Unit 1 English - · PDF fileand multimodal), for example consider an ... in unit 1 must be in oral or multimodal form. ... Unit 1 English Page 5

Unit 1 English

succeeding in the vce, 2017

important notes Our policy at TSFX is to provide students with the most detailed and comprehensive set of notes that will maximise student performance and reduce study time. These materials, therefore, include a wide range of questions and applications, all of which cannot be addressed within the available lecture time i.e. Due to time constraints; it is possible that some of the materials included in this booklet will not be addressed during the course of these lectures.

Where applicable, fully worked solutions to the questions in this booklet will be handed to students on the last day of each subject lecture.

Although great care is taken to ensure that these materials are mistake free, an error may appear from time to time. If you believe that there is an error in these notes, please let us know asap ([email protected]). Errors, as well as clarifications and important updates, will be posted at www.tsfx.com.au/vce-updates

The views and opinions expressed in this booklet and corresponding lecture are those of the authors/lecturers and do not necessarily reflect the official policy or position of TSFX.

These materials are the copyright property of The School For Excellence and have been produced for the exclusive use of students attending this program. Reproduction of the whole or part of this document constitutes an infringement in copyright and can result in legal action. No part of this publication can be reproduced, copied, scanned, stored in a retrieval system, communicated, transmitted or disseminated, in any form or by any means, without the prior written consent of The School For Excellence (TSFX). The use of recording devices is STRICTLY PROHIBITED. Recording devices interfere with the microphones and send loud, high-pitched sounds throughout the theatre. Furthermore, recording without the lecturer’s permission is ILLEGAL. Students caught recording will be asked to leave the theatre, and will have all lecture materials confiscated.

it is illegal to use any kind of recording device during this lecture

extract from the master class teaching materials Our Master Classes form a component of a highly specialised weekly program, which is designed to ensure that students reach their full potential (including the elite A and A+ scores). These classes incorporate the content and teaching philosophies of many of the top schools in Victoria, ensuring students are prepared to a standard that is seldom achieved by only attending school. These classes are guaranteed to motivate students and greatly improve VCE scores! For additional information regarding the Master Classes, please do not hesitate to contact us on (03) 9663 3311 or visit our website at www.tsfx.com.au.

essential for all year 11 and 12 students!

copyright notice

TSFX - voted number one for excellence and quality in VCE programs.

The School For Excellence 2017 Succeeding in the VCE – Unit 1 English Page 1

INTRODUCTION "Desire is the key to motivation, but it’s determination and commitment to an unrelenting pursuit of your goal – a commitment to excellence – that will enable you to attain the success you seek." – Mario Andretti


VCAA ENGLISH/EAL COURSE OVERVIEW

Unit 1 Area of Study Key Skills

Reading and creating texts Analysing and presenting argument

Identify, explain and analyse – characters, settings, events, and ideas, issues and themes presented in texts – how texts are created in and for different contexts, audiences and purposes, and the choices made by authors to meet these – how features of texts are used to create meaning – the impact of texts on audiences by considering the similarities and differences between texts

Apply the conventions of oral presentation in the delivery of spoken texts

Apply the conventions of discussion

Use textual evidence appropriately to support analytical responses

Plan analytical responses to texts

Plan creative responses to texts (written, spoken and multimodal), for example consider an alternative perspective or explore a gap or moment in the text, taking account of the purpose, context and audience in determining the selected content and approach

Explain and justify decisions made in the writing

process

Develop, test and clarify ideas using discussion and writing

Draft, review, edit and refine creative and analytical responses to texts, making choices about features of texts and using feedback gained from individual reflection, discussion, and peer and teacher comments

Apply the conventions of spelling, punctuation and

syntax of Standard Australian English accurately and appropriately

Summarise the key points in an argument using

skills such as note-taking


Identify and analyse – the intent and logical development of an argument – language used by the writers and creators of texts to position an audience – the impact of texts on audiences – the way in which language and argument complement one another and interact to position the reader

Apply the conventions of oral presentation in the

delivery of spoken texts

Apply the conventions of discussion and debate

Use evidence appropriately to support analytical responses

Develop sound arguments using logic and reasoning, and detect bias and faulty reasoning in the arguments of others

Plan analytical responses and texts that present an argument, taking account of the purpose, context and audience in determining the selected content and approach

Develop, clarify and critique ideas presented in

their own and others’ arguments using discussion and writing

Draft, review, edit and refine analytical responses

and texts that present an argument, making choices about features of texts and using feedback gained from individual reflection, and peer and teacher comments

Apply the conventions of spelling, punctuation and

syntax of Standard Australian English accurately and appropriately in the composition of written texts.


