2009 – 2012 HSC English Prescriptions
Unit of Work
Advanced
Module C: Representation and text
Elective 1: Conflicting Perspectives
Prescribed Text: Julius Caesar (Shakespeare)
© State of New South Wales through the NSW Department of Education and
Training, 2007. This work may be freely reproduced and distributed for most
purposes, however some restrictions apply. See the full copyright notice on
http://www.curriculumsupport.education.nsw.gov.au
1
Module C: Elective 1, Conflicting Perspectives
Prescribed text: Shakespeare, William, Julius Caesar, Cambridge University Press, New Cambridge
Shakespeare, 2004, ISBN-13: 9780521535137; or Cambridge School Shakespeare, 1992, ISBN-13:
9780521409032
This module requires students to explore various representations of events, personalities or
situations. They evaluate how medium of production, textual form, perspective and choice of
language influence meaning. The study develops students’ understanding of the relationships
between representation and meaning.
Each elective in this module requires the study of one prescribed text offering a representation
of an event, personality or situation. Students are also required to supplement this study with
texts of their own choosing which provide a variety of representations of that event, personality
or situation. These texts are to be drawn from a variety of sources, in a range of genres and
media.
Students explore the ways in which different media present information and ideas to understand
how various textual forms and their media of production offer different versions and
perspectives for a range of audiences and purposes.
Students develop a range of imaginative, interpretive and analytical compositions that relate to
different forms and media of representation. These compositions may be realised in a variety of
forms and media.
English Stage 6 Syllabus (1999) Board of Studies NSW, Sydney
Rubric from Prescriptions
In their responding and composing, students consider the ways in which conflicting perspectives
on events, personalities or situations are represented in their prescribed text and other related
texts of their own choosing. Students analyse and evaluate how acts of representation, such as
the choice of textual forms, features and language, shape meaning and influence responses.
English Stage 6 Prescriptions, 2009-2012
Analysis of rubric: Scope of teaching and learning
The rubric guides teaching and learning towards an analysis of the creation of conflicting perspectives
within and between texts with a focus on techniques used to construct and represent conflicting
perspectives. In addressing syllabus outcomes students learn about the use of language to describe
and position responders in relation to personalities, situations and events.
The rubric suggests the following key ideas, which represent Deep Learning for students:
© State of New South Wales through the NSW Department of Education and Training,
2007
2




Representation of conflicting perspectives on events, personalities or situations is shaped by a
composer’s choice of textual forms, features and language
Audience response to conflicting perspectives on events, personalities or situations is shaped by
acts of representation.
Medium of production, textual form, perspective and choice of language influence meaning.
The relationships between representation and meaning.
Assessment: HSC and assessment tasks
Essay Questions
Outcomes 1-8
1. How do the textual form, perspective and language influence meaning in texts? Discuss with
reference to your prescribed text and at least two other texts of your own choosing.
2. In what ways have conflicting perspectives on events, personalities or situations been
represented in the prescribed text and two other related texts?
3. Analyse and evaluate how the acts of representation, such as the choice of textual forms,
features and language, shape meaning and influence responses in your prescribed text and at
least two other related materials.
Assessment Task (Teacher makes a choice between the following two tasks)
Outcomes 1-8
1. Choose one of the following events, personalities or situations to research (or, after consulting
with the teacher, choose your own):

September 11

Gallipoli

The assassination of JFK

John Lennon
© State of New South Wales through the NSW Department of Education and Training,
2007
3
and find two texts that have conflicting perspectives on that event, personality or situation. (NB:
Vary the textual forms, for example it is better to choose a song and a non-fiction book than two
newspaper articles)
Compose a transcript of the conversation between the two composers have about how they have
represented their perspective, focusing on textual form, choice of language and medium of
production.
OR
2. Consider the techniques you have examined in class that Shakespeare has used to create
conflicting perspectives towards Julius Caesar and the events contained within the course of the
drama. Choose another two texts that illustrate conflicting perspectives on personalities, events
or situations. Compose a transcript of the conversation that Shakespeare and the two other
composers have about the techniques they have used within their text and medium of
production to construct conflicting perspectives and shape audience response.
Syllabus outcomes addressed by HSC exam and assessment tasks – to be
also addressed through teaching program
1. A student explains and evaluates the effects of different contexts of responders and composers on
texts.
2. A student explains relationships among texts.
3. A student develops language relevant to the study of English.
4. A student explains and analyses the ways in which language forms and features, and structures of
texts shape meaning and influence responses.
5. A student explains and evaluates the effects of textual forms, technologies and their media of
production on meaning.
6. A student engages with the details of text in order to respond critically and personally.
7. A student adapts and synthesises a range of textual features to explore and communicate
information, ideas and values for a variety of purposes, audiences and contexts.
8. A student articulates and represents own ideas in critical, interpretive and imaginative texts from a
range of perspectives.
13. A student reflects on own processes of learning.
© State of New South Wales through the NSW Department of Education and Training,
2007
4
Ways in which this teaching program builds on the RTA Preliminary English
resource, In the driver’s seat
The ETA resource, In the driver’s seat, could be used in two ways in the Preliminary Course as a
preparation for the teaching of this unit of work:

You steer: controlling the text will provide students with knowledge and understanding about
the different ways to read texts and assigning validity to a perspective (with context in mind)

Also, students will learn how to use related materials to supplement their studies, especially
when developing a personal response
Rationale for approach used in this unit of work
Students will consider the ways in which conflicting perspectives on Julius Caesar and the reasons for
his assassination are represented in Shakespeare’s Julius Caesar and a range of other related texts.
Students will analyse and evaluate how textual form and choice of language shape these perspectives
and influence responses.
The emphasis in this module is on language and how this represents conflicting perspectives on events,
situations and personalities. Notes from the Marking Centre tell us that a common error students make
in Module C is to concentrate too narrowly on the form of their prescribed text rather than focus on
representation. Students will be encouraged to explore events/situations/personalities other than
those being represented in Julius Caesar and to investigate the representation of conflicting
perspectives on other events of significance.
An overarching question in this approach will be: Why do composers construct texts about significant
events, personalities or situations that reflect one or more moral or ethical points of view? By
considering this question, students can draw together their learning in terms of the syllabus outcomes
for this unit of work and make significant connections between the prescribed text and related texts of
their own choosing.
Bibliography
Shakespeare, William, Julius Caesar, Cambridge University Press, New Cambridge Shakespeare, 2004,
ISBN-13: 9780521535137; or Cambridge School Shakespeare, 1992, ISBN-13: 9780521409032
Additional Resources:

Websites:
https://secure.bard.org/education/resources/shakespeare/juliustruth.html
© State of New South Wales through the NSW Department of Education and Training,
2007
5
http://www.screenonline.org.uk/tv/id/566329/index.html
http://www.livius.org/caa-can/caesar/caesar_t09.html
http://www.eyewitnesstohistory.com/caesar2.htm

Dillon, Janet, The Cambridge Introduction to Shakespeare’s Tragedies, CUP, 2007

Drakakis, John. "‘Fashion it thus’: Julius Caesar and the Politics of Theatrical Representation."
http://cco.cambridge.org/extract?id=ccol0521413567_CCOL0521413567A007

