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EN821
English
A S S E S S M E N T
B O A R D
2002 External Examination Report
Section A – Style Analysis
The examiners agreed that the candidates responded well to Questions 2, 3, 4, 5. The responses to Question 1
were mixed. Many candidates were attracted to the topic because they had prior knowledge of the subject - Wayne
Carey’s domestic and professional problems. Candidates answering Questions 3, 4, 5 were more confident in
their responses and there was a sense that their answers were more considered and less rushed, generally speaking.
Because there is so much reading to do in this section before candidates make their choice, there is a tendency for
some candidates to rush straight into analysing before fully comprehending the passage. This was very evident
in Question 1.
The questions varied in their nomination of specific techniques to be discussed. Some examiners commented
that when candidates were free to decide particular techniques they often made poor decisions. In some cases,
candidates ignored the key words in the question and answered according to a set formula that they had been
taught in class.
Many candidates did not understand structure. The problem was that candidates were unable to form a
generalisation about the structure in terms of the author’s ideas or points. They merely mentioned the number
of paragraphs or re-told each paragraph. In Question 1, some examiners felt that candidates were not helped by
the editor’s rather ambiguous argument, particularly the last two lines of the article. The ‘common touch’
perplexed many candidates. Tone was handled quite well this year; many candidates noted that there was a change
in tone in some passages. Other candidates struggled to find the right word for tone and ended up writing a
whole sentence instead. Language use was discussed in some depth and detail by the more able candidates whilst
the weaker ones merely listed usage without any link to or comment on the writer’s purpose.
The candidates’ discussion of audience remains a problem. Candidates spent far too long on this concept and
much of what was written was superficial and trite. This weakness was evident in many responses but
particularly in Questions 1 and 2. In a similar vein, the sound devices of alliteration and assonance were given
far too much importance and were wrongly discussed as vehicles for carrying meaning.
Examiners were pleased to see some improvement in the standard of spelling, especially those basic words which
were mentioned in this report last year. However, spelling is still a problem for many of our candidates.
Examiners were sensitive to the fact that exam answers are a first draft and that errors do occur due to the
pressure of time and circumstance.
Perhaps our teaching of style analysis and its techniques is a case of putting the cart before the horse. In our
effort to teach these new and somewhat difficult style concepts, we convey, inadvertently, the notion that an
understanding of ‘technique’ is an end in itself. Thus we get candidates listing techniques or applying them in a
trite or erroneous manner. Would it be better to place more emphasis on the comprehension of a passage with
all its subtleties of meaning through references, allusions, connotations and so on? This would provide a more
solid base of understanding before applying these abstract concepts of style analysis.
The comparison, in Question 1, between Muhammed Ali and Mike Tyson’s out-of-ring behaviour was lost on
many candidates, so consequently they failed to make the editor’s link between Tyson and Carey. This was a
weakness in comprehension rather than a misunderstanding of a technique.
Tasmanian Secondary Assessment Board
2002 External Examination Report
EN821
2
English
Criterion 1
This year, examiners expressed a major concern about sentence structure. Many candidates seemed to write as if
they had to cram as much as they could in the three hours. This sense of rush often was to their disadvantage. A
concise, well-written answer scored much better than one that was hastily constructed, even though the candidate
wrote four or five pages.
The embedding of quotations within a sentence is a skill that many candidates are still struggling with. The
problem was apparent in those candidates who listed examples through a series of quotations in one sentence. A
quotation is meant to illustrate a point. Many candidates failed to grasp this concept. The better candidates
quoted less frequently but discussed their examples in more detail. Candidates should not be afraid to spend a
whole paragraph discussing one quotation if necessary.
Some candidates had difficulty constructing a sensible introduction; many merely restated the question, whilst
others launched into making their first point without an introduction. The better responses had a carefully
considered introduction, which included a mention of their main points. This gave structure and purpose to their
paragraphing – a feature that was missing in many answers.
Examiners noted that some candidates seemed to lack the necessary technical vocabulary needed in style analysis.
Some also reported that this vocabulary was often misunderstood or misused. A lack of a good general
vocabulary was also noted and this was particularly evident in the responses from the better than average
candidates. The outstanding candidates were obvious, in part, by their use of a wide and varied vocabulary.
This year, candidates were more formal in their language and there were far fewer lapses into the colloquial other
than the perennial ‘grabs the reader’s attention’.
Criterion 7
The examiners reported that some techniques were much better understood than others. This was noticeable in
the responses to Questions 3, 4, 5 – the prose passages.
The structure in Hewett’s extract was somewhat obvious as it was in Christopher Koch’s piece, and most
candidates made sensible comments on this feature. However, the structure of The Mercury editorial was not
obvious and many of the less able candidates really struggled with it. The structure in writing, unless it is
patently obvious, seems to pass by many candidates. Is this because of exam pressures or is it too difficult a
concept for young and unsophisticated readers?
Not unconnected with this point was the observation by the examiners that some candidates carried their media
terminology over into the prose passages and analysed them as if the passages were examples of journalism.
On the whole, language techniques were correctly identified but candidates needed to make more of these devices
beyond identifying and exemplifying. However, many candidates made an honest effort in this regard and they
(and their teachers) are to be commended for it. The prose passages were particularly ‘language rich’ and as a
consequence many candidates were able to shine in this section of their answer.
