
• Parthenon, Athens Cretan Bull, Garden of the
Hesperides, Stables of
• Ionic friezes Augeas
• Siphnian Treasury, Delphi • Parthenon, Athens; XXVI,
• Parthenon, Athens XXVII, XXVIII
• Temple of Apollo, Bassae
Vase-painting
• Gorgons pursuing Perseus, dinos • Trojan War, hydria and Dionysus

and stand by the Gorgon Painter and the Maenads, pointed
• Francois vase, volute krater by amphora by the Kleophrades
Kleitias Painter
• Wedding of Peleus and Thetis, • Achilles and Hector / Memnon,
dinos and stand by Sophilos volute krater by the Berlin
• Dionysus and the Maenads, neck Painter
amphora by the Amasis Painter • Herakles and Antaios, calyx
• Achilles and Ajax playing dice, krater by Euphronios
belly amphora and Dionysus • Herakles and the Amazons,
sailing on the ocean, kylix by volute krater by Euphronios
Exekias • Hector arming / Three men
• Dionysus / Herakles feasting in carousing, belly amphora by
the presence of Athena, Euthymides
bi-lingual belly amphora by the • Perseus and Medusa, hydria and
Lysippides Painter and the Boreas pursuing Oreithyia,
Andokides Painter oinochoe by the Pan Painter
© OCR 2016
When studying • the appearance, style, content and original location (as applicable) of the
visual/material sources
culture learners will • what the sources can tell us about the classical world, and what they cannot
be required to show • the ways in which the social, political, religious and cultural context of
understanding of: • appropriate methods of analysis and interpretation, including issues of purpose,
production and form
• the range of possible interpretations of visual/material culture when looked at
from different perspectives, in an ancient and modern context. 2
When studying • respond critically to artefacts, identifying different possible interpretations,
visual/material taking account of issues such as those of audience and purpose
culture learners • know and understand how materials and artefacts relate to their wider context
should be able to: and how this social, historical, political, religious and cultural context affected
their creation and interpretation
classical world
• apply their knowledge of cultural contexts to support, substantiate and inform
their judgements
understanding of the social, historical and cultural context of the classical world
with recognition, of the limitations of evidence (such as the issue of
• critically explore and explain the possibility of different responses to materials
© OCR 2016
2c. Content of Beliefs and Ideas (H408/31, H408/32, H408/33 and
H408/34)
The following pages outline the components available The area of classical thought targeted by each
for study in Component Group 3: Beliefs and Ideas. component is also noted in the specification, with its
corresponding knowledge, skills and understanding.
• Greek Religion (H408/31) The study of classical thought and key thinkers
2 •
•
Love and Relationships (H408/32)
Politics of the Late Republic (H408/33)
focuses on the ideas themselves, rather than the
sources for them, as illustrated by the Knowledge,
• Democracy and the Athenians (H408/34) Skills and Understanding outlined in Section 2b.
Questions focusing on these will not, therefore, be
Learners must study one of these components. source based. Instead questions will expect learners
to discuss the ideas and their context rather than
All of these components include the study of classical show knowledge of specific sources. This means that,
thought; from ideas about politics and correct despite there being fewer prescribed sources for
governance, to what is ‘right’ and ‘wrong’ when it these components, the amount of teaching time and
comes to love and desire, to the nature of the gods volume of material to be covered is considered to be
and their relationship with mankind. The content of equal to components in Component Group 2.
all components is equally split between classical
thought and either literature (H408/32, H408/33 and Learners should study the topics, prescribed sources,
H408/34) or visual/material culture (H408/31). and knowledge, skills and understanding listed for
each option in conjunction with one another, taking a
The listed topics should form the focus of study, and thematic, holistic approach. This component should
give structure to the learners’ exploration of the also be studied in the context of the specification-
theme of the component. These topics have been wide knowledge, skills and understanding listed in
chosen in order to give a broad overview of the Section 2b, including the requirement to make use
myriad issues inherent in each theme, and to give a of relevant secondary scholars and academics to
strong understanding of the context of the sources support their analysis and argument. Examples of
and ideas studied. such secondary scholars and academic works for
each option within this component can be found
Each component contains a list of ‘Prescribed in Appendix 5d. These are not a prescriptive list
Sources’. These are a mandatory part of the study of and are intended as guidance and support only.
each component and learners should be prepared to
respond directly to these in the assessment in
commentary style questions. Only sources on these
lists will be used for these questions, however in
extended responses learners may draw on any
appropriate sources and evidence they have studied.
© OCR 2016
2c. Content of Greek Religion (H408/31)
Religion was an essential part of ancient Greek layout of famous temple complexes, will make this
identity, permeating all strata of society and all component tangible for learners and help develop
aspects of an individual’s daily life. Religion could be their sense of the central role religion played in the
connected to the household, to life in the city or life life of everyday people.
in the countryside; moreover politics and religion
2
were intertwined to the extent that political decisions Learners will also explore the nature of the gods and
were sometimes made on the basis of divine oracular their relationship with mortals. Key to this is the
intervention. Religion was also an important tool for depiction of the gods by Homer and Hesiod, whom
the creation of local and Panhellenic identities, as Herodotus credited with giving the Greeks their first
well as of competition between the Greek city-states. understanding of the characters and responsibilities
of the gods. Also included are the very different role
Studying the practicalities of religious ritual, and the of Mystery Cults, and the tensions caused by the rise
role it played in society, alongside the functions and of philosophical thinking.
• The Olympian deities and the traditional understanding of their nature:

• anthropomorphism and the scope of their power
• the reciprocal relationship between gods and mortals
• the significance of Homer and Hesiod for Greek ideas about the
gods
The nature of the • The different roles, contexts and functions of the Olympians as reflected
Olympian gods in their common epithets (e.g. Zeus Agoraios, Zeus Phratrios, Zeus Philios
and Zeus Herkeios) and the extent to which these were thought of as
separate, distinct entities
• the role and nature of hero cults
• the extent to which worship of the gods and heroes were Panhellenic,
localised or personal
• mystery cults, including:
• the importance of initiation, personal religious choice and
individual participation
• The Eleusinian Mysteries and the Great Eleusinia
Personal experience of • the healing cult of Asclepius, including:
the divine • his characterisation as both god and hero
• incubation and miracles
• the oracle at Dodona, including:
• the nature of the help and advice sought from the oracle by private
individuals
• Levels of religious participation; household, deme, polis, Panhellenic
• Religious authority and where it lay, including ideas about ‘impiety’
Religion and society
• The links between ‘politics’ and religion
• The Panathenaia and its significance for Athens
© OCR 2016
The layout, significance, role and functions of:
• the Athenian Acropolis and its civic importance to Athens
Places of worship
• Delphi and state and private consultation of Delphic Oracle
• Olympia and the Olympic games and their the Panhellenic significance
• Ideas about why ritual was performed
• Priests and priestesses, including:
• the role of the priest in conducting rituals
2 Rituals and priests
•
•
the connection between aristocratic families and priesthoods
role of women in religious rituals
• The purpose, process and significance of blood sacrifices
• The role of libations in both state and private contexts
• The role of votive offerings in both state and private contexts
• The rise of philosophical thinking and how this was viewed within Greek
society, including the extent to which these ideas were truly ‘new’
• The critique of the ‘gods of Homer’ and their anthropomorphism, as
voiced by Xenophanes
Religion and philosophy
• Socrates and accusations of ‘impiety’, including:
• Socrates’ ideas on the divine, justice and why he may have
disagreed with the Homeric/Hesiodic idea of the gods
• the extent to which his ideas were radical or controversial
Area of classical thought Religion and belief in the classical world

