Subject Matter
The Area of Study explores how a central idea is communicated through a
number of different texts. The current focus is ‘The Journey’ via one of
three electives:
Physical Journeys
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What types of physical journeys exist?
What obstacles might be faced as a result of the journey?
What kinds of opportunities can travellers gain by the challenges of
making a physical journey?
How can such journeys challenge thinking and broaden understanding
of the world and self?
Imaginative Journeys
How do imaginative journeys inspire speculation and discovery?
In what ways can the imagination challenge thinking?
How can imaginative journeys broaden understanding of the world and
self?
Inner Journeys
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What are inner journeys of the mind and spirit?
How do inner journeys explore the self in terms of growth?
In what ways do inner journeys challenge thinking and provide new
insights and understanding of the world and self?
Journey focus:
Within Paper One, regardless of the elective studied, students can be
required to focus on the different ways ‘journey’ ideas can be
communicated within various texts. This might involve identifying and
evaluating:
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what type of journey is being represented
how composers communicate ideas to their audiences
why certain features of the journey are represented.
‘Journey’ Themes
Core ‘Journey’ themes and motifs or recurring ideas will be found in many
different texts. What is commonly found are ideas about the motivations,
challenges and revelations of those who have travelled in some way, either
physically, imaginativly or introspectively. The various sections in the exam
ask students to identify, describe or evaluate such ideas.
Students must understand and be able to discuss the methods and techiques
that have been used to present such ideas. This means thinking beyond the
basic details of what is presented in the text. The actual journey that is taken
within a text is often only the framework for far more significant changes that
take place. These occur in the traveller’s mind and are often marked by
changes in their attitude or behaviour which can result from the journey
experience itself.
The first step in identifying such ideas is to identify basic details that may be
evident in the different texts. These can help demonstrate the core themes:
Where
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location, real or imaginary, named or generalised
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specifically defined and detailed destination
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type of place such as rural or urban, primitive or modern
Why
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reasons behind journey
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motivational and emotional context for the journey being made
When
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timeframe, specific date, ancient, modern, futuristic
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historical context
How
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means of transport
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type and nature of journey itself
Who
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people involved
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protagonists of the particular journey being described
What
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results and significant changes that follow from the journey
Types of Journey
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Journeys can be great or small, long or short, set in the past or the
present.
Significant ramifications can flow from all sorts of journey for those
making it.
Physical journeys often involve effort, time and a particular destination
or purpose.
Imaginative journeys often involve an intellectual or imaginative
exploration of another time and place. The mind rather than physical
effort may be involved.
Inner journeys are more introverted and reflective in nature.
Journeys can occur en masse such as those made by refugees,
migrants, disaster victims or soldiers or singular such as that of a
marathon runner.
Journeys can be related first or second hand, contemporaneously or
afterwards.
Traveller’s Experience
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The nature of the journey itself can have enormous impact on the
traveller. Destination and means of transport can add to the difficulties
encountered as well as how long it takes to complete the trip.
Physical, imaginative and personal aspects of a journey often overlap.
Pilgrimages for example, can combine a physical journey with a
spiritual purpose and have important emotional consequences. These
can alter the traveller’s perception of self and world view.
The journey itself can affect a traveller’s mind, attitudes and emotions.
Personal relationships can be transformed as a result of a journey.
Being taken out of ‘normal’ circumstances and comfort zones can have
significant consequences on those making a journey.
Understanding of self and the world can shift or alter.
Journeys can have both negative and positive results that can be longlasting.
Travellers are often challenged by the obstacles and problems they
face while on a journey. They can assume new roles not previously
associated with them. Disasters for example, can often show people in
a new light such as being heroic or cowardly, a leader or a follower.
Journey Quotes
Quotes can often improve a response by adding a sense of authority. The
following list of quotes might prove useful: Look for one or more that suit the
prescribed text that has been studied. They need to be effectively embedded
into the conceptual overview of what a journey represents.
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The journey is the reward. Chinese Proverb
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"The most beautiful thing we can experience is the mysterious." Albert
Einstein
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"A good traveler has no fixed plans, and is not intent on arriving." Lao
Tzu
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"Do not go where the path may lead; go instead where there is no
path and leave a trail." Ralph Waldo Emerson
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"When you come to a fork in the road, take it." Yogi Berra
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"If you don't know where you are going, you can never get lost." Herb
Cohen
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"Imagination is more important than knowledge. Knowledge is limited.
Imagination encircles the world." Albert Einstein
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"Imagination has always had powers of resurrection that no science
can match." Ingrid Bengis
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"As I walk, As I walk
The Universe is walking with me." From the Navajo rain dance
ceremony
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“When you have completed 95 percent of your journey, you are only
halfway there.” Japanese Proverb
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“Focus on the journey, not the destination. Joy is found not in finishing
an activity but in doing it.” Greg Anderson
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“To finish the moment, to find the journey’s end in every step of the
road, to live the greatest nuimber of good hours, is wisdom.” Ralph
Waldo Emerson
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“Let your mind start a journey through a strange new world. Leave all
thoughts of the world you knew before. Let your soul take you where
you long to be…Close your eyes, let your spirit start to soar, and you’ll
live as you’ve never lived before.” Erich Fromm “Phantom of the
Opera”
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“It is good to have an end to journey toward; but it is the journey that
matters, in the end.” Ursula LeGuin
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“To get through the hardest journey we need take only one step at a
time, but we must keep on stepping.” Chinese Proverb
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“Too often we are so preoccupied with the destination, we forget the
journey.” Anonymous
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“There are no short cuts to any place worth going.” Anonymous
Section 1
Comprehension skills are assessed in Section 1. The ten minutes ‘reading
time’ should be used to skim read the paper in order to get a basic idea of
text types used and the content/focus. A number of stimulus texts are
provided, followed by 4-5 questions. These texts will reflect general aspects
of journeys that will be physical, imaginative and personal. The individual
questions relating to these various stimulus texts will vary in mark value and
level of difficulty. This differentiation must be taken into account when
writing responses.
The final two questions are normally worth the most marks and therefore
require the most detailed analysis. The best answers should demonstrate
language flair, in depth evaluation of the texts and detailed reference to texts.
Students will probably be asked to identify the ‘journey’ features represented
in these texts and discuss how ideas have been communicated or
represented. Correct terminology should be used such as figures of speech,
irony, satire or poetic method that is being used. Visual techniques may also
be involved relating to image content, size, position, framing and other
compositional features of graphic texts. Identifying the level of language or
the targeted audience might be appropriate if it affects the overall style or
register. Be specific and clear-cut rather than general and use examples to
support points being made.
Reading Time Checklist
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Try to ‘spot’ the journey ideas being presented in the texts used in
Section 1.
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Read the questions carefully, noting what task or action terms such as
‘explain’, ‘identify’ or ‘describe’ are used. Be sure about the question
focus.
Note how the questions differ from each other. This prevents repeating
yourself once you begin answering the questions. Notice how one
question can flow onto another.
Look at the mark value and answer accordingly in terms of length and
detail.
Note if any introductory or additional comments or details such as
dates, locations or names are given about the texts.
Focus on any key words that are used in the question such as
‘techniques’ to ensure you understand what needs to be answered.
When writing your response, check that you are staying ‘on track’.
Avoid repeating yourself as each section is marked by one person.
Expect to find non-fiction and visual texts. These are likely to be
represented in the selection of texts used in this or other sections of
the paper.
Writing Skills
Students need to demonstrate as much writing
flair as they can in this section of the paper.