Assessment The award of satisfactory completion for a unit is based on whether the student has demonstrated the set of outcomes specified for the unit. For this unit students are required to demonstrate two outcomes. As a set these outcomes encompass the areas of study in the unit. Suitable tasks for assessment in this unit are: An analytical response to a set text. A creative response to a set text such as a monologue, script, short story, illustrated

narrative, short film or graphic text.

An analysis of the use of argument and persuasive language in text/s.

A text intended to position an audience. Assessment tasks for outcome 1 must include at least one analytical and one creative response to set texts. One assessment task, but no more than one task, in unit 1 must be in oral or multimodal form. For EAL students, at least one text provided for the assessment of Outcome 2 should be in spoken form or have a spoken component to allow for the assessment of listening skills.

RESOURCES A fantastic internet site for you to look at is www.vcaa.vic.edu.au – you will find the English course and past Unit 3 & 4 exams and assessor’s reports. Just follow the links.


TEXT RESPONSE PREPARATION You need to: Have your own copy of text.

Take notes while reading/viewing (use a code/colour).

Know your text well by reading/viewing it several times.

Learn the five key aspects of text and how context influences text construction

and development.

Understand the conventions, terms and features associated with different forms of texts and their genres.

Always try to improve your language.

Improve your essay structure (later).

Find out about context and how it influenced what was written.

Check out useful resources. For example: VCAA website, IMDb, author’s websites,

study guides, newspapers.

Practise writing text responses using time limits (1 hour).

Learn editing skills.

Form a study group for discussion, reading one another’s texts and editing.

Identify and learn Top 10 quotes for each text.

Be aware of different ‘readings’.

Form your own perspective of your selected texts (later).


I’ve found over many years of marking essays that the more capable students adopt something of a:

YES NO HOWEVER feel to their opening paragraphs. There is also a real sense of ownership/statement of contention about what they are writing. Their sentences also have a very active, rather than passive, voice. You should avoid like the dread plague simply writing a summary of the plot. Examiners know the texts and you are only creating a weird sense of déjà vu in doing this.

EXAMPLE 1 (Edgar Allan Poe’s work) ‘Poe’s use of narrator’s voices makes horrific situations and macabre plots seem credible’. Do you agree? First job is to plan by unpacking the topic…. This question has honed in a specific aspect of metalanguage – narrator’s voice – that

features in Poe’s work so this cannot be ignored.

What will be my YES-NO-HOWEVER here?

In what way is credibility established?

What specific stories and characters will I focus on? Student answer: In his stories, Edgar Allen Poe explores the lives of his characters through offering first person narration to readers. By using such a technique, readers follow the mental and physical journeys each character undergoes with minute and insidious detail. However, in Poe’s Great Short Works, he has a main focus on exploring the workings of the human psyche and often seems to neglect the credibility of his stories in doing so. Although the mental instability of some of his characters make horrific situations plausible, Poe includes realms of insanity and also of rationality that make any plot, whether macabre or mystery seem less than realistic. One story Poe writes, although horrific and terrible, could be plausible if we take into account the obvious mental instability of the narrator. The narrator whose “disease has sharpened (his) senses, not destroyed not dulled them” takes us on a journey of psychological and physical distress. The narrator’s insanity becomes apparent immediately in “The tell-tale Heart” where his constant reassurance of sanity makes us question his real intentions. Readers further become aware of the narrator’s insanity when he tells us of his plot to “take the life of the old man” simply because he has an eye that “haunted him day and night” ……. What metalanguage can you see?