studied
When studying classical • the development of thought and ideas; how and why they emerged and
thought learners will be how this was influenced by their broader cultural context
required to show • the influence of thought and ideas on the social, political, religious and
knowledge and cultural context of the classical world
understanding of: • ways in which these ideas and concepts can be interpreted, both in an
ancient and modern context.
When studying classical • respond critically to the ideas and concepts studied, considering how they
thought learners should reflect the social, historical, political, religious and cultural context
be able to: • apply their knowledge of cultural contexts to support, substantiate and
• use their understanding of classical ideas and thinkers to demonstrate an
understanding of the social, historical, and cultural context of the classical
world
• critically explore and explain the possibility of different interpretations of
ideas from different audiences, from the classical period, up until the
modern day.
© OCR 2016
Prescribed Visual/ • Black figure Panathenaic • The following archaeological
Material Sources Amphora, 333–332 BC, in the sites, with particular reference
British Museum (1856,1001.1) to the listed parts:
• Red-figure plaque depicting the • The Athenian Acropolis,
cult of Eleusis, c.400–300 BC, in including the Parthenon
the National Museum in Athens and the Erechtheion
(vase number 231) • Delphi, including the
• Red-figure amphora depicting
sacrifice, the Nausicaa Painter,
Temple of Apollo, the
Theatre, the Sacred Way, 2
c.450 BC, in the British Museum the stadium
(1846,0128.1) • Olympia, including the
• Marble relief/anatomical votive Temple of Zeus and
from the shrine of Asklepios, in Pheidias’ statue, the ash
British Museum (1867,0508.117) altar of Olympian Zeus,
• Attic red-figure kylix depicting a the treasuries, the Echo
consultation of the Pythia, by the Stoa and the stadium
Kodros painter, c.440–430 BC, in
the Antikensammlung Berlin
(Ident.Nr. F 2538)
at from different perspectives, in an ancient and modern context.
classical world
modern day.
© OCR 2016
2c. Content of Love and Relationships (H408/32)
Ideas about love and relationships are key aspects and Plato provides a more conceptual approach.
of the literature, thoughts, and ethics of any society. Throughout this material learners will be able to draw
This component offers the opportunity for learners comparisons and make judgements about ideal and
to recognise and relate to the passions, frustrations reality, and the nature of ‘right’ and ‘wrong’ ways to
and delights of love in the ancient world. The ethical love or be loved.
2 questions raised by these ideas continue to be
wrestled over by successive generations and this The study of poetry forms the second half of the unit.
unit will generate interesting and important Sappho provides a link between the Homeric poems
discussions about love, desire, sex, sexuality and and the literature of 5th and 4th century Athens. She
the institution of marriage. is one of very few female voices from the ancient
world; the context of her life is fascinating, and her
Ancient ideas about men, women and marriage verse is powerful and evocative. Ovid offers a lighter
enable learners to discuss the reality of love and presentation of relationships and concentrates on the
relationships in everyday life, whilst study of Seneca fun and flirtation of budding romances.
• Greek and Roman thinking regarding:

• the ideal qualities of men and women
• the relative status of men and women domestically, civically
and legally
• Greek and Roman thoughts about marriage, including:
Men and women
• what makes a good marriage
• the joy and benefits of marriage
• relative sexual freedom allowed for men and women
• attitudes towards adultery
• ideas regarding the nature of ‘good’ and ‘bad’ conduct which emerge
• Plato’s ideas about love and desire, including:
• the definitions of love
• the physical symptoms of desire
• the differences between love and desire
• how and why desire should be controlled
Plato on love and desire
• how and why desire can be resisted
• homoerotic relationships
• ideas regarding the nature of ‘good’ and ‘bad’ conduct which emerge
• how Plato’s contemporary context influenced his ideas
• how these ideas might have been received by his contemporary audience
© OCR 2016
• Seneca’s ideas about love and desire, including:
• the definitions of love
• the physical symptoms of desire
• the differences between love and desire
• how and why desire should be controlled
Seneca on love and
• how and why desire can be resisted
desire
• homoerotic relationships
•
•
ideas regarding the nature of ‘good’ and ‘bad’ conduct which emerge
the influence of Stoicism on the ideas of Seneca 2
• how Seneca’s contemporary context influenced his ideas
• how these ideas might have been received by his contemporary audience
• learners should be able to identify and respond to the following:
• purpose and intended audience of her poetry
• the social and poetic context including the genre of the work
• the issues of fragmentary material
Sappho
• use of literary devices and choice of language
• use of themes and motifs
• use of mythology
• use of humour
• learners should be able to identify and respond to the following:
• purpose and intended audience of his poetry
• the social and poetic context including the genre of the work
• use of literary devices and choice of language
Ovid
• use of didactic style
• use of themes and motifs
• use of mythology
• use of humour
• in the work of Sappho and Ovid (as prescribed) the representation of:
• love and desire
• men and women
• sex
Love and relationships
• marriage
in poetry
• society and values
• comparisons between the views in the literature and the thoughts put
forward by Plato and Seneca, and societal ideas about men, women and
marriage
© OCR 2016
Area of classical Ethics and values relating to love, desire and relationships
thought studied
2 ancient and modern context.
world
modern day.
Prescribed Literary • Sappho, extant works as listed in ‘OCR Literary Sources for Love and
Sources Relationships (H408/32)’
• Ovid, Ars Amatoria: The Art of Love, Book 3
learners will be required • ways in which classical texts might be interpreted by different readers or
to show knowledge and audiences both in an ancient and modern context
classical world.
When studying literature • respond critically to texts and consider how the attitudes and values of the
learners should be able classical world or author are expressed
to: • apply their knowledge of cultural contexts to support, substantiate and
appropriate, of the complex issues of reliability and the difference
between what a text might say and what can be inferred from this
modern day.
taken from the ‘OCR Literary Sources for Love and Relationships (H408/32)’ booklet available for free on the
OCR website.
© OCR 2016
2c. Content of Politics of the Late Republic (H408/33)
The Late Roman Republic was a period of upheaval for learners and moves beyond simply studying ideals
and conflicting views on how the Roman state and abstracts, and into discussion of the practical
should function. These conflicts eventually led to difficulties familiar to states throughout history. By
the downfall of the Republican res publica (state) examining their distinctive attitudes, political beliefs,
and the rise of the Roman Emperors. conduct, and impact, learners will explore the ways in
which the later Republican res publica (state)
In this component learners will study the political developed, changed, and ultimately fell. 2
thought of the period from Sulla’s retirement in 79 BC
to the death of Cicero in 43 BC, through examining The final two topics are devoted to an in depth
Marcus Porcius Cato (‘Cato the Younger’), Gaius Julius study of two of Cicero’s major works: his early speech
Caesar, and Marcus Tullius Cicero. The exploration of against Verres, and a selection of his letters. Learners
the very different ideas of three contemporary will study these works in stylistic terms as well in
political figures brings this tumultuous period to life order to see Cicero’s ideas in action.
Key Topics Learners should have studied the following:

