YEAR 11 EXAM REVIEW 2015 Language Analysis. SECTION A – TEXT RESPONSE (READING AND RESPONDING...

YEAR 11 EXAM REVIEW 2015

Language Analysis

SECTION A – TEXT RESPONSE (READING AND RESPONDING ESSAY TO PROMPT)

Detailed knowledge and understanding of the selected text (The Kite Runner or Stolen), demonstrated appropriately in response to the topic

Development in the writing of a coherent and effective discussion in response to the task

Controlled use of expressive and effective language appropriate to the task

SECTION B – WRITING IN CONTEXT (CREATING AND

PRESENTING)

Understanding and effective exploration of the ideas, and/or arguments relevant to the prompt/stimulus material (The Illustrated Man – Context is ‘Future Worlds’ or We Can Be Heroes – Context is ‘Australian Identity’)

Effective use of detail and ideas drawn from the selected text as appropriate to the task (E.g. TEEL – Topic sentence, explain, evidence and link back to topic, or key questions raised in narrative)

Development in the writing of a coherent and effective structure in response to the task, showing an understanding of the relationship between purpose, form, language and audience

Controlled use of language appropriate to the purpose, form and audience – Expository (Explain), Persuasive (Speech or essay), Narrative (Story, journal, diary entries)

SECTION C – LANGUAGE ANALYSIS (USING LANGUAGE TO

PERSUADE) Understanding of the ideas and points of view presented (CONTENTION on ISSUE)

Analysis of ways in which language and visual features are used to present a point of view and to persuade readers (TEE – Technique, Explain, Effect on reader)

Controlled and effective use of language appropriate to the task (Metalanguage)

THE KITE RUNNER – KHALED HOSSEINI

Question or prompt will focus on the BIG IDEAS that the novel presents, such as:

1) Identity can be shaped due to actions that are unforeseen.

2) The issue of forgiveness, atonement and redemption.

3) The issue human beings’ unintentional sins. Amir is almost an 'accidental'

sinner and it is this that helps develop his character into one which we can

relate to.

4) The issue of time and how it prohibits us from dealing with past sin –

sins of the past.

5) Masculinity and relationships between males. (Father/son)

SETTING OF THE KITE RUNNER

• Afghanistan in the 70s – Monarchy to Communist revolution through to Taliban (Time and place)

• Contrasting life/society impacted by conflict

• House is of the wealthy to emphasise the social classes that existed between cultures

• Hazara serves Pashtun (Racism, abuse of power) - only in this setting?

• Westernised world contrast to Middle East (Afghanistan and America)

NARRATIVE STRUCTURE OF THE KITE RUNNER

• The narrative structure of a text refers to the arrangement of events; the sequencing of events or material.

• Events in the novel unfold chronologically, through flashbacks, using the juxtaposition of different viewpoints and different narrative accounts.

• Effects are gained by the conscious arrangement of events – filling in details, contrasting before and after, emphasising the impact of change.

NARRATOR OF THE KITE RUNNER

• Amir (main character)tells the story, in first person.

• The author has used the word “I” to give the impression that the character, not the author, is telling the story. Gives eye witness immediacy to the story and controls the point of view – enables us to sympathize with Amir.

• However, the narrator must have witnessed the events being told and this may lead to bias – idealised account?

• The Kite Runner is narrated in first person retrospective, creating a dual perspective – the adult and the younger self. So the narrator has the benefit of hindsight and maturity, and can offer insight and judgment on their earlier experiences.

LANGUAGE AND STYLE

• Recurring images, symbols and patterns: Symbols add depth to the themes and ideas in a text. The eye, scars, the kite, animals used to represent human qualities or concepts.

• Similes and metaphors, imagery and other figurative language techniques – usually found in the most memorable quotes.

• Authentic dialogue used to create the cultural contrast between Afghanistan and America.

LINKING CHARACTERS AND THEMES Certain events should be a focus because they reveal information about both character and theme:

1. Crisis points and turning points: a. Character: What do we learn about the characters from how they cope with the crisis? How do they change in response to the crisis or the turning point? b. Theme: Why have the crisis points/turning points arisen? Is it in response to society? Are any values reflected by the characters at the time of the change or crisis?

2. Reflection points: a. Character: What do the characters look back on later and realize? Why didn’t they realize it at the time of the event? What does their response tell us about the character now? b. Theme: What do we learn about issues or values? Are new values embraced or the need for change highlighted? Are certain values abandoned or re-enforced?

3. Relationships:a. Character: What do we learn about the characters as they create or break a relationship? Which relationships break down and why? How do characters reveal themselves? b. Theme: What issues are raised due to the establishment or breakdown of the relationship? What issues arise for the characters, and what values are shown?

4. Journeys and quests a. Character: Which characters journey and grown throughout the text? What values are embraced and rejected? b. Theme: What values or ideas does the journey represent? What do you learn?

THE QUESTION/PROMPT

Will enable you to create an essay to discuss:

- the ideas, characters and themes constructed by the author/director and presented in the selected text (obvious aspects)

- the way the author/director uses structures, features and conventions to construct meaning (evidence for your ideas)

- the ways in which authors/directors express or imply a point of view and values (you interpret from text)

- the ways in which readers’ interpretations of texts differ and why (your opinion/evaluation can be validated)

ESSAY STRUCTURE

1) Introduction

• The introduction is the Melways map reference to the rest of the text. It is the road map with the directions imprinted in it to show readers the way – it must prepare the reader and set up discussion – contention and preview.

• Introduction MUST address the prompt and contain a contention. This is based on the prompt. Don’t simply restate the prompt.

ESSAY STRUCTUREBody paragraphs (TEEL – the E’s are interchangeable)

• Topic sentence: In your topic sentence state your argument. This will form the basis of the topic you explore in the rest of your paragraph

• Evidence: State the example from the text that supports the topic sentence or Explain the argument/point further

• Explanation: Explain how the example supports your argument or Evidence to support your idea and more explanation OR Evaluate the quote through more explanation

• Linking sentence: Link the your argument to your contention; sum up your paragraph

ESSAY STRUCTUREConclusion

• The conclusion is not merely a restatement of your contention. It draws your explanatory comments together.