Responses can take a wide variety of forms such
as:
- Narratives
- Articles
- Letters
- Journals
- Travel reports, travelogues, guides etc
Students need to be familiar with the basic features of various types of ‘travel’
writing. They could be asked to respond to this type of material in Section 1
or be asked to write in one of these format in Section 2.
The text type required by the question in Section 2 will vary from year to year
but students will still be required to show what they have learned about
‘journeys’ and how they can be significant to those who make them. This
could include the nature of a journey, the sorts of people who go on journeys,
what experiences may be involved when on a journey of some kind, what
changes might occur as a result of a journey and so on. In addition, students
need to keep in mind that whatever is written must be appropriate to the
audience, purpose and context suggested by the question itself as well as any
accompanying stimulus, if given.
The question rubric at the beginning of Section 2 tells students that they will
be assessed on how well they “organise, develop and express ideas”. Written
responses need to demonstrate how well you write in terms of written
expression, descriptive language and vocabulary. They should also indicate
basic writing ability in terms of text type, characterisation and theme
development. Keep in mind that not only what is said but how it is said is
important.
Students should already have some ‘journey’ themes and ideas thought out
well before the exam. Inspiration is unlikely to come in the middle of the
exam itself so preparation is necessary. Avoid using overworked storylines
and aim to effectively highlight ‘journey’ motifs by demonstrating:
 Logically presented arguments
 Understanding of the focus elective and the prescribed text that
was studied.
 Detailed knowledge shown through close reference to texts
 Effective incorporation of other related texts.
Basic Writing Tips
1. Avoid boring the marker by aiming for ideas that will surprise or challenge
them rather than using stock storylines.
2. Avoid describing a journey as if it were a road map that simply goes from
one place to the next and the next. A chronological, list type approach is
probably the most boring kind of ‘journey’ response that can be produced.
Focus instead on the traveller or travellers making the journey. Highlight
perhaps what the journey means to them rather than just concentrating on
the places they go to or the things they do along the way.
3. Physical journeys can be arduous and dangerous or exciting and
adventurous but reader interest is often aroused more by the impact such
journeys make on the traveller who is making them.
4. Incorporate interesting characters, places and narrative situations.
Practice different combinations of ideas and explore the many different
journey options that are available to you. Consider the aspects of ‘who’,
‘where’, ‘when’, ‘what’, ‘why’ and ‘how’ about the journey idea that is being
presented. A simple idea can be given a twist that gives added interest. Read
different types of travel writing for inspiration.
‘Journey’ writing tips
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Try using unusual destinations, terrain or situations or showing an
unexpected or unusual aspect of what is typical.
Show difficulties or conflicts that arise on the journey. These should be
kept credible or the reader will not be hooked.
Use flawed protagonist or anti-hero as the main character. Avoid
superficial descriptions or stereotypical or unrealistic traits.
Develop conceptual ideas such as enlightenment, growth, loyalty,
courage or sacrifice shown in one of the travellers. Remember that you
need to take your reader somewhere, physically, imaginatively or
personally.
Incorporate where feasible a plot reversal or twist.
Try using first person rather than third person narrative.
Use a non-chronological plot line such as using a flash-back sequence.
Highlight how the travellers must struggle to survive in testing physical
or emotional circumstances.
Incorporate conflict of some kind such as dialogue between characters.
Develop relationships between characters that develop on the journey.
Focus on a change in status, fortune or attitude in one or more of the
travellers as a result of the journey that is being made.
Develop strong journey ‘themes’ within the response.
Try to build atmosphere and context.
Incorporate the specific text type features called for by the question
format.
Sample Practice Question for Sections One or
Two:
Visual Text
Section One
(a) (i) Identify two journey conditions highlighted in the photograph.
(ii) Discuss one visual technique that has been used.
(b)
What is the composer’s purpose?
Section Two
Question ( 15 marks)
You have just submitted an article for a popular Travel Magazine called The
Traveller using the image above as a featured graphic.
Write the article you have submitted.
You can write in any form you choose.
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Sample Narrative Text
Sample Section 2 Question and Response
Question : Journeys of Life
You wish to enter a creative writing competition for young writers
entitled “Journeys of Life”. Write your competition entry. Use any journey
idea or concept represented in a related text you have studied as the basis for
the beginning or ending of your story. You may write from any point of view
you choose.
The family sat in the auditorium of the Sydney Opera House, enjoying the
words and rhythms of the music as well as the atmosphere. The band
‘America’ had pulled a broad audience, with people of all ages enjoying the
classic oldie; “A Horse With No Name”. To the audience it sounded better in
real life than any of them had ever heard before…surpassing the hiss of the
radio or the pop of the static on their old vinyl records. For many, it was their
favourite song, transporting them back to other times and places, on the
wings of memory. Of course the words and the arrangement of the
instruments were the same, but somehow it sounded so much richer and
more intense in real life. As Dewey Bunnell sang “But the air was full of
sound” the melody of the song washed over them, everyone embarked on a
journey into their past. Each verse evoking personal experiences and
individualised journeys of life.
The woman, in her forties, suddenly looked much younger, the stark worry
lines etched onto her face smoothed and her presence calmer. The song took
her back to the young and carefree days of her youth. She remembered how
she would sing along to the words “’cause there ain’t no one for to give you
no pain” and found herself doing so again with other members of the
audience. No-one cared if they looked ridiculous because they were having
too much fun reliving and revisiting the past.
Her husband lost his usual grimness as the fingers on his left hand strummed
the notes on an imaginary guitar he used to play years before. It seemed
impossible this song could momentarily free him from the worries of family
life. He stepped back into his youth, to a time when he had hair and didn’t
owe anyone any money. He refused to dwell on images of his guitar in its
current state, lying broken in the shed. The music helped tame the demons
and worries that beset many in the audience. The auditorium erupted into
deafening applause when the song ended. They clapped until their hands
became sore, mirroring the words of the song; “my skin began to turn red”.
While the present would once more encroach as the notes died away, a
momentary release had been enjoyed.
"The longest journey of any person is the journey inward."
Dag Hammerskjvld
Extended Response
Section 3 calls for an analytical, extended response that can take a number of
forms. Students could be asked for example to write one of the following:
 Speech
 Feature article
 Essay
 Report
 Interview
Regardless of the text type called for by the question, students can
thoroughly prepare for this section of the paper. It involves the skilful
integration of information about the prescribed text studied, at least one
piece of other related material and one text from the Journeys booklet.
The format of the response can vary but any response will require a synthesis
of conceptuaal and textual content, that is clearly expressed. The best
responses are articulate with detailed analysis of the texts that are used.
There must be evidence of understanding of the ‘Journey’ concept as well as
textual insight and perception. Interpretation must go beyond the literal level
that is often found in simple study guides.
Students must be aware of how ‘journey’ ideas have been represented and
communicated and do more than simply summarise texts. Section 3 answers
need to present ideas that are succinct, amplified by additional detail and well
supported by textual reference.
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Don’t simply retell the story of the journey. Concentrate on what
ramifications it has on the participants.
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Demonstrate close knowledge of texts by relevant quotes that are
integrated logically into the commentary and not simply sprinkled like
confetti throughout.
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Ensure that the text type features called for by the question format are
evident. Part of the marking criteria will assess this.
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If the question asks for at least ONE related text, you do not have to
give more but simple reference to another is appropriate if there is
sufficient time.
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The Prescribed Text should predominate in terms of depth of analysis
and length. The other related texts will probably only have 1-2
paragraphs each.
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Make your style appropriate to the question context.
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Remember that your aim is to impress the marker with your analytical
skills. General expression skills should obviously be as polished as they
can be.
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Focus on the ‘journey’ motifs that is evident within texts as well as any
conceptual links between the texts.
