781925 3164699

ISBN 978-1-925316-46-9

www.insightpublications.com.au

Senior ENGLISH

AREA OF STUDY

1AREA OF STUDY

1

Analysing, creating and comparing texts

Robert Beardwood, Melanie Napthine & Claire Warr

Senior ENGLISH

KEY SK

ILLS FOR SENIOR EN

GLISH · AR

EA OF STUDY 1

BEAR

DWOOD

| NAPTH

INE | W

ARR

Key Skills for Senior English: Area of Study 1 develops the essential knowledge and skills for understanding a range of texts, and for writing analytical, creative and comparative text responses.

Taking a systematic and highly practical approach to the study of texts, Key Skills for Senior English: Area of Study 1 develops students’ understanding of textual features in novels, short stories, nonfiction genres, plays, films and poetry. Scaffolding activities reinforce learning throughout and progressively build writing and analytical skills. Comprehensive chapters on analytical, creative and comparative text responses include step-by-step guidelines, strategies and tips for producing sustained, high-quality pieces of writing.

This workbook is an accessible and practical resource for all senior English and EAL students.

THE BOOK INCLUDES:

• Activities and exercises to suit a range of abilities

• Step-by-step approaches to each learning outcome, including SAC and exam tasks

• Annotated sample responses.

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Contents

Getting started 1

Area of Study 1: Overview and requirements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

The main types of narrative texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Features of different text types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Understanding the text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Novels and short stories 7

Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Narrative point of view . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Orientation, setting and context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Special features of short stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Nonfiction 32

Understanding nonfiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Narrative point of view . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Narrative structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Additional writers and supplementary material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Film 39

Film style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Cinematography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Narrative point of view . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Drama 48

Stage directions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Soliloquies and asides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Poetry 53

Poetic techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

How to analyse poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

CHAPTER

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insight KEY SKILLS FOR SENIOR ENGLISH • AREA OF STUDY 1 iv

Writing an analytical response 58

How will you be assessed? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Analysing the topic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Brainstorming ideas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Developing a plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Writing your response . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Drafting and proofreading your response . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Common mistakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Sample responses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Writing a creative response 81

How will you be assessed? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Approaches to the task . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Forms for your response . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

The written explanation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Sample responses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Writing a comparative response 100

How will you be assessed? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101

Preparing for reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102

Locating similarities and differences in texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103

Presenting ideas through characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110

Planning your response . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113

Writing your response . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118

Sample responses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124

Assessment tips 131

Key dates for assessment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131

Area of Study 1 in the exam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132

Revision and preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132

In the exam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134

Summary sheets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135

Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138

Index of text titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139

8

9

10

7

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insight KEY SKILLS FOR SENIOR ENGLISH • AREA OF STUDY 1 12

Chapter 2: Novels and short stories

please gratify enchant delight

annoy antagonise aggravate inflame

speak well of praise extol promote

speak badly about besmirch tarnish belittle

tell off chastise admonish rebuke

start initiate stimulate inaugurate

continue perpetuate sustain prolong

finish conclude finalise resolve

EXPLORE CHARACTERS’ ACTIONS

1. Identify three important actions or behaviours of one character and write them in the left-hand column below. An example has been done for you.

Action/Behaviour Attributes

Frank draws strength and solace from writing poetry. (The Golden Age) resilient, passionate

2. What qualities are revealed by each of these actions? Look back to your word bank of useful descriptors on pages 9–10, and write the qualities next to the actions, in the right-hand column above.

3. Now present this information in complete sentences. Organise them as follows:• Identify the quality or attribute of the character.• Give an example from the text of a behaviour or action that demonstrates this quality.• Support your statement with a suitable quotation.

Or you can change the order of ideas, offering an example of the behaviour first and then stating the character’s qualities as in Example 2, below.

Example 1 Example 2

Frank is a resilient boy, who develops a passion for poetry that helps him to survive and even thrive in the Golden Age Convalescent Home: ‘He could overcome any hardship because he had a vocation’.

(The Golden Age)

Macbeth’s determination to fight on at the end, despite the fact that he is clearly outnumbered, demonstrates his physical courage: ‘I will not yield to kiss the ground before young Malcolm’s feet’.

(Macbeth)

Now write an example of your own, following one of the models above.