• The discoveries you have made in the course of your essay are now offered as final proof of the insights you have managed to discover. Thus, the quality of your explanation/discussion will produce a strong conclusion.

• Final statement of reflection on the universal significance of the text and must provide a final evaluation of the prompt.

QUOTES‘In the end, I was a Pashtun and he was a Hazara. I was Sunni and he was Shi’a, and nothing was ever going to change that. Nothing. But we were kids, who had learned to crawl together. And no history, ethnicity, society, or religion was going to change that either.’

‘And that right there was the single greatest moment of my twelve years of life, seeing Baba on that roof, proud of me at last.’

‘We actually deceived ourselves into thinking that a toy of tissue, paper, glue and bamboo could somehow close the chasm between us.’

‘Strangely, I was glad that someone knew me for who I really was, I was tired of pretending.’

‘But I would stand my ground, I decided. I didn’t want to sacrifice for Baba anymore. The last time I had done that, I had damned myself.’

‘I was afraid that l’d let the waters carry me away from what I had to do. From Hassan. From the past that had come calling. And from this one last chance at redemption.’

‘You’ve always been a tourist here, you just didn’t know it.’

‘Somewhere over those mountains in the west slept the city where my hare-lipped brother and I had run kites. Somewhere over there, the blind-folded man from my dream had died a needless death. Once, over those mountains, I had made a choice. And now, a quarter of a century later, that choice had landed me right back on this soil.’

‘…I wondered if that was how forgiveness budded, not with the fanfare of epiphany, but with pain gathering its things, packing up, and slipping away unannounced in the middle of the night.’

QUOTES‘Children aren't coloring books. You don't get to fill them with your favourite colours’

‘With me as the glaring exception, my father molded the world around him to his liking. The problem, of course, was that Baba saw the world in black and white. And he got to decide what was black and what was white. You can't love a person who lives that way without fearing him too. Maybe even hating him a little.’

‘If America taught me anything, it's that quitting is right up there with pissing in the Girl Scouts' lemonade jar. There is only one sin, only one. And that is theft. Every other sin is a variation of theft....When you kill a man, you steal a life. You steal his wife's right to a husband, rob his children of a father. When you tell a lie, you steal someone's right to the truth. When you cheat, you steal the right to fairness.’

‘One time, when I was really little, I climbed a tree and ate these green, sour apples. My stomach swelled and became hard like a drum, it hurt a lot. Mother said that if I'd just waited for the apples to ripen, I wouldn't have become sick. So now, whenever I really want something, I try to remember what she said about the apples.’

‘I wondered if that was how forgiveness budded, not with the fanfare of epiphany, but with pain gathering its things, packing up, and slipping away unannounced in the middle of the night.’

‘I think that everything he did, feeding the poor, giving money to friends in need, it was all a way of redeeming himself. And that, I believe, is what true redemption is, Amir jan, when guilt leads to good.’

QUOTES‘That was a long time ago, but it's wrong what they say about the past, I've learned, about how you can bury it. Because the past claws its way out. ‘

‘But coming close wasn't the same as winning, was it? ... He had won because winners won and everyone else just went home. ‘

‘It was Homaira and me against the world... In the end, the world always wins. That's just the way of things.’

‘ War doesn't negate decency. It demands it, even more than in times of peace.’

‘I stepped back and all I saw was rain through windowpanes that looked like melting silver.’

‘You're gutless. It's how you were made. And that's not such a bad thing because your saving grace is that you've never lied to yourself about it. Not about that. Nothing wrong with cowardice as long as it comes with prudence. But when a coward stops remembering who he is.. God help him.’

‘But that's what I'm saying to you... That there are bad people in this world, and sometimes bad people stay bad. Sometimes you have to stand up to them. ‘

‘Quiet is peace. Tranquility. Quiet is turning down the volume knob on life. Silence is pushing the off button. Shutting it down. All of it.’

‘How could I of all people, chastise someone for their past? ‘

‘There is a way to be good again.’

‘For you, a thousand times over.’

INCLUDING QUOTES1. Introduce your quotationsAlways introduce your quotes. Any quote that lacks an introduction is called a floating quote. Never use floating quotes in your essay! They are confusing and disorienting. To introduce your quotes, make sure you explain how the quote supports your point.

Tragic irony is a vehicle for revelation, and it also serves as a rhetorical strategy to validate the narrator’s claim: “I’ve learned . . . [how] the past claws its way out.” Likewise, tragic irony becomes a rhetorical strategy for comparing and contrasting characters’ behaviours as they manipulate knowledge and claim ignorance in their relationships. For example, Amir’s childish ploys to get rid of Hassan and his father, Ali, culminate in a tragic scene, in which “Hassan knew . . . everything. . . . He knew I had betrayed him and yet he was rescuing me once again.” Hassan would not expose to Baba that Amir was actually a liar and a cheater. This marks a critical moment in Amir’s life because he realizes that he loves Hassan, “more than he had loved anyone else”; still, Amir cannot confess the truth and will never again see Hassan.

INCLUDING QUOTES

2. Integrate your quotations. Words or phrases can be quoted without quoting the entire sentence from which they were taken. In this case, the quoted words must fit into the grammar of your own sentence. Pick only the relevant parts. This is the best way to quote the text.

- Example - Prince Prospero is positioned as the prince only for the rich; a “happy”, “dauntless” and “sagacious” prince who believed that “the external world would take care of itself.”

STOLEN BY JANE HARRISON

Stolen is a candid and empathetic work that traces the lives of five Aboriginal children:

Anne

Shirley

Ruby

Sandy

Jimmy…

as they share their unique stories when removed from their families under official Australian government policy known as ‘Assimilation.