EXAMPLE 2 Maestro question and sample writing “Neither Paul nor Keller gets the life he expects. Is Maestro primarily a study of disappointment and loss?” Student answer: “First impressions? Misleading, of course, as always. But unforgettable.” We are introduced to both Paul and Keller in the first chapter of ‘Maestro’, and our first impression of Paul Crabbe, at age fifteen is that he is a selfish child prodigy who doesn’t have much respect for the once famous Edward Keller. Paul has dreams and high expectations that he will one day be the best musician the world has ever seen or heard. He believes this will come true, especially once he meets and gets to know his new piano teacher…. Your notes: EXAMPLE 3 The Kite Runner “Better to be hurt by the truth than comforted by a lie.” The Kite Runner shows how destructive secrets can be, especially to family relationships. Student answer: Khaled Hosseini’s ‘The Kite Runner’ shows that secrets can be detrimental to any relationship, but particularly to family bonds. Undeniably, the greatest kept secret in the novel was Baba’s paternity of Hassan. Had Baba’s past indiscretion been revealed to Amir earlier then his treatment of Hassan may have been different, and a lot of heartache could have been avoided. Once the secrets are discovered, no matter how much the truth hurts, it is important that moral wrong-doings are corrected and the truth is recovered. Your notes:


EXAMPLE 4 Richard III “I am determined to prove a villain”. Despite his wickedness, Richard charms the audience as he does some of the characters in the play. Discuss. Student answer: Shakespeare’s King Richard III portrays the enigmatic rise and fall of a man who will do anything to be King. Right from his opening soliloquy, Richard manages to cast a spell over the audience with his on stage charisma and enthusiasm. The many roles that he plays, throughout the play, has a similar effect on many of the characters. However, some are not easily duped, but they do not have the power to stop Richard on his mesmerising challenge to become King. Once King, Richard begins to lose that certainty of himself and energetic qualities that made the audience so intrigued. This strips bare the façade and unveils the malicious and evil deeds he is content on making. Your notes: EXAMPLE 5 Hard Times “Aged and bent he looked more a wiser man than in the days when in his life he wanted nothing but facts.” Is Gradgrind simply a product of the times? Student answer: Even as Hard Times was being published in the eighteen fifties, Victorian England was undergoing drastic changes. The industrial revolution was entering its second phase, bringing along with it not only increasing industrialisation, but also new ways of thinking. Gradgrind’s philosophy in Hard Times is an amalgamation of several of these emerging philosophies – Bentham and Mills’ utilitarianism, the dismissal of charity as advocated by Malthus, and Smith’s idea of self interest. It is this amalgam of philosophies which has a profound impact on those it comes into contact with, exacerbating the negative traits of some while diminishing the positive of others. However, even as Gradgrind affects others, so too do the others affect him. Your notes:


Important point about body paragraphs… So far we have critiqued five examples of introductory paragraphs from VCE students. Once you’ve laid a really strong foundation in the shape of YES-NO-HOWEVER, it is vital that the rest of your response should continue to add the layers to your argument. In this way, each body paragraph should actually read like a mini essay – with strong, clear topic sentences, elaboration, evidence and a good link to the next paragraph. The following is a useful table of words and phrases that can be used to link ideas…

To suggest cause and effect…as a result, for this reason, consequently, hence, therefore.

To add similar ideas…also, furthermore, moreover, similarly, in addition to.

To contrast ideas…alternatively, on the other hand, conversely, whereas.

Within your paragraphs, you must give evidence by way of an example or a quote. Here are some ways to introduce your evidence. This is demonstrated when…

This is shown when…

For example…

We can see this when…

We can see this in…

An example of this is…

This point can be seen in the way that...

This point is reflected in...

Evidence of this is…

For instance…

The director suggests this through…

This is exemplified by…

This is clearly indicated through...

Effective topic sentences will sum up what the paragraph is going to be about, and this sentence is usually relevant to the essay topic.


