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English
Year
11
Robert Beardwood
with
Sandra Duncanson
Virginia Lee
Melanie Napthine
Table of contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v
Course overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vi
Chapter 1: Novels and short stories
2
Key features of narrative texts . . . . . . . . . . . . . . . . . . . . . . 4
Special features of short stories. . . . . . . . . . . . . . . . . . . . 14
Chapter 2: Film
17
Cinematography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Mise en scène . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
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Sound. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Sample scene analysis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Vocabulary for film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Chapter 3: Drama
Chapter 6: Ideas, issues and themes
25
47
Themes and ideas. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Issues. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Analysing ideas, issues and themes. . . . . . . . . . . . . . . . . 52
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Vocabulary for novels and short stories. . . . . . . . . . . . . 15
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Area of study
Reading and creating texts
Reading and comparing texts
Chapter 7: Analytical text responses
53
Analyse the topic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Plan your text response. . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Write your text response. . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Edit your work. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Build your skills. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Annotated sample responses. . . . . . . . . . . . . . . . . . . . . . 65
Chapter 8: Creative text responses
71
Planning a creative response. . . . . . . . . . . . . . . . . . . . . . . . 72
Structure. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Developing a creative response. . . . . . . . . . . . . . . . . . . . . 73
Stage directions and stage sets . . . . . . . . . . . . . . . . . . . . 28
Guidelines for a written explanation. . . . . . . . . . . . . . . . . 75
Dialogue, soliloquies and asides . . . . . . . . . . . . . . . . . . . . 29
Text types and sample responses. . . . . . . . . . . . . . . . . . . 75
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Special features of drama. . . . . . . . . . . . . . . . . . . . . . . . . . 26
Vocabulary for drama. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Chapter 4: Non-fiction narratives
33
Types of narratives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Point of view and selection of events. . . . . . . . . . . . . . . 35
Importance of context and setting. . . . . . . . . . . . . . . . . 36
Time lines and subjects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Vocabulary for non-fiction narratives. . . . . . . . . . . . . . 38
Chapter 5: Poetry
39
How to analyse a poem. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Vocabulary for poetry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Chapter 9: Comparing texts: strategies
and guidelines
91
Identifying shared ideas, issues and themes. . . . . . . 92
How texts present ideas, issues and themes . . . . . . 98
Exploring different perspectives . . . . . . . . . . . . . . . . . . 102
Chapter 10: Writing a comparative
text response
111
How to structure a comparative essay . . . . . . . . . . . . 112
Guidelines for writing a comparative essay . . . . . . . . 114
Sample topics, analyses and annotated
responses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
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Table of contents
Chapter 11: Understanding argument and persuasive language
2
134
Chapter 15: Persuasive language
techniques
178
Argument. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Examples and activities . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Chapter 12: Newspaper texts
142
Print versus digital newspapers. . . . . . . . . . . . . . . . . . . 143
Choosing the news. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Headlines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Chapter 16: Writing an analysis Opinion pieces and blog entries . . . . . . . . . . . . . . . . . . . 148
Letters to the editor and online comments . . . . . . . 150
Cartoons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Photographs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Chapter 13: Other media texts
155
188
Preparing your analysis. . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Planning your analysis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Writing your analysis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Sample issue and annotated analysis. . . . . . . . . . . . . 194
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Editorials. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
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Main contention. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Summary table of persuasive language
techniques. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
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Audience and purpose. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
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Area of study
Analysing and presenting
argument
Chapter 17: Presenting a point of view
198
What is an issue?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
How to develop a reasoned point of view. . . . . . . . . 200
Sample issue and point of view. . . . . . . . . . . . . . . . . . . . 202
Tips for oral presentations . . . . . . . . . . . . . . . . . . . . . . . . 207
How to write a statement of intention . . . . . . . . . . . . 208
Television news and current affairs . . . . . . . . . . . . . . . 156
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Radio news and talkback programs . . . . . . . . . . . . . . . . 157
Chapter 18: The exam
210
Internet texts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Format of the exam. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .211
Speeches. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Timing in the exam. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Chapter 14: A rgument: persuasive strategies
and techniques
161
Understanding argument. . . . . . . . . . . . . . . . . . . . . . . . . . 162
Area of Study 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Area of Study 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Proofreading and revising your answers. . . . . . . . . . . 215
Structuring strategies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Summary table of argument techniques. . . . . . . . . . 166
Acknowledgements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Examples and activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
A holistic approach. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
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Introduction
Insight’s English Year 11 is a practical, comprehensive textbook for VCE English Units 1 and 2.