Jane Harrison’s, Stolen represents a vitally important work for Australian Theatre, dramatising the fear, persecution and anguish felt by the children and their families, displaying the ongoing devastating effects on generations of Aboriginal people physically, psychologically and culturally.

This non-linear play opens with the characters as children and reveals their experiences through story telling in non-conventional episodic form, ending with adult characters as they find their way home. It is through this personal experience of these characters that we are able to more deeply understand this devastating period of our history and allows us the opportunity to build a deeper unity between Indigenous and non-Indigenous people.


The History of Political Government Approaches to Indigenous Cultures

The Aborigines Protection Board

- Between 1909 and 1969, Aboriginal and Torres Strait Islander children’s removal was enforced and maintained by the Aborigines Protection Board (APB) – brought up in the Christian faith.

- By the 1950s, the Australian Government was attempting to 'breed out' Aboriginality for assimilation into Western society. Aboriginal children who were “half-caste” or lighter coloured were more likely to be removed from their families and placed in mission, welfare homes or fostered out to white homes ostensibly to provide them with a better standard of living and education.


Life on the Missions

• The conditions of missions, government institutions and children’s homes were often very poor. Resources were insufficient to improve them, or keep children properly, clothed, fed and sheltered.

• Children were essentially prepared for menial labour, placed in work by the authorities as farm hands or domestic helpers and were not entitled or trusted to receive their wages. These were supposed to be held in trust, but many never received the money that was rightfully theirs.


• Many children were physically, assaulted and brutally punished in placements. These children were most at risk of this treatment in foster or adoptive families. 23.4% of these children who were fostered and adopted reported being assaulted there. One in six children who were institutionalised reported physical assault and punishments.

Consequences

• Depression and suicide

• Delinquency and violence sometimes leading to imprisonment

• Insecurity and lack of self-esteem, feelings of worthlessness

• Alcohol and drug abuse; and/or

• Lack of trust and intimacy


SANDY

Sandy has spent his entire life on the run, never having a set home to live in. His quest is to find a place to call home, a place where he can be at peace, where he’s not abused and where he doesn’t have keep hiding. His realization about his own powers and the notion of home is a significant one.

- Suitcase

- Dreamtime story of the Mungee

- Sandy (name)

- Twenty-dollar note


RUBY

Ruby was forced to work as a domestic from a young age, whose mental health was adversely affected by the sexual abuse of her white ‘carers’. Ruby is eventually reunited with her Aboriginal family.

- Doll and book


JIMMY

Jimmy was separated from his mother at a very young age, and she spent her entire life looking for him. Jimmy thought his mother was dead because her letters are taken and hidden. On his release from prison Jimmy was told about his mother’s search but before he could meet her, she died, and Jimmy subsequently committed suicide.

- Jimmy: I’ve been a thug and thief but I’ve never stolen anyone’s soul.’ (p.34)


ANNE

Anne was a young girl when removed from her family and placed in a white family’s home. She was materially happy in this home and disinterested in discovering her origins. When her indigenous family tried to meet her, she felt bewildered and caught between cultures and her two “families”.


SHIRLEY

Shirley is a nurturer who was removed from her parents, and had her children removed from her. Shirley never gives up on the search for her kids, keeping herself occupied by knitting. She is overjoyed when her granddaughter is born without the fear of removal.

- Knitting


Setting

The set of Stolen is minimal with the focus on props and use of lighting to create different spaces, allowing a greater focus on the actors as storytellers and representing a deprived environment.

Props

Props are an integral part of Stolen and are used symbolically, or as metaphors throughout the play.

The institutional iron beds lack individuality, represent conformity and rigidity and an authoritarian environment. Jimmy’s bed being turned around tells us of his time away in prison.

Suitcases represent the continual movement, of a life on the run, of a lack of a sense of home, of upheaval.

Shirley’s knitting represents the children she lost and that she yearns to provide comfort for. That the knitting keeps unravelling is symbolic of the gift she will never give, of a life where Shirley has often felt useless seeing her role as a Mother has been taken from her.

The filing cabinet keeps the records of the past, controls the flow of information and contains information that is kept from the children.

Bell control – regimented time, a sign of the institutionalized.

Pillows – soft, nurturing but often found on the floor where it provides limited comfort.


Language and Structure of the play

Dramatic forms:

• Episodic

• Non-liner

• Non-naturalistic

• Post Modern

• Uses an eclectic range of performance styles

• Blurred narrative


Techniques and Conventions

• Monologues

• Chorus

• Split Focus

• Flashback/Flash forward

• Narration

• Rhyme

• Soliloquy And Spoken Thought

• Chanting

• Song

• Music

• Sound Effects

• Transformational Acting

• Off Stage Voices


Racism and Stereotypes

P. 7

FATHER: We’ll give her the best of everything.

MOTHER: Oh yes, a good education…

FATHER: My word! A sense of security…

MOTHER: Yes! And a good upbringing…

P.28

ANNE: I thought they’d live in the country or the outback or something. You know, on the land.

P.30

JIMMY: God I hope she’s not real dirty or something


Abuse

P. 8

CHILDREN: What did he give to ya?

RUBY: Gave me a doll.

CHILDREN: He gave her a doll. What else did ya do?

They stop clapping.

RUBY: I promised not to tell.

JIMMY: Oh, Ruby!


Quotes

I carry my home with me. Sandy. P1

I’m finally gunna meet my Mother. P1.

I want my Mummy. Ruby, P.2.

Sandy, Run! Sandy’s Mum P.3

…mummy’s face is getting smaller and smaller…, Shirley, P.4.