Home Box Office (HBO), Rome, Season 1 Episode 12:
http://www.hbo.com/rome/episode/season1/episode12.html
http://en.wikipedia.org/wiki/Kalends_of_February

Taylor, Chris, Dead Caesar

Plutarch
http://penelope.uchicago.edu/Thayer/E/Roman/Texts/Plutarch/Lives/Caesar*.html#66.9

Wyke, Maria (Ed.), Julius Caesar in Western Culture, (University College London)
http://www.blackwellpublishing.com/book.asp?ref=9781405125987
© State of New South Wales through the NSW Department of Education and Training,
2007
6
Weeks 1/2: Introduction to the module, elective, prescribed text and assessment task(s)
Syllabus
content
Quality
Teaching
Engagement
11.1, 11.4
Background
knowledge
Learning and teaching activities
GROUP DISCUSSION/RESPONSES: What is the most successful kind of classroom?
Should the teacher be an autocrat or should democracy rule? What are the pros
and cons of both systems? How do they conflict? Can they be complementary?
What do you know about Ancient Rome and Julius Caesar, the historical figure?
HOMEWORK: What is the significance of SPQR? (see
http://en.wikipedia.org/wiki/SPQR ) Construct a basic timeline of how political
systems changed/developed in Ancient Rome.
Evidence of learning
Informal oral responses
and group
discussion/feedback
NB Teachers may link to the opening exercises of the RTA Preliminary English
package, In the driver’s seat, on the nature of Authority
Background
13.1, 13.2, 13.4 information
Narrative
3.1, 13.1
Background
knowledge
1.4, 1.5, 2.3,
Engagement
Problematic
Knowledge
TEACHER NARRATIVE/POWERPOINT: Introduction to module, elective and the
play (the teacher should construct this resource to ensure they have a complete
Learning log reveals
understanding of the unit they are about to deliver but may choose to leave some understanding of module
slides blank for students to complete eg simple things like characters). Teacher
links opening PREVIOUS ACTIVITY to Julius Caesar. Students reflect on the content
and teacher presentation (in a learning log)
PAIRED ACTIVITY: Read the rubric cloze passage aloud and complete (resource 1).
Prepare three clarifying questions for the whole class/teacher to answer.
INTRODUCING THE OVERARCHING QUESTION: Why do composers construct texts
about significant events, personalities or situations? Generate discussion with
students regarding some of the significant events, personalities and situations
from the past century. Examples that might be discussed are:

September 11
© State of New South Wales through the NSW Department of Education and Training,
2007
Whole class response
clarifies concepts
Students actively
participate in discussion
and record aspects of the
discussion in their learning
7
Substantive
Communication

