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LITERATURE ATAR COURSE Year 12 syllabus

2013/29230v4

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Literature | ATAR | Year 12 syllabus

Content

Rationale ................................................................................................................................................................... 1

Aims .......................................................................................................................................................................... 2

Organisation .............................................................................................................................................................. 3

Structure of the syllabus .................................................................................................................................................. 3

Organisation of content ................................................................................................................................................... 3

Representation of the general capabilities ...................................................................................................................... 4

Representation of the cross‐curriculum priorities ........................................................................................................... 6

Unit 3 ........................................................................................................................................................................ 7

Unit description ................................................................................................................................................................ 7

Learning outcomes ........................................................................................................................................................... 7

Unit content ..................................................................................................................................................................... 7

Unit 4 ........................................................................................................................................................................ 9

Unit description ................................................................................................................................................................ 9

Learning outcomes ........................................................................................................................................................... 9

Unit content ..................................................................................................................................................................... 9

School‐based assessment ........................................................................................................................................ 11

Grading ........................................................................................................................................................................... 12

ATAR course examination ........................................................................................................................................ 13

Examination design brief – Year 12 ................................................................................................................................ 14

Appendix 1 – Grade descriptions Year 12 ................................................................................................................. 15

Appendix 2 – Prescribed text lists ............................................................................................................................ 17

Appendix 3 – Glossary ............................................................................................................................................. 26

1


Rationale The Literature ATAR course focuses on the study of literary texts and developing students as independent,

innovative and creative learners and thinkers who appreciate the aesthetic use of language; evaluate

perspectives and evidence; and challenge ideas and interpretations. The Literature ATAR course explores

how literary texts construct representations, shape perceptions of the world and enable us to enter other

worlds of the imagination. In this subject, students actively participate in the dialogue of literary analysis and

the creation of imaginative and analytical texts in a range of modes, media and forms.

Students enjoy and respond creatively and critically to literary texts drawn from the past and present and

from Australian and other cultures. They reflect on what these texts offer them as individuals, as members

of Australian society and as world citizens.

Students establish and articulate their views through creative response and logical argument. They reflect on

qualities of literary texts, appreciate the power of language and inquire into the relationships between texts,

authors, readers, audiences and contexts as they explore ideas, concepts, attitudes and values.

2


Aims The set of English courses aims to develop students’:

skills in listening, speaking, reading and writing

capacity to create texts for a range of purposes, audiences and contexts

understanding and appreciation of different uses of language.

In addition, the Literature ATAR course aims to develop students’:

ability to respond personally, critically and imaginatively to a range of literary texts drawn from

Australian and other historical, contemporary and cultural contexts and traditions

capacity to engage with and contest complex and challenging ideas in order to form their own

interpretations informed by a range of critical perspectives

capacity to reflect critically on connections and resonances between texts.

3


Organisation This course is organised into a Year 11 syllabus and a Year 12 syllabus. The cognitive complexity of the

syllabus content increases from Year 11 to Year 12.

Structure of the syllabus The Year 12 syllabus is divided into two units which are delivered as a pair. The notional time for the pair of

units is 110 class contact hours.

Unit 3

Unit 3 develops students’ knowledge and understanding of the relationship between language, culture and

identity in literary texts. Students inquire into the power of language to represent ideas, events and people,

comparing these across a range of texts, contexts, modes and forms. Through critical analysis and

evaluation, the values and attitudes represented in and through texts and their impact on the reader are

examined. Throughout the unit, students create analytical responses that are characterised by a confident,

engaging style and informed observation. In creating imaginative texts, students experiment with language,

adapt forms and challenge conventions and ideas.

Unit 4

Unit 4 develops students’ appreciation of the significance of literary study through close critical analysis of

literary texts drawn from a range of forms, genres and styles. Students reflect upon the creative use of

language, and the structural and stylistic features that shape meaning and influence response. The unit

focuses on the dynamic nature of literary interpretation and considers the insights texts offer, their use of

literary conventions and aesthetic appeal. Analytical responses demonstrate increasing independence in

interpreting texts and synthesising a range of perspectives into critical and imaginative responses. In creating

imaginative texts, students experiment with literary conventions and reflect on how the created text takes

into account the expectations of audiences.

Each unit includes:

a unit description – a short description of the focus of the unit

learning outcomes – a set of statements describing the learning expected as a result of studying the unit

unit content – the content to be taught and learned.

Organisation of content

Content descriptions in each unit in the Literature ATAR course are grouped under an organising framework

that presents key aspects of learning that underpin the course. The organising framework in the Literature

ATAR course is:

Texts in contexts

Language and textual analysis

Creating analytical texts

Creating imaginative texts.

4


The language modes

The processes of listening, speaking, reading, viewing and writing, also known as language modes, are

interrelated. Classroom contexts that address particular content descriptions will necessarily draw from

more than one of these modes in order to support students’ effective learning. To acknowledge these

interrelationships, content descriptions incorporate the processes of listening, speaking, reading (including

the interpretation of visual elements in prose fiction, poetry and drama texts) and writing in an integrated

and interdependent way.

Texts

Texts provide important opportunities for learning about aspects of human experience and about aesthetic

appeal. Teachers may select whole texts and/or parts of texts, depending on units of study, cohorts and level

of difficulty.

‘Literary texts’ refer to past and present texts across a range of cultural contexts that are valued for their

form and style and are recognised as having enduring or artistic value. While the nature of what constitutes

‘literary texts’ is dynamic and evolving, they are seen as having personal, social, cultural and aesthetic value

and potential for enriching students’ scope of experience. Literary texts include a range of forms such as

novels, short stories, poetry and plays. Teachers may use other text types, for example, feature film,

documentary, critical essays, literature textbooks, literary glossaries and multimodal texts to supplement the

teaching of the literary forms mentioned.

Prescribed text lists

This course has prescribed text lists (refer to Appendix 2).

Text requirements

Over the course of a year, students must have studied texts from the prescribed lists, that is, literary texts

from poetry, prose fiction and drama. Across the pair of units, students must study at least one novel.

It is also a requirement in the pair of units that students study a minimum of one Australian text: that is, one

novel or play or a selection of the work of one poet or a selection of Australian short stories.

Representation of the general capabilities The general capabilities encompass the knowledge, skills, behaviours and dispositions that will assist

students to live and work successfully in the twenty‐first century. Teachers may find opportunities to

incorporate the capabilities into the teaching and learning program for the Literature ATAR course. The

general capabilities are not assessed unless they are identified within the specified unit content.

Literacy

Literacy is important in the development of the skills and strategies needed to express, interpret, and

communicate complex information and ideas. In the Literature ATAR course, students apply, extend and

refine their repertoire of literacy skills and practices by establishing and articulating their views through

creative response and argument. They experiment with different modes, media and forms to create new

texts and understand the power of language to represent ideas, events and people.

5


Numeracy

Students use numeracy in the Literature ATAR course when they practise and apply the skills of interpreting

and analysing, comparing and contrasting, making connections, posing and proving arguments, making

inferences and problem solving as they create and respond to a range of texts. They draw conclusions from

statistical information and interpret and use quantitative data as evidence in analytical and imaginative

texts.

Information and communication technology capability

There are opportunities in literature to engage with information and communication technology (ICT)

through the use of digital texts and multimodal texts. In the Literature ATAR course, students discern the

quality of information and ideas presented in multimodal texts. They develop understanding of the relative

possibilities, limitations and consequences of using different forms of digital technologies to explore,

interpret and create literary texts. They consider the effects of the use of different media on meaning and

interpretation, particularly in new and emerging literary forms.

Critical and creative thinking

Critical and creative thinking is an integral feature of the study of and creation of texts in the Literature ATAR

course. Students analyse and evaluate issues and ideas presented in texts. In both thinking about and

creating their own texts, they recognise and develop arguments, use evidence and draw reasoned

conclusions. Students experiment with text structures and language features as they transform and adapt

texts for different purposes, contexts and audiences. Students use critical thinking when they use their

knowledge of language to analyse a range of texts in relation to their purpose, context, audience, structural

and language features, and underlying assumptions. They investigate the ways language is used to position

individuals and social and cultural groups. Creative thinking enables students to apply imaginative and

inventive capacities in the creation of their own original works.