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By preparing beforehand and writing many, many draft responses,
exam time can be spent on writing rather than thinking.
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Use evidence from the text to support points that are made
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Use key quotes from the various texts to highlight their relationship to
each other and to the question.
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Demonstrate knowledge of texts by referring to key scenes, stages or
aspects. Deal with specifics rather than make simplistic, generalised
statements.
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Demonstrate effective language control
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Use precise and concise vocabulary to articulate ideas and knowledge
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Use the appropriate style, tone, register and text type features that are
required by the question.
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Avoid personal pronouns such as I think, Instead say It can be seen, or
clearly
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Avoid colloquialisms or slang
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Use the composer’s full name or surname rather than their first name
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Refer to the text title in inverted commas
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Source material properly
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Use appropriate terminology
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Keep on track, remembering to make direct reference to the question
at least three times throughout the response.
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Ensure that all the texts specified within the question have been
included
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Do not leave yourself short of time for Section 3. It is the most
challenging section of the paper and cannot be rushed.
Sample Question: The impact of journeys can often outlast the time it takes to make them.
Explore this idea with reference to the prescribed text studied, at least one related text and one
text from the BOS Journeys booklet.
Sample Response 1
Focus - Physical Journeys – Prescribed Text-Skrzynecki
The impact of a physical journey can last much longer than the journey itself. Various text
demonstrate this, including Robert Frost’s poem The Road Not Taken, several of Skrzynecki’s poems
that are set for study, Palin’s written diary of his Sahara journey and Poole’s article The Place
Where God Died . These fiction and non-fiction texts offer insight into why the impact of journeys
can be so powerful and long-lasting. Physical journeys can be very important in people’s lives for
travel has the potential to broaden understanding and extend a person physically, emotionally and
intellectually. The writer Miriam Beard noted that “Certainly, travelling is more than the seeing of
sights; it is a change that goes on, deep and permanent, in the ideas of living.”
Such ideas are evident in Frost’s well-known poem from the Journeys booklet. He depicts man’s
universal journey through life by using a journey motif about choosing which road to take. First
person narrative is used to posit the belief that choosing the right road in the woods or in life itself
has significant consequences. “I shall be telling this with a sigh” indicates the emotional impact of
choosing only one of the possible directions that could be taken. His assertion; “I took the one less
traveled by,” highlights the satisfaction that has been generation by following his own nonconformist path through life, which has allowed him to learn about the world first hand and so
broaden his outlook. He offers a philosophic challenge to the reader that invites us to reflect and
assess our own life journeys.
Peter Skrzynecki’s poems use migrant experiences to speculate on cultural journeys that can impact
on families long after they have left their homelands. Immigrants at Central Station – 1951 is set
after the family’s internment in the Migrant Hostel in Parkes. It shows various migrant families in
transit once more, nearing the end of their migratory journey. There is a pervading sense of
disorientation that captures the sense of things being unfamiliar and unnerving. A bleak and
depressing mood is established by the cold morning; “The silence, the cold, the benevolence of
empty streets”. Such details stress the uncertainly of their future although the word ‘benevolence’
implies that the ‘streets’ mean them no overt harm.
Parkes had been crowded, stressful and challenging with people trying to get their bearing, find
security in an atmosphere of chaos, transition and anonymity. In this poem, the “train’s whistle”
represents a departure from that stage of their lives with new farewells to fellow migrants trying to
find ‘home’. There is no turning back and this knowledge is obvious in their facial anxiety while
reference to ‘Rain’ symbolizes the hardship and sadness they feel by reference to tears. Space itself
becomes effectively personified, heightening the sense of vulnerability and emotional fragility.
Physical closeness is emphasized by Skrzynecki use of run-on lines. The harsh simile of “cattle
brought for slaughter” can be seen as a metaphor of Jewish people during World War II being
brought to their deaths. It also implies the closeness of the immigrants on the station platform
being similar to the crowded conditions on abattoirs trains. The juxtaposition of the pigeons and
immigrants exemplifies freedom of the birds and how they have settled in. “Cutting us off from the
space of eye sight” is used to denote the blindness of the immigrant’s future. The personification of
time in the couplet “While time ran ahead,” also alerts us to the fact that their journey’s end is not
only uncertain but life long.
The lasting effect of the journey is also evident in “Feliks Skrzynecki.” The poem is a paean praising
the life that Feliks has lived. This poem shows the long lasting impact of their physical journey to a
new land and life on both the second generation of the family. The new culture is foreign to Feliks
so he creates his own world and Skrzynecki uses a simile and allusion that Feliks “Loved his garden
like an only child.” By “walking its perimeters” he has surrounded his small private world. Life is
foreign but ironically, the child finds the father’s Polish friends ‘foreign’ and even admits that he;
“forgot my first Polish word”. Metonymy is used to represent the loss of language and show the
impact on father and son. The symbolism of Hadrian’s Wall denotes the course of adolescence
taking Skrzynecki “Further and further south” towards Australian and English culture. Skrzynecki is
trying to express how his family has journeyed to Australia but he has continued the journey and
approached a truly Australian cultural self. This is much like the journey of life that Frost explains.
Another journey that significantly impacts on the traveler who makes it, is Michael Palin’s “Sahara.”
His 2001 account of a journey he took through the Sahara in the northwest of Africa. Not only had
a lasting impact upon him but also upon the people reading his story. Michael Palin’s journey
through the Sahara has allowed him to see other people and experience their cultures. In a refugee
camp in Smara, Palin quoted the people as saying that this “cheerless landscape is only a
temporary resting place on the journey back to their homeland.” This would have left Palin
wondering if they ever made it home. The essence of refugee camps is also brought out in
Skrzynecki’s poetry. To allow the reader to feel the full impact of the journey Palin uses multiple
adjectives that embody the true Saharan experiences, for example “…sun-bleached, rubble-strewn
wilderness…”. This lets the reader observe and have a small taste of what the Sahara is really like.
Melanie Poole also brings forward the experiences of others. Poole’s “The Place Where God Died”
retells the story of the Osmani’s escape from Kosovo. After their arrival in Australia, their physical
journey was interrupted by their placement in detention. Here is another key relationship between
refugee’s and migrants, which are expressed in Skrzynecki’s poems. The impact of this journey was
that Gizele Osmani changed her thinking and expressed her loss of faith in the Australian
government: “I can never forgive the Australian Government.” Furthermore Gizele’s children were
affected by their experience in the detention centre, “Now the children wake up in the night
screaming thinking that guards are by their beds.” The technique of using realistic description by
Poole makes clear the impression that life in a detention centre has made. This article gains
sympathy for the detainees.
Physical journeys certainly provide insights into the world, which often change people’s
expectations. Frost, Skryznecki, Palin and Poole make evident such changes in their use of language
and description as they describe the impacts of physical journeys. It is at the end of the journey
that you can appreciate how they have evolved as people. As Ursula K. LeGuin so elegantly put it
“It is good to have an end to journey towards, but it is the journey that matters in the end.”
When making reference to other related material in the exam, it is unlikely that
any more than 250-300 words can be spared to do so. As a rule, there is no need to refer
to more than two. This makes it very important to prepare polished paragraphs prior to the
exam itself. If a link can be made to the prescribed text and the chosen item/items from
the BOS Journeys booklet, all the better. By clarifying the important points that need to be
made in lengthier responses such as those that have been given as samples in earlier
sections of this book, it is easier to adapt the information to suit the question that is
actually asked.