• Roman social hierarchy; patrician and plebeian families, the nobiles (nobles)
the equites, and the idea of a novus homo (new man)
• the res publica and the organisation of the state, including:
• the offices of the cursus honorum (course of offices)
• elections
• the tribal assembly, centuriate assembly and senate
The background of the
• the government of the provinces
late Republic
• imperium (command)
• dictatorship
• the ideas and views of the populares (favouring the people) and optimates
or boni (aristocrats or Good Men)
• the role and importance of patronage, amicitia (alliance) and inimicitia
(personal hostility), idealism and personal ambition
• the influence of Stoic philosophy on Cato’s political life
• Cato’s allegiance to the optimates or boni and how this position affected his
legal and political activities
Cato and the politics of
• his relationships with other political figures, including Cicero, Caesar, and
the optimates
Publius Clodius Pulcher, and reasons for these
• his idealism compared to more pragmatic approaches to politics
• his significance as a conservative in a changing political world
• the reasons for, and significance of, the ‘first triumvirate’
• his first consulship and its ‘popular’ programme
• the politics of the Civil War and Caesar’s reasons for pursuing it
Caesar as popularis • his dictatorship, ‘anti-Republican’ behaviour and attitude to the Republic
and dictator • his plans for ‘popular’ reform
• the reasons for his assassination
• his relationships with other political figures, including Cicero, Cato, Pompey
and reasons for these
© OCR 2016
• Cicero’s ideas about the ideal state and how it had developed in Rome,
including:
• the role of concordia ordinum (‘agreement of the Orders’)
• the ideal state of affairs as cum dignitate otium (‘peace with dignity’)
• how actions during his career can be rationalised with his political ideals
• his attempt to reconcile senators and equites in the concordia ordinum and
the reasons why this failed
2 Cicero and the res

publica
• explanation of his relationships with, and attitudes toward:
• the optimates, including Cato
• the populares, including Clodius and Caesar
• Pompey
• the ‘first triumvirate’
• Catiline
• the provinces
• land reform
• the Civil War between Pompey and Caesar
• Mark Antony
• the courtroom setting, partial delivery and subsequent publication of the
Verrine speeches
• the form, structure and style of Roman legal oratory including devices such
Cicero as orator: In
as anaphora, apostrophe, tricolon, and hyperbole
Verrem 1
• the ways in which the speech is typical of Roman rhetorical practice
• the themes of corruption, justice and the necessity of upholding the state
• his portrayal of Verres and his corruption, and how this is created
• Cicero’s correspondents and his relationship to them
• the form, structure and style of Roman letter writing
Cicero as • the extent to which letters can be informal or formal in tone, and the
correspondent: choices of language and devices which create this
Selected Letters • recurring ideas and themes in the letters and their relationship to Cicero’s
life and political career
• the public or private nature of the letters and their history of publication
© OCR 2016
Area of classical Classical political theory and philosophy
thought studied
ancient and modern context.
2
understanding of the social, historical, and cultural context of the classical world
modern day.
Prescribed Literary Cicero, In Verrem 1

Sources Cicero, Letters
to Pompey, Fam. 5.7 to Caesar, Att. 9.11a
to Atticus, Att. 2.18 to Atticus, Att. 13.40
to Curio, Fam. 2.4 to Atticus, Att. 14.4
to Caelius, Fam. 2.11 to Trebonis, Fam. 10.28
to Atticus, Att. 8.8 to Plancus, Fam. 10.6
to Atticus, Att. 9.4

knowledge and • ways in which classical texts relate to the historical, social, political,
understanding of: religious and cultural contexts in which they are written and received
classical world.
taken from the ‘OCR Literary Sources for Politics of the Late Republic (H408/33)’ booklet available for free on the
OCR website.
© OCR 2016
2c. Content of Democracy and the Athenians (H408/34)
The aim of this component is to examine the concept of ‘popular’ leaders who mislead the people, or give
of Democracy; what this meant to the Athenians, and them what they want rather than what they need,
its positive and negative aspects. Learners will study and a voting public who may not be fully informed on
the reforms of two key thinkers in depth, Solon and the issues, may resonate with today’s learners and
Cleisthenes, and assess the extent to which they make this study of one of the West’s foundational
2 laid the foundations for the democracy of the 5th
century BC.
political ideas engaging and relevant.
Finally, learners will study extracts from the comedies

Learners will look at how democracy permeated of Aristophanes, whose biting wit and political satire
Athenian identity, how it was celebrated and can still capture a modern audience as well as it did
idealised, but also how it was criticised. The concepts an ancient one.

• Solon’s reforms
• seisachtheia
• property classes, their rights and obligations
• possible introduction of a Council of 400
• archonship
Solon
• Areopagos
• assembly
• changes to Draco’s lawcode
• responses to and consequences of his reforms, and their relationship to the
development of democracy
• reforms of Cleisthenes:
• demes
• tribes
• Council of 500 (Boule)
• sortition
Cleisthenes
• possible introduction of ostracism
• subsequent introduction of strategoi (generals)
• responses to and consequences of his reforms
• the extent to which these reforms redefined how Athenians viewed
themselves in relation to each other and the state
• selection of archons by lot
• the role of the Athenian Empire in the development of democracy
5th Century • the reforms of Ephialtes and Pericles and their consequences
developments • change in powers of the Areopagus
• payment for office
• citizenship laws
© OCR 2016
• the organs of democracy
• the Assembly: organisation of meetings and importance of public
speaking skills
• the Boule: function and powers
• the law-courts: function and powers
• qualification and accountability of magistrates
• demagogues and their influence, including exploitation of the lawcourts
• the ways in which the Athenians viewed democracy as giving them a distinct
identity
2
• what were regarded as the main benefits of democracy to the Athenians
• how and why this identity and these benefits were portrayed by 5th century
Democracy idealised
BC sources, including:
• the portrayal of Athens and its democracy by tragic dramatists
• Thucydides’ portrayal of Athens under Pericles and the contrast with
Athens under his successors
• the ideas in the set sections of the Old Oligarch’s Constitution of the
Athenians:
• why he feels democracy works for the Athenians, and its main
beneficiaries
• why he disapproves of the Athenian democratic constitution
Democracy critiqued • Plato’s criticisms of democracy as illustrated in the set sections of the
Republic:
• the idea of a common good
• the benefits of philosopher rulers
• the dangers of rule by the people
• the dangers of ‘popular’ leaders and sophists
• likely or actual reception at the time of performance
• Aristophanes’ portrayal of political leaders, political issues and the Athenian
people
Democracy and • nature of his comments on the developed democracy and its institutions
comedy • similarities and differences between Aristophanes’ views and those of the
other Athenian authors studied
• how serious the ideas and points put forward in the selected extracts might
have been intended to be
Area of classical Classical political theory and philosophy

thought studied
When studying • the development of thought and ideas; how and why they emerged and
classical thought how this was influenced by their broader cultural context
learners will be • the influence of thought and ideas on the social, political, religious and
required to show cultural context of the classical world
knowledge and • ways in which these ideas and concepts can be interpreted, both in an
understanding of: ancient and modern context.
© OCR 2016
When studying • respond critically to the ideas and concepts studied, considering how they
classical thought reflect the social, historical, political, religious and cultural context
learners should be • apply their knowledge of cultural contexts to support, substantiate and
able to: inform their judgements
world
2 • critically explore and explain the possibility of different interpretations of

modern day.
Prescribed Literary Aeschylus, Eumenides, 674–710 Thucydides, The Peloponnesian War,