Personal and social capability

Students develop personal and social capability in the Literature ATAR course by enhancing their

communication skills, for example, through collaborative research, reflective practices and developing

empathy with and appreciation of the perspectives of others. Close critical engagement with texts assists

students to understand different personal and social experiences and perspectives. Students identify and

express their own opinions, beliefs and responses by interacting with a range of texts. Students work

collaboratively in teams and independently as part of their learning and research endeavours.

Ethical understanding

Through the study of the Literature ATAR course, students come to develop an increased understanding of

complex issues and the questions surrounding rights and responsibilities in our modern world. Students

develop greater empathy for the attitudes and opinions of others by interacting with and interrogating a

range of texts. Ethical understanding is explored through the selection of texts for study, for example, when

students engage with ethical dilemmas presented in texts, considering reasons for actions and implications

of decisions. They explore and question values, attitudes, perspectives and assumptions in texts, examining

how they are presented, their impact on audiences and how they are reflected in their own responses.

6


Intercultural understanding

In the Literature ATAR course, intercultural understanding encourages students to make connections

between their own experiences and the experiences of others. Through the study of contemporary texts,

texts from the past and texts from diverse cultures, students explore and analyse these connections.

Students understand and can express the interdependence of language, culture, identity and values,

particularly in the Australian context, and are able to appreciate and empathise with the cultural beliefs,

attitudes and values of others. They study how cultural concepts, beliefs, practices and perspectives are

represented in a range of textual forms and for a variety of purposes and audiences. They pay special

attention to the contribution of Aboriginal and Torres Strait Islander Peoples and Asian cultures to literature

in Australia.

Representation of the cross-curriculum priorities The cross‐curriculum priorities address contemporary issues which students face in a globalised world.

Teachers may find opportunities to incorporate the priorities into the teaching and learning program for the

Literature ATAR course. The cross‐curriculum priorities are not assessed unless they are identified within the

specified unit content.

Aboriginal and Torres Strait Islander histories and cultures

The Literature ATAR course values the histories, cultures, traditions and languages of Aboriginal and Torres

Strait Islander Peoples, and their central place in contemporary Australian society and culture. Through the

study of texts, students are provided with opportunities to develop their understanding and appreciation of

the diversity of cultures and histories of Aboriginal and Torres Strait Islander Peoples and their contribution

to Australian society. The text lists for the Literature ATAR course include a selection of Aboriginal and Torres

Strait Islander literature because it is often through the writings of Aboriginal authors that other

perspectives of history are taught.

Asia and Australia's engagement with Asia

There are strong social, cultural and economic reasons for Australian students to engage with Asia and with

the contribution of Asian Australians to our society and heritage. It is through the study of texts from Asia

that a creative and forward‐looking Australia can engage with our place in the region. Through story

articulated in a range of media, students are provided with opportunities to develop understanding of the

diversity of Asia’s peoples, environments and traditional and contemporary cultures. Texts relevant to this

priority are included in the prescribed text lists for the Literature ATAR course.

Sustainability

The Literature ATAR course provides the opportunity for the development of informed and reasoned points

of view, discussion of issues, research and problem solving. In this context, teachers are encouraged to select

texts and issues for discussion connected with sustainability. Through analysis of texts, students have the

opportunity to research and discuss this global issue and learn the importance of respecting and valuing a

wide range of world views.

7


Unit 3

Unit description Unit 3 develops students’ knowledge and understanding of the relationship between language, culture and

identity in literary texts. Students inquire into the power of language to represent ideas, events and people,

comparing these across a range of texts, contexts, modes and forms. Through critical analysis and

evaluation, the values and attitudes represented in and through texts and their impact on the reader are

examined. Throughout the unit, students create analytical responses that are characterised by a confident,

engaging style and informed observation. In creating imaginative texts, students experiment with language,

adapt forms, and challenge conventions and ideas.

Learning outcomes By the end of this unit, students:

understand the relationship between language and representations of culture and identity

develop their own analytical responses by synthesising and/or challenging other interpretations

create oral and/or written and/or multimodal texts that experiment with literary style.

Unit content An understanding of the Year 11 content is assumed knowledge for students in Year 12. It is recommended

that students studying Unit 3 and Unit 4 have completed Unit 1 and Unit 2. It should be noted that Unit 3

and Unit 4 are underpinned by the understandings of the content of Unit 1 and Unit 2; candidates are

therefore advised that terminology used in Unit 1 and Unit 2 may be used in Year 12 ATAR course

examination questions.

This unit includes the knowledge, understandings and skills described below. This is the examinable content.

Evaluate the ways in which literary texts represent culture and identity, including:

how readers are influenced to respond to their own and others’ cultural experiences

the power of language to represent ideas, events and people in particular ways, understanding that

language is a cultural medium and that its meanings may vary according to context

how representations of culture support or challenge various ideologies. Representations may reinforce

habitual ways of thinking about the world or they may challenge popular ways of thinking, and in doing

so, reshape values, attitudes and beliefs

the ways in which authors represent Australian culture, place and identity both to Australians and the

wider world.

8


Evaluate and reflect on how representations of culture and identity vary in different texts and forms of texts, including:

the ways in which representations of the past allow a nation or culture to recognise itself

how representations vary according to the discourse. Different groups of people use different terms to

represent their ideas about the world and these different discourses (ways or thinking and speaking)

offer particular representations of the world

the impact of the use of literary conventions and stylistic techniques

the ways in which language, structural and stylistic choices communicate values and attitudes and shed

new light on familiar ideas

how reading intertextually helps readers to understand and critique representations

the influence of the reader’s context, cultural assumptions, social position and gender.

Create analytical texts, including:

developing independent interpretations of texts supported by informed observation and close textual

analysis. In responding to a literary text, readers might consider the context of the writer, the society

and culture in which the text was produced, the readers’ contexts and reading strategies or practices,

their experiences of reading and their ways of thinking about the world

using appropriate linguistic, stylistic and critical terminology to analyse and evaluate texts

evaluating their own and others’ ideas and readings using logic and evidence

experimenting with different modes, media and forms.

Create imaginative texts, including:

experimenting with content, form, style, language and medium. Writers may manipulate grammatical

and stylistic elements for ideological and/or aesthetic purposes

drawing on knowledge and experience of genre, literary devices and the interplay of the visual and

verbal in creating new texts

adapting literary conventions for specific audiences, challenging conventions and reinterpreting ideas

and perspectives

reflecting on the different ways in which form, personal style, language and content engage and position

the audience.

9


Unit 4

Unit description Unit 4 develops students’ appreciation of the significance of literary study through close critical analysis of

literary texts drawn from a range of forms, genres and styles. Students reflect upon the creative use of

language, and the structural and stylistic features that shape meaning and influence response. The unit

focuses on the dynamic nature of literary interpretation and considers the insights texts offer, their use of

literary conventions and aesthetic appeal. Students’ analytical responses demonstrate increasing

independence in interpreting texts and synthesising a range of perspectives into critical and imaginative

responses. In creating imaginative texts, students experiment with literary conventions and reflect on how

the created text takes into account the expectations of audiences.

Learning outcomes By the end of this unit, students:

understand the relationship between the representation of values and ideas in texts and how they are

received by audiences

justify their own critical interpretation or reading of a text

create oral and/or written and/or multimodal texts blending and borrowing literary conventions.

Unit content This unit builds on the content covered in Unit 3.

This unit includes the knowledge, understandings and skills described below. This is the examinable content.

Evaluate the dynamic relationship between authors, texts, audiences and contexts, including:

how literature represents and/or reflects cultural change and difference

the ways in which the expectations and values of audiences shape readings of texts and perceptions of

their significance; and how the social, cultural and historical spaces in which texts are produced and read

mediate readings

how texts in different literary forms, media or traditions are similar or different

how interpretations of texts vary over time

the ways in which ideological perspectives are conveyed through texts drawn from other times and

cultures, and how these perspectives may be reviewed by a contemporary Australian audience.

10


Evaluate and reflect on the ways in which literary texts can be interpreted, including:

how ideas, values and assumptions are conveyed, that is, how the ideas represented in a text are just

one possible way of thinking about the world and may reflect a particular set of values and attitudes.