Lnks with ORTs will be made in the extended response in Section 3. Regardless of what
type of text is chosen, the aim must be to focus on the journey motif that is explored within
it. Reference should be made to the methods used to represent and communicate the main
ideas to the audience. The most commonly used related texts include the following:
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Films
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Poems
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Songs
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Short Stories
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Articles
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Television Documentaries
Songs
Imagine by John Lennon
Imagine there's no heaven,
It's easy if you try,
No hell below us,
Above us only sky,
Imagine all the people
living for today...
Imagine there's no countries,
It isnt hard to do,
Nothing to kill or die for,
No religion too,
Imagine all the people
living life in peace...
Imagine no possesions,
I wonder if you can,
No need for greed or hunger,
A brotherhood of man,
Imagine all the people
Sharing all the world...
You may say Im a dreamer,
but Im not the only one,
I hope some day you'll join us,
And the world will live as one.
http://www.merseyworld.com/imagine/lyrics/imagine.htm
Student Response
In “Imagine” John Lennon journeys through an imaginary world, inviting his
listeners to join him in a different place. Here there is no war, religion, possessions
or conflict. “Nothing to kill or die for”. Lennon, a high profile singer, challenges
our perspectives and ideas of our current world. He speculates what could be by
repeating the trigger word “imagine” and by using evocative images that are
expressed colloquially to reach a broad audience. In this idealistic world
contemplated by Lennon, there is a pervading sense of peace, unity and
understanding; “a brotherhood of man”. Contemporary ideas and values
regarding; “religion….greed….hunger” are queried by the possibilities of an
alternative world. “Imagine” impacts on our attitudes and alters our perceptions.
Lennon’s lyrics invite us to think about alternatives to the current world
situation. He asks us to ponder what could take its place. He arouses our interest
and attention by appealing to our emotions. He suggests that it is achievable, that
all we have to do is to “imagine”. Listeners are encouraged to become involved. In
every verse there is a line that reinforces the potential to change the world
because; “it’s easy if you try”. Lennon’s speculative journey is philosophical and
intellectual, a journey into the listener’s imagination. We are taken beyond the
present into the future, to another way of living. Different social codes are
suggested, that are free of the dogma associated with ‘heaven’, ‘hell’ or ‘countries’.
The outcome and significance of even attempting this imaginary journey is the
possibility of creating something closer to ‘heaven’ on earth where everyone can;
“live as one”.
Sample Song Text
A Horse With No Name
by America
On the first part of the journey
I was looking at all the life
There were plants and birds and rocks and things
There was sand and hills and rings
The first thing I met was a fly with a buzz
And a sky with no clouds
The heat was hot and the ground was dry
But the air was full of sound
{Refrain}
I been through the desert on a horse with no name
It felt good to be out of the rain
In the desert you can remember your name
Cause there ain't no one for to give you no pain
(la la la...)
After two days in the desert sun
My skin began to turn red
After three days in the desert fun
I was looking at a riverbed
And the story it told of a river that flowed
Made me sad to think it was dead
You see...
{Refrain}
After nine days I let the horse run free
Cause the desert had turned to sea
There were plants and birds and rocks and things
There was sand and hills and rings
The ocean is a desert with its life underground
And a perfect disguise above
Under the cities lies a heart made of ground
But the humans will give no love
You see, ...
(Refrain)
www.Yimpan.com (http://www.yimpan.com
This well known song makes use of many of key journey themes already identified
throughout this book. The journey described within the song is divided into three main
stages:
Specific Journey Motifs
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Opening line implies that this is a journey of several parts or stages
The traveller is journeying over a landscape that is full of ‘life’ in terms of ; ‘plants
and birds and rocks and things’.
The physical quality of the environment are described including that it is hot, sandy
but also full of sounds
The refrain tells us that it is a desert. This is obviously different to the traveller’s
normal environment because it refers to the absence of rain and people.
The journey lasts nine days
The traveller experiences freedom and a sense of release during his desert sojourn
The Journey ends when the desert crossing has been completed and the sand gives
way to ‘sea’.
Depicts the changes that have occurred to the traveller as a result of his journey
experiences.
References are made to ideas of ‘freedom’ and open spaces that are found to be
therapeutic.
The journey through the desert allows the burdens of present life to be shed.
Innate hazards that accompany long, distances on the open road are highlighted.
It implies the thrill of going to new places and seeing new things.
The narrator engages the listener as an average individual, typical in his desire to
get away, find release and meaning in his life.
Getting back to nature is a stereotypical fantasy shared by many and the benefits of
this are depicted within the song.
Techniques - How the singer convey impressions about the journey?
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Use of first person narrative “I” to give a personal tone and perspective to the lyrics.
Listing things that are seen, heard or experienced on the journey emphasises that
the traveller is relating to his environment and that the trip is having a sensory
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impact. He is alert to the world around him, perhaps seeing things in a new light or
gaining new insight or inspiration.
The language is colloquial in style and casual in tone; ‘a fly with a buzz’. This relaxed
style of expression helps engage the audience. It is conversational and open in the
way it relates what the singer feels and thinks.
There is a sense of paradox about the landscape that is being crossed. The singer
observes that it is ‘hot’ and ‘dry’, yet offsets this discomfort with the phrase, ‘But the
air was full of sound’. This implies that the harshness of the terrain and
environment has positive connotations. Appearances versus reality is a theme that is
developed later in the lyrics.
The use of anonymity is effective in that it helps reinforce the representational
qualities of such a journey. Here the traveller, who remains unnamed, crosses an
unnamed desert on a horse ‘with no name’. This namelessness stresses what the
man is trying to shed and in so doing what he is seeking to find. The desert crossing
becomes a personal expedition to find himself and perhaps explore the fundamental
meanings of life. It is similar to the urge that drove Robyn Davidson on her trek
across the Australian desert or the satisfaction that Huck and Jim find on their river
journey down the Mississippi.
There is a return to phrases used in the opening verse of the song; ‘plants and
birds…….’ This repetition implies that a restorative cycle has been achieved. The
journey has had the power to rejuvenate the traveller. Setting the horse free is
indicative of the newfound freedom the narrator feels.
The metaphoric illusion to disguise and false impressions that was begun in the
opening stanza is elaborated in the last.
‘ The ocean is a desert with its life underground
And a perfect disguise above’
The sense of freedom from despair created by the phrase; ‘Cause there ain't no one
for to give you no pain’ is echoed in the final verse;
But the humans will give no
love’. There has been an alteration however because now the traveller seems better
equipped to deal with that reality of the ‘normal’ world.
The journey has had a healing effect on the traveller. He has made contact with
nature and shed many of the impositions of the false and unnatural world that man
tends to exist in.
Direct references to the listener; ‘You see…” helps build rapport between the singer
and his audience.
Fast Car by Tracy Chapman
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Another contemporary song that traces journeys that have both negative and
positive outcomes is “Fast Car”. Here the travel vehicle is a car rather than a
spaceship and instead of depicting a journey that heralds a scientific step forward
for mankind, the women in this song is fleeing a life that she finds suffocating. She
is an escapee from poverty and social impoverishment. This song graphically depicts
her urban context, establishing the motivations for her wanting to speed off in the
fast car of the song’s title. It has a very different style to “Space Oddity” but it
similarly engages the audience’s empathy in the plight of the narrator. We gain entry
into the singer’s mind and can identitfy with the feelings explored within the lyrics.