Oh. Do ya get to stay there forever? P.6

They’re gonna choose me one day. Jimmy. P.6

I musn’t have been in that children’s home long, cos I can’t remember it at all. Anne. P.7

I promised not to tell. Ruby. P.8

They just came and this woman picked him up and put him in the car. Shirley. P.9


Play Techniques:

a) P.6. ANNE’S WHITE PARENTS are represented by shadows falling on a Venetian blind or white sheets. Her PARENTS and ANNE speak in turn but do not hear what the other is saying.

b) Read how the pillow P12. What is the double meaning of the pillow in this context?

c) Consider what the filing cabinet meant.

d) Why are Symbols and Mood so important to the story of Stolen?

e) Why has the playwright projected the Letter from Jimmy’s Mother onto his face during the scene where he is being beaten? (P12).

f) Effect of the bells (P20)

g) Effect of unravelling knitting (P19)


h) Sandy’s feelings when he thinks about a can of peas. (P.19)) What double meaning does the term ‘past it’s use by date’ (in relation to the can of peas) have?

i) Use of Rain and how it is used on P4 in relation to tears. What is the effect of the rhythm and repetition in this stanza?

j) Impressions of the song, ‘Happy Little Vegemite?’ Symbolism in the song and what ‘Vegemite’ represents as an Australian brand. ‘Satire’ in relation to the Happy Little vegemite’ song.

k) The jovial tone of the song is used to create dramatic effect when juxtaposed with the loneliness and actuality of Ruby’s experience.

PART B – CONTEXT WRITING (FUTURE WORLDS)

For this context you must imagine the future of our world, aspects include:• Technology • Medicine• War and conflict• Values and attitudes• Space• Science • Virus mutations and evolution

FUTURE WORLDS

. The creation of classic dystopian societies. The opposite of a utopia (an imagined perfect place), a dystopian society is one of moral corruption, social oppression and human misery, where its people live in fear or even terror.

People are not free but rather, controlled by an outside force, being victims of governmental, technological or social oppression. Nature is unable to bloom freely; it is usually destroyed by futuristic advancements in technology. This human misery may also be made worse by either disease or overcrowding.

In classic dystopias, humanity and compassion are compromised in exchange for technological advancement. Simple pleasures found in nature are lost and devalued. The texts create a miserable dystopia for the audience to confront. They ask us to define a blurry line. In the future, where does technology end and humanity begin?

FUTURE WORLDS

.

A disturbingly bleak view of the future is depicted where mankind has been de-humanized and de-sensitized by an obsession with consumer driven technological advancement.

Ironically, progress in a materialist sense has been matched by an emotional decline. Individualism has been eroded by the steady march of scientific discovery to the point where people have sunk to the level of mere commodities whose worth is measured in commercial terms.

Technological innovation has quantified existence and robbed it of anything approaching what viewers or readers would consider being meaningful relationships or codes of behaviour.

Society seems barren, empty and superficial.

The central protagonists are vulnerable individuals who have become alienated from their peers and found themselves as outcasts and victims in a world that is unable to answer their needs.

A powerful warning is given of what the future may be.

FUTURE WORLDS

. • Family life and personal relationships have been sacrificed in the name of social progress.

•Totalitarian regimes control the masses by propagandist and authoritarian methods such as regulatory measures and unrelenting surveillance.

•Society has become a drab, dark conformist environment where animals and nature have been exploited in order to sustain and promote technological development.

•Scientific advancement has given governments the power of God because scientists have been able to conquer nature and replicate life artificially.

AUSTRALIAN IDENTITY

British heritage; wealth and poverty; city and country

• Australia's population is very diverse but there are some things that many Australians have in common• Much of Australia's lifestyle is inherited from the British and this is still the dominant culture that is promoted• Wealth and poverty vary across Australia's population• The sharply-defined class system of Britain is more blurred in Australia• Country and city people in Australia often hold different values• Australians tend to identify with bush or beach themes, even though most Australians are city people• Will we become a more Asian Pacific country, where the dominant culture will be Asian?

http://www.skwirk.com/p-c_s-1_u-50_t-64_c-229/british-heritage-wealth-and-poverty-city-and-country/nsw/hsie/identity-and-values/aspects-of-australian-identity

http://www.skwirk.com/p-c_s-1_u-50_t-64_c-229/british-heritage-wealth-and-poverty-city-and-country/nsw/hsie/identity-and-values/aspects-of-australian-identity

AUSTRALIAN IDENTITY

. • Each one of us could describe ourselves with a multitude of different

identities. These identities can be seen as defining us as people and may be cultural, ethnic, religious, gendered, class-oriented or ideological. They are as varied as our imagination. In Australia, the religious, cultural and ethnic complexity of our society is particularly diverse.

• In the midst of this diversity, is there an elusive quality, a ‘national identity’, which binds us all as Australians?

• There are certainly national cultural stereotypes and national symbols that we all recognise as Australian, but do these really reflect the everyday reality of living as an Australian today?

• Do national identities ever have anything to do with cultural experience or are they more to do with a constructed image of a ‘nation’?

• What is it about our cultural stereotypes, if anything, that continues to resonate with Australians? Who is excluded?

• Does our national identity still depend upon a white Anglo-Celtic male viewpoint?

AUSTRALIAN IDENTITY

• Globalisation is characterised by a high degree of mobility of people and capital. National boundaries are becoming less important in terms of trade and investment and this could lead to anxieties and insecurities about national identity.

• Globalisation is perceived by some as a fragmenting of national culture and society. Will this lead to a reassertion of cultural identity that focuses on social coherence rather than emphasising multi-culturalism and multi-racialism?

• Perhaps ideas of civic values and a renewed appreciation of our interconnectedness through local communities will reinvigorate ideas of national identity in ways that do not need to ‘assimilate’ difference?

• How might this vision of national identity view the difference and choice of Indigenous Australians?

RESPONDING TO THE ‘PROMPT’

1. What general form will I choose? – expository, persuasive or imaginative?a. Think about the style you are most comfortable with. b. What are the challenges of an imaginative piece? Will it be appreciated by everyone? c. Which style will have the most impact?