Some literary texts reflect the system of attitudes, values, beliefs and assumptions (ideology) of

powerful groups. In this way, literary texts may be used to ‘naturalise’ particular ways of thinking, to

serve the purposes of these powerful groups, while marginalising the views of other less powerful

groups

how specific literary elements and forms shape meaning and influence responses. Genres may have

social, ideological and aesthetic functions. Writers may blend and borrow conventions from other genres

to appeal to particular audiences

how genre, conventions and language contribute to interpretations of texts. Choice of language is

related to ideological and aesthetic considerations

exploring a range of critical interpretations produced by adopting a variety of reading strategies.

Multiple readings of a text are possible.

Create analytical texts, including:

developing a creative, informed and sustained interpretation supported by close textual analysis

using appropriate linguistic, stylistic and critical terminology to evaluate and justify interpretations of

texts

critically evaluating their own and others' justifications, evidence and interpretations/readings

experimenting with different modes, media and forms.

Create imaginative texts, including:

adapting medium, form, style, point of view and language

experimenting with elements of style and voice to achieve specific effects

manipulating literary conventions for different audiences and contexts

reflecting on the ways in which the expectations and values of audiences might shape the created text.

11


School-based assessment The Western Australian Certificate of Education (WACE) Manual contains essential information on principles,

policies and procedures for school‐based assessment that needs to be read in conjunction with this syllabus.

Teachers design school‐based assessment tasks to meet the needs of students. The table below provides

details of the assessment types for the Literature ATAR Year 12 syllabus and the weighting for each

assessment type.

Assessment table – Year 12

Type of assessment Weighting

Extended written response

This can include analytical, discursive and reflective responses in a number of forms, for example, long

essays, research assignments, feature articles or a collection of journal entries.

15%

Short written response

This can include analytical, discursive and reflective responses in a number of forms, for example, short

essays, close readings, short responses to a series of questions or individual journal entries.

35%

Creative production of literary texts

This can include writing in the three genres of poetry, prose fiction and drama or the production of

multimodal literary texts.

10%

Oral

This can include oral work in a number of forms, for example, speeches, tutorials, group discussions, panel

discussions or performances such as role play or readers’ theatre.

10%

Examination

Typically conducted at the end of each semester and/or unit and reflecting the examination design brief for

this syllabus.

30%

Teachers are required to use the assessment table to develop an assessment outline for the pair of units.

The assessment outline must:

include a set of assessment tasks

include a general description of each task

indicate the unit content to be assessed

indicate a weighting for each task and each assessment type

include the approximate timing of each task (for example, the week the task is conducted, or the issue

and submission dates for an extended task).

In the assessment outline for the pair of units, each assessment type must be included at least twice.

The set of assessment tasks must provide a representative sampling of the content for Unit 3 and Unit 4.

Assessment tasks not administered under test/controlled conditions require appropriate

validation/authentication processes. Student work submitted to demonstrate achievement should only be

accepted if the teacher can attest that, to the best of her/his knowledge, all uncited work is the student’s

own.

12


Grading Schools report student achievement in terms of the following grades:

Grade Interpretation

A Excellent achievement

B High achievement

C Satisfactory achievement

D Limited achievement

E Very low achievement

The teacher prepares a ranked list and assigns the student a grade for the pair of units. The grade is based

on the student’s overall performance as judged by reference to a set of pre‐determined standards. These

standards are defined by grade descriptions and annotated work samples. The grade descriptions for the

Literature ATAR Year 12 syllabus are provided in Appendix 1. They can also be accessed, together with

annotated work samples, through the Guide to Grades link on the course page of the Authority website at

www.scsa.wa.edu.au

To be assigned a grade, a student must have had the opportunity to complete the education program,

including the assessment program (unless the school accepts that there are exceptional and justifiable

circumstances).

Refer to the WACE Manual for further information about the use of a ranked list in the process of assigning

grades.

13


ATAR course examination All students enrolled in the Literature ATAR Year 12 course are required to sit the ATAR course examination.

The examination is based on a representative sampling of the content for Unit 3 and Unit 4. It should be

noted that Unit 3 and Unit 4 are underpinned by the understandings of the content of Unit 1 and Unit 2;

candidates are therefore advised that terminology used in Unit 1 and Unit 2 may be used in Year 12 ATAR

course examination questions. Details of the ATAR course examination are prescribed in the examination

design brief on the following page.

Excerpts or whole texts used in Section One of the Literature examination will NOT be from any work of

those writers (including writers within anthologies) who appear in the prescribed text lists of the Literature

ATAR Year 12 syllabus.

Candidates who use the same genre (prose fiction, poetry or drama) twice as a primary reference will

receive a penalty of 15% of the total marks available for the examination.

As stated in the Examination design brief, candidates who choose one of the three questions in Section 2

that makes reference to a specific genre, must write on that genre or receive a 15% penalty of the total

marks available for the examination.

Refer to the WACE Manual for further information.

14


Examination design brief – Year 12 Time allowed Reading time before commencing work: ten minutes Working time for paper: three hours

Permissible items Standard items: pens (blue/black preferred), pencils (including coloured), sharpener, correction fluid/tape, eraser,

ruler, highlighters Special items: nil

SECTION SUPPORTING INFORMATION

Section One

Response – close reading

30% of the total examination

One question

Suggested working time: 60 minutes

The question requires the candidate to respond with reference to one of the provided texts or text excerpts.

Three texts or text excerpts are provided, one from each genre (poetry, prose fiction and drama).

Excerpts or whole texts used are not from any work of those writers (including writers within anthologies) who appear in the prescribed text lists.

The response typically takes the form of an essay, which can be analytical, discursive or reflective.

Section Two

Extended response

70% of the total examination

Two questions from a choice of eight to ten

Suggested working time: 120 minutes

The questions require the candidate to make primary reference to a different genre (poetry, prose fiction and drama) for each of the two responses. Neither response can make primary reference to the text or genre used in Section One.

Three of the questions make reference to a specific genre (one to poetry, one to prose fiction and one to drama).

The texts discussed as primary references must be from the prescribed text lists.

15


Appendix 1 – Grade descriptions Year 12

A

Demonstrates sustained control, coherence and/or inventiveness in the use of language and language

features appropriate to the task, the audience and the purpose in analytical, reflective and

imaginative responses.

Critically analyses and evaluates the language and language features used in literary texts.

Demonstrates sustained control and/or inventiveness in the use of generic conventions appropriate

to the task, the audience and the purpose in analytical, reflective and imaginative responses.

Critically analyses and evaluates the genre and generic conventions used in literary texts.

Demonstrates a sophisticated understanding of how different contexts affect the reading of literary

texts and the production of analytical, reflective and imaginative texts.

Produces convincing readings of more complex literary texts, drawing on compelling evidence.

Produces written, oral and/or multimodal work showing a sophisticated understanding of the

relationship of content to purpose and audience.

B

Demonstrates effective control, coherence and/or inventiveness in the use of language and language



Produces sound analyses of language and language features used in literary texts.

Demonstrates effective control and/or inventiveness in the use of generic conventions appropriate to

the task, the audience and the purpose in analytical, reflective and imaginative responses.

Produces sound analyses of genre and generic conventions used in literary texts.

Demonstrates a strong understanding of how different contexts affect the reading of literary texts

and the production of analytical, reflective and imaginative texts.

Produces convincing readings of literary texts, drawing on relevant evidence.

Produces written, oral and/or multimodal work showing a strong understanding of the relationship of

content to purpose and audience.

C

Demonstrates reasonable control of, and some experimentation with, language and language



Presents some discussion and some analysis of language and language features used in literary texts.

Demonstrates reasonable control of, and some experimentation with, generic conventions

appropriate to the task, the audience and the purpose in analytical, reflective and imaginative

responses.

Presents some discussion and some analysis of genre and generic conventions used in literary texts.

Demonstrates a reasonable understanding of how different contexts affect the reading of literary

texts and the production of analytical, reflective and imaginative texts.

Produces logical readings of literary texts, with supporting evidence.

Produces written, oral and multimodal work showing a reasonable understanding of the relationship

of content to purpose and audience.

16


D

Demonstrates limited control of language and language features; experiments with language

appropriate to the task, the audience and the purpose in analytical, reflective and imaginative

responses.

Presents some description and some discussion of language and language features used in literary

texts.

Demonstrates adequate control of some generic conventions appropriate to the task, the audience

and the purpose in analytical, reflective and imaginative responses.

Presents some description and some discussion of genre and generic conventions used in literary

texts.