TRANSITIONS AND LINKING EXPRESSIONS

accordingly earlier in the second place, presently

after even if etc. previously

after all even if in the meantime similarly

after that even so in the future subsequently

after which eventually in summation simultaneously

afterward finally later soon

also first (second, third, etc.) likewise that is

and for example meanwhile then

another for instance moreover therefore

an additional for this reason nevertheless to begin with

as a result from that moment next to illustrate this

as soon as furthermore one . . . the other to support this

at first hence one . . . and another thus

at last hereafter once . . . now ultimately

at the same moment however on the contrary when

before long in addition on this occasion while

besides in comparison or whenever

but in fact other yet

conclusively indeed otherwise

conversely initially preceding this

consequently in the first place prior to this

To begin introduce first or main point:

at the outset first initially originally

from the inception first of all one . . . the other primarily

from the beginning in the first place one . . . another to begin (with)

To continue with other points or details:

accordingly consistent with this in the second (third) place

also in addition in turn

another in succession to continue

besides in the next place next


To conclude or summarise:

as a result in brief therefore to sum up

at last in other words thus ultimately

conclusively it is apparent to conclude

finally it is evident to recapitulate

in conclusion in summation to review

To introduce examples:

an example of this for instance to illustrate this

an illustration of this such as there are several examples . .

a further example to exemplify this there are (two, three, etc.)

for example

To indicate time or chronological sequence or progression:

Past – that which occurred before:

before earlier preceding this

beforehand in earlier time previously

before this in the past prior to this

Present – that which is occurring:

at present presently now

currently now

on this occasion at this moment

Future – that which is yet to come:

from this time in the future in the course of events

hereafter in future generations in time to come

eventually in the approaching days sooner or later

in the future (years, ages, etc.)


Same time as another occurrence:

at the same time concurrent with this meanwhile

at that moment in concert simultaneously

as this occurred in the meantime together

during the same time just as while

To introduce evidence or support or reasons:

to bear this out to confirm this to substantiate this moreover

to corroborate furthermore to verify this there are several . . .

to attest to this to endorse this to further (confirm, verify, etc.)

there are (two, three, etc.)

to affirm this to support this

To introduce a contrast or difference:

antithetical to this conversely differing from this on the contrary

at variance with this in contrast to this in spite of this on the other hand

contradictory to this inconsistent with this instead yet

contrarily in opposition to this notwithstanding unlike this

contrasting this dissimilarly nevertheless

To introduce a comparison or similarity:

accordingly in concurrence with similarly to parallel

analogous compatible with this similar to this

in keeping with this just as . . . so to balance

in comparison to this likewise to collate


A FINAL CHECK… Is the opening strong and does it point to the direction I will take in the essay? Have I explored all the aspects of the topic? Are there constant references to the topic? Is there enough detail in the response/have I shown my knowledge of the text well enough? Are paragraphs linked? Does the conclusion restate my contention and link (like a circle) back to the intro?


CONTEXT Context refers to the surrounding circumstances and influences on the author and the creation of the text. These circumstances include: Political

Social

Educational

Religious

Family

Cultural

Influential people

Work and travel experiences

Economic factors Knowing the context of a set text and the author before you read it provides you with an insight into: The background of the texts and the factors that influenced the construction of the text.

Views and values of the author. For example: Hard Times by Charles Dickens was originally written as a serial in 1854. Dickens became involved in a number of organisations that worked to alleviate horrible living conditions of London’s poor. You also need to consider the actual context within the text. For example: Geographical location of story; cultural, political and social setting and how it affects the issues and development of the text. For example: A Man For All Seasons is an historical drama set in the time of Henry the Eighth of England. How does this affect the way we look at the characters? When studying the poetry of Paul Kelly it is extremely useful to know that he is a modern Australian poet/song writer and influenced by events that happened in Australia, for example, the drug taking scene, youth alienation, young people’s hope.

ACTIVITY List points about the contexts of your texts.


THEMES AND ISSUES The themes are messages of a text and are central to the purpose of the text. Issues differ from themes in that they can be argued because there are two or more

sides. The writer, filmmaker, playwright or poet selects and arranges material in the text to

support and develop their themes and issues. These themes or issues may be stated directly by a character or in the author’s introduction or title or they may be implicit in a character’s action etc. For example: In Look Both Ways the themes include: 1. Death and dying 2. Manipulation by the media

3. Fear and courage and how they impact on ordinary people’s lives. See following list of themes and issues.

Themes and Issues in Texts Betrayal of friends and/or family.

Change vs. continuity.

Important of courage and determination.

Conformity and individuality – one character standing alone.

Cultural conflict and its effects.

Effect of death on characters.

Dependence vs. independence.

Family relationships – destruction of or building of.

Fantasy vs. reality.