Fast Car
By Tracy Chapman
You got a fast car
I want a ticket to anywhere
Maybe we make a deal
Maybe together we can get somewhere
Anyplace is better
Starting from zero got nothing to lose
Maybe we'll make something
But me myself I got nothing to prove
You got a fast car
And I got a plan to get us out of here
I been working at the convenience store
Managed to save just a little bit of money
We won't have to drive too far
Just 'cross the border and into the city
You and I can both get jobs
And finally see what it means to be living
You see my old man's got a problem
He live with the bottle that's the way it is
He says his body's too old for working
I say his body's too young to look like his
My mama went off and left him
She wanted more from life than he could give
I said somebody's got to take care of him
So I quit school and that's what I did
You got a fast car
But is it fast enough so we can fly away
We gotta make a decision
We leave tonight or live and die this way
I remember we were driving driving in your car
The speed so fast I felt like I was drunk
City lights lay out before us
And your arm felt nice wrapped 'round my shoulder
And I had a feeling that I belonged
And I had feeling I could be someone, be someone, be someone
You got a fast car
And we go cruising to entertain ourselves
You still ain't got a job
And I work in a market as a checkout girl
I know things will get better
You'll find work and I'll get promoted
We'll move out of the shelter
Buy a big house and live in the suburbs
You got a fast car
And I got a job that pays all our bills
You stay out drinking late at the bar
See more of your friends than you do of your kids
I'd always hoped for better
Thought maybe together you and me would find it
I got no plans I ain't going nowhere
So take your fast car and keep on driving
You got a fast car
But is it fast enough so you can fly away
You gotta make a decision
You leave tonight or live and die this way
Sample Student Response
Contemporary negro singer Tracy Chapman uses her musical talents to tell the story
of a young woman, struggling to cope in a world of poverty, broken families and
alcoholism. She dreams of a better life; a chance to “be someone, be someone” and her
boyfriend’s “Fast Car” and title of the song, offers a quick escape. Metaphoric images of
beckoning freedom are found in phrases such as; “Just ‘cross the border”, “speed so fast I felt
like I was drunk”, “city lights lay out before us”. A familiar scene of social oppression,
drudgery and hopelessness is depicted but in a way that engages our sympathy.
The narrator’s plight is expressed colloquially, giving credibility and insight so we
recognise the drunken father who lives; “with the bottle that’s the way it is”, the selfish
husband; “drinking late at the bar” and the stoic wife and mother who vividly remembers
her; “plan to get us out of here” in a car; “fast enough so we can fly away”. Time moves on,
marked by a change in tense and we listen as sacrifice and hope is replaced by resignation;
“I got no plans I ain’t going nowhere/So take your fast car and keep on driving.”
Juxtaposing past and present, dreams and reality, the instincts of flight and fight show she
has grown while her fellow passenger has duplicated the cycle and stagnated.
“Space Oddity” – David Bowie
Ground Control to Major Tom
Ground Control to Major Tom
Take your protein pills
and put your helmet on
Ground Control to Major Tom
Commencing countdown,
Engines on
Check ignition
and may God’s love be with you.
[spoken]
Ten, nine, eight, seven, six, five, four, three, two one, lift off.
This is Ground Control
To Major Tom.
You’ve really made the grade
and the papers want to know whose shirts you wear.
Now it’s time to leave the capsule
if you dare.
This is Major Tom to Ground Control.
I’m stepping through the door,
and I’m floating
in a most peculiar way.
And the stars look very different today.
For here,
Am I sitting in a tin can
Far above the world.
Planet Earth is blue
And there’s nothing I can do.
Though I’m past
One hundred thousand miles,
I’m feeling very still
And I think my spaceship knows which way to go.
Tell my wife I love her very much
She knows.
Ground control to Major Tom
Your circuits dead,
there’s something wrong.
Can you hear me, Major Tom?
Can you hear me, Major Tom?
Can you hear me, Major Tom?
Can you hear me, Major Tom?
Can you…
Here am I floating
round my tin can.
Far above the moon.
Planet Earth is blue
And there’s nothing I can do.
Space Oddity: ORT ‘JOURNEYS’
The concept of physical journeys is a major theme in the song “Space Oddity” by David Bowie.
The lyrics tell a story of a journey to space that began with hope, but ended with pain and
human sacrifice. It is a tragic tale of the dangers that journeys bring, and the many challenges
that come hand in hand with the adventure of travel and exploration. Physical journeys are a
major theme in the song “Space Oddity” by David Bowie.
TECHNIQUES USED:
The composer uses many techniques to develop an undercurrent of impending doom and
negativity.
 The countdown serves to foreground the concept that once a journey has began,
it must run its course.
 The danger of the journey is reflected in the emotive and challenging term, “If
you dare”.
 Human sacrifice and the acceptance of mortality and death, is echoed when Major
Tom admits that “there is nothing I can do”. His emotional realization reinforces
the ‘ultimate’ sacrifices that are made for the greater good of human
development and exploration.
 The musical switch signifies the point of ‘no return’ – where the journey becomes
dangerous.
Link To Topic:
The song is a representation of the ‘negatives’ of journeys. It highlights that dangers of travel,
exploration and development. You will contrast and compare this text with “Travelling Shoes”,
as examples of a ‘positive journey’ and a ‘negative journey’.
Poetry
“Travelling Shoes”
By Lenore Horowitz
I’ve put a lot of miles on these shoes
and they show it.
I’ve crossed desserts,
climbed mountains,
slogged through rainforests,
mostly in the dark,
when I couldn’t see
where I was headed.
I even swam in oceans.
Flew in clear, cold winds
in these shoes,
with their custom arches,
cantilevered heels
to protect against missteps and downfalls.
Somehow I went a distance
I needed to go,
found some things I was looking for
without knowing why.
When I put them on
or take them off,
I see how far I’ve come
in these travelling shoes,
but only traces
of where I’ve been.
March 24, 2001
“Travelling Shoes”:
The poem “Travelling Shoes” describes the positive effects and individual growth brought
about by physical journeys. It is a wonderful example of the mental and emotional growth
and maturity that RESULTS from a physical journey.
TECHNIQUES:
 The composer uses the metaphor of her ‘travelling shoes’ to explore her
achievements and development. She has “crossed desserts, climbed mountains,
slogged through rainforests”, all of which depict great endurance and physical
struggle.
 The inner journeys that have resulted from her physical expeditions are
highlighted when the author realizes that she “went a distance”, one that she
“needed to go”, where she “found things” she didn’t know she was looking for.
 The poem is a clear example of how physical journeys can impact and influence
the inner journeys that often are intricately connected.
 Rich, poetic and emotive language is used throughout the poem to describe her
journeys. The audience is able to picture the journeys in their minds.
 Imagery is used to describe the deserts, mountains, rainforests etc.
 1st person is used to show that this is a personal and reflective account of a
physical journey.
Link to Topic:
This poem is a wonderful example of the ‘positives’ that are associated with journeys. It
highlights that growth, development and experience that journeying can give. When discussing
this text, you must remember to discuss the techniques that are used, and how it links to the
topic.
If using this text in your exam, discuss in it terms of the positive effects of physical journeys.
Compare and contrast it to SPACE ODDITITY, explaining how they highlight the positive and
negative elements of physical journeys.
Possible Film ORT’s for Physical Journeys
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Road to Perdition
Apollo 13
Ice Age
Shrek
Thelma and Louise
Master and Commander
Lord of the Rings – Fellowship of the Ring
Amistad
Rabbit Proof Fence
Stand by Me
Beneath Clouds
Japanese Story
Braveheart
A Bug’s Life
Cast Away
Dances with wolves
The Horse Whisperer
Paradise Road
Star Wars
Rain Man
Saving Private Ryan
Seven Years in Tibet
Life is beautiful
Gallipoli
The Shiralee
Journey: Area of Study – BOS booklet “The Journey”
Text 1: Robert Frost, ‘The Road Not Taken’
This is amongst the most popular texts referred to. Remember this when
deciding on the best text to use within your extended response.
