NCEA Level 3 English 91474 (3.3) — page 1 of 7
SAMPLE ASSESSMENT SCHEDULE
English 91474 (3.3): Respond critically to significant aspects of unfamiliar written texts
through close reading, supported by evidence
Assessment Criteria
Achievement
Respond critically to significant
aspects of written texts through
close reading includes making
evaluative interpretations and
judgements about significant
aspects of texts, such as:
Achievement with Merit
Respond critically and convincingly
to significant aspects of unfamiliar
written texts through close reading,
supported by evidence includes
making discerning, informed critical
responses to specified aspects.
 ideas (e.g. themes, attitudes,
beliefs, experiences, feelings,
insights, meanings, opinions,
thoughts, and understandings
within the text)
 language features (e.g. word
choice, syntax, sound devices)
 structure (e.g. part text, whole text,
narrative sequence beginnings
and endings) as used for particular
audiences and purposes, in terms
of meanings and effects created,
supported by accurate and
relevant evidence.
Achievement with Excellence
Respond critically and
perceptively to significant aspects
of unfamiliar written texts through
close reading, supported by
evidence includes making
sophisticated and insightful or
original critical responses to
significant aspects integrated with
accurate and relevant evidence. It
may include explaining how
significant aspects of texts
communicate ideas about
contexts, such as human
experience, society and the wider
world.
Evidence Statement
Expected coverage – Question One
NØ
No response; no relevant evidence.
N1
The candidate does not identify a tone but may give an example of a language technique
OR may identify a tone but does not give any language technique.
Not Achieved
The candidate:
N2
 identifies a tone in the narrative
 may give an example of a language technique but may be a tenuous link to the identified
tone or attitude.
The candidate:
 identifies some development in tone or attitude of the writer and gives an example of at
least TWO valid language techniques
Achievement
A3
 makes a relevant comment about how the language techniques are effective in
expressing the tone or attitude of the writer towards her ‘homeplace’.
Eg, the writer moves from scientific detail using words like ‘diameter’ in an instructive tone
to the end where it is more reflective – “None of my homeplaces do that”.
NCEA Level 3 English 91474 (3.3) — page 2 of 7
The candidate:
 identifies some development in tone or attitude of the writer and gives an example of at
least TWO valid language techniques
A4
 makes a relevant comment about how the language techniques are effective in
expressing the tone or attitude of the writer towards her ‘homeplace’.
Eg, the writer employs scientific detail in an instructive and authoritative tone in contrast to
the end where it is more reflective – “But I never expect it to stay exactly the same”.
The candidate:
 traces the development in tone or attitude of the writer and gives an example of at least
TWO valid language techniques
M5
 presents a valid and detailed discussion of how the technique is effective in
expressing the tone or attitude of the writer towards her homeplace
 demonstrates a convincing awareness of the shift in tone.
Eg, the writer employs scientific detail in an instructive and authoritative tone in contrast to
the nostalgic tone she uses when she employs personal pronouns to draw us in to her
childhood – “We held grimly to a crack or a ledge”.
Merit
The candidate:
 traces the development in tone or attitude of the writer and gives an example of at least
TWO valid language techniques
M6
 presents a valid, detailed, AND discerning critical discussion of how the technique is
effective in expressing the tone or attitude of the writer towards her homeplace
 demonstrates a convincing awareness of the shift in tone.
Eg, the writer employs scientific detail in an instructive and authoritative tone in contrast to
the nostalgic tone she uses when she employs personal pronouns and colourful words like
‘thrill / screaming’ and colloquial phrases like ‘sort of’ as she talks about her own childhood
there.
The candidate:
 traces the development in tone or attitude of the writer and gives an example of at least
TWO valid language techniques
 presents an insightful and discerning critical discussion of how the technique is
effective in expressing the tone or attitude of the writer towards her homeplace
Excellence
E7
 demonstrates an integrated and perceptive awareness of the shift in tone that in turn
acknowledges the maturation of the writer.