Gallipoli

The assassination of JFK

John Lennon

Death of Diana, Princess of Wales
log. Questions generated
by students as well as
their responses will
indicate listening to learn.
Discuss the texts (in varying forms and media of production) that students know
have been generated regarding the above. Discuss why composers would choose
to construct texts from these events, personalities and situations. In discussion,
perhaps consider an event like the sinking of Titanic and why, almost a century
later, composers continue to create texts dealing with a past event
3.1, 3.2, 3.3,
3.4
Metalanguage
1.2, 5.1, 5.3,
5.4
Deep
Knowledge
1-8, 13
High
expectations
Explicit quality
criteria
WORD BANK (resource 2): Individuals highlight words/concepts they need
support to understand. Whole class list of difficult concepts created, and words
allocated to individuals to research, then present findings of research to the
class(homework task).
More sophisticated
understanding of
metalanguage/concepts
SILENT READING: students read notes on medium of production and Julius Caesar
(resource 3), highlight key points and make notes (homework).
Notes
ASSESSMENT TASK - TEACHER EXPLANATION: Students are issued with task
(resource 9).
Discussion of criteria, faculty assessment policies/process and emphasis on how
to achieve these high expectations. Students write clarifying questions on sticky
notepads and whole class discusses.
PRESCRIBED TEXT: Class (or professional audio) reading of the play. Depending on
© State of New South Wales through the NSW Department of Education and Training,
2007
Clarifying questions
Learning Log
8
6.1, 7.1, 8.1
Narrative
the class there may be more or less of the play read in class. Some classes may
prefer to completely finish/read the play for pleasure whereas others will
complete tasks as they go. Students should continue to use their learning log.
Activities (see resources
for WEEKS 3/4)
Weeks 3/4: Conflicting perspectives in Shakespeare’s, Julius Caesar
Syllabus
content
Quality
Teaching
1.3, 6.1, 6.4,
8.1
Social support
1.3, 4.1, 5.4,
6.1, 6.4, 7.1,
8.1
Deep
knowledge
1.3, 3.1, 3.2,
3.3, 4.1, 4.2,
4.3, 5.4, 6.1,
6.2, 6.3, 6.4,
7.1, 8.1
Deep
Understanding
Learning and teaching activities
THINK-PAIR-SHARE: Compare and contrast the views of Caesar that are held by the
general Roman population and the view held by Cassius by compiling a table (resource
4) and then improve by sharing with the whole class.
CONFLICTING PERSPECTIVES: Construct a table (resource 5) which records each
character’s perspective on the character of Julius Caesar (include a quote and
reference) for Act One only.
Also, record (resource 5) the use of animal imagery in the play to represent Caesar
(include quote and reference). What is the effect of this imagery?
ANALYSIS: Students should complete their ongoing record of each character’s
perspective using the proforma (resource 7). See the exemplar on Mark Antony’s
funeral oration (resource 6). Teachers may choose from a variety of different strategies
(pairs, groups or individuals) to assist the class to compile this record. Ultimately
students will be collating and synthesising using the ‘perspective jigsaw’ (resource 10).
The following passages will be of use:
 III.i 60-72 ‘I am constant as the…’
 III ii 12-39; ‘Be patient . . . .’
 III ii 65-99 ‘Friends, Romans…’
© State of New South Wales through the NSW Department of Education and Training,
2007
Evidence of learning
Student entries
written in table
reflect conflicting
perspectives on
Caesar
Students locate,
record and cite
reference details for
appropriate quotes
that reveal
perspectives on the
character of Julius
Caesar
Students summarise
and analyse
significant speeches
in terms of acts of
representation and
perspectives
presented therein
9
CONFLICTING PERSPECTIVES – Antony
Activity:
 Complete the quotation matrix (resource 7A) in order to contrast the perspectives
of Ocatavius Caesar and Cleopatra in Julius Caesar and Antony and Cleopatra.
 Use your analysis in a 300 word evaluation of the different ways Antony is
represented through language which leads to conflicting perspectives among
characters and responders.
3.2,5.4, 7.2
Substantive
communication
TRANSCRIPT: Write the conversation between a director and the actor playing the
character of Julius Caesar. The actor has asked the question: how do others in the play
see Julius Caesar?
Metalanguage
Student transcripts
demonstrate an
understanding of
conflicting
perspectives and
how they are
constructed using
language features
and forms
Weeks 5/6: How to use related materials
Syllabus
content
Quality
Teaching
Learning and teaching activities
Evidence of learning
http://www.livius.org/caa-can/caesar/caesar_t09.html
http://www.eyewitnesstohistory.com/caesar2.htm
1.1, 1.3, 2.2,
2.3, 4.2, 4.3
Problematic
knowledge
Higher order
WEBPAGE ANALYSIS
1. Rubric 25 words or less quick quiz: students have 2 minutes to summarise the rubric
in 25 words on a slip of paper. They then are asked to get out of their seats and find 3
other students who have come up with a similar response. (This activity will form the
groups students are to work in for this lesson).
2. In groups, students will compare the two webpages above, establishing if there are
© State of New South Wales through the NSW Department of Education and Training,
2007
Students have
summaries of the
rubric.
Students have
10
thinking
Cultural
knowledge
High
expectations
3.2, 3.3,
Student
engagement
6.2, 6.3, 6.4
Substantive
communication
Deep
knowledge
6.1, 7.1, 5.4
Background
knowledge
conflicting perspectives presented in these resources. Hard copies should be printed so
as to address shortages in access to computers. An ideal analysis worksheet resource
would be the proforma already used to deconstruct Shakespeare's Julius Caesar, as this
is familiar to students, saving time in explanation and modelling.
3. Discuss how what is represented on these two webpages is touted as "historical fact"
reported by those who "were there". Consider in subsequent lessons how this differs to
the satirical play of Dead Caesar which relies heavily on pop culture and current
knowledge of Sydney politics and identities to make meaning.
STUDENT PRESENTATIONS TO CLASS: Students will be required to present their
webpage analysis via OHT (The analysis sheet could be copied onto OHT for them). Each
group will be expected to formulate two questions for another group that challenges
the "perspective" that they as a group have established. These questions will be asked
via the two groups "facing off in debate" for 5 minutes. The purpose of this activity is to
demonstrate that not only do composers present conflicting perspectives, but the
conflicting perspectives of responders (a direct result of context, language and mode of
production) impact on the analysis of a text and the meaning making process.
Homework - 300 - 500 word response: Identify 3 key ideas/perspectives about Julius
Caesar highlighted in one of the web pages that conflict with those in Shakespeare's
Julius Caesar. Discuss how these conflicting perspectives are presented.
identified , analysed
and compared
perspectives in the
webpages
Student
presentations to the
class.
Homework task
reflects critical
response
Problematic
knowledge
EXTRACTS FROM: Dead Caesar
Background
knowledge
5.1, 1.1, 1.2,
1.3, 1.4, 1.5
Cultural
knowledge
Deep
1. Teacher to select at least 2 key scenes from Chris Taylor's Dead Caesar to analyse
(again best to use original analysis sheet)
2. Prior to independent work, teacher to formulate a way for the class to revisit
concepts of popular culture, satire, context (historical, social, cultural), audience,
purpose, timeliness (i.e. could a play like Dead Caesar be performed 10 years later, or
even 6 months later, or in a different location to Sydney, due to its satire intertextually
© State of New South Wales through the NSW Department of Education and Training,
2007
Student analysis
reflects
understanding of
context. Class
discussion focuses on
composer’s
techniques and
11
6.3, 7.2
knowledge
Higher order
thinking
9.1, 9.3, 7.2,
6.4, 2.1, 2.2,
2.3
Explicit quality
criteria
Student
direction
Higher order
thinking
Cultural
knowledge
Background
knowledge
High
expectations
relying on the audience's knowledge of current political and social affairs pertaining
specifically to Sydney and NSW?).
3. Analysis of key scenes independently then discussion as whole class. Teacher to
provide each scene printed centrally on an A4 page so as students can make
annotations in the white space either side of the text. Teacher may model this form of
analysis using a scene on OHT.
4. Personal response to be commenced in class for teacher assistance then completed
for homework:
ESSAY: Compare and contrast the conflicting perspective of the assassination of Julius
Caesar represented in Dead Caesar and Shakespeare's Julius Caesar. This question can
be easily modified to reflect character perspectives, or any other type of "conflicting
perspective" established by the students.
ONLINE RESEARCH TASK: Investigation of a recent International political event or figure.
Teachers need to remember, that at the time of writing this unit, interesting or "timely"
events will come and go; therefore, discretion and negotiation are needed when
selecting an event. It is important for the whole class to research the same event, as
this is a test run for the Assessment Task in which they will be given choice.
1. Before researching online, as a class, discuss your event, figure or situation and
establish what is already known and how this knowledge was gained. Consider the
reliability of the sources etc, audience, purpose again.
2. Table the conflicting perspectives already evident among the students - these will be
later compared with formal research. Discuss possible reasons for the conflicts,
reaffirming the rubric and what you have already learned.
3. Research the event, person, or situation online (no more than one 60 min lesson
equivalent). Students are to create a similar resource to that provided for them in the
opening lesson of Weeks 5/6. The teacher should have created a hard copy resource of
the two web pages to be compared using the “Print Screen” function; therefore it is
necessary for the teacher to demonstrate this skill in the computer lab. Building on the
annotation skills introduced in the previous lesson. They will annotate their printouts as
a means of analysis. Two webpages need to be analysed and submitted for peer
marking that clearly show conflicting perspectives.
© State of New South Wales through the NSW Department of Education and Training,
2007
perspectives.
Student research
focuses on language,
context and
perspectives.
Students produce a
research resource
and a response to
the research of other
students
12
4. Back in the classroom, students are given the resources of another student and are
to compose a 500 word report describing, analysing and evaluating the conflicting
perspectives researched.
Weeks 7: Preparation for assessment task and HSC preparation
Syllabus content
1.1, 1.3, 1.4,
1.5, 2.1, 2.2,
2.3, 4.2, 5.1, 5.4
Quality Teaching
Deep Knowledge
Knowledge
Integration
Background
Knowledge
Problematic
Knowledge
Substantive
Communication
Connectedness
Engagement
Learning and teaching activities
Evidence of learning
Student ideas and
REVISITING AND ADDRESSING THE OVERARCHING QUESTION: Why do composers questions will
construct texts from significant events, personalities or situations that reflect a
reflect greater
moral or ethical point of view? Revisit discussion with students regarding some of depth and breadth
the significant events, personalities and situations from the past century. Examples of understanding
that might again be discussed are:
than when initially
discussed in Week
1.
 September 11