Regrets he can not
travel both paths but
must choose only one.
Choice is difficult to
make, he first ponders
and reflects.
Apostrophe ‘Oh’
emphasises his
emotional input.
Builds up to the
subsequent term
‘sigh’.
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear,
Though as for that, the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Colour imagery
‘yellow’ implies
autumnTerms ‘wood’ and
‘undergrowth’ &
‘grassy’ imply not
well used &
therefore more
inviting.
Both are unspoiled
“no step had trodden
black.”
Repetition “ages and
ages” gives added
emphasis to decision
made & its
significance to the
way he has led his
life.
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Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I —
I took the one less traveled by,
And that has made all the difference.
More colour
imagery-‘black’ has
negative overtones.
Hyphen- stresses
the pause & the
decision making it
reflects.
by Robert Frost
Simple poem that explores many complex ideas and issues. The concept of journey is
used to metaphorically represent the basic choices in life that all people face, regardless
of time or place.
The choice between “two roads” and the impacts of this decision is explored in for main
stages throughout the poem. The audience traces the thought processes of the
character, understanding and emphasising with his decision and doubts.
The tone of the poem is very conversational and inviting.
Unembellished and basic language is used rather than figurative language, and the pace
of the poem is skilfully controlled by punctuation methods such as semicolons, colons,
exclamation marks and hyphens.
Imagery is used to reinforce the time frame and setting of the poem, and also to
emphasise the sense of doubt and regret that only ‘one’ road can be taken.
Inversion in the line, “long I stood’ stresses the amount of thought and deliberation that
the poet is giving to his decision.
The use of the apostrophe, “Oh”, foregrounds his despair at not being able to travel both
roads.
Sample Paragraph – ROAD NOT TAKEN
“The Road not Taken” is a simple poem that explores many complex ideas and issues.
The concept of journey is used to metaphorically represent the basic choices in life that all
people face, regardless of time or place. The choice between “two roads” and the impacts of this
decision is explored in for main stages throughout the poem. The audience traces the thought
processes of the character, understanding and emphasising with his decision and doubts. The
tone of the poem is very conversational and inviting. The poet is able to communicate with the
reader on a very personal level. It immediately becomes clear, with the use of ‘I’, that this is a
very deep personal reflection. Unembellished and basic language is used rather than figurative
language, and the pace of the poem is skilfully controlled by punctuation methods such as
semicolons, colons, exclamation marks and hyphens. Imagery is used to reinforce the time
frame and setting of the poem, and also to emphasise the sense of doubt and regret that only
‘one’ road can be taken. Inversion in the line, “long I stood’ stresses the amount of thought and
deliberation that the poet is giving to his decision. The use of the apostrophe, “Oh”, foregrounds
his despair at not being able to travel both roads. This is further reinforced by the exclamation
mark. The poem, “The Road Not Taken” is an inspirational poem, as it emphasises and
foregrounds the message that by taking the least trodden path, the experience will be richer in
scope and opportunity.
Text 2: The Ivory Trail
Texts 2-Kelleher, Victor, ‘The Ivory Trail’, Cover
Silhouetted templeslends a foreign, exotic
feel to the cover.
Warm colours of red,
yellow & orange fuse
& blend different
compositional
elements.
Phrase links bright
and shadowed
sections.
Superimposed
images-visual tracking
across and down the
page.
The title implies
African continent &
idea of exploration.
Upturned, youthful
eyes lends an
enigmatic feel to the
cover-sense of
discovery &
speculation.
Sand ripples
creatively blends
middle image
segment to the one
below.
Evocative use of dark shadows which fuses various
components together into one unified graphic image.
Text: Author’s name:
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The author’s name is capitalized and centrally located mid page, but off to the left –
attracts the eye
 The front is rough edged rather than smooth – visual cue to the action style of the novel
 Stark white – contrast with colour
Heading:
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Different font is used for tile - capitals
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size increases with each word – builds tension – emphasises the word “trail”
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“Ivory” – natural connotations. Physical environment
 “Trail” – hints that journeys that have elements of danger and are primitive are traveled
on foot. Implies natural terrain rather than an elegant or civilized locality
 yellow tone provides a strong contrast to the white of the author’s name
Teaser/Phrase:
 upper and lower case
 white
 different font
 presents a statement, which invites the audience to ponder the meaning
 sinister overtone – although a journey will take place, but no ending will be reached –
something ominous will happen
 negative elements: “Not” at the beginning. The word “all” indicates that something about
‘this’ journey will be intriguing
 balance is achieved by the placement of the text - top right, middle left, bottom right –
Gutenberg flow.
 The staggered placement of texts and font styles/sizes adds to the sense of pervading
menace
 Text = signposts of information which are enriched by the background
Graphics:
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3 main headings are mirrored by 3 key graphics which are merged together to form a
continuous background
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text and images create clues. The blurb is general – the image is distant. The author’s
name – a full face/middle distance. Title – close up of a face.
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Colour – linking motif. The red/burnt orange tones connect form and substance into one
fluid whole.
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Contrast between light and dark creates a sense of mystery. Silhouettes and shadows
are juxtaposed by brightly lit areas (face of the sphinx)

the central section of the image places the text in Egypt and foregrounds the images of
pharaohs, tombs and past luxury. The vivid white makes this the central section of the
cover
 the darkness of the bottom right hand corner is offset by the pale lemon of the title –
this draws our attention away from the past images, into the human world – the face

we take the angle and direction of the stare to mean that this person is staring up at
the sphinx. The face is androgynous, yet non-threatening and young. The upward tilt of
the head creates a sense of wonder and awe – reinforce the youthful nature of the
human
 indirect gaze – submissive - distant
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eyebrows are lost in the sand/shadow. The ripples denote a physical journey or the
passing of time.
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The slight hint of hair draws our attention to the topmost image

the domed buildings hint at another culture – a figure can be seen, but it is indefinite
and abstract. It is backlit by the sun which creates a peaceful image of beauty and
culture

the colour imagery blends the three graphics and increases the sense of passion,
adventure and mystery.
Layout:

the primary vector line from the eye, to the pyramid to the blurb. However, there are
many vector lines which make sure that no space is wasted on the page – eye gaze;
sand ripples; pyramid, text; sunlight.
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The three graphics hint at both the traveler and the different stages of their journey
The graphics also imply self growth, development and discovery.
The publisher’s colophon in the top left hand corner is sufficient to identify the book as a
‘puffin’ publication
Layout creates a smooth transition and flow from one place to another
Collage effect seamlessly blends the images on the cover
Sample Paragraph: The Ivory Trail
“The Ivory Trail” is a visual text and a complex representation of the concept of
journeys. All three perspectives of physical, imaginative and inner journeys are evident in the
text. Visuals are overlapped and merged by means of colour and natural elements of sky, sea
and sand. Numerous visual techniques have been used to attract the reader’s attention and to
give a sense of mystery and ambiguity. Language and font is creatively used to reinforce the
connection with physical journeys. The rough edged font is used to give a visual cue to the
possible subject of the novel, while the capitalised lettering and centralised position of the
author’s name attracts the audience’s attention. The progressive size increase of the novel’s
heading adds emphasis to the word, “TRAIL”, which is a term that implies the dangers
associated with physical journeys. The teaser, located in the top right hand corner, provides the
audience with a mysterious bait, hinting that no destination will be reached for this traveller.