Quality

Supporting quotation

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insight KEY SKILLS FOR SENIOR ENGLISH • AREA OF STUDY 1 13

Chapter 2: Novels and short stories

Main and minor charactersThe developments of a text’s plot revolve around the main or major characters. A main character is sometimes called the protagonist. A text usually has just one protagonist, though not always. Main characters are almost always rounded characters – that is, they are complex, with both positive and negative qualities, just like real people. They usually undergo some sort of development or change over the course of the text.

Minor characters are usually less complex than main characters. In addition to helping to move the plot forward, minor characters can serve a number of functions, including:

• helping the main character

• criticising the main character

• holding opposing views to the main character

• showing qualities that are intended to gain the audience’s approval

• showing qualities that are intended to gain the audience’s disapproval

• giving background information on the main character

• acting as someone to whom the main character can tell their inner thoughts and feelings.

CREATE A SUMMARY OF A PROTAGONIST

Complete the following ‘cheat sheet’ to create a handy summary of the main character (the protagonist) in your text. You can set this up in your folder or on a computer and draw up similar lists for the other main characters.

1. The protagonist’s full name is

2. They are years old when the text opens and at the conclusion.

3. The protagonist lives in

(include any important changes)

4. Their most important relationships are

5. Their main personal qualities are

6. The most important choices they make are

7. The main character changes in the following way(s):

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insight KEY SKILLS FOR SENIOR ENGLISH • AREA OF STUDY 1 72

Chapter 7: Writing an analytical response

WRITE A BODY PARAGRAPH

1. Refer to the introduction you wrote on page 68. Select one of the signposts to reiterate in a topic sentence. Write it here as a strong, clear statement:

2. Select evidence (such as direct quotations; detailed references to characters, setting, structure, themes and values; or specific scenes) to support the contention of the topic sentence:

3. Write three or four sentences explaining the significance of the evidence in relation to the topic sentence. Remember to use inverted commas (quotation marks) for exact quotations.

4. Next, write a sentence that links the main point of this paragraph to the topic. Do this by explaining how this paragraph supports your main argument.

5. Now write a second body paragraph. Choose another signpost from your introduction and repeat the above exercise:

ConclusionsA conclusion draws your discussion to a close. It should always be included to ensure you submit a completed piece of writing. A conclusion should:

• sum up your supporting points and evidence

• reiterate your main argument (using different words from those in the introduction)

• link back to the topic.

TIP: You must not introduce new points or evidence in your conclusion. However, you may include a quotation you have not used before, provided it is only to sum up and support the main argument.

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insight KEY SKILLS FOR SENIOR ENGLISH • AREA OF STUDY 1 94

Chapter 8: Writing a creative response

CREATURE

Be calm! I entreat you to hear my tale. It is long and strange, and the temperature of this place is not fitting to your fine sensations. Come to the hut upon the mountain.

CUT TO A LONG SHOT

The CREATURE crosses the ice, followed by FRANKENSTEIN. As they arrive at the hut, dark clouds fill the sky and rain begins to fall.

And so the dialogue continues …

The written explanationAs well as producing a creative response, you will need to explain and justify the choices you made and the connections between your response and the original text.

Your written explanation should be a detailed, fluent and coherent paragraph (or possibly two short paragraphs). It is usually written in first person and past tense (‘I decided to …’).

Include discussion of how you have used or addressed the following elements.

• The form, e.g. letter, diary entry, personal reflection or a new section of the original text. Aim to refer to one or two conventions of this form (e.g. dialogue and rising tension in a short story).

• Connections between your response and the original text. These can be quite specific, such as events, places and characters, and also more general, such as themes and issues.

• Language, including comments on tone, style and any features of characters’ speech you have incorporated. If aspects of the language have been transformed from the original (e.g. due to a change in setting or genre), explain these changes.

• Your purpose in creating this piece, e.g. the impact you are hoping it will have on a reader or listener, or a point of view you want your audience to consider.

• Your intended audience and the context for the piece (e.g. its historical context; or where it might be published), and how you have used form and language to suit the audience, purpose and context.

Use the following planning sheet to make notes on each of these elements for your written explanation.

Element of your creative response

How you have used or addressed this element

Form

Connections to original text

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insight KEY SKILLS FOR SENIOR ENGLISH • AREA OF STUDY 1 117

Chapter 9: Writing a comparative response

Structure your responseThere are a number of ways you can structure a comparative response. Two possible structures are outlined below.

Structure AIn this structure you discuss the two texts separately, then together. For more detail on how to write introductions, body paragraphs and conclusions, see pages 119–24.

Section What to include

Introduction • Show the reader you understand the question.