Sources 2.36–42; 2.65
Euripides, Suppliants, 399–456
Plato, Republic, 6.485–487a;
Aristophanes 6.488–489; 6.493
• Acharnians 1–203
• Ecclesiazusae (Assemblywomen) Old Oligarch (‘Pseudo-Xenophon’),
1–310 Constitution of the Athenians, Sections
• Knights 147–395 1.1–1.20; 2.9–2.10; 2.14–3.13
• Peace 729–760
• Wasps 471–712; 824–862;
891–994
• Frogs 686–737
classical world.
Learners may use any translation of the texts. Where a translation is printed on the question paper it will
be taken from the ‘OCR Literary Sources for Democracy and the Athenians (H408/34)’ booklet available for free
on the OCR website.
© OCR 2016
2d. Prior knowledge, learning and progression
Learners undertaking this A Level course may have In addition, due to its wide ranging, engaging
followed a Key Stage 4 programme of study which material, and emphasis on critical analysis, it also
included Classical Civilisation or related subjects, and offers a worthwhile course of study for learners who
this specification builds on the knowledge, do not wish to progress onto a higher level of
understanding and skills specified for GCSE (9–1) education. The various skills required provide a strong
Classical Civilisation. However, prior knowledge or
learning related to the subject is not a requirement.
foundation for progression directly in to employment.
2
Find out more at www.ocr.org.uk
OCR’s A Level in Classical Civilisation provides a
suitable foundation for the study of Classical
Civilisation, related courses, or those using the same
skills of analysis, evaluation and extended written
argument in Further and Higher Education.
© OCR 2016
3 Assessment of A Level in Classical Civilisation
3a. Forms of assessment

OCR’s A Level in Classical Civilisation consists of three components that are externally assessed.
The World of the Hero (H408/11)
This compulsory component is an externally Section B contains questions focusing solely on

assessed, written examination testing AO1 and AO2. Virgil’s Aeneid, and all questions in this section are
compulsory.
The examination is worth 100 marks and lasts 2 hours
and 20 minutes. This represents 40% of the total Section C contains a stimulus question in which
3 marks for the A Level. students draw on both a passage from Homer (either
the Odyssey or the Iliad) and one from Virgil; and a
The examination will consist of three sections. choice of essays. In these essays learners will be
expected to make use of secondary sources and
Section A focuses solely on Homer and will contain academic views to support their argument.
two sets of questions; one on the Iliad and one on the
Odyssey. Learners should answer the questions on There are three question types in this exam, they are:
the text they have studied.
• 10 mark stimulus question
• 20 mark essay
• 30 mark essay.
Culture and the Arts (H408/21, H408/22, H408/23, H408/24)
Learners must study one component from this involve short answer questions and commentary
component group chosen from: questions which respond to two stimuli from the
prescribed sources list of differing types, and a
• Greek Theatre (H408/21) shorter essay question which takes one or both
• Imperial Image (H408/22) sources as its starting point.
• Invention of the Barbarian (H408/23)
• Greek Art (H408/24) Section B contains a choice of one from two essays.
In these essays learners will be expected to make use
This component is an externally assessed, written of secondary sources and academic views to support
examination testing AO1 and AO2. their argument
The examination is worth 75 marks and lasts 1 hours There are four question types in this exam, they are:
and 45 minutes. This represents 30% of the total
• Short answer question
marks for the A Level.
The examination will consist of two sections. All • 20 mark essay
questions in Section A are compulsory. These will • 30 mark essay.
© OCR 2016
Beliefs and Ideas (H408/31, H408/32, H408/33, H408/34)
Learners must study one component from this responding to one stimulus from the prescribed
component group chosen from: sources list, and the same style of questions
discussing an idea from one of the key thinkers,
• Greek Religion (H408/31) and a shorter essay question which takes the source,
• Love and Relationships (H408/32) idea or both as a starting point.
• Politics of the Late Republic (H408/33)
• Democracy and the Athenians (H408/34) Section B contains a choice of one from two essays.
In these essays learners will be expected to make use
This component is an externally assessed, written of secondary sources and academic views to support
examination testing AO1 and AO2. their argument 3
The examination is worth 75 marks and lasts 1 hours There are five question types in this exam, they are:
and 45 minutes. This represents 30% of the total
• short answer question
marks for the A Level.
The examination will consist of two sections. • 10 mark idea question
• 20 mark essay
All questions in Section A are compulsory. These will
• 30 mark essay.
involve short answer and a commentary question
3b. Assessment objectives (AO)

There are two Assessment Objectives in OCR’s A Level in Classical Civilisation. These are detailed in the table
below.
Learners are expected to:
Assessment Objective
Demonstrate knowledge and understanding of:

• literature, visual/material culture and classical thought
AO1 • how sources and ideas reflect, and influence, their cultural contexts
• possible interpretations of sources, perspectives and ideas by different audiences and
individuals.
Critically analyse, interpret and evaluate literature, visual/material culture, and classical
AO2 thought, using evidence to make substantiated judgements and produce coherent and
reasoned arguments.
© OCR 2016
AO weightings in A Level in Classical Civilisation
The relationship between the assessment objectives and the components are shown in the following table:
% of overall A Level
Component
AO1 AO2
The World of the Hero (H408/11) 18 22

3 Imperial Image (H408/22)
14 16
Invention of the Barbarian (H408/23)
Greek Art (H408/24)
Greek Religion (H408/31)
14 16
Politics and the Late Republic (H408/33)
Democracy and the Athenians (H408/34)
Total 46 54
3c. Assessment availability
There will be one examination series available each This specification will be certificated from the June
year in May / June to all learners. 2019 examination series onwards.
All examined components must be taken in the same

examination series at the end of the course.
3d. Retaking the qualification
Learners can retake the qualification as many times as from components H408/21 to H408/24, and one from
they wish. They retake component H408/11, and one components H408/31 to H408/34.
3e. Assessment of extended response