Gallipoli

The assassination of JFK

John Lennon

Death of Diana, Princess of Wales
Revisit some of the questions that were dealt with in Week 1or 2 such as: Why
would composers choose to construct texts from these events, personalities and
situations?
What are some of these texts and what are the techniques and devices that
enable new or conflicting perspectives to be created to affect and influence
audiences?
© State of New South Wales through the NSW Department of Education and Training,
2007
13
What is left to say and what drives composers to attempt to find new ways to look
at known events, personalities and situations?
Draw a comparison with Julius Caesar: if Plutarch, Gaius Suetonius Tranquilluis
[c.70-c.135] and Nicolaus of Damascus [c.40BC] had already covered the life and
assassination of Julius Caesar, what was Shakespeare’s dramatic intention in
constructing another text 1600 years later ? How has Shakespeare’s dramatic
intention been achieved using various acts of representation? Why have others
(Chris Taylor/Andrew Hansen, Dead Caesar; Johnny Wayne/Frank Schuster Rinse
the Blood off my Toga etc) continued to construct texts dealing with Julius Caesar?
What is the connection between their intentions and acts of representation?
What are the varying, and conflicting, perspectives represented in the prescribed
and related texts?
2.1, 2.2, 2.3,
4.1, 7.1
13.1, 13.4,
12A.2, 12A.3,
12A.4, 12A.5
PERSPECTIVES:
Deep Understanding Refer to ongoing record of conflicting perspectives (Resource 6) Additionally or
alternatively, students might use Inspiration or other hyperlinking mind map
Higher Order
programs to record their observations about conflicting perspectives on events,
Thinking
personalities and situations in Julius Caesar and other related material.
Using the Resource 10 pro forma, students should map key techniques that are
used in the prescribed text and other related materials, enabling students to have
analysed and synthesised how acts of representation shape meaning and influence
Explicit Quality
responses. Suggest jointly constructing an example with the class so as to ensure
Criteria
consistency, discernment and quality in how students complete the pro forma.
NARRATIVE JOURNAL ENTRY: Students construct a learning journal entry that
recounts and reflects on their own processes of learning in relation to the
Representation and Text module. Students’ journal entries should specifically
Deep Understanding reflect on their understanding and examination of:
 Language techniques used to represent Julius Caesar, his assassination and
Substantive
other events, personalities and situations within Julius Caesar.
Communication
 Language techniques used in other related texts (including texts in different
Metalanguage
© State of New South Wales through the NSW Department of Education and Training,
2007
Students have
completed the
Resource A
Perspective Jigsaw
with discerning
examples of
techniques and
critical analysis
Journal entries
focus on
representation in
texts to create
conflicting
perspectives on
events, personalities
and situations of
14
Knowledge
Integration
6.1, 6.3, 7.1,
8.1, 8.2, 13.3,
13.4

forms) to represent events, personalities or situations of significance
How these techniques create conflicting perspectives within and between
texts.
ESSAY WRITING PREPARATION: Using Resource 11, have students consider quotes
from the Introduction to the prescribed text in light of their own responses to acts
of representation. Students should demonstrate how the essence of each quote
Deep Understanding describes how meaning is shaped in Julius Caesar and audience response is
influenced. Students should support and illustrate their responses with explicit
Higher Order
references and quotes. Subsequently, students should analyse and evaluate how
Thinking
the quotes can be applied to student chosen related texts. Sample questions are
included below each quote as starters to student considerations. It will benefit
students to share their responses to each of the quotes wherever possible.
Deep Knowledge
© State of New South Wales through the NSW Department of Education and Training,
2007
significance.
Students have
responded to each
quote in terms of
both the prescribed
text and their
related texts.
Responses will
include supporting
references and
quotes.
15
Resource 1
Cloze Passage
Module C: Representation and Text
This module requires students to explore various __________________ of events, personalities or
situations. They evaluate how medium of production, textual form, ________________ and choice of
language influence meaning. The study develops students’ understanding of the relationships between
representation and meaning.
Each elective in this module requires the study of one ____________ text offering a representation of
an event, personality or situation. Students are also required to _______________ this study with texts
of their own choosing which provide a variety of representations of that event, ______________ or
situation. These texts are to be drawn from a variety of sources, in a range of genres and media.
Students explore the ways in which different ____________ present information and ideas to
understand how various textual forms and their media of production offer different versions and
perspectives for a range of audiences and purposes.
Students develop a range of imaginative, _________ and analytical compositions that relate to
different forms and media of representation. These compositions may be realised in a variety of forms
and media.
Elective 1: Conflicting Perspectives
In their responding and composing, students consider the ways in which ____________ perspectives
on events, personalities or situations are represented in their prescribed text and other related texts of
their own choosing. Students ____________ and evaluate how acts of representation, such as the
choice of textual forms, features and_____________, shape meaning and _____________ responses.
CLOZE WORDS
influence
conflicting
language
interpretive
media
prescribed
perspective
analyse
supplement
personality
representations
© State of New South Wales through the NSW Department of Education and Training,
2007
16
Module C: Representation and Text
This module requires students to explore various representations of events, personalities or situations.
They evaluate how medium of production, textual form, perspective and choice of language influence
meaning. The study develops students’ understanding of the relationships between representation and
meaning.
Each elective in this module requires the study of one prescribed text offering a representation of an
event, personality or situation. Students are also required to supplement this study with texts of their
own choosing which provide a variety of representations of that event, personality or situation. These
texts are to be drawn from a variety of sources, in a range of genres and media.
Students explore the ways in which different media present information and ideas to understand how
various textual forms and their media of production offer different versions and perspectives for a
range of audiences and purposes.