It is closely based on English in Year 11, with new chapters specifically written for the
revised VCE English Study Design, which is accredited for Year 11 students from 2016.
The main new elements of the course are:
a creative text response in Area of Study 1 (Unit 1)
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a comparative text response in Area of Study 1 (Unit 2)
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the analysis of argument as well as persuasive language in Area of Study 2
(Units 1 and 2).
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These elements are specifically addressed in chapters on creative responses (Chapter 8),
comparative responses (Chapters 9 and 10) and the analysis of argument (Chapter 14).
However, all the chapters contribute in important ways to
developing your overall understanding of the subject, and
your ability to complete the required tasks.
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Throughout this book there are many explanations,
word banks, model paragraphs and complete
sample responses to show what you need to
know as well as how you need to write. In
addition, there are numerous activities that
are graded from those that require short,
simple answers up to extended paragraphs.
Completing the activities will build your
detailed knowledge of texts, as well as your
confidence in writing. Knowledge and skills are
very closely linked: put your knowledge into
practice as soon as possible, and as often as possible.
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Each assessment task is covered in detail, with at least one
complete sample response. The annotations point out the
elements of each response that satisfy the task requirements,
as well as the key things your teachers will be looking for in
your writing.
English Year 11 gives you all the tools you need for a
successful Year 11, and provides ideal preparation for Year 12.
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Course overview
UNIT 1
UNIT 2
Reading and creating texts
Reading and comparing texts
You will study:
You will study:
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You will produce:
• analytical responses to texts
• analytical responses to a pair of texts,
comparing their presentation of ideas,
issues and themes.
You will study:
You will study:
• analytical responses to a text
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English
You will produce:
• analyses of how argument and
persuasive language are used to
position an audience
You will produce:
EAL
comparing their presentation of ideas,
issues and themes.
You will produce:
• texts to position an audience.
Oral
requirement
• analytical responses to a pair of texts,
Analysing and presenting argument
• analyses of how argument and
persuasive language are used to
position an audience
• texts to position an audience.
vi
You will produce:
Analysing and presenting argument
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Area of study 2
• creative responses to a text.
• two texts selected by your school.
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• one text selected by your school.
You will produce:
• two texts selected by your school.
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English
You will produce:
• creative responses to texts.
EAL
area of study 1
• two texts selected by your school.
One (and only one) assessment task
for Unit 1 must be in oral or multimodal
form.
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• analyses of how argument and
persuasive language are used to
attempt to influence an audience
• texts to present a point of view.
You will produce:
• analyses of how argument and
persuasive language are used to
attempt to influence an audience
• texts to present a point of view.
All assessment tasks for Unit 2 must be
in written form.
Area of study
1
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Reading
Getting started
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Studying texts is a major part of your VCE English course.
Area of Study 1 focuses on reading and understanding texts
such as novels, stories, plays, films and poetry, then
responding to them, usually in an extended piece of writing.
In Year 11 English you will study four texts in detail, two in
each semester. Year 11 EAL students study three texts during
the year.
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Your set texts will explore a range of situations and events,
and offer insights into human experience. Such texts help us
to reflect on how individuals respond to challenge and
adversity, what they value, what gives them hope and why
they behave the way they do.
In this section
1 Novels and short stories
2 Film
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3 Drama
4 Non-fiction narratives
5 Poetry
6 Ideas, issues and themes
7 Analytical text responses
8 Creative text responses
9 Comparing texts: strategies
and guidelines
10 Writing a comparative text
response
In Unit 1 the focus is on responding to each text individually,
either analytically or creatively. In Unit 2 your text responses
will analyse a pair of texts, comparing and contrasting their
exploration of shared ideas, issues and themes.
To use this book, first go to the chapter relevant to your text
type: Chapter 1 for novels and short stories, Chapter 2 for film,
Chapter 3 for plays, Chapter 4 for non-fiction narratives,
Chapter 5 for poetry. Then look at the text’s wider meaning –
the ideas, issues and themes it explores – using the tools and
strategies in Chapter 6.