The assessment materials for this qualification extended responses are integrated into the
provide learners with the opportunity to demonstrate marking criteria.
their ability to construct and develop a sustained
and coherent line of reasoning and marks for
© OCR 2016
3f. Synoptic assessment
Synoptic assessment is the learners’ understanding of Synopticity is embedded in this specification by
the connections between different elements of the requiring students to study options which contain
subject. It involves the explicit drawing together of material from more than one of the areas of study of
knowledge, skills and understanding within different literature, visual/material culture and classical
parts of the A Level course. thought. This combining of different types of
material, ideas and sources will enable learners to
The emphasis of synoptic assessment is to encourage demonstrate synthesis of knowledge, skills and
the understanding of Classical Civilisation as a understanding, and provide a challenging, engaging
discipline. course for all learners.
3
3g. Calculating qualification results
A learner’s overall qualification grade for A Level in This mark will then be compared to the qualification
Classical Civilisation will be calculated by adding level grade boundaries for the entry option taken by
together their marks from the three components the learner and for the relevant exam series to
taken to give their total weighted mark. determine the learner’s overall qualification grade.
© OCR 2016
4 Admin: what you need to know
The information in this section is designed to give an More information about the processes and deadlines
overview of the processes involved in administering involved at each stage of the assessment cycle can be
this qualification so that you can speak to your exams found in the Administration area of the OCR website.
officer. All of the following processes require you to
submit something to OCR by a specific deadline. OCR’s Admin overview is available on the OCR website
at www.ocr.org.uk.
4a. Pre-assessment
Estimated entries
Estimated entries are your best projection of the should be submitted to OCR by the specified
number of learners who will be entered for a deadline. They are free and do not commit your
qualification in a particular series. Estimated entries centre in any way.
4 Final entries
Final entries provide OCR with detailed data for each Final entries must be submitted to OCR by the
learner, showing each assessment to be taken. It is published deadlines or late entry fees will apply.
essential that you use the correct entry code,
considering the relevant entry rules.
All learners taking an A Level in Classical Civilisation must be entered for one of the following entry options:
Entry option Components
Entry code Title Code Title Assessment type
11 The World of the Hero External Assessment

Classical
H408 A Civilisation 21 Greek Theatre External Assessment
Option A
31 Greek Religion External Assessment
Classical
H408 B Civilisation 21 Greek Theatre External Assessment
Option B
32 Love and Relationships External Assessment
Classical
H408 C Civilisation 21 Greek Theatre External Assessment
Option C
33 Politics of the Late Republic External Assessment
© OCR 2016
Classical
H408 D Civilisation 21 Greek Theatre External Assessment
Option D
34 Democracy and the Athenians External Assessment
Classical
H408 E Civilisation 22 Imperial Image External Assessment
Option E
Classical
H408 F Civilisation 22 Imperial Image External Assessment
Option F
Classical
H408 G Civilisation
Option G
22
33
Imperial Image
Politics of the Late Republic
External Assessment
External Assessment
4
Classical
H408 H Civilisation 22 Imperial Image External Assessment
Option H
Classical
H408 J Civilisation 23 Invention of the Barbarian External Assessment
Option J
Classical
H408 K Civilisation 23 Invention of the Barbarian External Assessment
Option K
Classical
H408 L Civilisation 23 Invention of the Barbarian External Assessment
Option L
Classical
H408 M Civilisation 23 Invention of the Barbarian External Assessment
Option M
Classical
H408 N Civilisation 24 Greek Art External Assessment
Option N
© OCR 2016
Classical
H408 O Civilisation 24 Greek Art External Assessment
Option O
Classical
H408 P Civilisation 24 Greek Art External Assessment
Option P
Classical
H408 Q Civilisation 24 Greek Art External Assessment
Option Q
4 4b. Special consideration

Special consideration is a post-assessment Detailed information about eligibility for special
adjustment to marks or grades to reflect temporary consideration can be found in the JCQ publication
injury, illness or other indisposition at the time the A guide to the special consideration process.
assessment was taken.
4c. External assessment arrangements

Regulations governing examination arrangements are contained in the JCQ Instructions for conducting
examinations.
Head of centre annual declaration
The Head of Centre is required to provide a Any failure by a centre to provide the Head of Centre
declaration to the JCQ as part of the annual NCN Annual Declaration will result in your centre status
update, conducted in the autumn term, to confirm being suspended and could lead to the withdrawal
that the centres is meeting all of the requirements of our approval for you to operate as a centre.
detailed in the specification.
Private Candidates
Private candidates may enter for OCR assessments. Private candidates need to contact OCR approved
centres to establish whether they are prepared to
A private candidate is someone who pursues a host them as a private candidate. The centre may
course of study independently but takes an charge for this facility and OCR recommends that
examination or assessment at an approved the arrangement is made early in the course.
examination centre. A private candidate may
be a part-time student, someone taking a distance Further guidance for private candidates may be found
learning course, or someone being tutored privately. on the OCR website: http://www.ocr.org.uk
They must be based in the UK.
© OCR 2016
4d. Results and certificates
Grade Scale
A Level qualifications are graded on the scale: A*, A, Only subjects in which grades A* to E are attained will
B, C, D, E, where A* is the highest. Learners who fail be recorded on certificates.
to reach the minimum standard for E will be
Unclassified (U).
Results
Results are released to centres and learners for The following supporting information will be
information and to allow any queries to be resolved available:
before certificates are issued. • raw mark grade boundaries for each component
Centres will have access to the following results’

• eighted mark grade boundaries for each entry
w 4
option.
information for each learner:
• the grade for the qualification Until certificates are issued, results are deemed to be
• the raw mark for each component provisional and may be subject to amendment.
• the total weighted mark for the qualification.
A learner’s final results will be recorded on an OCR
certificate. The qualification title will be shown on the
certificate as ‘OCR Level 3 Advanced GCE in Classical
Civilisation’.
4e. Post-results services

A number of post-results services are available: • Missing and incomplete results – This service
should be used if an individual subject result
• Review of marking – If you are not happy with for a learner is missing, or the learner has been
the outcome of a learner’s results, centres may omitted entirely from the results supplied.
request a review of marking. Full details of the
post-results services are provided on the OCR • Access to scripts – Centres can request access
website. to marked scripts.
4f. Malpractice
Any breach of the regulations for the conduct of Detailed information on malpractice can be found in
examinations and non-exam assessment work may the JCQ publication Suspected Malpractice in
constitute malpractice (which includes Examinations and Assessments: Policies and
maladministration) and must be reported to OCR as Procedures.
soon as it is detected.
5 Appendices
© OCR 2016
5a. Overlap with other qualifications
There is a small degree of overlap between the content of this specification and those for A Levels in Latin,
Classical Greek and Ancient History.
5b. Accessibility
Reasonable adjustments and access arrangements The A Level qualification and subject criteria have
allow learners with special educational needs, been reviewed in order to identify any feature which
disabilities or temporary injuries to access the could disadvantage learners who share a protected
assessment and show what they know and can do, Characteristic as defined by the Equality Act 2010.
without changing the demands of the assessment. All reasonable steps have been taken to minimise any
Applications for these should be made before the such disadvantage.
examination series. Detailed information about
eligibility for access arrangements can be found in
the JCQ Access Arrangements and Reasonable
Adjustments.
© OCR 2016
5c. References for visual/material sources
The following lists contain detailed references, using museum numbers or other common approaches to
identification, which will enable teachers and learners to be clear and confident about what examples of visual/
material culture they are expected to study.
• Theatre of Dionysus at Athens attributed to Douris, c.480 BC, in Kimball Art