Demonstrates some understanding of different contexts when reading literary texts and producing

analytical, reflective and imaginative texts.

Produces limited readings of literary texts, drawing on limited supporting evidence.

Produces written, oral and multimodal work showing a limited understanding of the relationship of

content to purpose and audience.

E Does not meet the requirements of a D grade and/or has completed insufficient assessment tasks to

be assigned a higher grade.

17


Appendix 2 – Prescribed text lists Texts are arranged into the three genres: poetry, drama and prose fiction.

Teachers should choose texts from these prescribed lists that allow them to cover the content of the unit

and to achieve the learning outcomes.

Students are required to study at least one Australian text (i.e. one novel, or play, or a selection of the work

of one poet or a selection of Australian short stories) in each pair of units.

Poetry texts

Where a poet’s name appears without a title next to it, teachers may use any poetry publication by that poet

that is appropriate.

* Australian writers/texts are indicated with an asterisk

Poet’s name/Editor(s) Title of Text

Adamson, Robert*

Angelou, Maya

Armitage, Simon

Barnes, J., and McFarlane, B.* Cross‐Country: A Book of Australian Verse. Richmond, Vic, Heinemann, 1988

Bishop, Elizabeth

Blake, William The Portable Blake. Harmondsworth, UK, Penguin, 1987

Brett, Lily*

Campbell, David*

Chapman, M., & Dangor, A. (Eds) Voices From Within. Johannesburg, Ad Donker, 1982

Chaucer, Geoffrey The Canterbury Tales: The Prologue

Cohen, Leonard Stranger Music: Selected Poems and Songs. New York, Knopf, 1994

Cole, R. (Ed.)* Lines to Time (4th ed.). Port Melbourne, Vic, Heinemann, 2007

Coleridge, Samuel Taylor

Collins, Billy

Colmer, J., & Colmer, D. (Eds) Pattern and Voice. Melbourne, Macmillan, 1981

Cosman, C., Keefe J., & Weaver, W.

(Eds)

The Penguin Book of Women Poets. New York, Penguin, 1980

Cummings, E.E.

Dawe, Bruce* Sometimes Gladness: Collected Poems 1954 to 2005. Melbourne, Pearson,

2006

Dennis, C.J.* The Sentimental Bloke

Dickinson, Emily

Dobson, Rosemary*

Dougan, Lucy* White Clay. Artarmon, NSW, Giramondo Publishing Company, 2008

Dransfield, Michael*

Duffy, Carol‐Ann

Dylan, Bob Lyrics: 1962–2001. New York, Simon & Schuster, 2002

Eliot, T.S. Selected Poems. London, Faber and Faber, 1982

Frost, Robert

Gardner, H. (Ed.) The Metaphysical Poets. Harmondsworth, UK, Penguin, 1985

Gilbert, K. (Ed.)* Inside Black Australia. Ringwood, Vic, Penguin, 1988

Gray, Robert*

Goldsworthy, Peter*

Hamilton, E., & Livingston, J. (Eds) Form and Feeling (2nd ed.). Melbourne, Longman Cheshire, 1990

Hardy, Thomas

18


Poet’s name/Editor(s) Title of Text

Harwood, Gwen* Gwen Harwood Selected Poems. Auckland, Halcyon Press, 2001

Harwood, Gwen* Gwen Harwood Selected Poems. Camberwell, Vic, Penguin, 2001

Heaney, Seamus New Selected Poems 1966‐87. London, Faber and Faber, 1990

Heaney, Seamus (Ed) Beowulf

Herbert, Zbiegniew

Hewett, Dorothy*

Horne, C., & O'Brien, M. (Eds) The Progress of Poetry. Melbourne, Heinemann, 1965

Hughes, Ted Selected Poems 1957–1981

Keats, John

Kinsella, John* The Silo: A Pastoral Symphony. Fremantle, WA, Fremantle Arts Centre Press,

1995

Lawrence, D.H.

Larkin, Philip

Leonard, John (Ed.) Seven Centuries of Poetry in English. Melbourne, Oxford University Press, 2004

McCauley, James*

McFarlane, P., & Temple, L. (Comps) Blue Light, Clear Atoms (2nd ed.). Sydney, Macmillan, 2006

McKenzie, J.A., & McKenzie, J.K. (Eds) The World's Contracted Thus. Richmond, Vic, Heinemann Educational, 1983

Milton, John Paradise Lost

Moreton, Romaine

Mtshali, Oswald Sounds of a Cowhide Drum. Chicago, Third World Press, 1972

Murray, Les* New Selected Poems. Sydney, Duffy Snellgrove, 1998

Neruda, Pablo

O'Connor, M. (Ed.)* Two Centuries of Australian Poetry. Melbourne, Oxford University Press, 1996

Oliver, Mary New and Selected Poems: Volume One. Boston, Bacon Press, 1992

Parthasarathy, R. (Ed) Ten 20th Century Indian Poets. New Delhi, Oxford University Press India, 1990

Phillips, Glen and van Loon, Julienne

(Eds)*

2008 Lines in the Sand. Cottesloe, WA, Fellowship of Australian Writers (WA)

Plath, Sylvia

Rich, Adrienne The Fact of a Door Frame: Selected Poems 1950–2001. New York, W. W. Norton,

2002

Shakespeare, William The Sonnets

Silkin, Jon (Ed.) The Penguin Book of First World War Poetry. Camberwell, Vic, Penguin, 1997

Slessor, Kenneth*

Smith, Stevie

Soyinka, Wole

Stewart, M.* Poetry in Time. Melbourne, Nelson, 1982

Stow, Randolph*

Sutcliff, R. (Ed.) Beowulf. North Sydney, NSW, Random House, 2001

Thomas, Dylan

Tranter, J.*

Wagan Watson, Samuel* Smoke Encrypted Whispers. St. Lucia, Qld, University of Queensland Press,

2006

Walcott, Derek

Webb, Francis*

Whitman, Walt The Portable Walt Whitman. London, Penguin, 1977

Wordsworth, J., & Wordsworth, J.

(Eds)

The Penguin Book of Romantic Poetry. New York, Penguin, 2006

Wordsworth, William Selected Poems. London, Penguin, 2004

Wright, Judith* Collected Poems 1942–85. Sydney, Harper Collins, 1994

Yeats, W.B Selected Poetry. Harmondsworth, UK, Penguin, 2004

Ouyang Yu

19


Drama texts

In addition to the plays listed below, teachers may choose to use plays by Shakespeare, George Bernard Shaw, Henrik Ibsen and any play belonging to Greek Tragedy or Greek or Roman Comedy. The edition of any play used is also decided by the teacher.


Playwright/Editor(s) Title Publication details

Albee, Edward The Zoo Story [Anthology title: The

American Dream and Zoo Story]

New York, Plume, 1997

Albee, Edward Who’s Afraid of Virginia Woolf New York, Penguin, 1983

Beckett, Samuel Waiting for Godot London, Faber, 2006

Bennetto, Casey* Keating! Contact Casey Bennetto's agent, Michael Lynch,

at Smartartists Management

www.smartartists.com.au/main.html

Beynon, Richard* A Shifting Heart Melbourne, Angus & Robertson 2003

Bovell, Andrew* Holy Day Sydney, Currency Press, 2001

Bovell, Andrew* Speaking in Tongues New York, Dramatists Play Service, 2004

Brecht, Bertolt The Caucasian Chalk Circle UK, Methuen, Student Edition, 1984

Brecht, Bertolt The Good Person of Szechuan London, Methuen, 1985

Cawley, A.C. (Ed.) Everyman and Medieval Miracle Plays London, Orion, 1993

Chekhov, Anton The Cherry Orchard Methuen, 1978, or Penguin Classic, 1959

Chekhov, Anton Three Sisters London, Methuen, 1988

Chi, Jimmy* Bran Nue Dae Strawberry Hills, NSW, Currency Press, 1991

Churchill, Caryl Top Girls London, Methuen, 1984

Cooper, G., & Wortham, C.