Finally, go to the chapter or chapters relevant to the text
response you need to create. For an analytical response, see
Chapter 7. For a creative response, see Chapter 8. When you
are writing a comparative essay on two texts, see Chapters 9
and 10. Remember, every text response must be based on a
close knowledge and thorough understanding of your set texts.
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1
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Identifying shared ideas, issues and themes
How texts present ideas, issues and themes
Exploring different perspectives
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Comparing texts:
strategies and
guidelines
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A comparative essay demonstrates your close
knowledge and understanding of two texts. It
enables you to consider each text in detail, and
also to compare and contrast the two, using
each text as a means to see what is unique and
insightful about the other. The process of
reading and responding to two texts together
will enhance your understanding of each.
This chapter shows you how to build ideas and
gather evidence through your close study of the
texts. You will be looking for similarities or
parallels, as well as differences in their
perspectives on shared ideas, issues and
themes. The ideas themselves might vary
slightly between the texts, especially if they
were written in very different times or places.
Just as crucially, creators of texts can present
similar ideas and themes in ways that contrast
significantly, depending on their choice of form
and their use of features such as narrative
viewpoint, setting, plot, language and imagery.
Your response will be a formal written essay on
a set topic or question – see Chapter 10 for
detailed guidelines as well as sample topics,
analyses and responses.
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Chapter 9 Comparing texts: strategies and guidelines
Identifying shared ideas, issues
and themes
When comparing texts, your focus will be on the ideas, issues or themes they share. Once
you have identified these shared concerns, you can analyse the different perspectives each
text brings to them, such as:
considering similar ideas in different historical, social or cultural contexts
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presenting different points of view on an idea or issue
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asking different ‘big questions’ about an idea
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exploring different consequences of an idea or an issue in society
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using features of the text form (e.g. novel, play, film, non-fiction narrative) to
highlight problems or explore questions – which is especially relevant when the two
texts have different forms.
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Text pairs used for examples
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Throughout this and the next chapter, the following texts are used to provide examples of
various approaches to comparing two texts. Even if you are not familiar with these texts,
the analyses and sample responses will still provide useful models for your own writing.
You will be able to apply the general guidelines and activities to your own texts.
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The dates in brackets indicate when the print text was first published or, for a film, the
year of first release.
Texts
Key ideas, issues & themes
• justice
Reginald Rose, Twelve Angry
Men (play, 1955)
• prejudice
Tracy Chevalier, Girl with a Pearl
Earring (novel, 1999)
• women asserting power in the face of limited opportunities
Martin Scorsese (director),
The Age of Innocence
(film, 1993)
• subverting strict social conventions
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Larry Watson, Montana 1948
(novel, 1993)
• integrity
• negotiating/resolving conflict
and freedoms
• love
• appearances versus underlying reality
• things that remain unsaid
Geraldine Brooks, Year of
Wonders (novel, 2001)
• fear in response to plague
Stephen Soderbergh (director),
Contagion (film, 2011)
• family and community bonds being tested
• remaining true to one’s values under pressure
• how people respond when facing death
• truths revealed/exposed in times of crisis
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Comparing texts: strategies and guidelines Chapter 9
Texts
Key ideas, issues & themes
Kazuo Ishiguro, Never Let Me Go
(novel, 2005)
• oppression/inequality
Ridley Scott (director),
Blade Runner (film, 1982)
• the importance of human dignity and individuality
• what it means to be human
• technology leading to ethical problems
• love
• the importance of memory to identity
Michael Gow, Away (play, 1986)
• the search for identity
Ivan Sen, Beneath Clouds (film,
2001)
• journeys/quests
• discovery
• experiences of loss
• city versus country/coast
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• family (tensions and fragmentation)
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• confronting mortality
• integrity
Robert Bolt, A Man for All
Seasons (play, 1960)
• power being enforced through violent means
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Elia Kazan (director),
On the Waterfront (film, 1954)
• standing up to external pressures
• corruption
• religious values/leadership
• responses of people caught up in violent conflict
Chloe Hooper, The Tall Man
(non-fiction, 2008)
• the struggle for human rights
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Brian Friel, The Freedom of the
City (play, 1973)
• the fallibility or corruption of the legal/justice system
• colonial powers using violent means to persecute people
in their homeland
Themes: similarities and differences between texts
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Consider the mind maps for Twelve Angry Men on pages 48
and 49. The first map shows several major themes in the
play – and if you are studying this text you could easily add
more. Identify as many shared ideas, issues and themes as
you can in the texts you are comparing; don’t limit your
thinking to one or two main ideas. You might even find
that additional themes come into the foreground in the
process of your comparison.