The effects of a patriarchal society on women.

The importance of honour.

Discovering identity.

Jealousy vs. trust.

Man’s justice vs. God’s justice.

Power and politics.

Racial prejudice.

The influence of religion on a society.


SETTING Setting = Time + Place The setting helps the reader visualise the characters in their environment and can create expectations and understanding about why characters behave as they do. This is done more easily in plays and films where you can actually see the setting. When studying texts, it is a good idea to draw labelled sketches of written, physical settings or arrange your classroom furniture where possible if the text is set indoors. The setting influences the characters and plot.

PLOT The plot refers to the events of a text and their order. A plot usually contains some basic elements and these elements can occur in a variety of structures.

BASIC ELEMENTS OF PLOT Action: Introduction of key characters. Exposition: Background material provided so that reader feels knowledgeable

about what is happening in text. Conflict: Argument, fight, dissatisfaction, unhappiness, etc. with another

character. It can also be internal e.g. character arguing with his conscience about something he has done or likely to do.

Complication: When a character is suddenly confronted by an unexpected problem

or unfortunate turn of events e.g. sudden illness. Resolution: Coming to terms with problem either by self or with help of others,

difficult choice has been made e.g. friends helping you get over a death in the family.

Rising action: Events that lead up to climax. Climax: The ‘highest point’ of a single action or story, the big moment

preceding events seem to lead to e.g. the death of a villain. There can be more than one climax in a plot.

Denouement: The ‘unknotting’ – the events following the major climax. Sometimes

this may occur only in the final scene.


STRUCTURE The structure of the text is the order in which these events happen. This is deliberately planned to emphasise the message(s) in the most effective manner. Possible structures include: (a) Chronological: Events arranged according to how they would occur in ‘real time’. (b) Retrospective: Events arranged so story begins with final moment. (c) Flashbacks: Providing background information where necessary. (d) Traditional linear: Beginning, middle and end.

CHARACTERS Characters are persons or creatures that do and say things in text. They help communicate the author’s messages and point of view and help develop themes through their actions, thoughts, feelings, descriptions and dialogue. Character types you should know include: 1. Protagonist: Most important character, usually hero, in a drama (play, film) or narrative (story). 2. Antagonist: Name given to describe character that is in opposition to hero

(protagonist) in a drama or narrative. Characterisation Character development


STYLE Style is made up of the following elements and they all influence one another. Language

Tone

Form and genre

Point of view = Whose voice?

LANGUAGE AND EXPRESSION The intended audience and purpose of the text influence the author’s style by determining the choice of language needed to suit the audience so that it understands the purpose and messages conveyed. Authors can choose to use colloquial, jargon, personal, formal language depending on their audience and purpose. To make their characters convincing they choose language people from that time would have spoken. They incorporate symbols.

TONE

Tone indicates the author’s attitude towards his subject matter including characters, themes, institutions, etc. Tone is a characteristic of voice. In plays and films this can be demonstrated by changes in an actor’s voice and manner. In writing the author uses language to indicate tone.

Adjectives to describe tone:

Curious, joyful, cautious, regretful, guilty, thoughtful, aggressive, positive, negative, fearful, bored, shocked.


POINT OF VIEW Point of view is the perspective from which a text is seen or told. You need to ask yourself, ‘who is telling the story?’ Three principal points of view most commonly used are: The first person narrator in which the point of view is solely that of the character telling the story. They may be a central or minor character who either observes or participates in the action. A first person narrator cannot see into the minds of the other characters. This device significantly reduces the reader’s sense of author’s presence in the text. 1. The point of view of a single character who is used by the author as a central observer or participant in the action (third person narrative). 2. The omniscient (godlike) point of view enables the writer to present the inner thoughts and feelings of his characters. The narrator has no part in story.

FORM AND GENRE An author chooses the form and genre/text type that enables them to best communicate their message(s). An author needs to know the conventions of their chosen form and genre and to feel comfortable writing in it.

ACTIVITY List as many different (a) forms and (b) genres as you can.