2. What specific form will I choose e.g. short story, editorial, letter, essay?a. Am I aware of the demands of the form I have chosen? b. What are the structural features of that form?

3. What is the purpose of the piece? a. How will it address the prompt? b. What is your contention or position in response to the prompt?

4. Which ideas from the texts will you draw from? a. Am I confident these are the most appropriate examples?

5. Which external references will you draw upon? a. Is there dimension to the ideas I have chosen from real life?

6. How will you incorporate the ideas from the text/outside the text into your piece? a. Will you quote from the text? b. Create parallel situations or characters,?c. Interview a character? d. Argue a similar or alternative viewpoint?

7. What features of the original text will you incorporate? a. Will you use a similar structure to the text? b. Will you use similar language (colloquial or formal, idioms, figurative language)? c. What aspects of the text will you refer to (e.g. setting, symbols, tone)?

EXPOSITORY WRITINGBody ParagraphsEach body paragraph should deal with a different argument. Some of your arguments will be from the text/s you have studied, others from external sources. The body paragraph is a place to state, and support your argument. The support comes from the examples you wish to use, be that a text, history, current news, a famous person, etc. You cannot use your own life or friends, as this is more reflective. A good way to approach an expository essay is to brainstorm your topic sentences first. What do you want to say about the topic? Write them out as statements.

Topic sentence: In your topic sentence state your argument. Remember this is NOT based on a text, so don’t mention any characters or texts – just the idea. The argument must exist separately to the text (even though you spend the majority of the paragraph discussing a particular text or example) – this is important!! E.g. Life is both observation and participation.

Evidence: State the example you’re looking at E.g. A student watching another being bullied is implicated in the bullying by the act of observation.

Explanation: Explain how the example shows your argument, giving more evidence as you do so. Quotes are not especially important for context essays – you do not have to include them.

Linking sentence: Link the your argument to your contention

EXPOSITORY WRITING

Contention

Identify the discoveries and insights you have made. These should be clearly evident in your explanation. Use these insights to conclusively state what it is to be a bystander, the specific nature of the difficulties faced and how comparable these outcomes are to the various types of conflicts you have explored.

IMAGINATIVE WRITINGImaginative Writing

Imaginative writing asks you to use the ideas from a text or texts to produce your own creative response. The typical features of an imaginative response are that it:

1. Concentrates on one or two main characters and has parallels with in the text

2. Follows the structure of a narrative: a. introduction, complication, climax, resolution

3. Incorporates creative writing conventions: a. description, figurative language, dialogue and internal thought about the character’s feelings

4. May be the same tone, style and narrative perspective as the original text

5. Is creative in presentation. You might add a scene to the original text, write a short story, journal entry or letters or a script.

6. Crafts a consistent voice:

a. An old woman sounds different to a small child, who sounds different to a working-class builder and a high-flying businessman

7. Keeps the prompt in mind: a. There’s no point writing a brilliant story if it doesn’t relate to the prompt and the ideas presented in the text. It’s a good idea to focus on one text in an imaginative response; more than one and you risk losing control.

PERSUASIVE WRITING

Persuasive Writing

A persuasive response is inviting you to respond to the context by presenting a point of view on it. Your answer will be narrower in scope that in an expository essay – whereas the purpose of an expository essay is to explain or expose the main ideas raised by the prompt, using it as a springboard to further explore your ideas, a persuasive essay is asking you to present a biased reading of the context and argue a particular point of view.

Persuasive essays may include a rebuttal.

PART C: ULTP - LANGUAGE ANALYSIS

You will be reading and analysing one or more texts and discussing the language techniques they have used to influence the reader/viewer in relation to the contention.

There may be different contentions about the same issue in the articles and you may need to compare them and evaluate which one is the more persuasive and why???

CONTENTION

1. Contention(s)

Definition: A statement communicating the author’s main point of view: what the writer or writers want you to agree with. The contention is the broadest possible argument, and should be present throughout the whole of the text. All of the arguments presented in the text will support the overall contention.

Be aware: If there is more than one article there might be more than one main contention. This allows you to establish a contrast.

Look to determine if the contention in a single article is consistent.

Establish if the supporting graphics or headlines support or compete with the contention being put forward.

SUPPORTING ARGUMENTS

2. Supporting arguments

Definition: Supporting arguments are the two or three main reasons used to justify the overall contention. These supporting points do not permeate the entire text, but are the main reasons given for the overall argument.

WRITER’S POSITION3) Writer’s Position

Definition: You need to identify who the writer or writers are and how this influences their views in the debate. This involves their job and political orientation. It may also involve their race, gender, religion, sexuality etc, although you should be careful to refer to these characteristics only if the author makes it clear it has had an influence on the argument.

Example: Devout Catholics would oppose legalizing abortion. Their faith is influencing their views. By way of contrast, a feminist might be expected to support a woman’s right to choose. The orientation of these individuals is influencing the stance taken.

Be aware: Your task is not to say if the writer’s point of view is correct or incorrect. You are there to establish how effectively the writer has communicated a point of view. Have the techniques employed been effective and appropriate given the topic and nature of the discussion.

TONE

4. Tone

Definition: Tone refers to the voice or attitude of the writer. When determining tone, look not at what is stated, but how it is stated. To identify the tone of a piece, think about how the piece made you feel as a reader and what impressions are generated about the author.

Be aware: Establishing the tone provides the general umbrella under which ideas can be grouped. It’s a way of structuring your response. A single writer may transition between several tones or we can contrast the different tones of multiple writers.