(Eds)

Everyman Crawley, WA, UWA Press, 1980

Coward, Noel Blithe Spirit London, Methuen, 2002

Cribb, Reg* The Return Strawberry Hills, NSW, Currency Press, 2003

Davis, Jack* No Sugar Sydney, Currency Press, 1986

Davis, Jack* Kullark/The Dreamers Sydney, Currency Press, 1982

Davis, Jack* Barungin, Smell the Wind Sydney, Currency Press, 1989

Enright, Nick* Blackrock Strawberry Hills, NSW, Currency Press, 1996

Frayn, Michael Noises Off New York, Anchor, 2002

Frayn, Michael Copenhagen London, Methuen, 2003

Friel, Brian Translations London, Faber, 1981

Gow, Michael* Away Strawberry Hills, NSW, Currency Press, 1990

Hwang, David Henry M.Butterfly Longman, 1988

Kaufmann, Moises The Laramie Project New York, Dramatists Play Service, 2001

Lawler, Ray* Summer of 17th Doll [Anthology title:

The Doll Trilogy]

Strawberry Hills, NSW, Currency Press, 2001

Mamet, David Oleanna London, Methuen, 1993

Mamet, David Glengarry Glen Ross London, Methuen, 1993

Marlowe, Christopher Doctor Faustus [Anthology title

Doctor Faustus and Other Plays]

Oxford, UK, Oxford University Press, 1998

Miller, Arthur The Crucible New York, Penguin, 1976

Miller, Arthur Death of a Salesman New York, Penguin, 1998

Miller, Arthur A View from the Bridge London, Penguin, 1987

Milroy, David* Windmill Baby [Anthology title:

Contemporary Indigenous Plays,

Vivienne Cleven et al.]

Strawberry Hills, NSW, Currency Press, c2007

Milroy, David* Waltzing the Willara Sydney, Currency Press, 2011

20


Playwright/Editor(s) Title Publication details

Murray‐Smith, Joanna* Honour Sydney, Currency Press, 1995

Murray‐Smith, Joanna* Ninety Sydney, Currency Press, 2009

Murray‐Smith, Joanna* The Female of the Species Sydney, Currency Press, 2006

Murray‐Smith, Joanna* The Gift Sydney, Currency Press, 2012

Nicholls, Peter A Day in the Death of Joe Egg London, Faber, 2001

Nowra, Louis* Inside the Island Sydney, Currency Press, 1981

Nowra, Louis* Cosi Strawberry Hills, NSW, Currency Press, 1994

Oxenburgh, Dickon and

Ross, Andrew*

The Merry‐Go‐Round‐in‐the‐Sea NSW, Currency Press, 2006

Rankin, Scott and Purcell,

Leah*

Box the Pony Sydney, Hodder Headline, 1999

Rayson, Hannie* Hotel Sorrento Strawberry Hills, NSW, Currency Press, 2002

Shaeffer, Peter Amadeus New York, Samuel French, 1993

Shaeffer, Peter Equus New York, Samuel French, 1973

Shepard, Sam True West New York, Samuel French, 1981

Soyinka, Wole A Dance of the Forests [Anthology

title: Collected Plays]

Oxford, UK, Oxford University Press, 1973

Soyinka, Wole Death and the King’s Horseman London, Methuen, 2006

Stoppard, Tom Rosencrantz and Guildenstern are

Dead

London, Faber, 1973

Stoppard, Tom Arcadia London, Faber,1993

Synge, John Millington Playboy of the Western World London, Methuen, 2006

Thomas, Dylan Under Milkwood London, Penguin, 2000

Thomson, Katherine* Diving for Pearls Sydney, Currency Press, 1992

White, Patrick* The Season at Sarsaparilla

[Anthology title: Plays of the 60s:

Volume 1]

Strawberry Hills, NSW, Currency Press, 1998

Wilde, Oscar The Importance of Being Earnest and

Other Plays

Harmondsworth, UK, Penguin Classics, 2000

Wilde, Oscar An Ideal Husband [Anthology title:

The Importance of Being Earnest and

Other Plays]

Harmondsworth, UK, Penguin Classics, 2000

Williams, Tennessee The Glass Menagerie London, Penguin, 1988

Williams, Tennessee Cat on a Hot Tin Roof New York, Signet, 1958

Williams, Tennessee A Streetcar Named Desire New York, Signet, 1986

Williams, Tennessee Sweet Bird of Youth New York, Dramatists Play Service, 1992

Williamson, David* Dead White Males Strawberry Hills, NSW, Currency Press, 1995

Williamson, David* Don’s Party Strawberry Hills, NSW, Currency Press, 1973

Williamson, David* Emerald City Strawberry Hills, NSW, Currency Press, 1987

Williamson, David* Flatfoot Strawberry Hills, NSW, Currency Press, 2004

Williamson, David* The Club Strawberry Hills, NSW, Currency Press, 1978

Williamson, David* The Perfectionist Strawberry Hills, NSW, Currency Press, 1983

Williamson, David* The Removalists Strawberry Hills, NSW, Currency Press, 1984

Winton, Tim* Rising Water Sydney, Currency Press, 2012

Winton, Tim* Shrine Unpublished as of September, 2013

21


Prose fiction texts

Short stories/anthologies/writers

Where a short story writer’s name appears without a title next to it, teachers may use any short story by

that writer that is appropriate.


Author/Editor(s) Title Publication Details

Adams, Glenda* The Hottest Night of the Century Pymble, NSW, HarperCollins, 1988

Astley, Thea*

Bail, Murray* The Drover’s Wife and Other

Stories?

Melbourne, Text Publishing, 1998

Baynton, Barbara* Collected Short Stories

Bennett, B. Cowan, P. and

Hay, J. (eds)*

Spectrum One Melbourne, Longman, 1970

Bennett, B. Cowan, P. and

Hay, J. (eds)*

Spectrum Two Melbourne, Longman Cheshire, 1970

Cline, C.L., (ed.) The Rinehart Book of Short Stories,

(alternative ed.)

Rinehart, 1952, (OP)

Coffey, B.R., (ed.)* Decade Fremantle Arts Centre, 1982

Disher, Garry (ed)* Personal Best Pymble, NSW, HarperCollins, 1997 (out of print?)

Drewe, Robert* The Bay of Contented Men Camberwell, Vic, Penguin, 2001

Drewe, Robert* The Rip Camberwell, Vic, Penguin Books Australia, 2008

Garner, Helen* My Hard Heart: Selected Fictions Camberwell, Vic, Penguin, 1998

Garner, Helen* Postcards from Surfers Camberwell, Vic, Penguin, 1996 (out of print?)

Gilman, Charlotte Perkins The Yellow Wallpaper

Gordimer, Nadine Once Upon A Time (1989)

published in Jump and Other

Stories

New York, Penguin, 1992

Grenville, Kate*

Ikin, V. (Ed.)* Glass Reptile Breakout and other

Australian Speculative Stories

Perth, UWA, 1990

Jennings, W.R. (Ed.) Sixteen Modern Short Stories Pitman, 1982

Jolley, Elizabeth*

Kafka, Franz

Kavanagh, Michael and

Kavanagh, Mary (Eds)

Reading the Signs* Melbourne, Oxford University Press, 2003

Lawrence, D.H.

Lawson, Henry*

Lessing, Doris

Lahiri, Jhumpa The Interpreter of Maladies: Stories London, Flamingo, 2000

Lord, M. (Ed.)* The Penguin Best Australian Short

Stories

Penguin, 1991

Mansfield, Katherine

McElheny, H., and Moffett, J.