ACTIVITY Select one of your texts and describe its: (a) Form (b) Language (c) Tone (d) Genre (e) Point of view

CONVENTIONS, TERMS AND FEATURES Conventions are the customary practices concerning form, structure and language that people expect when reading or watching a text. For example: A play will be structured using scenes and stage directions and when it is performed there will also be dramatic features like projected voices of actors, asides in Shakespeare when one character speaks and the other characters act as if they don’t hear him. Knowing the guidelines for conventions makes it easier to follow and understand a text.

NOVELS Novels are written in prose and are narratives (tell a story). They are usually divided into parts and/or chapters. Novels can be structured in a variety of ways and be told from different points of view.

PLAYS Plays are no more difficult or easy to study than novels, poems, etc. As long as you realise that a play needs to be studied as both an aural and visual form, and are familiar with dramatic conventions used in plays, you will have no trouble. One of the most important things to remember when you are studying a play is the form and staging devices that are part of style. You need to pay attention to discussing the form (dramatic techniques) and not just the narrative (story).


KEY FILM TERMS ACTIVITY Complete the following table:

Term Explanation Example

Mise en scene

Framing

Camera Angles Shot sizes Movement

Editing Animation Montage SFX

Lighting

Costume + makeup

Sound track: Dialogue, music, silence

Deep focus


ACTIVITY

TEXT CHEAT SHEET Andrea Hayes 2007 Cambridge Checkpoints 2008 VCE English Units 3 & 4 TITLE: AUTHOR:

Themes

4-5

Characters

Quotes 3 points

per character

Plot

8-10 (TP)

Setting

3-5

Style 3-5

POV, language,

genre, tone,

structure


FOUR STEPS TO TEXT RESPONSE Andrea Hayes 2007 Cambridge Checkpoints 2008 VCE English Units 3 & 4 Step 1: Dissect topic.

Step 2: Plan.

Step 3: Write.

Step 4: Review and edit.


1. DISSECT TOPIC Identify all parts of the topic – at least three.

Identify themes, issues and ideas in topic and ones that are missing.

Note key words (underlined in example).

List the questions the topic is asking and link to themes and protagonist.

Identify author’s point of view.

Challenge topic if necessary.

Decide your perspective on the topic.

Use a dictionary if necessary.

Pay careful attention to directions with topic .e.g. ‘discuss’.

SAMPLE TOPIC ‘We admire More not just because of the stand he takes but because the playwright has shown us his humanity in many different situations.’ Discuss.

THEMES, ISSUES, IDEAS IN TOPIC Power vs. corruption.

God’s law vs. King’s law.

Personal integrity.

Justice.

Questions on topic – linked to themes and protagonist: Why do we admire More? – integrity, his moral strength, brave, clever.

What is the ‘stand’ he takes? – moral stand, God’s law over King’s law.

How does Bolt ‘show his humanity?’ – despair, frustration, ‘common man’, stubborn – weaknesses (flaws) and strengths.

What ‘different situations’? – family, before king, awaiting death.

What else does Bolt show? – More demonstrates extraordinary humanity too, contrasted with Common Man.

Is More too good to be true? – ‘reluctant hero’, one we should aspire to be. Definition: Humanity: Quality and conditions of being human – humans are flawed individuals. Hint! Challenge topics that include words: ‘only’, ‘every’, ‘always’, never’.


2. PLAN Allow 10% of total essay time for planning.

Brainstorm or construct concept map listing points and evidence.

Order your points using the No-fail formal essay structure.

Write key points at topic sentences.

Rewrite your perspective as an introduction.

3. WRITE

LINK WORDS

4. REVIEW AND EDIT


TEXT RESPONSE CHECKLIST

1. Perspective on text prompt in introduction. □

2. Author’s name, text title, form in introduction. □

3. Key points related to themes/issues in introduction. □

4. Key words or synonyms from prompt used. □

5. Formal structure; intro-body-conclusion. □

6. Topic sentences in all paragraphs. □

7. Paragraphs are linked using link words and phrases. □

8. All points relate to key textual elements. □

9. Quotes support points and are quoted correctly. □

10. Formal language is used. □

11. ‘I think’, ‘I feel’, ‘In my opinion’ are not used. □

12. No new points in conclusion. □

13. Response is edited carefully. □


ANOTHER EXAMPLE

STEP 1: DEFINE TOPIC Hamlet shows the dangers of pretending to be mad because madness reigns in Denmark. Discuss. Identify all parts of topic: What are the dangers of Hamlet’s “antic disposition”?