For example, a comparison of Twelve Angry Men with Montana 1948
might focus on the shared themes of justice, prejudice and integrity.
However, if you compare their approaches to resolving conflict, you
might decide that this is a much more central theme in each text than
you had thought.
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Chapter 9 Comparing texts: strategies and guidelines
Venn diagrams showing themes in two texts
A Venn diagram is a concise visual way to show similarities and differences between themes
and ideas in two texts. Below is a simple Venn diagram showing some of the main themes
in Twelve Angry Men and Montana 1948.
human fallibility
compassion
family
growing up
prejudice
integrity
power
gender roles
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doubt/certainty
justice
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truth
montana 1948
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Twelve Angry Men
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When comparing texts your focus is, of course, on the themes in the intersection of the two
circles. However, you should still think about the themes that fall only in one circle, as they
might well influence the way in which a text explores one of the shared themes.
Draw a Venn diagram to show themes
Create a Venn diagram showing a range of themes in your two texts. Think carefully about where
you place each one; you might find the two texts have more in common than you first imagined.
Keep the themes and ideas simple at this stage – use single words or short phrases, as in the
example above. You can add to this as you continue your study of the texts.
The second map in Chapter 6 for Twelve Angry Men (page 49) shows different aspects or
forms of the main theme of justice. Even when two texts have a main theme or idea in
common, each author will take up different aspects of the theme, and express different
points of view on it, in relation to the story they are telling and the characters they have
created. Identifying different aspects of a main theme will therefore give you some key
points for comparing and contrasting two texts.
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Activity
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In Twelve Angry Men, the difficulty of establishing the truth about
events leading up to the murder of the accused’s father is central to
the exploration of justice. In Montana 1948, in contrast, there is never
any doubt about Frank’s guilt. Yet the novel also explores doubts and
uncertainties – such as those experienced by Frank’s brother Wes, the
town sheriff.
*
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How to structure a comparative essay
Guidelines for writing a comparative essay
Sample topics, analyses and annotated responses
Comparative text responses share
many features with analytical text
responses on a single text. Each
response:
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takes a position on a given
essay topic
presents a line of argument
about, and a consistent
interpretation of, the texts
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is a coherent essay,
with an introduction,
body paragraphs and a
conclusion
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In this ch apter
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chapter
10
Writing a
comparative text
response
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includes detailed textual
evidence, including brief quotations, to support the argument and reasoning.
On the other hand, comparing two texts requires a balancing act – a balance between the
two texts, and between writing about an individual text and writing about two texts
together. Some of your analysis will focus on a single text, showing your in-depth
understanding of characters, plot, narrative and language. Other paragraphs will compare
and contrast both texts. This will be particularly important in your final paragraph or two.
The following sections show you ways to structure your comparative essays, appropriate
language for comparing and contrasting texts, and strategies for analysing the main types
of topics. The three sample responses at the end of this chapter include notes on planning
the essays as well as detailed annotations. Even if you are not studying these particular
texts, use the notes and annotations as guides for your own writing.
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Chapter 10 Writing a comparative text response
How to structure a comparative essay
The diagrams and explanations below show you three main ways to structure a comparative
response. Each structure ensures that your essay is coherent – that is, it develops an
argument in a consistent and logical manner.
Note that the boxes in the flow charts indicate the overall structure, rather than the number
of paragraphs required. The in-depth discussion of each text might cover two or even three
paragraphs, depending on paragraph length and the overall length of your essay.
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A block essay
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This is the most straightforward structure. It ensures that you deal with both texts in detail,
and that your response focuses on the ideas, issues or themes identified in the introduction.