(Eds)

Points of View Mentor, 1966

Mellor, B. and Martino, W.* Gendered Fictions Cottesloe, WA, Chalkface Press, 1995

Mellor, B. and Patterson, A.* Investigating Texts Cottesloe, WA, Chalkface Press, 1996

Mellor, B. Patterson , A. and

O’Neill, M.*

Reading Fictionsa Scarborough, WA, Chalkface Press, 1991

22


Author/Editor(s) Title Publication Details

Mellor, B., O'Neill, M., and

Patterson, A.*

Reading Stories Perth, Chalkface Press, 1988

Mistry, Rohinton Tales from Firozsha Baag

Moon, Brian* Studying Literature Scarborough, WA, Chalkface Press, 1990

Morgan, Wendy* Borderland

Naipaul, V.S. Miguel St. Penguin, 1971

Orwell, George

Poe, Edgar Allan

Phillips, Glen and van Loon,

Julienne (Eds)*

Lines in the Sand Cottesloe, WA, Fellowship of Australian Writers

(WA), 2008

Saki

Scott, B. (Ed.) Impressions on a Continent Heinemann, 1983

Solzhenitsyn, Alexander

Tlali, Miriam Footprints in the Quag: Stories

and Dialogues from Soweto

Cape Town, David Philip Publishers, 1989

Winterson, Jeanette

Winton, Tim* Minimum of Two Ringwood, Vic, Penguin, 1998

Winton, Tim* The Turning Sydney, Pan Macmillan, 2006

Wolfe, Tobias The Night in Question New York, Random House, 1997

Novels


Author/Editor(s) Title Publication details

Achebe, Chinua Things Fall Apart London, Penguin, 2006

Adiga, Aravind White Tiger India, Harper Collins, 2008

Ali, Monica Brick Lane New York, Scribner, 2003

Allende, Isabelle Eva Luna London, Penguin, 1995

Allende, Isabelle The House of Spirits New York, Random House, 1985

Allende, Isabelle Of Love and Shadows London, Black Swan, 1988

Andric, Ivo The Bridge on the Drina University of Chicago Press, 1977

Angelou, Maya I Know Why the Caged Bird Sings New York, Bantam, 1997

Astley, Thea* A Kindness Cup Camberwell, Vic, Penguin, 1989

Astley, Thea* Drylands Camberwell, Vic, Penguin, 2000

Astley, Thea* It's Raining in Mango Ringwood, Vic, Penguin, 1989

Atwood, Margaret Oryx and Crake London, Bloomsbury, 2003

Atwood, Margaret Surfacing New York, Anchor, 1998

Atwood, Margaret Cat’s Eye New York, Anchor, 1998

Atwood, Margaret The Blind Assassin London, Virago, 2001

Atwood, Margaret The Penelopiad Camberwell, Vic, Penguin, 2005

Atwood, Margaret The Handmaid's Tale London, Vintage, 1996

Austen, Jane Northanger Abbey London, Penguin Classics, 2003

Austen, Jane Pride and Prejudice London, Penguin Classics, 2003

Austen, Jane Persuasion London, Penguin, 2006

Boll, Heinrich The Lost Honour of Katharina Blum London, Vintage Classics, 2000

Boll, Heinrich The Lost Honour of Katharina Blum UK, Minerva, 1993

Broderick, Damien* Striped Holes Port Melbourne, Vic, Mandarin, 1990

Bronte, Charlotte Jane Eyre London, Penguin, 2006

Bronte, Emily Wuthering Heights London, Penguin, 2006

Camus, Albert The Outsider London, Penguin, 2000

23



Camus, Albert The Plague London, Penguin, 2000

Carey, Peter* Bliss Melbourne, Vintage, 2005

Carey, Peter* The True History of the Kelly Gang Melbourne, Random House, 2005

Carey, Peter* Illywhacker Melbourne, Random House, 2005

Carey, Peter* Oscar and Lucinda Melbourne, Random House, 2005

Chatwin, Bruce On the Black Hill London, Vintage, 2005

Chevalier, Tracy Girl with a Pearl Earring New York, Penguin, 2003

Chopin, Kate Awakening and Other Stories London, Random House, 2005

Coetzee, J.M. Disgrace New York, Penguin, 2005

Coetzee, J.M. Waiting for the Barbarians London, Vintage, 2004

Conrad, Joseph Heart of Darkness London, Penguin, 2000

D’Aguiar, Fred The Longest Memory London, Vintage, 1995

Deane, Seamus Reading in the Dark London, Vintage, 1997

Desai, Kiran The Inheritance of Loss London, Hamish Hamilton, 2006

Dickens, Charles (Any title)

Drewe, Robert* The Drowner Camberwell, Vic. Penguin, 2001

Emchetta, Buchi Second Class Citizen New York, George Braziller, 2002

Faulkner, William As I Lay Dying New York, Random House, 2000

Fitzgerald, F.S. The Great Gatsby London, Penguin, 2000

Flanagan, Richard* The Sound of One Hand Clapping Sydney, Pan Macmillan, 1998

Foer, Jonathon Safran Everything Is Illuminated USA, Houghton Mifflin, 2002

Foer, Jonathan Safran Extremely Loud and Incredibly Close London, Penguin, 2006

Forster, E.M. A Passage to India London, Penguin, 2005

Fowles, John The French Lieutenant’s Woman London, Vintage, 2004

Franklin, Miles* My Brilliant Career Pymble, NSW, HarperCollins, 2001

Fugard, Athol Tsotsi Melbourne, Text Publishing, 2006

Garcia Marquez, Gabriel One Hundred Years of Solitude London, Penguin, 2001

Gardam, Jane Old Filth London, Chatto & Windus, 2004

Garner, Helen* Monkey Grip Camberwell, Vic, Penguin, 1995

Goldbloom, Goldie* The Paperbark Shoe Perth, Fremantle Press, 2010

Golding, William The Inheritors London, Faber, 2005

Goldsworthy, Peter* Maestro Melbourne, HarperCollins, 1995

Grenville, Kate* Joan Makes History St Lucia, Qld, University of Queensland Press, 2002

Grenville, Kate* The Secret River Melbourne, Text Publishing, 2006

Hardy, Thomas The Mayor of Casterbridge London, Penguin, 2003

Hawthorne, Nathaniel The Scarlet Letter New York, Random House, 2000

Hemingway, Ernest A Farewell to Arms London, Vintage, 1999

Hemingway, Ernest Fiesta London, Vintage, 2000

Herbert, Xavier* Poor Fellow, My Country North Ryde, NSW, Collins/Angus & Robertson,

1990

Hesse, Hermann Siddhartha London, Pan Macmillan, 1998

Hesse, Hermann The Glass Bead Game London, Ebury Publishing, 2000

Hesse, Hermann The Prodigy London, Peter Owen, 2002

Hosain, Attia Sunlight on a Broken Column New York, Penguin, 1989

Hospital, Janet Turner* Charades St Lucia, Qld, University of Queensland Press, 2003

Huxley, Aldous Brave New World New York, HarperCollins, 2006

Jolley, Elizabeth* The Well Ringwood, Vic, Penguin, 1987

Jolley, Elizabeth* Miss Peabody’s Inheritance St Lucia, Qld, University of Queensland Press, 1984

Jones, Gail* Sixty Lights London, Vintage, 2005

Jones, Gail* Dreams of Speaking Melbourne, Random House, 2006

Jones, Gail* Sorry North Sydney, NSW, Vintage Books, 2007

24



Jones, Lloyd Mr Pip Auckland, Penguin, 2006

Kafka, Franz Metamorphosis [Anthology title:

Metamorphosis and Other Stories]