• Theatre of Thorikos, a coastal deme of Attica Museum, Fort Worth, Texas, USA
• Volute krater by the “Pronomos” painter, • Red-figure Volute Krater, “Choregos Vase” or
depicting Team of actors celebrating, with “Comic Angels”, Choregos with Aegisthus and
costumes, masks, aulos-player, playwright, Pyrrhias, c.400–390 BC in Paul Getty Museum,
Dionysus, c.410 BC, in the Naples Museo California (No. 96.AE.29. J)
Nazionale (3240) • Red-figure calyx krater fragment by Capodarso
• Bell krater by McDaniel Painter, “Cheiron Vase”, painter, depicting Jocasta and Oedipus the
Cheiron and Xanthias slave – comic scene, King, c.330 BC in Museo Archeologico
steps & low stage, c.380–370 BC, in British Regionale, Syracuse (“P. Orsi” 66557)
•
Museum (1849,0620.13)
Red-figure column krater in mannerist style,
• Red-figure Calyx Krater depicting Medea’s
escape, c.400–380 BC, in Cleveland Museum of
5
“Basel Dancers”, Tragic chorus in action, in Art (91.1)
front of Stepped Altar, c.500–490 BC, in • Red-figure pelike by Phiale painter depicting
Antikenmuseum, Basel (BS 415) tragic actors dressing, c.450 BC, in Museum of
• Black-figure oinochoe depicting two chorus- Fine Arts, Boston (98.883-11)
members dressed as birds, c.480 BC in British • Red-figure ‘maenad’ stamnos by Dinos Painter,
Museum (B509) late 5th century, in Naples, Museo Nazionale
• Red-figure bell krater by Schiller Painter, Archeologico
depicting scene with wine-skin & boots from • Red-figure vase fragment single actor possibly
Thesmophoriazusae, c.380–370 BC, in Martin playing Perseus and two audience members/
von Wagner Museum, Wurzburg (H5697) judges, c.420–410 BC, Vlastos collection,
• The death of Pentheus, red-figure kylix Athens (ARV2, 1215, 1)
© OCR 2016
• The Ara Pacis Augustae • Aureus, obv. head of Octavian, rev. Octavian
• Mausoleum of Augustus seated on bench holding scroll with scroll box
• The Forum of Augustus in Rome at feet, 28 BC, British Museum (1995,0401.1)
• The Sebasteion at Aphrodisias • Octavian Denarius, obv. bare head of Octavian,
• Augustus of Prima Porta statue, in the Vatican rev. Pax standing left holding olive branch and
Museum cornucopiae, 32–29 BC (RIC 252, RSC 69)
• Relief depicting Octavian from the Kalabsha • Gaius and Lucius as princeps iuventutis, aureus,
Gate, Ägyptisches Museum, Berlin obv. Augustus head laureate, rev. Gaius and
• Head of Livia, Louvre, Paris, (www.louvre.fr/en/ Lucius Caesar standing veiled with shields and
oeuvre-notices/livia) priestly symbols, 2 BC–AD11, (LACTOR 17.J58,
• Caesar’s heir aureus, obv. bare head of RIC Augustus 205, BMC Augustus 513)
Octavian, rev. head of Julius Caesar with laurel • Obv. Bareheaded portrait of Augustus, rev.
wreath, 43 BC, (LACTOR 17.H2, RRC 490/2, sacrificial implements above tripod and patera,
BMCRR Gaul 74) c.13 BC (RIC I 410; RSC 347)
• Obv. Potrait of Augustus with laurel wreath,
rev. eight rayed comet with tail pointing
upward, c.19 BC (RIC I 37a; RSC 98)
5
• Red-figure Attic kylix of type B, in the manner the relief on the eastern staircase showing
of the Triptolemos Painter, showing a Persian delegations from the different peoples of the
and a Greek fighting, c.460 BC in the Museum empire)
of Scotland, Edinburgh, (1887.213) • The Tomb of Cyrus the Great, Pasargardae
• South frieze of the Temple of Athena Nike from • The Cyrus Cylinder, in the British Museum
the Acropolis, Athens, depicting the Greeks (90920)
fighting the Persians, now in British Museum • Statue of Darius I from Susa, in the National
• Attic red figure kylix depicting Achilles and Museum of Iran
Penthesilea, the Penthesilea Painter, in • Rock relief at Bisitun, Western Iran, showing
Staatliche Antikensammlungen, Munich Darius the Great after his victory over Gaumata
• The battle of Achilles and Penthesileia. and other rebel kings
Lucanian red-figure bell-krater, in the National • Head of a young Persian prince in lapis lazuli,
Archaeological Museum of Spain from the Apadana at Persepolis, in the National
• Frieze of temple of Apollo at Bassae, showing Museum of Iran
the Amazons, in the British Museum • Silver rhyton ending in a griffin, in British
• Red-figure krater, c.550–500 BC, depicting Museum (124081)
Heracles and the Amazons, attributed to • Gold armlets with griffins from the Oxus
Euphronios, in Arezzo, Museo Nazionale Treasure, in the British Museum (124017)
Archeologico (1465) • Statuette of a naked youth from the Oxus
• The site of Persepolis, with reference to the Treasure, in the British Museum (123905)
Gate of All Nations and the Apadana (including
© OCR 2016
Greek Art (H408/24)
Free-standing sculpture
• New York Kouros, The Metropolitan Museum of • Doryphoros by Polykleitos, Archaeological
Art, New York (32.11.1) Museum of Naples
• Kleobis and Biton, Delphi Archaeological • Aphrodite of the Agora, Agora Archaeological
Museum 467, 1524 Museum, Athens
• Berlin Standing Goddess, Staatliche Museen, • Eirene and Ploutos by Kephisodotos,
Berlin Glyptothek, Munich
• Anavysos Kouros, National Archaeological • Hermes and Dionysus, Archaeological Museum,
Museum, Athens (3851) Olympia
• Peplos Kore, Acropolis Museum, Athens • Aphrodite of Knidos by Praxiteles, Museo Pio
• Aristodikos Kouros, National Archaeological Clementino, Musei Vaticani
Museum, Athens (3938) • Apoxyomenos by Lysippos, 1185 Museo Pio
• Delphic Charioteer, Delphi Archaeological Clementino, Musei Vaticani
Museum • Antikytheran Youth, X 13396, National
• Artemision Zeus, National Archaeological Archaeological Museum, Athens
Museum, Athens (X 15161)
• Diskobolos by Myron, Museo Nazionale
Romano, Palazzo Massimo 5
Architectural sculpture
Pediments Metopes
• Parthenon, Athens, British Museum • Temple C, Selinus; Herakles and the Kerkopes,
• Temple of Zeus, Olympia, Archaeological National Museum, Palermo
Museum, Olympia • Temple of Zeus, Olympia; Cretan Bull, Garden
• Temple of Artemis, Corcyra, Corfu Museum of the Hesperides, Stables of Augeas
• Temple of Aphaia, Aigina, Staatliche Archaeological Museum, Olympia
Antikensammlungen, Munich • Parthenon, Athens; XXVI, XXVII, XXVIII, British
Museum
Ionic friezes
• Siphnian Treasury, Delphi, Delphi
Archaeological Museum
• Parthenon, Athens British Museum
• Temple of Apollo, Bassae, British Museum
© OCR 2016
Vase-painting
• Gorgons pursuing Perseus, dinos and stand by • Trojan War, hydria and Dionysus and the
the Gorgon Painter, Musée du Louvre, Paris Maenads, by the Kleophrades Painter, Museo
• Francois vase, volute krater by Kleitias, Nazionale, Naples
Archaeological Museum, Florence • Pointed amphora by the Kleophrades Painter,
• Wedding of Peleus and Thetis, dinos and stand Staatliche Antikensammlungen, Munich
by Sophilos, British Museum (1971,1101.1) • Achilles and Hector/Memnon, volute krater by
• Dionysus and the Maenads, neck amphora by the Berlin Painter, British Museum
the Amasis Painter, Bibliothèque Nationale, (1848,0801.1)
Paris • Herakles and Antaios, calyx krater by
• Achilles and Ajax playing dice, belly amphora by Euphronios, Musée du Louvre, Paris
Exekias, Musei Vaticani • Herakles and the Amazons, volute krater by
• Dionysus sailing on the ocean, kylix by Exekias, Euphronios Museo Civico, Arezzo (1465)
Staatliche Antikensammlungen, Munich • Hector arming/Three men carousing, belly
• Dionysus/Herakles feasting in the presence of amphora by Euthymides, Staatliche
Athena, bi-lingual belly amphora by the Antikensammlungen, Munich
Lysippides Painter and the Andokides Painter, • Perseus and Medusa hydria, by the Pan Painter
Staatliche Antikensammlungen, Munich British Museum (1873,0820.352)
• Boreas pursuing Oreithyia oinochoe by the Pan
5 Painter, British Museum (1836,0224.68)
• Black figure Panathenaic Amphora, 333–332 BC, • The following archaeological sites, with
in the British Museum (1856,1001.1) particular reference to the listed parts:
• Red-figure plaque depicting the cult of Eleusis, • The Athenian Acropolis, including the
c.400–300 BC, in the National Museum in Parthenon and the Erechtheion
Athens (vase number 231) • Delphi, including the Temple of Apollo, the
• Red-figure amphora depicting sacrifice, the Theatre of Dionysus, the Sacred Way, the
Nausicaa Painter, c.450 BC, in the British stadium
Museum (1846,0128.1) • Olympia, including the Temple of Zeus and
• Marble relief/anatomical votive from the shrine Pheidias’ statue, the ash altar of Olympian
of Asklepios, in British Museum Zeus, the treasuries, the Echo Stoa and the
(1867,0508.117) stadium
• Attic red-figure kylix depicting a consultation of
the Pythia, by the Kodros painter, c.440–430 BC,
in the Antikensammlung Berlin (Ident.Nr.
F 2538)
© OCR 2016
5d. Suggested secondary sources, scholars and academic works
This list is included only to support teachers. The The Levels of Response grids, used for the marking of
works listed here should be considered a ‘starting the 30 mark essay questions in assessments, credit
point’ or helpful guide to the type of material learners for use of “secondary sources, scholars and
teachers may wish to use. Items on these lists will not academic works” to support their arguments.
be directly referenced in assessment materials, or Learners will be given credit for referring to any
specifically expected in responses, but have been appropriate scholarly views or academic approaches,
included to exemplify the kind of material learners not only those suggested in this specification
may use to support their answers. This is not to be document.
taken as a definitive or prescriptive list.
The World of the Hero (H408/11)
Homer’s ‘Iliad’ and ‘Odyssey’
Edwards, M. W. (1987) Homer: Poet of the Iliad, John Owen, E. T. (1994) The Story of the Iliad, Bristol
Hopkins Classical Press 5
Fowler, R. (ed) (2004) The Cambridge Companion to Nicholson, A. (2015) The Mighty Dead: Why Homer
Homer, Cambridge University Press Matters, William Collins
Griffin, J. (2013) Homer (Ancients in Action), Silk, M. S. (1986) Homer The Iliad (Landmarks of
Bloomsbury World Literature) Cambridge University Press
Griffin, J. (2010) Homer The Odyssey (Landmarks of Weil, S. (1939) The Iliad or the Poem of Force, various
World Literature), Cambridge University Press editions available
Jones, P. (1989) Homer’s Odyssey: A Companion to