It does restrict your comparison of the two texts to the final paragraph or two, so remember
to make this part of the response just as detailed and thorough as the rest.
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Introduction: state your position or argument in response to the topic,
with brief reasons, referring to both texts.
Discuss ideas, issues and themes in text 1.
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Discuss the same or similar ideas in text 2.
Discuss both texts, indicating similarities and differences,
finishing with one or two concluding statements.
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The introduction ‘sets up’ your discussion by stating your point of view, or main
contention, in response to the topic. In the body paragraphs, link back to your main
contention; the final sentence of a paragraph is a good place to make this link. You might
also wish to add a brief conclusion to sum up and restate your position on the topic.
Block essay with transition paragraph
This structure is slightly more complex than the block approach above. If you can become
comfortable with it, your responses should have:
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more fluency, as there is a smooth transition from discussion of one text to the next
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more detailed discussion of similarities and differences between the texts.
In this structure, you can devote more space to a side-by-side comparison of the texts,
examining both similarities and differences. As in your detailed discussion of each
individual text, your comparison of the two texts must be supported by textual evidence.
You might emphasise similarities or focus on differences and contrasts, depending on the
topic and your interpretation of the texts.
112 insight E n g l i s h
Year 11
Writing a comparative text response Chapter 10
Introduction: state your position or argument in response to the topic, with
brief reasons, referring to both texts.
Discuss ideas, issues and themes in text 1.
In a transitional paragraph, discuss similarities and differences between the texts.
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Discuss similar ideas in text 2.
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Discuss both texts in a concluding paragraph.
A more complex structure based on ideas
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This structure organises the paragraphs according to the ideas discussed, rather than
discussing the texts one after the other. Comparison of the two texts occurs throughout
the response, rather than just in particular paragraphs.
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Introduction: state your position or argument in response to the topic,
with brief reasons.
Discuss one key similarity or difference between the texts.
Discuss another key similarity or difference.
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Discuss another key similarity or difference.
Discuss both texts in a concluding paragraph.
To give this response more shape and coherence, you could begin with similarities and
move on to consider differences, or vice versa. Planning is very important when using
this structure, as each key similarity or difference needs to be clearly identified in a
topic sentence.
As in the previous two structures, it is very important that you write in depth and
detail on each text. You still need to convey a thorough understanding of each text, as
well as examine the similarities and differences between them. If you adopt this
integrated approach, avoid shifting back and forth between your texts too many times
in each paragraph. Write in detail on one text, then discuss the same point in relation
to the other.
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An
argument
Getting started
11 Understanding argument
and persuasive language
Persuasive texts are part of our daily lives. We hear them
on the radio and on television in news, current affairs and
radio talkback programs and, of course, in advertisements.
We read and view them in the opinion columns of
newspapers, media websites and blogs.
13 Other media texts
To be effective, persuasive texts combine an argument with
persuasive language. The argument is the overall point of
view or message being conveyed, as well as the supporting
reasons and evidence. Arguments can be presented in a
very logical way, emphasising facts and figures; or they can
be presented in a very emotional way, seeking to arouse
and influence people’s feelings. Often they combine the
two approaches, appealing to both ‘head’ and ‘heart’ to
create the strongest impact on a reader or listener.
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14 Argument: persuasive
strategies and techniques
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12 Newspaper texts
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In this section
15 Persuasive language
techniques
16 Writing an analysis
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17 Presenting a point of view
To support the argument, a range of persuasive language
techniques will be used to position the reader or listener
and influence their viewpoint on an issue. The language
will also be carefully chosen to achieve the writer’s purpose
with their intended audience. That is, argument and
language work together to present a point of view in the
most convincing and effective way possible.
In your study of media texts you will analyse how argument
and language are used in relation to an issue that is
currently being debated – perhaps locally, or across the
nation, or even internationally. You will also present your
own point of view on an issue, combining argument and
persuasive language to persuade others to agree with you.
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Understanding argument
Structuring strategies
Summary table of argument techniques
Examples and activities
A holistic approach
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In this ch apter
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chapter
14
Argument: persuasive
strategies and techniques
An argument is a clear contention justified by supporting reasons. Strong arguments use
logic and reasoning to demonstrate the validity of the writer's or speaker's viewpoint.