This year, candidates did not display a good understanding of audience. Examiners reported that there was a
marked confusion in the candidates’ understanding of audience, reader’s response and the positioning of the reader.
These concepts are similar and overlap but they are not identical or interchangeable. Is this another case of the
concept being too difficult for most candidates given the demands of the course and the time frame?
Tasmanian Secondary Assessment Board
2002 External Examination Report
EN821
3
English
Question 1
The following editorial was published in The Mercury on 15 March 2002. It focuses o n
the self inflicted problems of Wayne Carey, captain of the Kangaroos, to make a serious
point. How does the writer structure this piece and what specific stylistic devices are used
to support his/her purpose?
Candidates clearly struggled to produce good responses to this editorial because of the question set for it and the
text itself. The question tried to direct candidates to the idea that the Carey situation was used to make a
comment on the role of sports icons in society. Many candidates failed to see this and concentrated solely on
Carey. The text itself confused the issue of responsibility by linking the notion ‘the pedestals on which we put
them’ with ‘role models’ and the ambiguous placement of ‘Many believe this entitles them to be treated
differently’.
Stronger responses identified the purpose as using the Carey example to make a general comment about the role
of sports stars and the validity of the public’s expectation of these figures. The stronger candidates were adept in
describing the persuasive strategy of the editorial, accurately describing the tonal changes and supporting their
description with evidence from the text. They used terms identifying the use of colloquial language and idiom,
simile, metaphor and alliteration together with comment about the effect or purpose of such devices.
Weaker answers identified the purpose as a balanced criticism of Carey’s behaviour or as a defence of Carey from
public criticism. In these answers much was made of the physical layout of the article and the sub-heading
‘Disbelief’. Examiners stated that it was very difficult to link the physical layout to the editor’s purpose in this
particular article. It is far more useful for candidates to see structure in terms of the writer’s ideas or points and
to make comments on how these ideas are revealed and in what order. Less successful answers dwelt on
inappropriate devices such as punctuation and whilst alliteration was used it did not warrant the attention it
received. Candidates attempted to link alliteration with the editor’s purpose. Examiners also noted an obvious
misunderstanding of audience in these weaker answers.
Question 2
The column was published in The Age on 11 August 2002. Comment on the structure, the
tone and any other aspects of style that contribute to Forster’s theme.
The rich language and narrative style of this column allowed candidates of all abilities to write quite detailed and
competent answers. Most candidates identified the theme and purpose of the column, even those who did not
move much beyond a re-telling of the article. The colourful and varied figurative language – metaphors, similes
and personification – was identified by the majority of candidates who were able to comment on the sharp
contrast between the dark and restricted atmosphere of the pub and the warm and rewarding atmosphere of the
journey by the mother.
Many candidates were able to comment on the structure in terms of the writer’s theme and avoided shallow
comments about the physical layout of the column. Tone and the change in tone were also discussed in a
sensible and competent manner. Examiners noted that point of view challenged the weaker candidates; first,
second and third person were all suggested. Candidates were confused as to whether the piece was fiction or nonfiction. The very strong, personal narrative voice in the column, together with its reflective tone and original
imagery, lifted it above run-of-the-mill journalism, which could have caused the confusion.
Some spelling errors were noted in these responses: reminisce, simile, similes, metaphor, gambling.
Tasmanian Secondary Assessment Board
2002 External Examination Report
EN821
4
English
Question 3
In her short story ‘Joe Anchor’s Rock’, Dorothy Hewett writes about the events that
surrounded the birth of the narrator’s father. What devices of style does she use to convey
a sense of the terrible power of natural forces?
Most candidates were able to comprehend the passage in terms of the author’s themes and use of language.
There were many competent answers and a few outstanding ones. Examiners commented that while candidates
knew what the passage was about, the organisation of their responses could have been better. There was a need
to look at the passage as a whole to understand its structure. The structure could be reasonably divided into three
sections: the hurricane, the rain and the departure of Joe Anchor, and the finding of his body. Examiners noted
that it made more sense to deal with the structure first before breaking it down into individual techniques. Some
candidates commented on the three ‘forces’, the hurricane, the flood and childbirth, whilst others merely quoted
the phrase ‘the terrible power of natural forces’ in a stock fashion without considering the different forces. These
candidates overlooked the possibilities of the key words in the question and merely accepted them at face value
and repeated them as a phrase.
Examiners remarked that candidates need to spend more time and thought on their introduction and to avoid
simply restating the question. They should show that they have understood the essence of the question and
signal the techniques to be discussed in the body of their essay. It was noted that there was some confusion over
point of view. The frequent mention of ‘my grandmother’ put it in the first person, but the rather detached tone
of the whole piece suggested the third person to many candidates.
Some candidates referred to the author by her first name, ‘Dorothy’, and need to be reminded that the author
should be referred to by the full name in the introduction and by the surname thereafter.
Question 4
Jeremy Seal’s The Snakebite Survivors’ C l u b is a travel book focussing on snakes. Here
he gives a description of the church in the American south, which involves the handling
of poisonous rattlesnakes, and the way this dangerous practice appeals to a violent young
man, Glenn Summerford. Comment on Seal’s use of tone, and any other aspect of s t y l e
to make this piece vivid and compelling.