London, Penguin, 2007

Keneally, Thomas* Bring Larks and Heroes Camberwell, Vic, Penguin, 1989

Keneally, Thomas* Towards Asmara Sydney, Hachette Livre, 2002

Kenneally, Thomas* The Chant of Jimmie Blacksmith Melbourne, HarperCollins, 2004

Kingsolver, Barbara The Poisonwood Bible New York, HarperCollins, 2005

Kingston, Maxine Hong The Woman Warrior: Memoirs of a

Girlhood Among Ghosts

New York, Random House, 1989

Kneale, Matthew English Passengers London, Penguin, 2001

Lawrence, D.H. Sons and Lovers London, Penguin, 2006

Lazaroo, Simone* The Australian Fiance Sydney, Pan Macmillan, 2001

LeGuin, Ursula The Left Hand of Darkness London, Little, Brown Book Group, 1981

Levy, Andrea* Small Island Sydney, Headline, 2004

Lewis, Janet The Wife of Martin Guerre London, Penguin, 1996

Malouf, David* Fly Away Peter London, Vintage, 1998

Malouf, David* An Imaginary Life London, Vintage, 1999

Malouf, David* Ransom Vintage, 2010

Malouf, David* Remembering Babylon London, Vintage, 1994

Martel, Yan The Life of Pi Edinburgh, Canongate Books, 2003

McEwan, Ian The Child in Time London, Vintage, 1997

McEwan, Ian Saturday London, Vintage, 2006

McEwan, Ian Atonement London, Jonathan Cape, 2001

McGahan, Andrew* The White Earth St Leonards, NSW, Allen & Unwin, 2005

McGahern, John Amongst Women London, Faber, 2000

Mitchell, David Black Swan Green London, Hodder & Stoughton, 2006

Modjeska, Drusilla* The Orchard Sydney, Pan Macmillan, 1995

Morrison, Toni Beloved London, Vintage, 1999

Ondaatje, Michael The English Patient London, Picador, 1992

Orwell, George Nineteen Eighty‐Four London, Penguin, 2004

Patchett, Anne Bel Canto New York, HarperCollins, 2005

Potok, Chaim The Chosen London, Penguin, 1975

Pritchard, Katharine

Susannah*

Coonardoo Pymble, NSW,HarperCollins, 2002

Pullman, Philip Northern Lights London, Scholastic, 2007

Rand, Ayn The Fountainhead London, Penguin, 2007

Rhys, Jean Wide Sargasso Sea London, Folio Society, 1993

Roy, Arundhati The God of Small Things London, HarperCollins, 1998

Rushdie, Salman Midnight’s Children London, Vintage, 2006

Schlink, Bernard The Reader London, Orion, 1998

Scott, Kim* True Country Fremantle, WA, Fremantle Arts Centre Press,

1993

Scott, Kim* Benang Fremantle, WA, Fremantle Arts Centre Press,

1999

Scott, Kim* That Dead Man Dance Picador, Australia, 2010

Scourfield, Stephen* Other Country Allen and Unwin, 2007

Shelley, Mary Frankenstein Harmondsworth, UK, Penguin, 1992

Silvey, Craig* Jasper Jones Crows Nest, NSW, Allen and Unwin, 2009

Silvey, Craig* Rhubarb Fremantle, WA, Fremantle Arts Centre Press,

2004

Solzhenitsyn, Alexander One Day in the Life of Ivan London, Penguin, 2000

25



Denisovich

Stead, Christina* The Man Who Loved Children Pymble, NSW, HarperCollins, 1994

Stead, Christina* For Love Alone Bondi Junction, NSW, ETT Imprint, 1999

Steinbeck, John The Grapes of Wrath London, Penguin, 2000

Steinbeck, John Tortilla Flat London, Penguin, 2000

Steinbeck, John Cannery Row London, Penguin, 2000

Stevenson, Robert Louis Dr Jekyll and Mr Hyde London, Penguin, 2006

Stow, Randolph* The Merry‐Go‐Round in the Sea New York, Morrow, 1966

Stow, Randolph* To the Islands St Lucia, Qld, University of Queensland Press,

2002

Swift, Jonathon Gulliver’s Travels London, Penguin, 2003

Toibin, Colm The Blackwater Lightship London, Pan Macmillan, 2000

Toibin, Colm The Heather Blazing London, Pan Macmillan, 2001

Tolstoy, Leo Anna Karenina London, Penguin, 2006

Wells, H.G. Island of Doctor Moreau London, Orion, 2004

Wharton, Elizabeth The Age of Innocence Harmondsworth, UK, Penguin, 1989

Wharton, William Birdy New York, Knopf, 1992

White, Patrick.* A Fringe of Leaves London, Vintage, 1997

Wilde, Oscar The Picture of Dorian Gray London, Penguin 2006

Winton, Tim* Breath London, Picador, 2008

Winton, Tim* An Open Swimmer Camberwell, Vic, Penguin, 1998

Winton, Tim* Cloudstreet Melbourne, Penguin, 1992

Winton, Tim* The Riders Sydney, Pan Macmillan, 2004

Winton, Tim* Dirt Music Sydney, Pan Macmillan, 2004

Wood, Charlotte* Submerged Cathedral Melbourne, Random House, 2004

Woolf, Virginia To the Lighthouse Harmondsworth, UK, Penguin, 1992

Woolf, Virginia Jacob’s Room London, Penguin, 1992

Woolfe, Sue* Leaning Towards Infinity Melbourne, Random House, 1999

Zusak, Marcus* The Book Thief South Yarra, Vic, Pan Macmillan, 2005

26


Appendix 3 – Glossary This glossary is provided to enable a common understanding of the key terms in this syllabus.

Aesthetic A sense of beauty or an appreciation of artistic expression. For example, some

poems might be aesthetically pleasing because of their sound, rhyme and rhythm

and those poems might or might not be intellectually pleasing as well, depending

on the meaning readers take from them. If we appreciate the way a text has been

put together, for example, its language, its style, its tone, its use or adaptation of

generic conventions etc., then we are possibly focusing on the aesthetic qualities

of the text. If we focus on the meaning or the theme or the ideology or our

reading of the text, then we are possibly focusing on the intellectual rather than

the aesthetic. Of course, many would argue that the aesthetic and the intellectual

are inseparable.

Appreciation The act of discerning the quality and value of literary texts.

Attitude A stance regarding a situation, idea, character, event or issue. For example, an

author or audience may be supportive of, disinterested in or antagonistic towards

something or someone.

Audience The group of readers, listeners or viewers that it is presumed the writer, or

speaker is addressing. Audience includes students in the classroom, an individual,

the wider community, review writers, critics and the implied audience.

Author The composer or originator of a work.

Context The environment in which a text is produced or received. Context can include the

general social, historical and cultural conditions in which a text is produced or

received or the specific features of its immediate environment.

The term is also used to refer to the wording surrounding an unfamiliar word that

a reader or listener uses to understand its meaning.

Convention An accepted practice that has developed over time and is generally used and

understood, for example, the use of specific structural aspects of texts to develop

meaning. Conventions often come to be associated with particular genres.

Critical perspectives Critical perspectives are formed by students when they make meaning from

literature by engaging with aspects of the text(s) studied. In the Literature ATAR

course, students discuss and debate aspects of texts establishing their views

through logical argument. Students reflect on the aesthetic qualities of literary

texts, appreciate the power of language and inquire into the relationship between

texts, authors, readers, audiences and contexts, thereby forming their own critical

perspectives. Critical perspectives can be informed by various reading practices

and strategies.

Dialogue Dialogue refers to the conversation between two characters in a literary text.

Dialogue also refers to the process by which readers engage with texts over time.

In the construction of meaning, readers are in a dialogue or conversation with the

text.

Discourse In general terms, the term, ‘discourse’ refers to the language or terminology used

in the discussion of a subject or field of study. For example, the terms defined in

this glossary belong to a literary discourse; laws about contracts belong to a legal

27


discourse; a debate about the best ways to remove a skin cancer belongs to a

medical discourse. Within literary theory, it is argued that meaning is constructed

through discourse, that nothing has any meaning outside of discourse. Every idea

belongs to at least one discourse. For example, it would be reasonable to conclude

that some ‘nature’ poems and their themes belong to a discourse of ecological

sustainability. Discourses are involved in the distribution of social power, favouring

different people, institutions and ideologies. For example, a discourse condoning

the expansion of an empire favours some people and institutions over others; it

has a very different language and ideology from a post‐colonial discourse.

Figurative language Word groups or phrases used in a way that differs from the expected or everyday

usage. They are used in a non‐literal way for particular effect

(for example, simile – ‘white as a sheet’; metaphor – ‘all the world’s a stage’;

personification – ‘the wind grabbed at my clothes’).

Forms of texts The shape and structure of texts (for example, poetry, novels, short stories, plays).

Genre The categories into which texts are grouped. The term has a complex history

within literary theory and is often used to distinguish texts on the basis of their

subject matter (for example, detective fiction, romance, science fiction, fantasy

fiction), form and structure (for example, poetry, novels, short stories and plays).

This Literature course uses the term ‘genre’ to mean prose fiction, poetry and

drama. Within those genres are other genres or ‘sub‐genres’ for example, in prose

fiction: crime fiction, romance, or the epistolary novel; in drama: absurd theatre,

comedy and tragedy; in poetry, forms like elegy, sonnet and ode.

Ideology A system of attitudes, values, beliefs and assumptions.

Intertextuality The process by which a reader makes connections between texts,

for example, texts read previously and the text being read at present. Readers

might see connections in terms of the representations of ideas or groups of

people; in terms of the generic conventions used; in terms of the language, form

or style; in terms of the ideologies promoted; or in terms of the plots or characters

or themes. Some texts allude to others, sometimes directly, sometimes subtly.

While reading one text, readers might notice resonances with another text. By

reading intertextually, we can examine how a text might position readers by

inviting them to draw on ways of thinking they have encountered in other texts.