Eg, the writer employs scientific detail in an instructive and authoritative tone and moves
through in a kind of chronological order from the nostalgic tone she uses when she
employs personal pronouns and colourful words like ‘thrill / screaming’ and colloquial
phrases like ‘sort of’as she talks about her own childhood there and comes to a final
awareness as an adult.
NCEA Level 3 English 91474 (3.3) — page 3 of 7
The candidate:
 identifies some development in tone or attitude of the writer and gives an example of at
least TWO valid language techniques
 presents an insightful, sophisticated and discerning critical discussion of how the
technique is effective in expressing the tone or attitude of the writer towards her
homeplace
E8
 demonstrates an integrated and perceptive awareness of the shift in tone that in turn
acknowledges the maturation of the writer.
Eg, the writer’s tone gently chides those who she thinks take a simplistic approach to
Moeraki, a place she loves, but progresses through in an authoritative tone even showing
her awareness of the scientific background behind the rock formations using scientific
detail. The writer shows an awareness and acceptance of life changing yet she embraces
it and revels in it.
Note: Answers are judged holistically, not solely on the basis of evidence included in the schedule.
Language features that may be referred to at any level include:
 Contrasts:
Blank stare /bright smile demonstrating the gently chiding tone towards those who
think they know her ‘homeplace’.
 Minor sentences:
Well not quite develops a conversational tone.
 Parenthesis:
There are dozens of them (there used to be hundreds, but all of the accessible
smaller ones have been souvenired), round and weird ...
The beloved Black Bach that I look after – and it is most likely to take that crib first,
because it is southernmost on the beach – well so be it.
Note: The parenthesis creates a conversational tone, which is also reflective but
forward looking. Gives the sense that she’s the expert.
 Long vowel sounds:
Round and weird and looming – nostalgic tone, the perspective of a child comes
through.
 Use of personal pronouns:
As children we went ... none of us were ever game...we held grimly – establishing
a nostalgic tone.
 Post modifiers:
The mussels, those stubby fat blueback southern kutae – nostalgic or positive
tone.
 Triad/Triple construction:
Things change: things erode: things go establishes the appreciation of time
moving on, resigned yet optimistic if linked to the last line and the penultimate line
where the writer tells us she received “strength and energy and love form it”
 Consonance:
Rocks...Tikoraki...kaik...cracked.
 Direct speech:
‘Shoulda put concrete on them years ago...” – amused.
 Metaphors:
The ‘dance of change’; ‘the standing place of my heart’ – nostalgic but also
appreciative and forward looking.
 Use of Māori language:
kutae/turangawaewae-ngakau/Moeraki – awareness of her audience as most
words have a context that non-Māori speakers can catch on to.
 Exclamatory quotations:
‘O yes! That’s where the boulders are’ – mildly amused or chiding those who do
not know her ‘homeplace’.
 Scientific detail:
Septarian concretion, yellow calcite crystals, – tone of the expert, authoritative.
NCEA Level 3 English 91474 (3.3) — page 4 of 7
Expected coverage – Question Two
NØ
No response; no relevant evidence.
N1
The candidate recognises a mood in the poem but does not give examples of techniques
or a correct technique OR may give a technique but does not correctly identify a mood in
the poem.
N2
The candidate shows awareness of mood(s) and gives a correct technique OR the
candidate accurately recognises the mood of the poem but the technique might have
tenuous link to the mood
Not Achieved
The candidate:
 provides a straightforward discussion of the mood(s) of the poem
A3
 begins to explain how it is established by relevant examples
 may identify more than one mood evident in the poem but may take the discussion
through on one only.
Achievement
The candidate:
 provides a clear, developed discussion of the mood(s) of the poem
A4
 accurately explains how the mood is established by relevant examples
 may identify more than one mood evident in the poem but may take the discussion
through on one only.