• Introduce the authors’ names, text titles and genres.

• Tell the reader how you will answer the question.

By following the above steps, you will have addressed the topic / answered the question.

Body paragraphs 1 and 2

Discuss text 1, expanding on key points in the introduction.

Body paragraph 3 Discuss text 2, expanding on key points in the introduction.

Body paragraph 4 Discuss text 1 and text 2, indicating differences and similarities.

Conclusion Conclude with statements about the topic and how its main idea is presented in both texts.

Structure BThis structure is similar to Structure A, except the compare/contrast section follows immediately after you analyse the first text.

Section What to include

Introduction Address the topic (as in Structure A).

Body paragraphs 1 and 2

Discuss text 1, expanding on key points in the introduction.

Body paragraph 3 Discuss text 1 and text 2, indicating differences and similarities.

Body paragraph 4 Discuss text 2, expanding on key points in the introduction and in body paragraph 3.

Conclusion Conclude with statements about the topic and how its main idea is presented in both texts.

Sample planThe following sample plan uses structure A above. It responds to the topic for Year of Wonders and The Crucible on the previous page, and draws ideas and evidence from the table on the same page. The plan shows the key ideas and textual evidence you could include in each paragraph or section.

TIP: There is no right or wrong structure for a comparative essay. Ensure there is a balance between the two texts and at least one body paragraph where you discuss them together.

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insight KEY SKILLS FOR SENIOR ENGLISH • AREA OF STUDY 1 125

Chapter 9: Writing a comparative response

Sample response 1

Conflict stems from the incompatible nature of ideas held by different

individuals in a group or community. Conflict between people has the

power to be corrosive and destructive, often damaging relationships

beyond repair. In Janet Lewis’ novel The Wife of Martin Guerre, conflict is

the catalyst for significant damage to families, communities and the

broader patriarchal feudal system governing sixteenth-century France.

Yet conflict can also promote transformation, and Reginald Rose explores

this powerful aspect of conflict in his play Twelve Angry Men. Although

conflict is initially presented as a negative force within the group of

jurors, Rose gradually exposes the transformative nature of conflict

on the characters as individuals.

The conflict at the centre of Lewis’ narrative is Bertrande de Rols’ failure

to accept the impostor, Arnaud du Tilh, as her husband. Yet the kernel

of this conflict is embedded in the mesnie or household structure based

on patriarchal rule. Martin’s father is ‘cap d’hostal’ and this position

confers power to him ‘like some Homeric king’ over the household,

family, servants and all who work under his protection. Young Martin

understands that his position as heir entitles him to exercise power over

his eleven-year-old bride by cuffing her ‘soundly upon the ears’. Although

not seemingly significant in itself, this action epitomises the absolute

authority of the patriarch and primes readers for the conflict that arises

when Martin defies his father by going bear hunting and by stealing the

grain. This conflict develops from the incompatible nature of the ideas

and beliefs of old Monsieur Guerre and of his wilful son. While killing the

bear and reappropriating the grain brings many advantages to the entire

mesnie, Martin’s decisions earn him a blow ‘upon the left side of his jaw’

and the threat of further violence. Old Guerre is determined to teach his

son the significance of ‘paternal authority’, but the conflict between father

and son breeds bitterness and resentment.

Further to the conflict between father and son, Martin’s actions threaten

to destroy the prosperity of the household and the sanity of his wife,

Bertrande. Martin fears his ‘father’s heavy whip’, but then his long absence

exposes them all to the duplicity of Arnaud du Tilh. At first, the returned

‘Martin’ brings joy and relief to all, yet his arrival also spurs further

conflict as Bertrande suspects her ‘husband of being other than the man

he represented’. Her spiralling fear and her wish not to engage in sin

suffocates Bertrande until she is ‘faced with the obligation of admitting

herself to be hopelessly insane’. The ensuing conflict between Bertrande

‘Conflict has the power to destroy, but also the power to transform.’

How is this idea explored in The Wife of Martin Guerre and

Twelve Angry Men?

TOPIC

Shows an understanding of the key term ‘conflict’.

Directly addresses the topic.

Introduces ideas about how conflict destroys in text 1.

Indicates how conflict transforms in text 2.

Topic sentence introduces a key idea in relation to text 1.

Concluding sentence for body paragraph 1 links discussion of conflict to the first part of the topic statement.

Topic sentence introduces a new example of conflict and destruction in text 1.

Explains and develops ideas in text 1, incorporating brief quotes.

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