Language features The features of language that support meaning, for example, sentence structure,

noun group/phrase, vocabulary, punctuation, figurative language. Choices in

language features and text structures together define a type of text and shape its

meaning. These choices vary according to the purpose of a text, its subject matter,

audience and mode or medium of production.

Language patterns The arrangement of identifiable repeated or corresponding elements in a text.

These include patterns of repetition or similarity (for example, the repeated use of

verbs at the beginning of each step in a recipe, or the repetition of a chorus after

each verse in a song). The patterns may alternate (for example, the call and

response pattern of some games, or the to and fro of a dialogue). Other patterns

may contrast (for example, opposing viewpoints in a discussion, or contrasting

patterns of imagery in a poem). The language patterns of a text contribute to the

distinctive nature of its overall organisation and shape its meaning.

Marginalise Alienate the views of, or underplay the significance of groups or individuals.

28


Medium The resources used in the production of texts, including the tools and materials

used (for example, digital text and the computer; writing and the pen or

typewriter or tablet; the resources and materials used in creating live theatre; the

technologies involved in recording and transmitting performances). Put more

simply, live theatre is a different medium from television which is a different

medium from the printed page.

Mode The various processes of communication: listening, speaking, reading/viewing and

writing/creating. Modes are also used to refer to the semiotic (meaning‐making)

resources associated with these communicative processes, such as sound, print,

image and gesture.

Multimodal text A text that combines two or more communication modes (for example, print,

image and spoken text, as in computer presentations). A multimodal literary text is

a multimodal text that is predominantly literary, for example, in its use of literary

conventions, its tone or its style. A multimodal literary text could also be referred

to as a literary text that is multimodal, as per the definition of ‘multimodal’.

Multiple readings A literary text is open to interpretation, can be read in a number of ways,

depending on the reading strategies that readers are employing. In that sense,

because different reading strategies are being used by different readers, then

multiple readings of the text are possible. For example, if the reader focuses on

the representation of gender in a text then that might lead the reader to certain

conclusions, for example, the text is ‘politically incorrect (or correct)’, ‘feminist’ or

‘chauvinist’. Another reader might focus on class, for example, the class to which

the writer belonged and the effects that had on the construction of the text; such

a reading might focus on the representation of class in the text that privileges one

class over another or that objects to the treatment of a class by the wider society.

A third reader might focus on the writer’s adherence to or adaptation of

conventions of a genre; and on the writer’s choice of language and the implied

ideologies of that language. Three very different ‘readings’ of the same text might

be created and each would be assessed on its merits. A single reader might also be

able to create more than one reading of a text, for example, by explaining, “One

reading of the text is that…..” and “Another reading of this text might be that….”

Narrative A story of events or experiences, real or imagined. In literary theory, narrative

includes the story (what is narrated) and the genre (how it is narrated).

Narrative point of view The position or vantage‐point from which the events of a story seem to be

observed and narrated to the reader. For example, the narrator might take the

role of first or third person; omniscient or restricted in knowledge of events; and

reliable or unreliable in interpreting what happens. Some texts have multiple

narrators and therefore, of course, multiple narrative points of view.

Naturalise If writers or texts frequently represent an idea or group of people in a certain

stereotypical way, then readers might assume that that’s the way things are.

Readers might jump to the conclusion that it is ‘natural’ to think of that idea in

that way or for that group of people to behave that way. For example, if

Australians are always represented as uneducated and loudmouthed, then readers

might come to expect those characteristics of Australians or Australian characters

in texts. The characteristics have become ’naturalised’. When we assume that a

particular representation of a group of people is ‘natural’ or that their behaviour is

‘natural’, we are probably forgetting that their behaviour is ‘cultural’, as in

belonging to a particular culture or sub‐culture and that there is nothing ‘natural’

about it at all. See Moon’s chapter on the culture/nature binary.

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Perspective The way a reader/viewer is positioned by the author through the text, or how a

particular ideology is embedded in a text, for example, a feminist perspective. The

term ‘perspective’ may also refer to the ideological perspective, the values and

attitudes that the reader brings to the text; and it may refer to the reading

practice or ‘lens’ used to read the text, for example, a feminist perspective,

a post‐colonial reading practice, a Marxist perspective, a psychoanalytical reading

of a text.

Point of view An opinion or viewpoint.

Reading strategies/reading

practices

Reading strategies (reading practices, ways of reading) are ways readers make

meaning of texts. Often a reading strategy will involve paying attention to the

context of the writer, the language of the text, its generic conventions and/or the

context of the reader. When a reader focuses on the representation of gender,

class, race/ethnicity, cultural identity or other representations or combinations of

these representations, then the reader is employing a reading strategy.

Representation In literary texts, words, phrases or sentences that re‐present (as opposed to

‘reflect’) reality. For example, we can refer to the representation of ‘women’ in a

text; or the representation of ‘love’; or the representation of ‘pre‐war Australia’.

Resonances Aspects of texts that resound or echo for readers.

Rhetorical devices Language techniques used in argument to persuade audiences

(for example, rhetorical questions, repetition, propositions, figurative language).

Standard Australian English The variety of spoken and written English language in Australia used in more

formal settings, such as for official or public purposes, and recorded in

dictionaries, style guides and grammars. While it is always dynamic and evolving, it

is recognised as the ‘common language’ of Australians.

Stylistic choices The selection of stylistic features to achieve a particular effect.

Stylistic features The ways in which aspects of texts (such as words, sentences, images) are

arranged and how they affect meaning. Style can distinguish the work of individual

authors (for example, Jennings’ stories, Lawson’s poems), as well as the work of a

particular period (for example, Elizabethan drama, nineteenth‐century novels), or

of a particular genre or type of text (for example, recipes, scientific articles,

play‐by‐play commentary). Examples of stylistic features are narrative viewpoint,

structure of stanzas, juxtaposition, nominalisation, alliteration, metaphor and

lexical choice.

Text structure The ways in which information is organised in different types of texts

(for example, chapter headings, subheadings, tables of contents, indexes and

glossaries, overviews, introductory and concluding paragraphs, sequencing, topic

sentences, taxonomies, cause and effect). Choices in text structures and language

features together define a text type and shape its meaning. Examples of text

structures in literary texts include sonnets, monologues and hypertext.

Transformation Changing the form or shape of a text, for example, by appropriation, adaptation,

subversion or parody.

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Types of texts Classifications of texts according to the particular purposes they are designed to

achieve. These distinctions are neither static nor discrete and particular texts can

belong to more than one category.

Analytical texts

Texts whose primary purpose is to identify, examine and draw conclusions about

the elements or components that make up other texts. Analytical texts develop an

argument or consider or advance an interpretation. Examples of these texts

include commentaries, essays in criticism, reflective or discursive responses and

reviews.

Discursive texts

Texts whose primary purpose is to engage the reader in a non‐fictional or

expository manner but which may digress from one subject to another and which

are not as formal or methodical as analytical texts. Such texts could include

feature articles and journals.

Imaginative texts

Texts whose primary purpose is to entertain or provoke thought through their

imaginative use of literary elements. They are recognised for their form, style and

artistic or aesthetic value. These texts include novels, traditional tales, poetry,

stories, plays, fiction for young adults and children, including picture books, and

multimodal texts such as film.

Persuasive texts

Texts whose primary purpose is to put forward a point of view and persuade a

reader, viewer or listener. They form a significant part of modern communication

in both print and digital environments. They include advertising, debates,

arguments, discussions, polemics and essays and articles.

Reflective texts

Texts whose primary purpose is to reflect on texts and ideas but in a less formal

way than an analytical essay. Such texts could include a series of journal entries

about a literary text or a single piece reflecting on what one hoped to achieve in a

creative production.

Voice In the literary sense, voice can be used to refer to the nature of the voice

projected in a text, for example, ‘authorial voice’ in a work of prose fiction, the

voice of a persona in a poem or the voice of a character in a monologue.

Useful references include:

M.H. Abrams, A Glossary of Literary Terms

Deborah Appleman, Critical Encounters in High School English: Teaching Literary Theory to Adolescents

Chris Baldick, The Concise Dictionary of Literary Terms

Martin Gray, A Dictionary of Literary Terms

Jeremy Hawthorn, A Glossary of Contemporary Literary Theory

Brian Moon, A Glossary of Literary Terms

The New Princeton Encyclopaedia of Poetry and Poetics

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