The candidate:
 provides a convincing and informed discussion of the mood(s) of the poem
M5
 presents the explanation with confident, clear and valid examples
 may identify more than one mood evident in the poem but may take the discussion
through on one only.
The candidate:
Merit
 provides a convincing and discerning discussion of the mood of the poem confidently
linking the mood(s) to the ideas of the poet
M6
 presents a valid and detailed discussion of the effect created, supported by relevant
examples
 may identify more than one mood evident in the poem but may take the discussion
through on one only.
The candidate:
 provides a perceptive discussion of the mood of the poem confidently linking the
mood(s) to the ideas of the poet
E7
 presents an integrated discussion of the effect(s) created, supported by relevant
examples; there will be a sense that connections are being made across the poem
 may identify more than one mood evident in the poem but may take the discussion
through on one only.
Excellence
The candidate:
 provides a perceptive discussion of the mood(s) of the poem and may explain how the
poem reveals or communicates ideas about the human experience or the wider world
E8
 presents an integrated discussion of the effect(s) created, supported by relevant
examples; there will be a sense that connections are being made across the poem
 may identify more than one mood evident in the poem but may take the discussion
through on one only.
NCEA Level 3 English 91474 (3.3) — page 5 of 7
Moods might include, but will not be limited to:
 lonely
 nostalgic
 sentimental
 wistful
 ghostly
 haunting
 unsettling
 appreciative
 imaginative overall.
The explanation of effects may include:
 how the writer uses language to create a mood
 how the mood helps to tell us what the poet feels and why
 how the writer uses the poem’s mood to create a response in the reader about the poem’s subject matter /theme /
ideas.
Note: Answers are judged holistically, not solely on the basis of evidence included in the schedule.
Language features that may be referred to at any level include:
 Compounding:
‘wraith-like’ – the sense of the physical environment being ghostly and haunting.
 Alliteration:
‘taste on my tongue’; ‘dust and diesel’ – harshness suggesting loneliness /
ghostliness.
miners’ cottages pale as mushrooms in the mist – soft sound linking ideas together
suggesting loneliness, nostalgia for old times.
fantastical and floating – unsettling /ghostly /haunting.
playground of a primary school – nostalgic.
 Sibilance (or
alliteration):
Scales that tilt towards injustice /fantastical /Some surreal craft now cast adrift –
linking of the sibilant sounds provides an unsettling mood.
 Listing:
a war memorial hall with a padlocked front door/the sour taste on my tongue of a
dust and diesel railway station/miners’ cottages pale as mushrooms in the mist/a
seesaw in the playground of a primary school.
 Simile:
miners’ cottages pale as mushrooms in the mist – ghostly /unsettling /nostalgic.
a seesaw...like scales that tilt towards injustice – lonely /resigned /wistful.
its streetlights like a gorse bloom’s yellow carnival – nostalgic /positive.
 Metaphor:
the topsy-turvy of its history down a surface cross threaded and riddled with
mysteries – ghostly /unsettling /nostalgic.
Lost in the enchantment of an ancient entertainment – ghostly /unsettling /nostalgic /
appreciative.
Coal black waters voyaging this corridor of stars – ghostly /unsettling /nostalgic /
appreciative.
Dad with his pockets full of fancy – nostalgic /wistful /positive.
the town’s wake of champagne corks and ribbons – nostalgic /appreciative /wistful /
positive.
NCEA Level 3 English 91474 (3.3) — page 6 of 7
waiting ... as Huntly floats downstream – ghostly /unsettling /nostalgic.
 Run-on question:
Do I merely chance to catch...Mum laughing as he murmurs something? – nostalgic /
ghostly /unsettling /positive.
 Pre-modification:
A wraith-like old wooden two-storey hotel – unsettling build up of images.
 Appeal to the senses:
The sour taste on my tongue of a dust and diesel railway station – nostalgic /
unsettling.