SAMPLE LIST OF TONE WORDS

Sample list of tone words

angry desperate enthusiastic

sarcastic superficial snooty

sweet sad dreamy

harsh artificial light-hearted

cheerful authoritative humble

pleasant surprised instructive

sharp ironic disinterested

disgusted content uninterested

haughty hurt cheery

soothing confused manipulative

melancholic questioning contradictory

depressed inquisitive aggravated

seductive romantic apathetic

hollow upset encouraging

humorous paranoid consoling

passive pleading friendly

persuasive numb loud

afraid cynical brash

tired facetious apologetic

happy hating appreciative

disappointed nervous joyful

dejected loving miserable

excited scornful Vibrant

ecstatic arrogant serious

agitated condescending calm

sympathetic coarse proud

AUDIENCE

5. Audience

Definition: The intended audience of a text is the people the author is targeting. Think about who the author is trying to reach with their message. To identify the audience, think about:

- Whether anyone is being directly targeted

- The content

- The tone and techniques used

- Be aware: The audience may well determine the approach and style taken by the writer/speaker. A large public audience will require different techniques and approaches to an individual reading a paper over a morning cup of coffee.

PERSUASIVE TECHNIQUES

The next step is to think about the persuasive techniques that the authors have used to support their contentions. There are three broad types of persuasive techniques that you should be aware of; logos, pathos, ethos.

Be aware: Do not fall into the trap of focusing only on techniques you can name. If something feels persuasive to you, this is because it is persuasive, whether it has a “name” or not – it may be related to word connotation or appeal

LOGOS – ‘LOGIC OR REASON’

Definition: Logos (Greek for “word‟) is an appeal based on logic or reason. It refers to the internal consistency of a message the clarity of the claim, the logic of its reasons and the effectiveness of its supporting evidence.

“LOGOS” TECHNIQUES

Expert opinion

Research

Anecdotes

Reputable sources

Appeals to common sense and rationality

Offering a solution

Cause and effect statements and logical conclusions

Recognition of opposing viewpoints

PATHOS – ‘EMOTION’

Definition: Pathos (Greek for “suffering” or “experience”) is an appeal based on emotion (often found in advertisements, for example.) Language choice affects the audience’s emotional (as opposed to “logical” or “reason-based”) response. An appeal to pathos causes an audience not just to respond emotionally but to identify with the writer’s point of view.

PATHOS - 1. CONNOTATIONS

Definition: A connotation is the emotional meaning associated with the word. Connotations can be historical, biblical or current social references. For example:

If a man is killed we imagine that he has died.

If a man is ‘slaughtered’, we understand that he was violently and brutally killed.

If a man is ‘euthanised ’, then we understand his life has been compassionately and

gently ended. Thus the connotations or ‘suggestions ’ behind each word differ.

Effect: Connotations have the effect of positioning the reader to feel a certain way about a topic. Readers usually respond to them on an emotional level because of the images they tap into when they hear a particular word or phrase.

Attacks/praise is also a very common technique – where the writer:

• Denigrates or humiliates another

• Discredits opponents

• Attacks a person or their credibility, rather than an idea

• Discredits another idea

PATHOS - 2. THE SOUND OF LANGUAGE

a) Alliteration: Alliteration is the repetition of a sound, often at thebeginning of a word, that plays on the same constant or syllable. For alliteration to occur, a sound must be repeated several times in a short space e.g. “Dirty deeds done dirt cheap!” Be aware of alliteration.Only make note of alliteration that has a purpose i.e. supports an argument.

b) Repetition : Repetition is the repeating of words and phrases throughout a text. Repetition doesn’t necessarily make a statement true but it makes sure that a reader remembers the statement.

c) Colloquial language and idioms: Colloquial language, or slang, is language that is used in every day conversation. It is persuasive because it is friendly and invites the audience to see the writer as being “one of us”, someone who is on the same wavelength. There appears to be no pretension about someone who uses such language, making their message more palatable to readers, e.g. “G’day mate!”

d) Clichés: Clichés are overused expressions, e.g. “There’s a time and a place for everything. ”Clichés can be used because they often carry an array of connotations. They can also help readers to feel familiar with the material presented and thus attract their attention. On the other hand, however, the overuse of clichés in intellectual writing can detract from the quality of the writing

PATHOS - 3. GENERALIZATIONS

Definition: A generalization is a phrase that is said to be true for all because it is true for some. Generalizations are also known as stereotypes e.g. “All teenagers are fat and lazy. ”

Effect: They can be persuasive because they appeal to our general sense of what seems true and they also appeal to social stereotypes and racial prejudices which are familiar. This familiarity can lull the reader into accepting the claim.

PATHOS – 4)HYPERBOLE/EXAGGERATION

Definition: Hyperbole is the use of language to denigrate an opposition to make them appear ridiculous, e.g. “Those who support this ridiculous idea would have us believe that it will dramatically improve the quality of modern living. Of course it will! And it will probably cure cancer, eradicate pollution, improve traffic flow and make the kids go to bed when we tell them!”

They may also emphasize the author’s point e.g. if someone were to describe the damage caused by a storm as “pretty bad”, the reader won’t be likely to think much of it. However, if they were to describe the aftermath as a storm as being “like a warzone” the effect is to emphasize the severity of the situation (even if the only damage was a few broken windows).

PATHOS – 5) INCLUSIVE LANGUAGE

Definition: Inclusive language refers to the use of pronouns such as “you and me”, “we” and “our”. Through these words, the writer seeks to identify with the readers.

Effect: The writer is identifying as one of us, implying that we are equally affected by the issue and that he or she speaks for our concerns. For instance, “people like you and me don’t want to see this happen. We know how socially destructive it will be, and we don’t want our kids growing up in that sort of society.”

PATHOS – 6) RHETORICAL QUESTIONS

Definition: A rhetorical question is a question posed for persuasive effect without the expectation of a reply, e.g. “How much longer must we suffer in silence?”

Effect: The effect of a rhetorical question is to encourage the reader to think about what the (often obvious) answer to the question must be. Make sure you are very specific with your explanation of the effect, however what is the obvious answer? What does the author want you to think and how does the question he or she posed lead to that conclusion?