the Translation of Richmond Lattimore, Southern
Illinois University Press
Virgil’s ‘Aeneid’
Camps, W. A. (1969) An Introduction to Virgil’s Griffin, J. (2013) Virgil (Ancients in Action),

Aeneid, Oxford University Press Bloomsbury
Deryck Williams, R. (2013) Aeneas and the Roman Martindale, C. (ed) (1997) The Cambridge Companion
Hero (Inside the Ancient World) Bloomsbury to Virgil, Cambridge University Press
Gransden, K. W. (2004) Virgil: The Aeneid (Landmarks

of World Literature), Cambridge University Press
© OCR 2016
Belgian School at Athens (2007) Thorikos, online Easterling P. E. (ed), (1997)The Cambridge Companion
[http://www.ebsa.info/Thorikos1.html] to Greek Tragedy, Cambridge University Press
Csapo E. and Slater W. J. (1994) The Context of Storey, I. C. and Allan, A. (2013) A Guide to Ancient
Ancient Drama, University of Michigan Greek Drama (Blackwell Guides to Classical
Literature), John Wiley & Sons
Dugdale E. (2008) Greek Theatre in Context,
Cambridge University Press Wiles, D. (2000) Greek Theatre Performance: An
Introduction, Cambridge University Press
Galinsky, K. (1996) Augustan Culture: An Interpretive Wallace-Hadrill, A. (2013) Augustan Rome (Classical
Introduction, Princeton University Press World Series), Bloomsbury
Goldsworthy, A. (2015) Augustus: From Revolutionary Zanker, P. (1990) The Power of Images in the Age of
5 to Emperor, W&N Augustus, University of Michigan Press
Thorpe, M. (2001) Roman Architecture, Bristol