 Allusion to
Shakespeare:
a midsummer night’s dream – nostalgic, ghostly, unsettling, positive.
 Internal ‘Just keep
internal rhyme and
ignore feminine rhyme’
Enchantment /ancient /entertainment – linking the idea of nostalgia /loneliness /
sentimentality.
Expected coverage – Question Three
Not Achieved
NØ
No response; no relevant evidence.
N1
Candidate does not discuss a clear sense of the nature of time or the notion of time
passing. A sense of the nature or notion of time is mentioned but no reference to text
evidence is given
N2
Candidate describes time in one of the texts with tenuous reference to text evidence.
The candidate:
 provides a straightforward discussion of time as it applies to both texts
A3
 refers to each text to show how the stylistic features convey an appreciation of time, or
an awareness of time passing and/or the effects over time.
Note: There may be some attempt to compare and /or contrast the texts in some way.
Achievement
The candidate:
 provides a firm discussion of the concept of time or the nature of time in both texts
A4
 may show awareness of impression on the poet /narrator
 refers to each text to show how the stylistic features convey an appreciation of time or
an awareness of time passing and/or the effects or changes over time.
Note: There will be evidence of comparison and /or contrast of the texts.
The candidate:
 provides a firm and convincing discussion of the concept of time or the nature of time in
both texts.
M5
 may show awareness of impression on the poet /narrator and their attitude to time
 refers to each text to show how the stylistic features convey an appreciation of time or
an awareness of time passing and/or the effects or changes over time.
Note: There will be evidence of comparison and /or contrast of the texts.
Merit
The candidate:
 provides a convincing discussion of the concept or nature of time
M6
 reveals the narrator’s impressions, developing an understanding of how the language
choices or stylistic features build to reinforce time passing; there may be an awareness
of both an embracing of the changes time brings and a sense of resignation or
acceptance.
NCEA Level 3 English 91474 (3.3) — page 7 of 7
The candidate:
 provides a detailed discussion which shows some insight
E7
Excellence
 reveals an understanding of the techniques and integrates the discussion of language
choices or stylistic features that build to reinforce time passing; there may be an
awareness of both an embracing of the changes time brings and a sense of resignation
or acceptance.
The candidate:
 provides a detailed discussion which shows perception and insight
E8
 reveals understanding of impact of time upon people and the landscape – it may draw
on wider issues beyond the text
 reveals an understanding of the techniques and integrates the discussion of stylistic
features that build to reinforce time passing; there may be an awareness of both an
embracing of the changes time brings and a sense of resignation or acceptance.
Note: Answers are judged holistically, not on the basis of evidence included in the schedule.
Comparison of stylistic features between BOTH texts could include:
 use of figurative language
 the writers remembering a place and a time
 use of a personal voice
 both texts starting from a central place, a place in time that is described which also becomes reflective and
contemplative
 use of very concrete diction (eg, place names)
 use of characters from the original environment – Bill Miller and Mum and Dad
 the acknowledgment of the passing of time without sadness
 the acceptance of the passing of time – they do not lament the change
 the end of both texts on acceptance – Orr drives on and Hulme has no expectations that her homeplace will stay
the same
 both texts see the change as inevitable
 both texts see the positives and negatives of time passing whether implicit or explicit.
Contrast of stylistic features could include:
 Writer A makes reference to Māori language and place names in embracing the ‘dance of change’
 Writer A uses more colloquial phrases when talking about being younger and stronger to face change
 Writer A uses direct quotations to express the regret of missed opportunities at the time
 Writer A uses scientific detail to establish the reputation of the rocks over time
 Writer A places herself more directly in the landscape
 Writer B makes references to supernatural things linked to an afterlife (a time beyond our world)
 Writer B uses wordplay (play on eternity)
 Writer B uses more metaphor – writer A uses more description through word choice
 Writer B uses more descriptive language (there are richer qualifiers in the poem)
 Writer B makes greater use of sound devices.