The balance achieved by the placement of text, top right, middle left and bottom right, allows
the eye to travel over the whole page, following the hidden vector lines from left to right, top to
bottom. The graphics further reinforce the connection with journeys. The images of the sphinx
and pyramid offer a time frame, geographical location and historical link, while the extreme
close up of the figure’s eyes, give rise the sense of awe and amazement, often linked to travel,
experience and discovery. Colour is used as a linking motif. The suffused red and burnt orange
tones skilfully connect images and font, into one visual representation. The layout of the text
uses fluid vector lines to direct the reader’s eye across the whole of the page. There is a fluidity
attained by the placing of text and graphics, ensuring that the reader’s attention is captured
and held. The layout, graphics and text are all used to create a flawless and intriguing visual
representation of journeys.
“Wind in the Willows” – Characterisation
Text 3: Grahame, Kenneth, The Wind in the Willows
Extract from Chapter 2
Highly descriptive
details such as
colour
Toad’s
enthusiastic
nature is
evident in his
tone and
vocabulary
Reference to
a third
character
helps define
the others by
comparison
Details are
itemised to
give a very
clear visual
picture of
the scene
Rat’s icy
politeness is is
stark contrast to
Toad’s racy
enthusiasm
Toad tries to
goad Rat into
agreement –
expects to get
his way
He led the way to the stable-yard accordingly, the Rat following with a most
mistrustful expression; and there, drawn out of the coach house into the open, they
saw a gipsy caravan, shining with newness, painted a canary-yellow picked out with
green, and red wheels.
'There you are!' cried the Toad, straddling and expanding himself. 'There's real life
for you, embodied in that little cart. The open road, the dusty highway, the heath, the
common, the hedgerows, the rolling downs! Camps, villages, towns, cities! Here today, up and off to somewhere else to-morrow! Travel, change, interest, excitement!
The whole world before you, and a horizon that's always changing! And mind! this is
the very finest cart of its sort that was ever built, without any exception. Come inside
and look at the arrangements. Planned 'em all myself, I did!'
‘mistrustful
’is emotive
Direct
speech
adds
immediacy
The Mole was tremendously interested and excited, and followed him eagerly up
the steps and into the interior of the caravan. The Rat only snorted and thrust Rat’s
his body
language and
hands deep into his pockets, remaining where he was.
snorting
refusal to
It was indeed very compact and comfortable. Little sleeping bunks— a little table
move shows
that folded up against the wall— a cooking- stove, lockers, bookshelves, a bird-cage
his lack of
with a bird in it; and pots, pans, jugs and kettles of every size and variety.
enthusiasm
for Toad’s
'All complete!' said the Toad triumphantly, pulling open a locker. 'You see—
caravan
biscuits, potted lobster, sardines— everything you can possibly want. Soda-water
here— baccy there— letter- paper, bacon, jam, cards and dominoes— you'll find,' he
continued, as they descended the steps again, 'you'll find that nothing what ever has
been forgotten, when we make our start this afternoon.'
The term “we”
'I beg your pardon,' said the Rat slowly, as he chewed a straw, 'but did I overhear
is the first
you say something about "we," and "start," and "this afternoon?"'
direct hint that
he
automatically
'Now, you dear good old Ratty,' said Toad, imploringly, 'don't begin talking in that
expects Rat
stiff and sniffy sort of way, because you know you've got to come. I can't possibly
to accompany
manage without you, so please consider it settled, and don't argue— it's the one thing
I can't stand. You surely don't mean to stick to your dull fusty old river all your him
life,
and just live in a hole in a bank, and boat? I want to show you the world! I'm going to
make an animal of you, my boy!'
'I don't care,' said the Rat, doggedly. 'I'm not coming, and that's flat. And I am going
to stick to my old river, and live in a hole, and boat, as I've always done. And what's
Italics give
more, Mole's going to stick me and do as I do, aren't you, Mole?'
readers a
very clear
Journey phrases
idea about
“show you the
Rat’s tone of
Toad:
world”.
refusal.
 Forceful character who is used to getting his own way
 Exuberant, excited, assertive manner
 Encourages the idea of exploration and discovery
 Epitomises all the positive attributes of travel and holidaying
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Jaded / bored with his life
Seeking change, adventure, discovery
Impatient
Ratty:
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Conservative, afraid of change
Unimpressed by Toad’s idea
Dull, bored, tiresome
Opposite to Toad – wants to stay in his “hole in a bank”
Like the comfort, security and familiarity of his home
Mole:
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Mole is described as, “Tremendously interested and excited” by the prospect of
travelling
Caught in the middle between Toad and Ratty
Less rigid that Ratty, but more practical and logical that Toad.
TECHNIQUES: CHARACTERISATION
It is the characters in the text that are used to highlight the pro’s and con’s of physical travel
and journeys.
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Ratty and Toad represent both the positive and negative aspects of journeys.
Toad describes journeys as being full of “Travel, change, interest and
excitement!” He is jaded with his life at present and seeks “real life”.
Graham manipulates language to emphasis and reinforce the fervour of Toads
character. He is determined to make Ratty see his point of view. The humourous
pun, “I’m going to make an animal out of you, my boy!” clearly depicts the
stubborn streak in his character.
Ratty, however reflects the opposite perception on journeys. He is described as
“stiff and sniffy” and is comfortable to stay in his “old river” and lives “in a hole”.
He refuses to be caught up in the excitement of the moment and does not care to
uproot himself for uncertainty and travel.
Ratty’s character shares many qualities with Gwen in “Away”. Both are
reluctant to take a ‘real’ journey and are resistant to change or
development.
LANGUAGE
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Emotive language is used in the text to reflect the emotions felt by the characters.
Dialogue is used to represent the different views and personalities of the characters.
Toad is very positive in his language, while Ratty tends to be very negative and
pessimistic.
Descriptive language is used to describe the caravan. It is very bright and is called a
‘gypsy’ caravan, which has connotations of exploration, freedom and travel.
A journey motif is referred to repeatedly throughout the text.
Sample Paragraph - Wind in the Willows
This well-known children’s classic highlights and explores many central ideas
about ‘Journeys’. It compares and contrasts the positives and negatives that are
associated with physical journeys. By using animal figure, the author is able to
represent many human traits and characteristics, while the parable approach allows
Graham to satarise human flaws, foibles and shortcomings with humour. Many
positive connotations of journeys are explored throughout the text. The excitement,
sense of adventure and the expectation of enjoyment and discovery are evident in
Toad’s buoyant nature and attitude. He encourages Ratty to leave the confines of his
environment to ‘see’ the world, however Ratty prefers the familiarity and safety of his
‘Hole in the bank”. Toad sees journeys as things of excitement and new knowledge,
where Ratty looks on it with apprehension and disdain. He is not impressed with
Toad’s wanting to show him “the world!” The text therefore explores the contrasting
pressures of staying and going and the importance of what is new against what is
familiar. The language techniques used in the text highlight and emphasis the journey
motif that is explored. Dialogue is used to differentiate between the characters, by
colouring their attitudes and beliefs. Emotive language such as,
“snorted…triumphantly…and imploringly” help create a realistic atmosphere. Direct
speech is also used to humanise the characters and make them stereotypical
representations of human traits.
Text 4: Atwood, Margaret, ‘Journey to the Interior’
Journey Motifs Used:

The mind is an inner world that can be challenging and treacherous
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Inner journeys take courage and different sorts of road maps to those used by those
exploring physical terrain
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The journey inwards offers insight and personal growth
Poetic Techniques used:
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Descriptive language
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Unusual metaphors
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Evocative imagery and symbolism
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Use of the senses
Sample Polished Paragraph
Atwood’s monologue traces a journey into the poet’s mind. This is likened to a physical
exploration of wilderness that is both inspiring and dangerous. She blends the physical and
metaphysical in order to discover the meaning of identity and nationhood. Symbolism and
imagery describe the different signposts into her ‘heart of darkness’. This is depicted as a
“vacant wilderness” where words are "pointless", because in this mental landscape, no one
can hear you scream and “only some have returned safely”.