Classical Press
Cartledge, P. (2002) The Greeks: A Portrait of Self and Harrison, T. (ed) (2001) Greeks and Barbarians
Others, Oxford University Press (Edinburgh Readings on the Ancient World),
Edinburgh University Press
Green, P. (1996) The Greco-Persian Wars, University
of California Press Wiesehöfer, J. (2006) Ancient Persia from 550 BC to
650 AD, I.B. Tauris
Hall, E. (1989) Inventing the barbarian: Greek Self
Definition through Tragedy, Oxford University Press
Greek Art (H408/24)
H408/Boardman, J. (1974) Athenian Black Figure Jenkins, I. (2008) Greek Architecture and Its Sculpture,
Vases, Thames and Hudson Ltd Harvard University Press
Boardman, J. (1975) Athenian Red Figure Vases, Moignard, E. (2006) Greek Vases: An Introduction
Thames and Hudson Ltd (Classical World Series), Bristol Classical Press
Boardman, J. (1978) Greek Sculpture: the Archaic Woodford, S. (1997) An Introduction to Greek Art;
Period, Thames and Hudson Ltd Sculpture and Vase Painting in the Archaic and
Classical Periods, Bloomsbury
Boardman, J. (1987) Greek Sculpture: the Classical
Period, Thames and Hudson Ltd
© OCR 2016
Brut Zaidman, L. (1992) Religion in the Ancient Greek Parker, R. (2007) Polytheism and Society at Athens,
City, Cambridge University Press Oxford University Press
Emerson, M. (2007) Greek Sanctuaries: An Price, S. (1999) Religions of the Ancient Greeks (Key
Introduction, Bristol Classical Press Themes in Ancient History), Cambridge University
Press
Garland, R. (2013) Religion and the Greeks (Classical
World Series), Bloomsbury
Freeman, P. (2016) Searching for Sappho, W W Lefowitz, M. R. and Fant, M. B. (2005) Women’s Life in
Norton & Co Inc Greece and Rome: a sourcebook in translation,
Duckworth
Goldhill, S. (2004) Love, Sex and Tragedy, John Murray
Skinner, M. B. (2013) Sexuality in Greek and Roman
Hardie, P. (ed) (2002) Cambridge companion to Ovid, Culture, Wiley Blackwell 5
Cambridge University Press
Politics of the late Republic (H408/33)
Brunt, P. A. (1971) Social Conflicts in the Roman (Exeter Studies in History, 7.) pp. 21–44, Exeter:
Republic, New York: Norton Exeter University Publications
Crawford, M. (2011)The Roman Republic 2nd edition, Scullard, H. H. (2011) From the Gracchi to Nero,
London: Fontana Press (Routledge Classics.) Abingdon: Routledge
Paterson, J. (1985) ‘Politics in the Late Republic’, in Syme, R. (2002) The Roman Revolution, Oxford:
T.P. Wiseman (ed.), Roman Political Life 90 BC–AD 69, Oxford University Press
Democracy and the Athenians (H408/34)
Barrow, R. (2013) Athenian Democracy (Inside the Jones, A. H. M. (2011) Athenian Democracy, Nabu
Ancient World) Bloomsbury Press
Cartledge, P. (2016) Democracy: A Life, OUP MacDowell, D. M. (1999) Aristophanes and Athens:
An Introduction to the Plays, Oxford University Press
Ehrenberg, V. (2010) From Solon to Socrates: Greek
History and Civilization During the 6th and 5th Osborne, R. (2000) Classical Greece: 500–323 BC,
Centuries BC, Routledge Oxford University Press
© OCR 2016
Summary of updates
Date Version Section Title of section Change
May 2018 1.1 Front cover Disclaimer Addition of disclaimer
© OCR 2016
© OCR 2016
© OCR 2016
YOUR
CHECKLIST
Our aim is to provide you with all

the information and support you
¨¨ Bookmark ocr.org.uk/alevelclassicalcivilisation for all the latest
resources, information and news on A Level Classical Civilisation
need to deliver our specifications.
¨¨ Be among the first to hear about support materials and resources
as they become available – register for Classics updates
at ocr.org.uk/updates
¨¨ Find out about our professional development at cpdhub.ocr.org.uk
¨¨ View our range of skills guides for use across subjects and qualifications
at ocr.org.uk/skillsguides
¨ Discover our new online past paper service at ocr.org.uk/exambuilder
¨ Learn more about Active Results at ocr.org.uk/activeresults
¨ Join our Classics social network community for teachers at social.ocr.org.uk

Download high-quality, exciting and innovative A Level
Classical Civilisation resources from
Resources and support for our A Level Classical Civilisation qualification, developed through
collaboration between our Classics Advisors, teachers and other subject experts, are available from
our website. You can also contact our Classics Subject Advisors who can give you specialist advice,
guidance and support.
Contact the team at:

01223 553998
classics@ocr.org.uk
@OCRexams
To stay up to date with all the relevant news about our qualifications, register for email updates at
ocr.org.uk/updates
Classics Community
The social network is a free platform where teachers can engage with each other – and with us – to find and
offer guidance, discover and share ideas, best practice and a range of Classics support materials.
To sign up, go to social.ocr.org.uk
follow us on
facebook.com/ linkedin.com/ @OCRexams youtube.com/

ocrexams company/ocr ocrexams
OCR is part of the Cambridge Assessment Group, a department of the University of Cambridge.
For staff training purposes and as part of our quality assurance programme your call may be recorded or monitored. ©OCR 2018 Oxford Cambridge and RSA Examinations
is a Company Limited by Guarantee. Registered in England. Registered office 1 Hills Road, Cambridge CB1 2EU. Registered company number 3484466. OCR is an exempt charity.
6218671676

Classical Civilisation: A Level

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Classical Civilisation: A Level

Uploaded by

Copyright:

Available Formats

A LEVEL

Version 1.1 (May 2018)

Oxford Cambridge and RSA is a Company Limited by Guarantee. Registered

We will inform centres about changes to specifications. We will also publish

1 Why choose an OCR A Level in Classical Civilisation?2

2 The specification overview 6

3 Assessment of A Level in Classical Civilisation 46

4 Admin: what you need to know50

1a. Why choose an OCR qualification?

1 you’re working with one of the UK’s leading exam

We’re part of the Cambridge Assessment Group, • Transition Guides

Our Specifications • Active Results – our free results analysis

Aims and learning outcomes

OCR’s A Level in Classical Civilisation will encourage learners to:

1 • the study of three distinct components, each

1d. What is new in OCR A Level in Classical Civilisation?

What stays the same? What’s changing?

Teacher support: www.ocr.org.uk

2a. OCR’s A Level in Classical Civilisation (H408)

2 Content Overview Assessment Overview

Component Group 2: Culture and the Arts

Component Group 3: Beliefs and Ideas

Knowledge, Understanding and Skills

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

Key topics Learners should have studied the following:

• structure and plot of the epic

2 • ways in which classical texts relate to literary traditions and genres of

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

Key topics Learners should have studied the following:

• structure and plot of the epic

When studying • ways in which writers shape meanings in classical texts

This must be studied as part of this component.

Key topics Learners should have studied the following:

• composition of the epic

2 • ways in which classical texts relate to literary traditions and genres of

Key topics Learners should have studied the following:

• role and significance of drama and the theatre in ancient Athenian

Prescribed Theatre of Dionysus at Athens The death of Pentheus, red-figure

Key topics Learners should have studied the following:

Finally, learners will examine depictions of the

Key topics Learners should have studied the following:

Herodotus’ The Histories Books 1.1, 1.131–140; 2.48–58; 4.110–117, 4.168–181;

Key Topics Learners should have studied the following:

• Gorgons pursuing Perseus, dinos • Trojan War, hydria and Dionysus

Key topics Learners should have studied the following:

• The Olympian deities and the traditional understanding of their nature:

Area of classical thought Religion and belief in the classical world

Key topics Learners should have studied the following:

• Greek and Roman thinking regarding:

Key Topics Learners should have studied the following:

2 Cicero and the res

Prescribed Literary Cicero, In Verrem 1

When studying • ways in which writers shape meanings in classical texts

Finally, learners will study extracts from the comedies

Key topics Learners should have studied the following:

Area of classical Classical political theory and philosophy

2 • critically explore and explain the possibility of different interpretations of

Prescribed Literary Aeschylus, Eumenides, 674–710 Thucydides, The Peloponnesian War,

3a. Forms of assessment

The World of the Hero (H408/11)

This compulsory component is an externally Section B contains questions focusing solely on

Culture and the Arts (H408/21, H408/22, H408/23, H408/24)

3b. Assessment objectives (AO)

1 Why choose an OCR A Level in Classical Civilisation?2

2 The specification overview 6

3 Assessment of A Level in Classical Civilisation 46

4 Admin: what you need to know50