Students develop a range of imaginative, interpretive and analytical compositions that relate to
different forms and media of representation. These compositions may be realised in a variety of forms
and media.
Elective 1: Conflicting Perspectives
In their responding and composing, students consider the ways in which conflicting perspectives on
events, personalities or situations are represented in their prescribed text and other related texts of
their own choosing. Students analyse and evaluate how acts of representation, such as the choice of
textual forms, features and language, shape meaning and influence responses.
Students choose one of the following texts as the basis of their further exploration of the
representations of conflicting perspectives.
Shakespearean Drama
Shakespeare, William, Julius Caesar, Cambridge University Press, New Cambridge Shakespeare, 2004,
ISBN-13: 9780521535137; or Cambridge School Shakespeare, 1992, ISBN-13: 9780521409032
© State of New South Wales through the NSW Department of Education and Training,
2007
17
Resource 2
WORD BANK
William Shakespeare
Elizabethan theatre
Plutarch
prose narrative
dialogue
blank verse
couplet
iambic pentameter
soliloquy
irony
verbal irony
dramatic irony
ambiguity
rhetorical question
theme
comparison
contrast
antithesis
parallelism
repetition
connotation
denotation
representation
perspectives
images
medium of production
situations
personalities
events
analysis
evaluation
historical, social, cultural context
anachronism
anachronistic
textual forms
features
techniques
positioning
caesura
enjambment
objectivity
subjectivity
bias
dominant, resistant and
alternate readings
prejudice
pronouns
adjectives
oratory
oration
funeral oration
foreshadowing
blocking
stagecraft
abstract
naturalistic
assassination
assassins
conspiracy
conspirators
epitaph
© State of New South Wales through the NSW Department of Education and Training,
2007
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Resource 3:
adapted from material found at
http://hsc.csu.edu.au/english/advanced/representation/powerplay/3145/index.html#a1
Medium of production
Julius Caesar is a tragedy. There are conventions underpinning its composition, and which
function to convey the text’s meaning. Tragedy as a dramatic form emerged in the 5th century BC in
ancient Athens (Greece). According to the Greek philosopher Aristotle, a tragedy is a drama which
follows the fortunes of a main character, a protagonist, who suffers some terrible downfall through a
combination of fate, and his or her own hamartia (frailty, excess or error of judgment). The intended
effect on the audience is what Aristotle called catharsis: an arousal of the emotions of pity (pathos)
combined with fear, which is purged by the end of the tragedy, with the audience feeling uplifted and
wiser in their understandings of the inter-relatedness of humans, gods and fate. There is an emphasis
in tragedy, therefore, on the actions and decisions taken by the characters. The seating arrangement in
the ancient Greek amphitheatre, with the audience looking down on and seated around the
performance space, would have encouraged its members to make judgments about the characters and
their actions as they watch the play.
Shakespeare’s tragedy of Julius Caesar was probably first performed in the Globe Theatre in
London, c.1599. The theatre was roughly circular, with a rectangular stage thrusting (hence the term
thrust stage) out into a courtyard, surrounded by 3 storeys of seating. Many people stood in the
central courtyard looking up at the action on stage; many people in the seated part looked down on
the action as did the people of ancient Athens, observing the characters’ actions and decisions that
move them towards inevitable downfall.
As in ancient Greece, the protagonists of Shakespeare’s tragedies were people of high rank:
kings, queens, princes, emperors, members of wealthy families. Tragic plays cut these people down to
human status, showing that even great ones are susceptible to destructive fate if they act rashly.
From the opening of the play the audience is positioned to judge the unfolding action from a
range of perspectives in language rich in imagery. The blank verse (iambic pentameter) form of verse is
very close to natural speech rhythms. Writing plays in verse forms was used because of convention:
English plays had been composed in rhyming verse for centuries. Blank verse was an innovation of
Shakespeare's time with Shakespeare’s contemporary, Christopher Marlowe, being credited with this.
However Shakespeare uses blank verse to effect. It suits the depiction of legendary historical
characters on live stage: the characters are bigger than life, and so is the language. It is also an
excellent vehicle for some very poetic passages, notably Antony’s funeral oration.
Module C: Representation and Text
The emphasis in this module is on language (including visual language) and how this represents
conflicting perspectives on events, situations and personalities. Notes from the Marking Centre tell us
that a common error students make here is to allow the form of their prescribed text to dominate their
investigation of the elective. For example, too many students concentrate only on satire, as seen in
Frontline. They confuse this with the focus of the elective which is on representation.
© State of New South Wales through the NSW Department of Education and Training,
2007
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Students should be ready to concentrate on how their chosen elective represents the particular
focus of the text. Students can either choose to stay within or to move away from the
event/situation/personality being represented in their prescribed text. For example, you don’t have to
exclusively examine the representation of Julius Caesar. Other texts can investigate the representation
of other events of significance such as 9/11, Gallipoli and so forth.
Make sure that the texts of your own choosing are substantial enough to allow you to analyse
them in depth. There may be benefit in choosing texts that are not the same form as your prescribed
text as this will allow you to consider how composers might represent events/situations/personalities
in different forms.
© State of New South Wales through the NSW Department of Education and Training,
2007
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Resource 4
Act I
Blank verse – unrhymed
Iambic pentameter – five pairs of syllables in a line; the first is weak, the second is strong
I. ii – Brutus and Cassius dialogue ‘Into what dangers would you lead me, Cassius…’
In this scene we are introduced to the four characters – Cassius, Brutus, Julius Caesar and Mark
Antony.
Brutus and Cassius are represented as members of the Roman ruling class.
Compare and contrast the views of Caesar that are held by the general Roman population and the view
held by Cassius in the opening of the play. Start by compiling a table that also considers how each view
is represented:
Roman population’s view of
Caesar
Cassius’ view
© State of New South Wales through the NSW Department of Education and Training,
2007
Analysis
21
Resource 5
Activities