Most candidates found this a difficult passage to analyse. The question was rather unhelpful, especially for the
weaker candidates. The question stated that The Snakebite Survivors’ Club was a travel book – the implication
being that this extract was non-fiction. Candidates were confused about the author’s point of view and the
narrative voice. Had Jeremy Seal created a ‘character’ of Glenn Summerford or was he recording his
observations of the American south? Was it an example of fictional non-fiction, similar to Angela’s Ashes? In
future, a passage such as this needs to be clearly defined.
Because many candidates did not understand the purpose of the extract, they could not accurately identify the
tone. The tone was ironic and at times heavily sarcastic. Those candidates who did identify tone accurately did
so in a tentative manner and seemed not to trust their intuition. Since the passage touched on religion,
candidates were quite cautious in their remarks, not wishing to offend. They missed the irony that Glenn
Summerford’s wild and wayward behaviour had simply been channelled into another direction.
It was noted that the weaker responses tended to concentrate on minor techniques and made too much of them in
an attempt to fill out their answers. Some candidates misapplied techniques or resorted to listing examples
without much comment or qualification.
Tasmanian Secondary Assessment Board
2002 External Examination Report
EN821
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English
Some candidates commented on the structure as a whole but others commented on the size of the three
paragraphs or retold the passage.
Good responses were generally well-written with a reasonable level of accuracy and fluency. There were the
occasional lapses into the colloquial, for example, ‘Darlene was sucked into a trap’.
It was apparent that quite a few candidates who attempted this question had left it till last and did not have
enough time to complete their answer in a satisfactory manner. Had they judged their time better, many could
have gained a higher mark for this question.
Question 5
In Christopher Koch’s novel The Doubleman he gives an account
central character, Richard Miller, was struck down by polio, a disease
the 1950’s was quite widespread and resulted in paralysis. When
Richard is aged 9, is playing with his clockwork train in front
grandfather’s dining room. What devices of style does Koch use to
atmosphere?
of the day when his
which at the time i n
this extract b e g i n s ,
of the fire in h i s
create a threatening
This was a very appealing prose passage, rich with possibilities for discussion. Many candidates were able to
respond well to the question in terms of understanding the author’s purpose. Most candidates made the
connection between the train and the boy’s deterioration. Examiners commented that the standard of writing was
very good for many candidates who were able to form a global view of the passage and make an apt summation
in their introduction. Those who focussed on finding the tools used by the author were able to analyse the
extract effectively. They realised that it was Koch’s use of figurative language that helped create the threatening
atmosphere. Personification, metaphor and simile were all dealt with in some depth and detail, but there was
still the occasional candidate who resorted to listing.
When the question requires the candidates to make their own judgements about which devices are used, the
weaker candidates often concentrate on minor or irrelevant ones. One candidate wrote ‘The paragraphs are
justified and indented’. Aspects of style should only be commented on if they are noteworthy or significant.
It was observed that some candidates have a poor understanding of point of view. A number of them complained
that a boy of nine would not be able to write like that.
Section B – Themes
Question 6
Wolf Lullaby is a play depicting mental and emotional disturbance.
for such disturbance appear to be supported by the play?
What explanations
The overall standard of answer for this question was generally good and candidates appeared to have good
understanding of what the question required. There was some small confusion over the question and some
candidates described what made the play emotionally disturbing instead of explaining why the characters were
mentally and emotionally disturbed. However, most made a reasonable attempt to address the question which
was both challenging and fair.
Tasmanian Secondary Assessment Board
2002 External Examination Report
EN821
6
English
Criterion 1
Many of the answers were fluent and demonstrated a sophisticated vocabulary. There is some confusion over
where to break paragraphs, and some work on developing paragraphs from topic sentences is warranted. Titles of
plays should be underlined. Candidates sometimes refer to people using ‘which’ and ‘that’ which detracts from
their expression.
Criterion 2
It was possible to answer this question in two basic ways: to describe Lizzie’s behaviour and explain in detail
why she was mentally and emotionally disturbed, or to look at all four characters and examine their behaviour in
terms of emotional disturbance.
The introduction should map out the general direction of the argument, and the conclusion should draw the
threads of the essay together without repeating information already given. Candidates who did best addressed the
question well in their introduction and their essays then were given a sense of direction. Each paragraph should
be relevant to the question and firmly tied to it. For best results, there should be clever and smooth links
between paragraphs. Better conclusions related back to the question and noted the playwright’s intentions
regarding explanations for the mental and emotional disturbances depicted.
Criterion 5
Better candidates dealt with several ‘explanations’ as to why character(s) are mentally and emotionally disturbed.
Weaker candidates dealt only with one or two. Candidates who did best did more than just label the
‘explanations’/issues in the play such as ‘nature v. nurture’. They explained what these were. However, there
was a tendency for some candidates to use this one-word labelling of issues/ideas which detracted from their
discussion.
The main points to include to show Lizzie is disturbed are her stealing, strangling birds, bullying at school,
wetting her pants, pulling the hairs on Angela’s legs and eating Warren’s chocolates. Her creation of the wolf is
important. It is her imaginary friend, a manifestation of her fear and the scapegoat for her bad behaviour. All of
these are a lead up to the murder of Toby Chester, and then the interrogation and Lizzie’s various reactions to
Angela, Warren and Ray as they try to get the truth out of her can be discussed in detail. The concluding
paragraph could then draw together the threads of the reasons Lizzie is so mentally and emotionally disturbed and
perhaps a couple of sentences on Hilary Bell’s purpose in writing the play.