Constructing a strong argument involves making careful choices about the order in which to
present supporting reasons and appropriate techniques to persuade the audience and rebut
opposing arguments. Strong arguments are also presented in appropriately persuasive
language. (See Chapter 15 for more information about persuasive language techniques.)
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Chapter 14 Argument: persuasive strategies and techniques
Summary table of argument techniques
Use this table as a quick reference to build your understanding of argument techniques and
strategies and how they are used to persuade the reader, viewer or listener.
Analogy
A comparison between two things that
helps the reader to draw conclusions
about their similarities.
Anecdote
A story about someone or something
that the writer has experienced or
heard about.
Appeal to family values
Gains attention; adds emphasis; often in
headlines.
➜
Draws attention to key words.
➜
Not persuasive on its own but can be when
used with other techniques.
➜
Explains a complex point in more familiar
terms.
➜
Can help to make the contention look simple
and obvious by linking it to something that
readers know well.
➜
Personal experience lends weight/credibility
to the writer’s viewpoint.
➜
Gives a human angle, making the issue seem
more relevant or ‘real’.
➜
Invokes the reader’s desire for emotional
security and a protective, nurturing
environment for children.
➜
Can be implicit when antisocial behaviour is
blamed on broken or dysfunctional families.
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Suggests that families are good,
especially traditional nuclear families.
➜
Appeal to fear and insecurity
Arouses fear and anxiety by suggesting
that harmful or unpleasant effects will
follow.
Appeal to the hip-pocket nerve
Suggests that people should pay
the least amount possible, either
individually or as a society.
Appeal to loyalty and patriotism
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Suggests that readers should be loyal
to their group and love their country.
Appeal to tradition and custom
Suggests that traditional customs are
valuable and should be preserved.
Begging the question
Occurs when the premise of an
argument is the same as the
conclusion.
Deductive reasoning
Examining general rules and facts
about a group to form a specific
conclusion about one part of the group.
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Year 11
Anyone who objects to hunting animals for
sport but isn’t a vegan is a self-righteous
hypocrite whose opinion lacks any moral weight
or validity.
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Attacking or insulting a person rather
than their opinion or the facts.
Example
Yes, poaching is more damaging than trophy
hunting. Murder is worse than grievous bodily
harm, technically, but I’m comfortable strongly
objecting to both.
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Ad hominem attack
How the technique persuades
Incredibly, the idiot motorist who didn't see
me cycling along Beach Road and sent me to
hospital for five months did not even get a fine.
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Argument technique
and definition
➜
Makes the reader want to lessen the threat to
themselves or society by taking the writer’s
advice.
➜
Plays on people’s fears.
➜
Positive impact: makes the reader pleased
about getting value for money.
➜
Negative impact: makes the reader annoyed
about paying too much or about the misuse
of money.
➜
Invokes feelings of pride, a shared identity
and common purpose.
➜
Often uses inclusive language to emphasise
these feelings.
➜
Traditional customs have positive
associations, e.g. with ideas of family and
social unity, inclusiveness, sharing.
➜
Often compared positively with ‘modern’
lifestyles to make readers feel that social
cohesion is being lost.
➜
Reassures the reader through a familiar
expression.
➜
Lulls the reader into an uncritical mindset.
➜
Often has a comic effect. This can produce
a lighthearted, amusing tone, or a sarcastic,
critical tone.
➜
Encourages the reader to respond on an
emotional level.
➜
The reader’s emotional response positions
them to share the writer’s viewpoint.
The new childcare package provides nothing for
families who believe that for babies and young
children, bonding with parents in the home is
superior to care provided by strangers, however
well trained they may be.
Hoon drivers are recklessly and callously putting
innocent lives in serious danger.
Over the past decade, Australian gas and
electricity prices have ballooned, leaving an
alarming number of Australians struggling to
afford these basic necessities.
We mustn’t lose sight of the values this
wonderful country of ours was built on –
equality and a fair go for all.
All businesses should be closed on Anzac day
to observe and maintain the traditional day of
respect.
Eating well is the best way to improve our
health outcomes both individually and
collectively, because eating well will result in
fewer illnesses and improved wellbeing.
Students often get anxious about exams so the
three students absent from class today are
probably trying to avoid the test.