Why does he pretend to be mad?

Does he really become mad?

Does madness reign in Denmark? Identify key words: “Pretend” – What does it mean?

“Mad” – How do we define madness?

“Dangers” – What is meant by this?

The state of Denmark. Identify themes addressed in topic: Madness.

What are the alternatives?

Denmark as an unweeded garden that goes rank. Form your opinion: Yes and No/Alternatives?

STEP 2: PLAN Detailed planning is essential. Spend 10% of allotted essay time on a plan. (a) Determine your point of view on the topic. (b) Have a list of ideas/themes/issues pre-prepared. You know these are the key elements of your essay. (c) Determine a sequence in which your ideas will be revealed.


GENERAL SAMPLE PLAN

Hamlet’s madness

Contention. Definition of terms. Explain using key points.

Why did he pretend? What else was it? How did the others take it?

Body

Separate paragraph for each key point.

Topic sentence. Example. Interpretation.

Who turned the madness into a weapon against him? Why? Who took him to be mad? People, the king, Polonius, Ophelia, Gertrude friends.

Conclusion

Answer statement using interpretive findings.

No new points.

Understand reasons behind the ‘madness’ and how it occurred and who was affected. Was this the message that Shakespeare wanted conveyed? Is it relevant to a contemporary audience?

WHAT NOT TO DO Andrea Hayes 2008 Cambridge Checkpoints 2009 VCE English Units 3 & 4 Don’t write how you speak.

Avoid starting all the sentences with the same words, e.g. ‘The novel says …’

Make sure you haven’t written one giant paragraph!

Don’t write, ‘I think the story was boring’.

Don’t write a summary of the text.

Don’t call a novel a ‘film’.

Don’t change tense during essay.


ACTIVITY What is wrong with the following examples taken from various text responses? (a) Oedipus’ mum and dad. (b) Could of. (c) Plath’s poems figure to be true because of the real lifeness they give out to the reader. (d) In ‘I for Isobel’ Amy explores. (e) Hamlet is all about madness cos Hamlet is mad himself. (f) Citizen K. (g) The soldiers’ are held in cells’ until there execution. (h) I didn’t like this $%$&* book at all. (i) U don’t c protgnist until l8 in the film.


ACTIVITY When do you use paragraphs? How do you use quotation marks? When do I use apostrophes? Why are my sentences so long?


INTRODUCTIONS

THINGS TO REMEMBER Don't begin an essay with "I agree with the above statement". Don't begin by restating the topic. Don't use pre-written introductions. Do address the topic. Do try to be original or at least engaging. Two possible quick fire introduction starters: 1. Use an issue to generate an opening line.

How did Hamlet’s depression and reluctance to carry out the revenge of his father’s death affect his decision to be “mad”?

2. Use the ‘synonym trick’ “Pretend” (assumed) were significantly (major) undermined (insurrection) by the actions of the main protagonists (trio).

INTRODUCTION CHECKLIST Andrea Hayes 2009 Cambridge Checkpoints 2008 VCE English Units 3 & 4

1. States perspective on the topic. □

2. Includes key points related to themes. □

3. Written clearly. □

4. Uses your own voice. □

5. Mentions form of text eg. film, play. □

6. Includes author’s name. □

7. Uses key words or synonyms from topic. □

8. Uses different sentence beginnings. □

9. Uses at least two different verbs. □

10. Can include small quote (not essential). □


VCE ENGLISH AND ENGLISH AS AN ADDITIONAL LANGUAGE (EAL)