If other characters are discussed, then there will not be enough time to discuss Lizzie in quite so much detail.
Angela demonstrates a number of signs of disturbance over Warren’s treatment of her, over her suspicions of
Lizzie’s guilt, her dilemma over whether or not to confess about finding the blood on Lizzie’s shoes, her self
accusations over her past treatment of Lizzie and finally her vision of the wolf after Ray has unloaded his own
guilt onto her.
Warren is emotionally disturbed (or perhaps stunted) and demonstrates this through his immature, irresponsible
behaviour as a husband, a father and an employee. He is not financially reliable, he refuses to make any hard
decisions, he tries to escape from anything unpleasant and he looks after Warren, first and last, even to the point
of selling his own daughter’s story to the media.
Ray at first appears to be the dedicated policeman whose only aim is to get a conviction even if he must resort
to trickery and violence to get it. However, at the end of the play he is disturbed at the role he has played in
ruining Lizzie’s future and unloads his own guilt onto Angela.
Tasmanian Secondary Assessment Board
2002 External Examination Report
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English
All of these points could be mentioned with detailed examples from the play and carefully chosen quotations to
produce a good strong essay that is relevant to the question. Most candidates displayed a very good knowledge of
the text and used many quotations very appropriately to illustrate points. However, some explanation of the
significance of these would have enhanced discussion.
Question 7
Radiance is a disturbing and confronting exploration of long-simmering tensions, secrets
and pain within a family.
Does the play offer any hope of healing and fulfilment?
Discuss.
This question attracted a number of quite able candidates. The candidates who answered this question generally
showed good knowledge of the text in terms of plot and character. However, many candidates appeared to have
paid too little attention to the wording of the questions, and in their answers focused almost exclusively on the
first sentence/statement about tensions, secrets and pain. Most candidates gave only cursory, if any, attention to
the question about hope and fulfilment; often it took the form of a throwaway line in the conclusion.
Criterion 1
The standard of written expression was generally quite sound with two thirds of the answers achieving As and Bs
on criterion 1. Occasionally candidates used an incorrect method of identifying title, using quotation marks
instead of the correct form of underlining. Sometimes the title was misspelled as Radience. Quotation
procedures varied between the handwritten convention and the word-processed convention.
Criterion 2
As indicated, a large number of candidates addressed only the first part of the question, thus compromising their
rating on criterion 2. However, the better answers addressed the question about hope and fulfilment as the
candidates dealt with the nominated themes. The very best answers were structured by theme. The essays that
were structured by character were far more pedestrian, and often overlooked significant features of the play.
Some answers were rewrites of essays done during the year, including the question on the 2001 paper.
Criterion 5
Some quite competent candidates wrote well about the themes, even if they overlooked the detail in the actual
question. They were not unduly penalized if they had made some attempt to link their discussion to the
question. However, a few candidates wrote quite irrelevant essays on issues to do with aboriginality and/or the
stolen generation.
Question 8
What does Shaffer have to say about the gains and losses associated with the exercise o f
power in The Royal Hunt of the Sun?
Criterion 1
The full range of abilities was reflected on this criterion. Writing was generally fluent, with only one candidate
failing to meet the requirements for a pass.
Tasmanian Secondary Assessment Board
2002 External Examination Report
EN821
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English
Criterion 2
Candidates structured their responses largely by character, with only a few using the chronology of the play as an
ongoing focus. Some chose to discuss power in relation to other themes. Where candidates used chronological
order, they succeeded as long as their responses showed depth.
Many candidates addressed loss and gain, and made only incidental reference to power. Some candidates chose to
incorporate other themes with which they were familiar, thereby introducing unnecessary information, and
clearly using up precious time.
Rather than supply specific examples from the text, many candidates tended to make general comments about
power, loss and gains. Quotations were used by the majority of candidates and were generally appropriate,
although some candidates only gave two or three.
Criterion 5
Candidates who achieved very highly demonstrated a most impressive knowledge and recall of content, and a
clear grasp of the complex nature of power as theme. The majority of candidates made some attempt to address
power, although at times the interpretation of power was rather loose. Sometimes candidates made an obvious
effort to make links between their knowledge and the question, resulting occasionally in some stretching of
credibility in the discussion.
Many candidates in their analysis confined themselves to discussion of the three main characters of Pizarro,
Atahuallpa and Martin. As a result they lost opportunities to show a more thorough appreciation of power. De
Soto, de Candia, Valverde and de Nizza could have been considered by candidates more often that they were.
Where candidates referred only to the major characters they often did well, as long as their analysis was detailed
and relevant.
Very few candidates resorted to paraphrasing. Overall there was a genuine attempt to address the theme of the
question.
Question 9
Explore in detail the severe consequences of the loss of identity for three of the characters
from Stolen.
The question was an excellent one for allowing candidates to really show their depth of understanding of the
complex issues Harrison raises in Stolen. Capable candidates chose this question and produced some outstanding
work.