PATHOS – 7) APPEALS TO VALUES

Definition: Writers often appeal to values that they think that the reader will hold. Here is a list of appeals to values: a) Family values: Appeals to family values evoke ideas of belonging, security, caring/nurturing, togetherness, safety, love and comfort.

b) Justice/fairness: An appeal to a sense of justice or fairness is often used when the rights of two opposing sides come into conflict, especially when one side appears to be being treated unfairly

c) Modernity: Advertisers tend to use this type of appeal most often they urge consumers to buy the latest in technology or fashion, and do so by hinting that those who do not consume the latest products are old-fashioned and outdated. d) Generosity: An appeal to generosity makes the reader feel like they would be acting greedily or selfishly in their own interests, rather than the greater good, if they do not agree with a certain proposition.

e) Humanitarianism: Appeals to humanitarianism play on people’s desire to promote general human welfare it evokes notions of kindness, sympathy and benevolence.

PATHOS – 8) APPEALS TO VALUES

f) Hip pocket nerve (money) and self interest: Appeals to self interest are designed to make the reader feel that something they personally value is being threatened, or that they will be better off as a result of a particular proposal.

g) Belonging: An appeal to belonging makes the reader feel as though they will be excluded if they do not agree with a certain proposition.

h) Patriotism: The term “un-Australian” is an example of an appeal to patriotism. References to the national interest, Australia’s interest in the world and its economic well being, international reputation, and safety, and the respect that other nations feel for it are examples of appeals to patriotism

i) Tradition: An appeal to tradition suggests that because “we’ve always done it like this ‟ or “our ancestors fought for this”, an idea is inherently good. Going against it would mean going against everything we (as a culture, a nation etc) stand for.

PATHOS – 9) APPEALS TO EMOTION

Here is a short list of appeals to emotion:

a) Nostalgia: Nostalgia is the feeling one gets when they look back on the past fondly. Often, appeals to nostalgia are used to justify a return to older, simpler times.

b) Guilt: Guilt is a powerful emotion and writers who make their audience feel guilty about an issue (and, in particular, about not acting upon an issue) can be very persuasive

c) Sympathy/empathy: Encouraging people to feel sympathy for someone (sorry for them) or empathy (put themselves in another’s shoes)

d) Fear: Appeals to fear may rely on fear of physical violence or death; of loss of security, family, stability, money, safety; of change; of a specified negative event.

e) Compassion: A description of the plight of the underprivileged is designed to appeal to the reader’s sense of compassion it aims to make them feel outraged, sorry, or upset. Whatever the emotion elicited, the aim is to cause the reader to feel like they want to take some action in response to the situation

PATHOS -EFFECT

Once you have identified the emotional appeal, you should be able to identify its effect, as the author is trying to position you to feel a particular way about their topic.

ETHOS – ‘ANECDOTAL/EXPERT OPINION’

Definition: Ethos (Greek for “character”) or an ethical appeal means convincing based on the character of the author. We tend to believe those people we respect not only those who are an authority on the subject, but also those who are likeable and worthy of our respect.

“ETHOS” TECHNIQUES

Ethical appeals are used to establish the writer as fair, open- minded, honest, and knowledgeable about the subject matter. The writer creates a sense of him or herself as trustworthy and credible. When used correctly, the writer is seen as...

- Well-informed about the topic

- Confident in his or her position

- Sincere, honest, respectable and trustworthy

- Understanding of the reader's concerns and possible objections

- On the reader’s side

- Reasonable and rational

- Humane and considerate

VISUALS

Pictures

How does this image support the author’s contention?

Cartoons are sometimes difficult to analyse, as they present a contention just as an editorial or opinion piece would. Other images, such as pictures or graphics accompanying an opinion piece, are easier to analyse as they do not have a contention per-se rather, they merely support the contention of the author. You can still refer to the same things as you do for a cartoon. However, not all of these things will be relevant, and your analysis will be much shorter.

EFFECT

Once you have identified any persuasive techniques used, you should think about the effect of the techniques – how do they persuade the reader?

NOTE: Explaining the effect should be the bulk of your analysis.

1. LANGUAGE (WHAT)

Throughout your body paragraphs, you will need language sentences to introduce the quote that you will be examining. These sentences will:

Include a quote that you think is persuasive from the text (e.g. “stringed puppets”) Use a verb such as: describes, depicts, purports, debunks, illustrates, suggests, labels, conveys, promotes

Use a tone word before the verb to add more detail to your analysis (e.g. comically)

Example: Columnist Phillip Craig comically labels the politicians as “stringed puppets.”

2. INTENDED EFFECT (WHY AND HOW)

Throughout your body paragraphs, you will need an intended effect sentence/s AFTER your language sentence. These sentences will:

Include consideration of both the wider and narrow intended effects:-

Narrow: How does this quote make the reader feel about the thing being described?

Wider: How does this quote position the reader to feel about the issue generally?

Be specific! Do not say, “this technique makes the reader think about whether they agree with the author or not”, or, “this technique persuades the reader to agree with the author.”

3. USING QUOTATIONS

Generally keep quotations short and focus on key words that capture the point. Eliminate unnecessary sections or words by replacing them with ellipsis dots.

Example: About her performance, a critic once said, “her Medea was . . . without feeling and form.”

STRUCTURE OF LANGUAGE ANALYSIS

In the exam, students will be required to analyze the use of language in unseen persuasive text/s.

Make sure you ANNOTATE and then follow the TEE(L) structure…

T – Explain the technique

E – Outline the effect on the /viewer

E - Evaluation and explanation

(L) – Link back to the overall contention

OBVIOUS LANGUAGE TECHNIQUES

Words that indicate TONE

EMOTIVE LANGUAGE (adjectives)

Words that indicate a POSITIVE OR NEGATIVE CONNOTATION

APPEALS what are being used?