Construct a table which records use of animal imagery in the play to represent Caesar (include a
quote and reference):
ANIMAL IMAGERY QUOTE
SIGNIFICANCE
Cassius
And should Caesar a tyrant then?
Cassius believes that the Roman people do not
Poor man! I know he would not be a
have the spirit to stop Caesar becoming a tyrant
wolf
(hinds – peasants/servants)
But he sees the Romans are but sheep;
He were no lion, were not Romans hinds.
1.3.103-6

Construct a table which records each characters’ perspective on the character of Julius Caesar
(include a quote and reference):
CHARACTER
PERSPECTIVE ON CAESAR/QUOTE
© State of New South Wales through the NSW Department of Education and Training,
2007
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Resource 6
Ongoing Record of Characters’ Perspective on Julius Caesar
A reminder: the module requires students to explore various representations of
conflicting perspectives on events, personalities or situations. They evaluate how
medium of production, textual form, perspective and choice of language influence
meaning…students consider the ways in which conflicting perspectives on events,
personalities or situations are represented in their prescribed text…Students analyse
and evaluate how acts of representation, such as the choice of textual forms, features
and language, shape meaning and influence responses.
Character: Mark Antony
Quotes/Reference (context)
Antony’s funeral oration speech Act III ii 65-99
Summary
Mark Antony speaks, after Brutus, at the funeral of Julius Caesar to the assembled throng. He is in the
awkward situation of not appearing to be in direct opposition to the assassins as his own life may be in
danger. The crowd has been convinced that Julius Caesar was a grave danger to peace, freedom,
liberty and the Roman Republic. He speaks to the plebeians using a series of devices to win their
support and manipulate the situation with the skilful use of language. By the conclusion of his oration
the crowd is aghast that Caesar has been taken from them.
Representation (language features, devices; how is meaning shaped etc.)
 irony – “I come to bury Caesar; not to praise him”
 repetition – “Honorable”; “ambitious”
 rhetorical questions “Did this in Caesar seem ambitious?””
 caesura/enjambment (punctuation) – “I thrice presented him a kingly crown/which he did
thrice refuse. Was this ambition?”
 pause – “Are they all, all honorable men – “ (+ see above and many other examples)
 recount/narrative/anecdote/evidence – refusing the crown; weeping with poor; filling Rome’s
coffers with booty etc.
 flattery – of the crowd (‘Friends’) generally
 structure – Antony’s flattery of the crowd and his adulation of Caesar becomes evident to the
responder as the speech unfolds
Analysis of Perspective
Mark Antony’s perspective of the assassination of Julius Caesar does not change at any stage after the
event; but his language during the oration initially cloaks his view from his audience, which included
the assassins. The speech is ironic and delivered to both the crowd (and the audience of the play) who
have a growing awareness of Antony’s perspective of the ‘honorable’ men who have assassinated the
© State of New South Wales through the NSW Department of Education and Training,
2007
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‘ambitious’ Caesar. He seeks vengeance on the conspirators for murdering Caesar who has “the most
noble blood of all this world.” (III i 56) Antony realises that he is in an awkward position and that his
“…credit now stands on such slippery ground…” (III i 191) which results in his cleverly crafted oration
that convinces the plebeians Caesar should not have been assassinated. Mark Antony does not seem to
fear the possibility of dictatorship and the fall of the cherished ideal of a republic.
© State of New South Wales through the NSW Department of Education and Training,
2007
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Resource 7
Ongoing Record of Characters’ Perspective on Julius Caesar
A reminder: The module requires students to explore various representations of events,
personalities or situations. They evaluate how medium of production, textual form,
perspective and choice of language influence meaning…students consider the ways in
which conflicting perspectives on events, personalities or situations are represented in
their prescribed text…Students analyse and evaluate how acts of representation, such as
the choice of textual forms, features and language, shape meaning and influence
responses.
Character:
Quotes/Reference (context)
Summary
Representation (language features, devices; how is meaning shaped etc.)
Analysis of Perspective
© State of New South Wales through the NSW Department of Education and Training,
2007
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Resource 7a
CONFLICTING PERSPECTIVES of Antony
Activity:
 Complete the quotation matrix below in order to contrast the perspectives towards Antony of different characters in Julius
Caesar and of Ocatavius Caesar and Cleopatra in Antony and Cleopatra.
 Use your analysis in a 500 word evaluation of the different ways Antony is represented through language across the two plays
which leads to conflicting perspectives among characters and responders.
Characters form Julius Caesar
Quote/Evidence
Perspective of Antony (Character &
Responder)
To Antony’s servant, Brutus is praising
Act III, Sc. 1
Antony, respecting his wisdom and
Brutus: Thy master (Antony) is a wise and loyalty to Rome – both on and off the
valiant Roman; I never thought him battle field. Therefore, it was not just
Julius Caesar who held Antony in high
worse.
regard. There is also a suggestion here
of the potential power Antony has.
Act III, Sc. 1
Cassius: [Aside to Brutus] You know not
what you do; do not consent
That Antony speak in his funeral:
Know you how much the people may be
mov’d
By that which he will utter?
Act IV, Sc 1
Antony: Octavius, I have seen more days
than you…
Analysis of language
Simple, literal language is used in this quote. It
is important to recognise the significance of
the emotive word “valiant” and how it
suggests many things about Antony as a
soldier and leader. Brutus labels Antony a
“Roman” which implies he is loyal to Rome
and should hopefully support their actions.
© State of New South Wales through the NSW Department of Education and Training,
2007
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Octavius Caesar
Act IV, Sc 1
Antony: …And now, Ocatavius,
Listen great things: Brutus and Cassius
Are levying powers; we must straight
make head;
Therefore let our alliance be combin’d,
Our best friends made, and our best
means stretch’d out;
And let us presently go sit in council
How covert matters may be best
disclos’d,
And open perils surest answered.
Octavius: Let us do so: for we are at the
stake,
And bay’d about with many enemies; And
some that smile have in their hearts, I
fear,
Millions of mischiefs.
Antony and Cleopatra
Act 1, Sc 4
Octavius: …he fishes, drinks, and wastes
The lamps of night in revel; is not more
man-like
Than Cleopatra; nor the queen of
Ptolemy
More womanly than he; hardly gave
audience, or
Vouchsafed to think he had partners: you
shall find there
A man who is abstract of all faults…
© State of New South Wales through the NSW Department of Education and Training,
2007
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Antony and Cleopatra
Act 1, Sc 4
Octavius: Antony,
Leave thy lascivious wassails. When thou
once
Wast beaten from Modena, where thou
slew'st
Hirtius and Pansa, consuls, at thy heel
Did famine follow; whom thou fought'st
against,
Though daintily brought up, with
patience more
Than savages could suffer: thou didst
drink
The stale of horses, and the gilded puddle
Which beasts would cough at: thy palate
then did deign
The roughest berry on the rudest hedge;
Yea, like the stag, when snow the pasture
sheets,
The barks of trees thou browsed'st; on
the Alps
It is reported thou didst eat strange flesh,
Which some did die to look on: and all
this—
It wounds thine honour that I speak it
now—
Was borne so like a soldier, that thy
cheek
So much as lank'd not.
© State of New South Wales through the NSW Department of Education and Training,
2007
Cleopatra
28
Antony and Cleopatra
Act 1, Sc 5
Cleopatra: O Charmian,
Where think'st thou he is now? Stands
he, or sits he?
Or does he walk? or is he on his horse?
O happy horse, to bear the weight of
Antony!
Do bravely, horse! for wot'st thou whom
thou movest?
The demi-Atlas of this earth, the arm
And burgonet of men. He's speaking now,
Or murmuring 'Where's my serpent of old
Nile?'
For so he calls me: now I feed myself
With most delicious poison. Think on me,
That am with Phoebus' amorous pinches
black,
And wrinkled deep in time? Broadfronted Caesar,
When thou wast here above the ground, I
was
A morsel for a monarch: and great
Pompey
Would stand and make his eyes grow in
my brow;
There would he anchor his aspect and die
With looking on his life.
© State of New South Wales through the NSW Department of Education and Training,
2007
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Antony and Cleopatra
Act 1 Sc 5
Cleopatra: Who's born that day
When I forget to send to Antony,
Shall die a beggar. Ink and paper, Charmian.
Welcome, my good Alexas. Did I, Charmian,
Ever love Caesar so?
Charmian: O that brave Caesar!
Cleopatra: Be choked with such another
emphasis!
Say, the brave Antony.
Charmian: The valiant Caesar!
Cleopatra: By Isis, I will give thee bloody
teeth,
If thou with Caesar paragon again
My man of men.
Charmian: By your most gracious pardon,
I sing but after you.
Cleopatra: My salad days,
When I was green in judgment: cold in blood,
To say as I said then!
© State of New South Wales through the NSW Department of Education and Training,
2007
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Resource 8
Assessment: HSC and assessment tasks
Essay Question (Teacher makes a choice between the following three tasks)
Outcomes 1-8
1. How do the textual form, perspective and language influence meaning in texts? Discuss
with reference to your prescribed text and at least two other texts of your own
choosing.
2. In what ways have conflicting perspectives on events, personalities or situations been
represented in the prescribed text and two other related texts?
3. Analyse and evaluate how the acts of representation, such as the choice of textual
forms, features and language, shape meaning and influence responses in your
prescribed text and at least two other related materials.
MARKING GUIDELINES
In your answer you will be assessed on how well you:
 evaluate and show understanding of the relationship between representation and meaning.
 organise, develop and express ideas using language appropriate to audience, purpose and form.
Criteria: Outcomes assessed include: H2, H3, H4, H5, H6, H8
 Composes a sophisticated argument or response showing an insightful
understanding of the relationship between representation and meaning.
 Demonstrates detailed and extensive knowledge of the texts and perceptive
understanding of the ways that texts shape meaning.
 Demonstrates insightful understanding and evaluation of the ways texts present
information and ideas and the significance of purpose, audience and media of
production on the language used in texts.
 Demonstrates sophisticated expression, using appropriate language forms,
features and structures.
 Composes a well developed argument or response showing a well developed
understanding of the relationship between representation and meaning.
 Demonstrates detailed knowledge of the texts and perceptive understanding of
the ways that texts shape meaning.
 Demonstrates well developed understanding and evaluation of the ways texts
present information and ideas, and the impact of purpose, audience and media
of production on the language used in texts.
 Demonstrates fluent expression using appropriate language forms, features and
structures.
© State of New South Wales through the NSW Department of Education and Training,
2007
MARKS
A
17 - 20
B
13 - 16
31