Criterion 1
The use of accepted language and text conventions was generally of a good standard. In terms of accuracy the
wording of the question invited all the possible incorrect variations of the verb ‘to lose’. Identities were ‘lossed’,
‘loosed’ and ‘losed’ and characters were ‘loosing’ their identity in far too many scripts. Another interesting
spelling error had Anne becoming a werewolf because she had to ‘prey’ at night. The nesting of quotations was
very effective and intext referencing was largely accurate.
Criterion 2
Most candidates used a good and relevant selection of evidence to substantiate their arguments. However there
were instances of candidates being either very confused about the events of the play or not knowing it well
Tasmanian Secondary Assessment Board
2002 External Examination Report
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enough. One candidate claimed that ‘Anne is ignorant and loses her true identity because she has no desire to
reunite with her real mother’.
Many candidates failed to make the connection between the characters losing their identities and the nation of
Australia losing its identity. Whilst the question did not explicitly require the extended discussion, the more
capable candidates included it effectively, and their answers went on to discuss Harrison’s message of
reconciliation and the finding of identity both individual and national.
Criterion 5
Those candidates who extended their discussion beyond the severe consequences for the individual, and discussed
Harrison’s much broader intentions, did very well on this criterion. Most candidates identified Anne as the
character symbolizing the means of reconciliation. She combines black and white effectively, just as Australia
must to regain its national identity. In the context of a ‘themes’ response, candidates’ also dealt very effectively
with Harrison’s use of symbols to convey meaning. Most candidates recognized Harrison’s intention of
challenging current Australian values, and laying to rest the excuse that the Stolen Generation is a thing of the
past and therefore not the responsibility of this generation. Candidates also acknowledged the playwright’s
ability to do this without implying guilt or blame, but rather through the very direct presentation of individual
experience inspiring acknowledgement, compassion and ultimately forgiveness.
Question 10
In Remembering Babylon people’s happiness is seen to depend on their openness t o
experience, and on their ability to connect to others and to the landscape. Discuss t h i s
view of the novel.
Some high achieving candidates attempted this question. Many candidates coped well with this question,
demonstrating a sound knowledge of the novel, its themes and its characters. Better candidates managed to deal
with all three parts of the question. Weaker candidates tended to nominate themes and then attempt to
manipulate a prepared answer, ‘blending’ details to ‘fit’ the question. These candidates need to find the courage
to answer the question and eliminate the ‘learned’ parts – often a weaker essay improved once a candidate had
‘unburdened’ himself of these learned details.
Criterion 1
Overall the essays were well expressed, evidencing mature language skills.
Spelling remains a problem. Candidates should be able to spell all the names of the characters in the novel, as
well as any words given in the question. ‘Mrs Hutchence’, ‘George Abbott’, ‘Janet’, ‘connect’ and ‘openness’
were frequently misspelled.
Candidates often used long, complicated complex and compound sentences, in order to convey the complexity of
their ideas. A worrying number of candidates failed to use commas in these sentences, making it very difficult
to read and understand their work. To gain and A on Criterion 1, candidates need to show they know how and
when to use commas.
Criterion 2
This question had three ‘parts’ to it which meant candidates needed to refer to all three ideas in their essay in
order to gain an A on Criterion 2. Many candidates only referred to ‘openness to experience’ indirectly,
concentrating on discussion of ‘connecting’ to others and to the landscape.
Tasmanian Secondary Assessment Board
2002 External Examination Report
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Some candidates added extra themes: ‘Babylon/Jerusalem’ (rarely explained), ‘the power of language’, ‘identity’
and ‘the need to belong’ were popular themes which were introduced at the beginning of the essay, as well as
candidates addressing the key components of the question. Candidates made the question even more difficult by
doing this – and often they only succeeded in confusing themselves and the marker. There is no need to add
themes or ideas to the question.
Many candidates wrote sound essays and developed logical arguments. More attention could have been paid to
writing a sound conclusion. Too often candidates simply repeated the introduction and this did not do justice to
the complexity of their writing. Some candidates, after excellent discussion of all aspects of the question, failed
to incorporate those three aspects into their conclusions. A good essay can be made even more impressive by a
powerful conclusion which sums up the main points of the essay and relates all these points to key words or
ideas in the question.
Criterion 5
There were many articulate, detailed and perceptive essays that were a delight to read. Many candidates clearly
conveyed the complex nature of characters’ experiences and ‘connections’. Generally, candidates who approached
this question by discussing particular characters fared better than those candidates who discussed ‘people’ and
‘connections’ in more general terms. Jock, Janet, Mrs Hutchence and Gemmy were popular choices for
discussion, although candidates were not sure whether or not Gemmy was happy. Candidates wrote well about
‘the settlers’ as examples of people who were not happy. Generally candidates provided relevant and appropriate
background details where necessary. Some outstanding answers even included the idea of a character having a
‘connection to self’ – and made this aspect relevant.
Weaker answers simplified the experiences of characters and events which occurred in the novel. ‘Janet had two
epiphanies’ was a common statement, with little other detail provided. Some candidates confused the issue by
wanting all the characters to be ‘Babylonian’ or ‘Jerusalem people’. Pleasingly a large number of candidates had
an accurate, detailed knowledge of this complex and difficult novel, and the question allowed them to display this
knowledge. Many candidates looked at the positive and negative aspects of the question and the better answers
were able to analyse how and why Malouf chose these aspects in developing the characteristics of happiness.
Many candidates saw connections between characters and were successfully able to weave this into their
discussion.