TEXT LIST 2017 VCE English students A total of four texts across the Units 3 and 4 sequence must be selected from the text list published annually by the VCAA. For Unit 3 Area of Study 1, students must read and study two selected texts from List 1. For Unit 4 Area of Study 1, students must read and study one pair of texts (that is, two texts) from List 2. At least two set texts must be selected from the following categories: novels, plays, collections of short stories or collections of poetry. VCE EAL students A total of three texts across the Units 3 and 4 sequence must be selected from the text list published annually by the VCAA. VCE EAL students must read and study one selected text from List 1 and a pair of texts (that is, two texts) from List 2. Two texts must be used for Unit 3 Area of Study 1 – one selected from List 1 and one of the pair selected from List 2. The pair of texts from List 2 should be used for Unit 4 Area of Study 1. In either Unit 3 or 4, at least one set text must be a written text in one of the following forms: a novel, a play, a collection of short stories or a collection of poetry. List 1 Novels Adiga, Aravind, The White Tiger (3) Grenville, Kate, The Lieutenant (1) (A) Kent, Hannah, Burial Rites (3) (A) Le Guin, Ursula, The Left Hand of Darkness (1) London, Joan, The Golden Age (1) (A) Shelley, Mary, Frankenstein (2) Winton, Tim, Cloudstreet (4) (A) Witting, Amy, I for Isobel (3) (A)


Short stories Adichie, Chimamanda Ngozi, The Thing Around Your Neck (4) Stories for study: ‘Cell One’, ‘A Private Experience’, ‘Ghosts’, ‘On Monday of Last Week’, ‘Jumping Monkey Hill’, ‘The Thing Around Your Neck’, ‘The American Embassy’, ‘The Shivering’, ‘The Arrangers of Marriage’, ‘Tomorrow Is Too Far’, ‘The Headstrong Historian’ MacLeod, Alistair, Island: Collected Stories (2) Stories for study: ‘The Boat’, ‘The Vastness of the Dark’, ‘The Golden Gift of Grey’, ‘The Return’, ‘The Lost Salt Gift of Blood’, ‘The Road to Rankin’s Point’, ‘The Closing Down of Summer’, ‘To Every Thing There Is a Season’, ‘Second Spring’, ‘Winter Dog’, ‘The Tuning of Perfection’, ‘Vision’, ‘Island’ Plays Davis, Jack, No Sugar (4) (A) Euripides, ‘Medea’, in Medea and Other Plays (3) Shakespeare, William, Measure for Measure (2) Poetry/Songs Donne, John, Selected Poems (2) Skrzynecki, Peter, Old/New World: New & Selected Poems (1) (A) Multimodal texts Films Mankiewicz, Joseph L (director), All About Eve (4) Perkins, Rachel (director), Mabo (4) (A) Other Spiegelman, Art, The Complete Maus (4) Non-fiction texts Boo, Katherine, Behind the Beautiful Forevers: Life, Death, and Hope in a Mumbai Undercity (1) Wolff, Tobias, This Boy’s Life (4)


List 2 For VCE EAL students only, one text in each pair is nominated for achievement of Unit 3 Outcome 1: Reading and creating texts. This text is indicated by (EAL). Pair 1: Non-fiction text

Davidson, Robyn, Tracks (1) (A) (EAL) Multimodal text – Film

Penn, Sean (director), Into the Wild (1) Pair 2: Multimodal text – Film

Eastwood, Clint (director), Invictus (1) (EAL) Novel

Malouf, David, Ransom (1) (A) Pair 3: Non-fiction text

Funder, Anna, Stasiland (1) (A) (EAL) Novel

Orwell, George, Nineteen Eighty-Four (1) Pair 4: Non-fiction text

MacCarter, Kent and Lemer, Ali (eds), Joyful Strains: Making Australia Home (1) (A) (EAL)

Novel

Lahiri, Jhumpa, The Namesake (1) Pair 5: Play

Miller, Arthur, The Crucible (1) (EAL) Novel

Brooks, Geraldine, Year of Wonders: A Novel of the Plague (1) (A)


Pair 6: Play

Murray-Smith, Joanna, Bombshells (1) (A) (EAL) Novel

Atwood, Margaret, The Penelopiad: The Myth of Penelope and Odysseus (1) Pair 7: Play

Wright, Tom, Black Diggers (1) (A) (EAL) Novel

D’Aguiar, Fred, The Longest Memory (1) Pair 8: Non-fiction text

Yousafzai, Malala, with Lamb, Christina, I Am Malala: The Girl Who Stood Up for Education and Was Shot by the Taliban (1) (EAL)

Multimodal text – Film

Cole, Nigel (director), Made in Dagenham (1)

Documents

Unit 1 English - · PDF fileand multimodal), for example consider an ... in unit 1 must be in oral or multimodal form. ... Unit 1 English Page 5