LOADED WORDS or PHRASES that position the reader

EXPERT OPINIONS that give credibility to article

ATTACK OR PRAISE depending on contention

INCLUSIVE OR EXCLUSIVE language

EXAGGERATION or HYPERBOLE

ANECDOTAL STORIES or ANALOGIES of other cases or situations used for comparison

GENERALISATIONS or creating STEREOTYPES from a few examples

CHARTS, TABLES and GRAPHS

SOLUTION offered to help

STEREOTYPES –caricatures that represent someone or a social group(s)

EMOTION CONVEYED through an expressive face

SYMBOLISM what symbols can be identified in the image

DIALOGUE and what is it suggesting or questioning

TONE how is it being conveyed (through image or combined with words)

BACKGROUND is there anything that represents something more to this issue

POSITIONING of the figures or props in the image

EXAGGERATION of any details to emphasise something

SATIRE or IRONY is the creator ridiculing something or someone to make a statement

CONNOTATION and TONE of image – is it positive or negative? What aspects highlight this?

• Things to look for in Editorials/Articles

• Things to look for in Cartoons

INTRODUCTIONThe introduction introduces the persuasive piece you are analyzing and gives a brief overview on what you will be focusing on in your essay.

Introduce the issue: What is the issue? How was it sparked? What has happened? Be specific as to who, what, where and when in regards to the issue (1-2 sentences)

A speaker Chris Lee at the 2010 international Biodiversity Conference speaks with conviction to his audience, attendees involved in the area of nature conservation, contending that action must be taken to safeguard the variety of life, or, biodiversity. At times an accusatory and disapproving tone is adopted, however alternates with an alarmist tone, the two complementing each other and utilised to successfully persuade the speaker’s powerful and influential audience to take action to preserve biodiversity. The use of a visual aid in the form of a slide presentation assists the speaker, presenting the argument through a different medium.

Introduce the text’s title and author. Chris Lee/speaker

Identify the publication, date and text type Biodiversity Conference/2010

Restate the author’s contention in your own words. Action must be taken

Identify the writer’s tone. Disapproving, alarmist, accusatory

List the themes (body paragraph headings) you will be exploring.

Form speech/visual aids

Body

BODY PARAGRAPHS Each body paragraph should deal with a different IDEA or GROUP that you identified. Completely deal with one text, then use a connective word (in contrast, similarly etc) and deal with the second text. The body paragraphs should be structured according to TEEL.

Topic sentence: Re-introduce the author, tone word and the first argument you will be examining. Rephrase the sentence that you used in your introduction

Lee begins by introducing his contention, an issue of ‘vital significance.’

Evidence and explanation: State what the language used was using a language sentence, then explain the narrow and broad effect using an intended effect sentence. Repeat this pattern until you have analysed all the relevant language.

This alarmist tone is further continued, Lee speaking of what has been lost in the past tense, implying that the problem is already here, and the effects are evident. ‘Sadly’, hundreds of species are ‘already extinct’ the speaker taking on a more nostalgic tone full of longing for what has been lost.

Linking sentence: Your final sentence should sum up the overall effect. How is the reader left feeling about the idea or group presented?

The short, blunt statement, ‘It is too late for them,’ the extinct species, once again raises alarm in the audience members, . . .

An appeal to social responsibility adds to Lee’s persuasive power.

CONCLUSION

Your conclusion should include an assessment of the likely audience of the piece and the purpose of the text – interpret the reason for the appeals and what the possible achievement would be.

SAMPLE INTRO

A speaker Chris Lee at the 2010 international Biodiversity Conference speaks with conviction to his audience, attendees involved in the area of nature conservation, contending that action must be taken to safeguard the variety of life, or, biodiversity. At times an accusatory and disapproving tone is adopted, however alternates with an alarmist tone, the two complementing each other and utilised to successfully persuade the speaker’s powerful and influential audience to take action to preserve biodiversity. The use of a visual aid in the form of a slide presentation assists the speaker, presenting the argument through a different medium.

SAMPLE BODY PARAGRAPH

Average paragraph

The tone of the writer is given in the first few words of their speech. By introducing the speech with ‘ladies and gentlemen’. This gives a serious and professional tone to readers. This serious and professional tone is used consistently throughout the speech, which confirms and reassures readers of the seriousness of the topic, ‘vital significance to our world’. By using the words ‘vital significance’ tells readers that this speech is important. Giving facts and figures also tells readers the seriousness of the matter as when given facts, they can really believe what is being said is true, instead of just listening to and opinion, ‘38% are today threatened and 804 already extinct’. By finishing this figure with ‘it is too late for them’ tells readers that something should have been done before now, but because nothing was done, and the species could not help themselves, it is too late.’

SAMPLE CONCLUSION

The speech uses a range of different tones to appeal to the different emotions of the conference audience. The addition of visuals allows the audience to ‘see’ the argument Lee is presenting, and each slide complements his words. In doing so, the audience is able to be persuaded of Lee’s conviction that the safeguarding of biodiversity is vital, and also convinces the conference attendees to take action.

ANALYSE THE INFLUENCE

Analyse how tone is created and how techniques are used to position and influence the reader…

DO NOT just list the techniques…

Use the TEE(L) structure…

For the novel analysis…use TEEL

SAMPLE BODY PARAGRAPH

The tone of the writer is given in the first few words of their speech. By introducing the speech with ‘ladies and gentlemen’. This gives a serious and professional tone to readers. This serious and professional tone is used consistently throughout the speech, which confirms and reassures readers of the seriousness of the topic, ‘vital significance to our world’. By using the words ‘vital significance’ tells readers that this speech is important. Giving facts and figures also tells readers the seriousness of the matter as when given facts, they can really believe what is being said is true, instead of just listening to and opinion, ‘38% are today threatened and 804 already extinct’. By finishing this figure with ‘it is too late for them’ tells readers that something should have been done before now, but because nothing was done, and the species could not help themselves, it is too late.’

YEAR 11 EXAM REVIEW 2015 Language Analysis. SECTION A – TEXT RESPONSE (READING AND RESPONDING...

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