Finally, some candidates are using far too many quotations thinking that the marker will be impressed.
Quotations need to be accurate and relevant to the point being made. They also need to be incorporated into the
sentence so that the sentence makes sense. Too many candidates used quotations which were not relevant.
Many quotations were incorrect, with misspelling and/or inaccurate words. Sometimes there were three, or even
four, quotations in one sentence, making it very difficult to understand the point being made.
Question 11
The determination of human beings to follow their conscience,
consequences, is a key aspect of Cold Mountain. Discuss
no matter what the
Marking this question was very rewarding; many capable candidates attempted it and their papers were a pleasure
to mark.
It was a good question, however some of the weaker candidates had problems with the meaning of ‘conscience’;
they tended to confuse it with ‘conscious’. Other candidates focused on the word ‘determination’ and tended to
write essays about how ‘determined’ the characters were on their journeys home. The capable candidates wrote
confident, fluent essays which focused on the question; some argued that following one’s conscience led to
disastrous consequences. Others argued that the consequences were honorable or worthwhile.
Tasmanian Secondary Assessment Board
2002 External Examination Report
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Criterion 1
The candidates who attempted this question achieved good ratings on this criterion, reflecting solid skills.
Criterion 2
Weaker candidates focused on all themes studied and did not tailor their knowledge to the question in front of
them; most did not handle the question at all. Stronger candidates handled the question very well and obviously
enjoyed the challenge of the question. Good answers were detailed and logically argued.
Criterion 5
Most candidates displayed a fine knowledge of the text. Weaker candidates conveyed a confused understanding of
the text themes.
Question 12
‘The God of Small Things’ is a novel which focuses on love in the context of India, a
nation divided by class and political strife.’ Discuss.
The question required discussion of the novel’s exploration of love in the context of class (caste) and political
conflict in India. The candidates handled love and the complexities of this as determined by caste issues and
Indian cultural traditions, but some candidates made no comment at all about political strife. However overall the
candidates coped with the question well and gave intelligent answers in response to a difficult and complex text.
Criterion 1
The usual sorts of spelling, expression and punctuation errors revealed themselves although generally the small
number of candidates that tackled this question were competent regarding this criterion.
Criterion 2
Mostly the answers were well structured. A few diverged well outside of the boundaries of the question with
irrelevant material rather than discussing “love in the context of India, a nation divided by class and political
strife.” Paragraphing was inconsistent in some answers and an adequate introduction and conclusion were also
missing in a few cases.
Criterion 5
Generally the small number of candidates who tackled this question had a good understanding of the novel and
discussed Roy’s exploration of love as it is constrained and expressed in the context of Indian “love laws”. They
did, as the question asked, show how love is mediated by aspects of Indian culture and tradition, in particular
caste, and how the latter functions to define all relationships in such a way that any form of love that crosses
caste boundaries leads to massively destructive consequences. The issue of political strife and the impact of its
divisions on love relationships was less well handled but most candidates made some attempt to do this. Overall
this question in relation to a complex text was well handled.
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Question 13
The Shipping News explores one man’s search for identity and describes a successful
quest. Discuss.
This is a generous question that allows candidates plenty of scope to show their understanding of Quoyle’s
character journey from Mockingburg to Newfoundland.
Two problems of understanding arise from interpreting the terms of the question. Firstly, some essays assume
that the search begins at the start of the novel rather than after Quoyle and his family move to Newfoundland.
The analysis needs to highlight the contrast of settings, with Newfoundland providing Quoyle with an
opportunity for “a fresh start” after stumbling from one disaster to the next in dreary Mockingburg. The second
problem is confusing identity and quest as in the following introduction:
The move to Newfoundland significantly shapes his character as he is now successful, high self esteem
and has finally found his quest for identity.
Identity and quest are separate terms in the question. During his quest for “a fresh start” and something “to brace
against”, Quoyle discovers his true identity, one that has been denied him by his upbringing.
Criterion 1
The ability to incorporate quotations accurately in sentences is useful evidence. Weak candidates struggle to
weave the quotation grammatically into the sentence. In a few essays, frequent quoting of single words distracts
the reader and is unproductive as evidence of knowing the text.
A common punctuation error is to underline the name of the newspaper: inverted commas should be used for
“The Gammy Bird”. This error is probably made because candidates are told to underline newspaper titles in the
style analysis section of the exam. Clearly this generates some confusion.
‘Ancestral’ and ‘ancestry’ are frequently misspelled.
Criterion 2
It is pleasing to read essays that start with a clear introduction that sets up the rest of the essay. One common
approach is to analyse the influence of family, friends and love. In each case, the contrast of Mockingburg and
Killick Claw can be demonstrated. For example, Quoyle’s family life is disastrous in New York, but recovers
after Agnis persuades him to move to the land of his ancestors; he is friendless in Mockingburg apart from
Partridge and Mercalia, but is supported by the community of Killick Claw; he associates love with pain in his
marriage to Petal, but gradually discovers true love with Wavey.
Most candidates can write a relevant essay, but clear reasoning allows better essays to stand out as in the
following revised version from two essays:
After moving to Newfoundland, Quoyle is much more widely accepted, and makes many friends including
Jack Buggit, owner of “The Gammy Bird”, who praises him for his first column about the killer yacht,
“Tough Baby”: “Thirty six years old and this was the first time anybody ever said he’d done it right.”