Composes a sound argument or response showing an understanding of the
relationship between representation and meaning.
Demonstrates sound knowledge of the texts and understanding of the ways that
texts shape meaning.
Demonstrates sound understanding and evaluation of the ways texts present
information and ideas, and the impact of purpose, audience and media of
production on the language used in texts.
Demonstrates sound expression, using appropriate language forms, features and
structures.
Composes a generalised argument or response showing limited understanding of
the relationship between representation and meaning.
Demonstrates some knowledge of the texts and an understanding of some of the
ways that texts shape meaning.
Demonstrates limited understanding of the ways texts present information and
ideas, and the impact of purpose, audience and media of production on the
language used in texts.
Demonstrates variable expression, using some limited appropriate language
forms, features and structures.
Composes an undeveloped response showing little understanding of the
relationship between representation and meaning.
Demonstrates little knowledge of the texts and makes basic comments on some
of the ways that texts shape meaning.
Demonstrates elementary ability to describe the ways texts present information
and ideas.
Demonstrates limited expression, with little use of appropriate language forms,
features and structures.
© State of New South Wales through the NSW Department of Education and Training,
2007
C
9 - 12
D
5-8
E
1-4
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Resource 9
Assessment Task (Teacher makes a choice between the following two tasks)
Outcomes 1-8
1. Choose one of the following events, personalities or situations to research (or, after consulting
with the teacher, choose your own):

September 11

Gallipoli

The assassination of JFK

John Lennon
and find two texts that have conflicting perspectives on that event, personality or situation. (NB:
Vary the textual forms; for example it is better to choose a song, feature article and a non-fiction
book than two newspaper articles)
Compose a transcript of the conversation between the two composers have about how they have
represented their perspective focusing on textual form, choice of language and medium of
production.
OR
2. Consider the techniques you have examined in class that Shakespeare has used to create
conflicting perspectives towards Julius Caesar and the events contained within the course of
the drama. Choose another two texts that illustrate conflicting perspectives on personalities,
events or situations. Compose a transcript of the conversation that Shakespeare and the two
other composers have about the techniques they have used within their text and medium of
production to construct conflicting perspectives and shape audience response.
Marking Guidelines
In your answer you will be assessed on how well you:

evaluate and show understanding of the relationship between representation and meaning.

organise, develop and express ideas using language appropriate to audience, purpose and form.
© State of New South Wales through the NSW Department of Education and Training,
2007
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Marking Criteria
Criteria: Outcomes assessed include: H1, H2, H3, H4, H5, H6, H7, H8





















