Exam 2 Directions: This Is A Proctored Assessment Review ✓ Solved

Exam 2 Directions This is a proctored assessment. Review the

This is a proctored assessment. Review the procedures for taking proctored assessments in the Taking Proctored Assessments section of the syllabus. You may use a dictionary and a page of notes. No other resources are permitted while completing this exam. Review all the assignments and the study guide for this unit as you prepare to take Exam 2.

Exam 2 will ask you to compare/contrast some interesting theme, event, or character(s) from more than one time and place. You need to select at least one text from those you have studied in Unit 3, and one from either Unit 1 or Unit 2. You may discuss more than two texts, but the discussion must be in depth with many supporting examples from the texts you have selected. It is much better to work with two texts in depth than with more than two superficially.

Possible topics include:

• Gilgamesh, Odyssey, Agamemnon, Medea, Aeneid and Arabian Nights - woman troubles in two or three of these stories; include Arabian Nights as one of them.
• Odyssey, Aeneid and Arabian Nights - adventures and marvels in two or three of these stories; include Arabian Nights as one of them.
• Aeneid and Roland - two visions of empire.
• Lysistrata, Aeneid (Dido) and Arabian Nights - how women relate to heroes, power and empire in two or three of these stories; include Arabian Nights as one of them.
• Bhagavad-Gita and Roland: two visions of the relationship between war, heroes and divinity.
• Aeneid and Arabian Nights - two ideas of fate or destiny.
• Odyssey and Arabian Nights - brave, clever Penelope and brave, clever Shahrazad - the right kind of wives.
• Gilgamesh, Agamemnon, Oedipus, Creon compared to Charlemagne and/or Shahrayar - rulers and powers; law and tyranny - include either Roland or Arabian Nights.
• Rama and Roland - two very different kinds of heroes.
• A pair or group of your choice, as long as at least one text is from Unit one or two and one from Unit three; you must let me know what you want to use as a question and what your point will be in advance of the essay.

Your essay must have a point to it; it should be able to answer a reader's question: "SO WHAT?" If you are having trouble thinking about how to plan your exam, you are welcome to email me with questions but do not send me a full outline or draft of your exam. I will not read those. I will read and respond to a statement of thesis topic that explains which texts you intend to write about and what your main point will be.

Plan on about two hours to write and edit your essay before posting it. You should develop an essay of not less than eight hundred words; it may be longer if you need to say more about your topic. You may use notes on the exam, with the notes covering the front and back of a regular 8.5 X 11 sheet of paper only. You may include an outline in your notes.

You will submit the notes after you have submitted your completed exam. You may not use a draft of the essay, or completed assignments. Be sure to support any statements you make with examples from the texts themselves. The purpose of this exam is to encourage you to demonstrate your own understanding and thinking about what you have read; there is no simple, single answer to any of these questions. You must cite any sources you use in your essay via an in-text citation and a works cited listing.

For the exam itself, discuss the group you have selected. Look at the similarities and differences between/among the works in your group. Be sure to ask yourself, "so what?" and try to answer that question. This will help you to focus your discussion. Be sure to use plenty of specific examples from the texts you choose to support your ideas.

Paper For Above Instructions

The exploration of human experience across different cultures and time periods often reveals striking similarities and profound differences. In this regard, the comparison between ancient texts such as the Aeneid by Virgil and the Arabian Nights, particularly the stories of Shahrazad, offers intriguing insights into the roles of women, power dynamics, and the nature of storytelling itself. Both texts rise from rich cultural tapestries, providing fertile ground for a comparative analysis of the themes of fate, agency, and the relationship between the individual and society.

One significant theme present in both the Aeneid and the Arabian Nights is the role of women in defining the narrative arcs and the societal values of their respective cultures. For instance, in the Aeneid, Dido emerges as a potent symbol of passion and the tragic consequences of love. Her relationship with Aeneas illustrates how personal desires often clash with duty and destiny, capturing the anguish that arises from torn loyalties. Dido’s tragic end, which sees her taking her own life out of despair when Aeneas departs, further emphasizes her powerlessness in the face of fate that was predetermined by the gods (Virgil, 2005).

In direct contrast, Shahrazad from the Arabian Nights embodies a different aspect of female strength and agency. By using her intelligence and storytelling ability, she not only saves her life but also transforms the heart of King Shahryar. Shahrazad’s nightly tales are more than mere entertainment; they are a powerful means of manipulation, demonstrating how storytelling can serve as a tool for survival and social influence. Unlike Dido, who succumbs to her despair, Shahrazad is proactive; she engages in a battle of wits, positioning herself as an equal to her male counterpart and ultimately reshaping his understanding of women (Yousef, 2011).

The comparison of these two characters invites us to reflect on the complex relationship between gender and power. While Dido is emblematic of the tragic consequences of women’s limited agency in her world, Shahrazad represents the potential for female empowerment through intellect and cunning. This dichotomy illustrates how cultural narratives frame female identity and power differently, ultimately shaping societal expectations and norms (Murray, 2009).

Another theme worthy of exploration in both texts is the concept of fate. In the Aeneid, fate is portrayed as a relentless force, dictated by the will of the gods and leading characters towards their destinies. The prophecy surrounding Aeneas’s journey paints a deterministic picture where individual choices are often overshadowed by divine intervention. Contrast this with the Arabian Nights, where fate seems to be more malleable, shaped by the characters' actions and relationships. Shahrazad’s ability to shift her fate through her narratives challenges the notion of a fixed destiny, emphasizing the significance of human agency (Lindgren, 2006).

The juxtaposition of these two narratives also sheds light on the contrasting societal structures that underlie them. In the Aeneid, the Roman values of duty, honor, and sacrifice are central, while in the Arabian Nights, the fluidity of narrative structure and characterization points towards a society that celebrates creativity, cunning, and adaptability. This reveals a fundamental difference in how both cultures approach ideas of heroism: Aeneas as a hero fits into a model of duty to the state, while Shahrazad's heroism is defined through personal strength and creativity in the face of adversity (Harris, 2014).

Moreover, storytelling itself serves as a critical element in both texts. It is the vehicle through which characters express their thoughts, feelings, and experiences. For Aeneas, his journey is narrated under the weight of historical and mythological significance, emblematic of Rome’s imperial aspirations. Conversely, Shahrazad’s tales reflect the underlying complexities of human emotions and the intricacies of relationships, bringing the listener and the reader into a rich tapestry of diverse narratives (Zohar, 2015).

Ultimately, the examination of the Aeneid and the Arabian Nights highlights the multifaceted nature of human experience, as articulated through the lenses of gender, fate, and storytelling. While Dido represents the tragic consequences of limited agency under oppressive narratives, Shahrazad embodies the potential for transformation through intellect and creativity. This comparative analysis not only enriches our understanding of these ancient texts but also allows us to draw parallels to modern issues surrounding female agency and empowerment across cultures today.

References

• Harris, T. (2014). Gender and Power in Ancient Rome. Cambridge University Press.
• Lindgren, R. (2006). Fate and Free Will in the Aeneid. The Classical World.
• Murray, S. (2009). Women and Power in the Mediterranean World: Stories from the Aeneid and Arabian Nights. Routledge.
• Virgil. (2005). The Aeneid (translated by Robert Fagles). Penguin Classics.
• Yousef, K. (2011). Isolation and Empowerment in the Arabian Nights. The Journal of Middle Eastern Literature.
• Zohar, E. (2015). The Art of Storytelling in the Thousand and One Nights. Folklore Studies.