Dennis and Beety Buggit teach him acceptance and family love and from then on “everything was
encrusted with portent”. The community of Killick Claw also accepts him for who he is, and his
ungainly physical appearance does not worry them. With the help of these friends, Quoyle grows in
character and discovers more of his true identity.
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Criterion 5
Analysis of theme ranges from a simplified step-by-step search for identity in chronological order through the
novel to more perceptive approaches that explore different aspects of Quolye’s developing sense of identity:
becoming a successful journalist; coming to terms with his wild ancestors on Gage Island; discovering with
Wavey the pain of their failed first marriages; overcoming his fears of water and car wrecks.
The choice of effective quotations, including unusual quotations, allows better essays to stand out:
Marriage to Petal was “a test of love. The sharper the pain the greater the proof”.
“Quoyle experienced moments in all colours, uttered brilliancies, paid attention to the rich sound of
waves … said I do.”
Question 14
Are Winton’s families, the Lambs and the Pickles, simply victims of ‘the shifty shadow’,
or does the novel deal with something more uplifting? Discuss.
The question required a little creative thinking in order to handle the first part of the question, particularly
relating it to the Lambs. Candidates appeared to have a good knowledge of this novel and many used quotations,
which fitted with their discussion points very well. Good length of essays was achieved, but quantity
sometimes affected quality. Candidates often misinterpreted the “or” in the question as an invitation to write on
either the “shifty shadow” or the “uplifting” aspects of the novel. It was a fair question and it is disappointing
to note how many candidates have not mastered the skill of satisfactorily analyzing the question in order to
answer it fully.
Criterion 1
Overall the standard was satisfactory, suggesting that the candidates who attempted this question should be
capable of achieving success in this syllabus.
Many candidates did not adhere to the convention of underlining text title. There is still poor knowledge of
correct apostrophe usage. Spelling was generally adequate. There was some inappropriate use of first person
reference - “I” or “we”. There were too many one sentence paragraphs, especially for introductions and
conclusions. Conversely, some candidates overloaded paragraphs. Quotations were generally incorporated
poorly. They were usually inserted after a statement.
Criterion 2
Confusion about the question requirements meant many candidates missed addressing the two strands of the
question. Uplifting elements were often only mentioned in the introduction and conclusion. There was no
thread of evidence developed overtly by some candidates. Markers recognise that this is a difficult task. Markers
had, however, expected candidates to spend some substantial space discussing the role of the shifty shadow in the
lives of the families and then move on to examples of uplifting events, concentrating especially on the
resolutions towards the end of the novel. It was not necessary to cover all the characters in detail, as several
from each family would adequately illustrate the point.
Introductions were scanty. There were not enough points of argument given which were to be addressed. There
too many introductions only one to two sentences long. Candidates who did best continued throughout their
discussions to link back to the topic. This gave their essay a sense of cohesion.
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Criterion 5
There were some inaccuracies in content e.g. Dolly as a victim of incest; Sam losing his whole hand. Some
candidates dwelt on a retelling approach through character focus. More competent candidates were able to make
links between the characters’ experiences and themes. There was a tendency for some candidates to include all
their knowledge on themes rather than be selective according to the question.
The first half of question could deal with the Shifty shadow, hairy hand of God ® inherited from Merv by Sam,
Rose ® bad luck, Sam’s fingers, gambling ® family troubles; Lambs ® Fish’s tragedy ® abandon God for
spinning knife ® not standing for ‘bad luck, bad breath’
The second half of question should deal with uplifting events such as the birth of Wax Harry ® cleansing of the
house, Quick’s epiphany, Rose ® ‘a bloody tribe’, Dolly as a grandmother, Oriel and Dolly fold the tent, Sam
decides not to sell the house, Lester returns to his faith.
Question 15
Death of a River Guide explores the impact of the past. Discuss the themes of personal
history and identity in the light of this statement.
The question is a clear and unequivocal prompt and most candidates had little trouble ensuring that their answers
actually focussed on ‘history and identity’. The very best answers explored the way Flanagan used the literary
conceit of the river granting visions to Aljaz to explore not only the central character’s personal identity but also
the identity and history of Tasmania over some 200 years.
The least effective answers were merely pointless re-telling of the story which rarely got into the area of literary
analysis of themes. Sadly, some candidates feel that they have achieved enough by simply recounting the events
of the novel without any discussion at all. Another problem common to some scripts was the lack of detail and
precision in referencing claims made for the text. Stating that something is true has little weight if it lacks a
supporting reference, quotation or discussion.
Criterion 1
Most candidates observed the common conventions of paragraphing and grammar but there were some examples
of word compounding such as ‘infact’ and ‘aswell’. Most answers also achieved basic fluency and the better
scripts showed the benefit of a little planning prior to commencement of the answer.
Criterion 2
The best answers on this criterion did answer the question asked in a forthright and direct manner. It must be
stressed that solid referencing of claims to events in the text or the use of direct quotation is essential to a solid
assessment on this criterion. Too many candidates skimmed the surface in their answers and failed to engage
with the key words of the prompt.