Composes a sophisticated argument or response showing an insightful understanding of the
representation of conflicting perspectives of the event, personality or situation
Convincingly explains and evaluates the effects of different contexts of responders and
composers on texts
Demonstrates insightful understanding and evaluation of the ways texts present information
and ideas and the significance of purpose, audience and media of production on the
language used in texts.
Demonstrates sophisticated expression, using appropriate language forms, features and
structures.
Composes a well developed argument or response showing a well developed understanding
of the representation of conflicting perspectives of the event, personality or situation
Explains and evaluates the effects of different contexts of responders and composers on
texts
Demonstrates well developed understanding and evaluation of the ways texts present
information and ideas, and the impact of purpose, audience and media of production on the
language used in texts.
Demonstrates fluent expression using appropriate language forms, features and structures.
Composes a sound argument or response showing an understanding of the representation
of conflicting perspectives of the event, personality or situation
Explains and attempts to evaluate the effects of different contexts of responders and
composers on texts
Demonstrates sound understanding and evaluation of the ways texts present information
and ideas, and the impact of purpose, audience and media of production on the language
used in texts.
Demonstrates sound expression, using appropriate language forms, features and structures.
Composes a generalised argument or response showing limited understanding of the
representation of conflicting perspectives of the event, personality or situation
Attempts to explain and evaluate the effects of different contexts of responders and
composers on texts
Explains and evaluates the effects of different contexts of responders and composers on
texts
Demonstrates limited understanding of the ways texts present information and ideas, and
the impact of purpose, audience and media of production on the language used in texts.
Demonstrates variable expression, using some limited appropriate language forms, features
and structures.
Composes an undeveloped response showing little understanding of the relationship of the
representation of conflicting perspectives of the event, personality or situation
Little attempt to explain and evaluate the effects of different contexts of responders and
composers on texts
Demonstrates elementary ability to describe the ways texts present information and ideas.
Demonstrates limited expression, with little use of appropriate language forms, features and
structures.
© State of New South Wales through the NSW Department of Education and Training,
2007
MARKS
A
17 - 20
B
13 - 16
C
9 - 12
D
5-8
E
1-4
34
Resource 10 :
Perspectives
Describe and illustrate the techniques used to
Describe and illustrate the techniques used
represent conflicting perspectives in Julius Caesar to represent conflicting perspectives
presented in your chosen related material
Technique:
Technique:
Example:
Example:
Effect in terms of representing conflicting
perspectives:
Effect in terms of representing conflicting
perspectives:
Technique:
Technique:
Example:
Example:
Effect in terms of representing conflicting
perspectives:
Effect in terms of representing conflicting
perspectives:
Describe how the techniques used in
Julius Caesar and your chosen related
material have shaped and influenced
your own perspectives on events,
personalities and situations
© State of New South Wales through the NSW Department of Education and Training,
2007
35
Technique:
Technique:
Example:
Example:
Effect in terms of representing conflicting
perspectives:
Effect in terms of representing conflicting
perspectives:
Technique:
Technique:
Example:
Example:
Effect in terms of representing conflicting
perspectives:
Effect in terms of representing conflicting
perspectives:
© State of New South Wales through the NSW Department of Education and Training,
2007
36
Resource 11
(Quotes from the introduction to Shakespeare, William, Julius Caesar, Cambridge University Press,
New Cambridge Shakespeare, 2004, ISBN-13: 9780521535137; or Cambridge School Shakespeare,
1992, ISBN-13: 9780521409032)
Quote A
‘. . . it is concentration, combined with repetition, which gives the real contours of the
plot. . . .The action of the play consists of uninterrupted conflict situations, personal and
political, or personal-political: the presentation of violence, ranging from the . . .
altercation between the tribunes and the plebeians . . . bloody assassination, the
burning of Rome, civil war, two majestic battles, and two significant suicides. When
there is no actual fighting, there are quarrels; when there are no public meetings, there
is conspiracy or precaution. . . Shakespeare focuses the plot by . . . giving greater and
more continuous prominence to the plebeians than Plutarch does, thereby stressing a
socio-political polarisation and underlining the disastrous consequences of self-interest .
. .’ (pp 9-10)
How does this view compare with the conclusions you have already drawn in terms of how
Shakespeare’s representations and perspectives regarding Julius Caesar compare to other composers
who have chosen the life and death of Julius Caesar as their subject?
In terms of your related material covering different events, situations and personalities, what is it that
provides the texts with their ‘real contours’? (Consider what has been omitted, gaps and silences, as
much as what has been included, chronology and perspective)
Quote B
There is a widespread view that ‘Shakespeare’s Caesar, so little speaking and seen, is to
a large extent the creation of the personages around him. Shakespeare polarises his
strengths and weakness: Cassius condemns his weakness; Antony celebrates his
strength . . . (p11)
How does this reconcile with your view of Julius Caesar and how Shakespeare creates a sense of him?
How do the composers of your related texts construct the central personality, event or situation in
terms of acts of representation?
© State of New South Wales through the NSW Department of Education and Training,
2007
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Quote C
‘Shakespeare’s interest in public affairs, in problems of power and rule, in the qualities
of the ideal governor, in the confrontation of ideologies, in the clash of armies, in civil
conflict, in the collision of the high and low members of the body politic, in history qua
history . . . the crystallisation of character in history, the emergence of individual
personalities and thus the inextricability of public and private affairs (is apparent). This
focus, especially since it involves a leading figure who is the key to the fate of all the
others, serves to illuminate his individualised psychological features as they emerge
from or respond to overt bustle and battle, secret conspiracy and counsel, society and
isolation. This inexorable mixture of concerns is in itself a record of human events, one
of the major forms of historiography. And the interest in individual responses is also an
added structural device for perceiving and ordering the episodes of history‘(p 14)
How does this view, particularly the last two lines, align with your understanding of how Shakespeare
and other composers use and manipulate acts of representation, such as the choice of textual forms,
features and language, to shape meaning and influence responses?
© State of New South Wales through the NSW Department of Education and Training,
2007
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Resource 12
Answering the Assessment Task Question – planning
Question
Choose one of the following events, personalities or situations to research (or after consulting with the
teacher, choose your own):
 September 11
 Gallipoli
 The assassination of JFK
 John Lennon
and find two texts that have conflicting perspectives on that event, personality or situation. (NB: Vary
the textual forms, for example it is better to choose a song and a feature article than two newspaper
articles).
Compose a transcript of the conversation between the two composers about how they have
represented their perspective focusing on textual form, choice of language and medium of production.
Approach
Whilst a transcript is quite different in structure compared to an essay, students can still follow the
scaffold of introduction, body and conclusion by writing dialogue for each composer that:
1. Introduces the perspectives represented in each text, clearly outlining each composer’s
context, textual form and medium of production. Leave discussion of their choice of language
for the body of the conversation.
2. In the body of the conversation, the dialogue works to convincingly explain and evaluate the
effects of the different contexts of the composers, the ways the texts present information and
ideas and the significance of purpose, audience and media production on the language used in
texts.
To support the student’s analysis which is revealed through the conversation, students must
provide evidence (quotes) from their chosen texts to support each composer’s perspective.
3. Conclude the conversation through the dialogue of the composers respectfully acknowledging
the differing perspectives. As in an essay, there should be no new information introduced here,
just a brief summary of the exchange.
© State of New South Wales through the NSW Department of Education and Training,
2007
39
Resource 13
Sample scaffold for a response.
The following scaffold outlines a possible response to the Assessment task question using research on
the conflicting perspectives of Princess Diana. The response is not completed in its entirety to allow for
this resource to be used practically in the classroom, rather than passively read for future reference.
This resource could also be used in weeks 5, 6 or 7 of the unit to support student preparation (being
mindful of workload, this resource would substitute for an extended response outlined in these
weeks).
The two texts used for the task:
 “The Textual Chameleon” a feature article written by William Simon. (Text found in Textual
Journeys: Exploring Senior English Herrett, Kelliher and Simon)
 The BBC1 Panorama television Interview with Princess Diana (20/11/1995) – both the
television interview and the full transcript. The interviewer, Martin Bashir is acknowledged
as the composer of the text.
Conflicting perspectives
Simon – Diana, the “evolving canvas on to which the world projected its own image and desires”.
Bashir – The real Diana: in her own words.
Scaffold
Introductory exchange of the conversation
International conference for journalists
Martin Bashir: (Calling across the room, then walking over to stand beside William Simon) William!
William Simon! Hi, how are you? I’ve been meaning to catch up with you since I saw your
name in the program. What made you use Diana’s quote, “She won’t go quietly, that’s the
problem. I’ll fight to the end, because I believe that I have a role to fulfill, and I’ve got two
children to bring up…”? I saw it in your recent feature article. Glad to see my 1995 television
interview still has an impact after her death.
William Simon: In my feature article I was trying to present the idea that she was “an evolving canvas
on to which the world projected its own images and desires”. Her quote was powerful and
© State of New South Wales through the NSW Department of Education and Training,
2007
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eerily prophetic considering her recent death. The fact is that she is dead, yet the media and
its consumers will never let her image die. Her “untimely death bestowed immortality”.
Martin Bashir: I understand your feature article focuses on the image of Diana, whereas my firsthand,
intimate interview with her gave her an opportunity to reveal the real Diana, who, yes, knew
the power of the media, but struggled privately with very real problems and issues.
Body exchange 1
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Reveal the context of each composer and make connections with the representation of Diana.
Explain in greater detail the conflicting perspectives of the two composers, focusing on the purpose
of each text and their intended audience.
Support discussion with textual evidence.
Body Exchange 2
 Discuss key features (textual form and medium of production) of feature articles and television
interviews that would support each composer’s perspective. Explain the effectiveness of each form
in terms target audiences.
 Feature Articles: Print medium; based on research of event/personality over time; catchy headline
(often pun); persuasive/emotive language; direct quotes/anecdotes (often experts); listing
images/ideas; rhetorical questions; data to support claims; allusion to other texts; combination of
formal and colloquial language to engage responder.
 Television interview: Television medium; able to manipulate meaning through camera angles,
lighting, sound, editing, sets, costumes, time of broadcast, questioning technique and ability of
interview (opened and closed questions, leading questions, questions that are formulated based on
the interviewee’s last response); able to interpret the body language of the participants and infer
meaning from tone of voice.
 Television interview transcript: Print medium; spoken, often colloquial language; ellipsis;
responder able to reread if necessary – won’t ‘miss’ key quotes that influence the meaning making
process; rely on punctuation to communicate mood/tone of speaker.
 Keep language analysis to a minimum in this exchange; ensure the conversation ‘flows’ onto the
choice of language in the next exchange.
 Support discussion with textual evidence.
Body Exchange 3
 Analyse each composer’s choice of language to represent their perspective.
 See lists above as a starting point for language devices used.
 Support analysis with textual evidence.
© State of New South Wales through the NSW Department of Education and Training,
2007
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Conclusion
William Simons: You must agree that our very different mediums of production influenced the
perspectives revealed in our texts…
Martin Bashir: Absolutely. I gave the world the real Diana through a highly personal visual medium and
you represented her as ‘Diana, the constructed image’ through a feature article that is able to
be accessed by millions through the print media.
William Simons: No matter anyone’s perspective, Diana is now immortal.
© State of New South Wales through the NSW Department of Education and Training,
2007