Her inner journey is largely uncharted, ‘inaccessible’ and unexplored. Freedom to move is
limited because here a “compass is useless” and there are no; ‘reliable charts’. Here the
traveller can easily become lost, distracted; ‘walking in circles’. The nuances of spoken
speech with its truncated sentences and pauses are used to mirror a mental stream of
consciousness. Ideas become fused into concepts of discovery and exploration. The journey
becomes one of ‘self’, sharing a complex landscape that invites reflection and wonder.
Sample Student Response
Margaret Atwood takes her reader on an inner journey of sinister new worlds that are
mental rather than geographical. Her trip of discovery requires dangers to be overcome
for compasses, maps and signposts are useless. The traveller is challenged at every turn
and can easily lose their bearings and end up “walking in circles again” . In this place,
no-one can hear you scream.
Imagery and symbolism create a complex enviroment where things are not what they
seem. Insight is only achieved by exploring what lies hidden in the wilderness beyond.
Some people read the poem only on the superficial level of a physical journey but the
inner, metaphysical journey that is also described offers understanding of self and the
world of the mind.
Text 5: Walker, Renay, ‘Blood on the Tracks’
Journey Motifs Used:
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The ‘road film’ genre is explored and put into context
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A particular film that uses a journey motif is analysed
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Recurring journey motifs such as ‘signposts’, ‘pathways’, ‘crossroads’ and so on are
defined and used to review the qualities of the film
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The insights and personal growth that are often highlighted in such ‘road movies’ are
examined
Review Techniques used:
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Comparitive analysis with other ‘road films’
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Journey metaphors used to review film
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Key aspects of the film discussed
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Objective and evaluative tone
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Personal assessment reached
Sample Polished Paragraph
Renay Walker evaluates the film ‘Beneath the Clouds’ as an example of a ‘Road Movie’.
She defines this term and shows how the road metaphor has been used to present a film
“narrative of personal identity”. By looking at a number of important films, both
contemporary and classic, she outlines how films often portray a story of personal growth,
self-awareness and self-knowledge. The road becomes the vehicle or ‘pathway’ that allows
this process to take place.
This film being reviewed presents a ‘rite of passage’ that makes it more than just a
‘rudimentary’ road film. Road metaphors such as ‘path’, ‘passage’, ‘crossroad’, ‘route’ and
‘sign post’ are used as emphasis. She explains how ‘road’ or journey films often show the
protagonist reaching a new ‘understanding’ of themselves as a result of what they have
experienced on the road. She praises the film’s innovative approach “to blaze its own trail
within Australian cinema” while putting the film into a broader genre context.
Sample Student Response
Physical journeys often have emotional and mental consequences as highlighted by the
‘Beneath the Clouds’ film review by Renay Walker. She shows why this is an excellent
example of a ‘Road Movie’ where the travellers are challenged by their journey
experience ‘en route’. Their perspectives of self and their position in the world undergo
change because of the “pathway” they take which allows them to reach a new level of
“understanding”. Typical journey metaphors such as “passage”, “crossroad” and “sign
post” are used to emphasise how in road movies, the road becomes the instigator of
change and personal growth.
Text 6: Journeys over Land and Sea’, from Voyages, A Smithsonian Libraries
Exhibition
Journey Motifs Used:
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The worlds of the explorer are examined through artefacts from the exhibition
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The motivations for the different types of journeys made ‘over Land and Sea’ being
displayed by the Smithsonian Library are discussed
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The various challenges that travellers once faced are highlighted on the screenshot
taken from the Library Website. This uses graphic images as well as text to show
some of the journeys that the exhbition is presenting.
Screenshot Techniques used:
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Informative language that also serves to advertise the exhibition for people who
might be potentially interested in attending
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Historical overview gives a context for the Library exhibition which is being described
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Pictures taken from contemporary maps are used to generate visual interest
Sample Polished Paragraph
This factual and informative screenshot highlights the relationship between journeys and
the expansion of knowledge. The site is also interactive which has broader audience
appeal. The various motivations that drive man into the unknown are discussed as is the
importance of exploration in history and the connection between science, trave as well as
new political, military and commercial opportunities.
The site highlights the inspirational and fascinating nature of travel and the forces of fear,
greed and wonder that have motivated people to go; ‘beyond their own boundaries’. The
image of the sea beast stresses how much was ‘unknown’ and dangerous. Specimens ‘from
the natural world’ provided a wealth of material to classify, organise and catalogue. An
increasing body of information that was made by ‘historians, ecologists, scientists, and
many others’ was also being formulated as a result of these exploratory journeys.
Sample Student Response
Throughout history, mankind has been inspired by the desire to explore and discover new
worlds and things; to go beyond known ‘boundaries’ for reasons of trade and exploitation.
Finding new places has broadened man’s knowledge and understanding. The associated
difficulties that are highlighted by the Smithsonian Exhibition Website speak of a different
time when seamen spoke of monsters of the deep and maps gave little guidance of what lay
ahead.
Such journeys back in time demonstrate the courage and boldness required by travellers of
yesteryear. The images of things that are included amongst the library exhibits give the
website browser some idea of what to expect. Modern visitors to this exhibition can only
imagine the hardships of making such journeys into the unknown.
Text 7: Geok-lin Lim, Shirley, ‘The Town Where Time Stands
Still’
Journey Motifs Used:

The mind is an inner world that can be challenging and treacherous

Inner journeys take courage and different sorts of road maps to those used by those
exploring physical terrain

The journey inwards offers insight and personal growth
Poetic Techniques used:

Descriptive language

Unusual metaphors

Evocative imagery and symbolism

Use of the senses
Sample Polished Paragraph
This text attempts to define what has motivated people to travel throughout the centuries. The fundamental
compulsion is described as something ‘subtler’ and more ‘unconscious’ than the desire for profit or pleasure
which she dismisses as base. It is ‘the search for the genii loci’ or spiritual protector. The simple pleasures
gained from being on holiday are transient in comparison. She speaks of a more spiritual journey, a desire to
find meaning and purpose that remains even when the place itself is left.
She speaks of the more imaginative and purer’ sense of traveling that promotes internal transformation.
Places can have the power to inspire awe, wonder, salvation and reconciliation. Pilgrimages throughout the
ages have acknowledged the spiritual awakening or blessing that is often associated with sacred places that
somehow touch the soul. The spirit can be rejuvenated and hope restored by taking a journey. It is this
recuperative and restorative ability for a traveller’s ‘internal psychology’ that is the focus of this short extract.
Sample Student Response
This extract from a work written by Shirley Geok-lin Lim highlights the speculative and
imaginative nature of journeys. Historically, man has always been inspired to travel by
many different things. What the writer emphasises however is that fundamental to people
from all times and all cultures, is the desire to be somehow bettered by making a journey to
another place. Awe and excitement from what is seen or experienced often leads to
positive change. The ‘genii loci’ that she speaks of may have more relevance in older, more
pagan communities who still believe in sacred sites but it still relates to a sense of place.
Readers can still identify with the mystical connection to place that can occur to the
modern traveller. It is not only the destination that can inspire awe but the process of
getting there as well as the exciting expectation of what will be found on arrival. She
highlights the spiritual growth and rejuvenation that can result from travel. This
highlights the relevance of the Taoist saying, “The Journey is the reward.”