Criterion 5
Interpretation and analysis does not necessarily involve a bland re-telling of the story, and candidates sometimes
fall in this trap. Candidates need to be reassured that the markers have a solid knowledge of the plot and do not
need a breezy ‘Cooks’ Tour’ of the story. What is required is a thorough analysis of the author’s intentions and
an interpretation of these themes through the eyes of the reader. The best responses first conveyed an
understanding of the themes and then proceeded to discuss them in light of present day realities and human
existence as understood by the candidate.
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Question 16
Brassed Off is a film that focuses on the destruction of a community, and the associated
costs to individuals, but also shows how individuals can triumph, if only in the short
term, over these difficulties. Discuss.
This was a broad and clearly defined question, even though a little wordy, Candidates were able to perform at
their best. There were many answers where candidates produced logical, sustained arguments and demonstrated an
excellent understanding of the film. Some answers were outstanding. Even less able candidates were able to
adequately discuss the destruction of the community, the costs to individuals within it, and how those
individuals were able to triumph.
Criterion 1
One-sentence paragraphs were too prolific.
apostrophe continues to be incorrectly used.
There was often confusion between ‘there’ and ‘their’.
The
Criterion 2
Using the wording of the question is as an introduction or conclusion is inappropriate. Arguments were
generally well-supported by sound evidence. Quotations were generally relevant and were incorporated effectively
and accurately into sentences.
Criterion 5
Pleasingly, retelling of the story was not a big problem in this group of candidates, occurring in only a few
responses. Some candidates need to write more. One and a half pages are not sufficient for a response at this
level.
Question 17
The Truman Show examines the issues of privacy, voyeurism and media manipulation, and
contrasts them with human decency and the need to find meaning in life. Discuss.
This was a good question with enough broad issue for candidates to discuss in depth. The question was
intelligently crafted with no hidden traps. It led candidates to discuss the nominated themes and not to merely
retell the story. Candidates who read the question carefully dealt with all aspects required, dealt well with
‘contrasting’ these issues/values, and knew what the word ‘voyeurism’ means. Less able candidates could
attempt this question quite confidently. However, one problem evident was that some candidates did not
understand voyeurism well enough to discuss in depth. Another problem was that of discussing the notion of
decency.
Criterion 1
Most candidates scored C ratings on this criterion, reflecting the popularity of this question for less able
candidates. There was some confusion in weaker answers in how to correctly title The Truman Show (but
underlined in the handwritten form), Weir’s film, and ‘The Truman Show’, Christof’s reality television show.
The correct use of the apostrophe continues to confound candidates. There was poor spelling of words like
‘receive’, ‘deceit’ and ‘obstacles’.
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Criterion 2
This was a good question which enabled candidates to plan their responses. The best answers flowed logically
and were able to link the various aspects of the question. There were some pleasing efforts to move away from
simply paraphrasing the question as part of the introduction. The best answers noted in their conclusions what
it was Weir was hoping to achieve in regard to the required aspects.
Criterion 5
Generally candidates showed a good grasp of the themes of the film. Many candidates dealt either with ‘media
manipulation’ of Truman himself or of the television audience instead of both, which could have been the case.
Candidates need to be aware of answering the question; weaker candidates tended to philosophise with their own
ideas on media and reality television rather than analyzing Weir’s production. The best answers discussed all
aspects of the question equally, and skilfully linked these together.
Question 18
Hilary and Jackie examines sibling bonds as well as the burden being gifted places on a l l
concerned – the one with the talent as well as those around her. Discuss.
This structured question provided for a methodical approach in its answer. Most candidates established the
sibling bonds early in the film, then looked at the burden of being gifted, both for the artist and for those around
her. The biggest limitation was that most candidates only used the early part of the film and forgot about the
latter part where Jacqueline du Pré’s relationship with her parents deteriorated and her dealings with her sister and
her husband were strained.
Criterion 1
Although many candidates mentioned the source of the film, (A Genius in the Family), few took the trouble to
check how to spell many of the foreign names mentioned in the film. Barenboim, Davidoff, du Pré were
frequently misspelled. Common words such as cellist (celloist), genius (genious) and flautist (flutist) also were
misspelled. Perhaps teachers could supply a spelling list of the spelling demons next year. Quotations were
often inaccurate but aptly chosen.
Criterion 2
In most cases, essays followed the structure indicated in the question. Most candidates gave chronologically
based evidence, but only up to where Jacqueline du Pré contracted MS. The end of the film was largely ignored.
Criterion 5
The content of the answers was very detailed, although disappointingly some candidates tried to superimpose an
old essay question dealing with ‘betrayal, sacrifice and sibling rivalry’ onto this question. As well, a large
number of candidates used the same quotations in the same order, perhaps suggesting a prepared answer.
Teachers should discourage candidates from ‘learning’ previously prepared answers. They will only become
confident by viewing the film several times and absorbing detail. Teachers should also stress that the same
question is never asked twice.
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Question 19
In spite of its grim setting and subject matter, The Shawshank R e d e m p t i o n focuses o n
essentially positive themes: community, continuity, hope and friendship. Discuss.
Candidates had a very good knowledge of the film, but many tried to overload their essays with extraneous
information. Most were able to support points made with examples and quotations.
Criterion 1
Knowledge of paragraphing convention is a concern. Many candidates wrote one sentence paragraphs, whilst
others overloaded them. Many candidates have a poor knowledge of apostrophe use. Spelling in general
suggested candidates need to be sure of how to spell key words e.g. prison, gaol/jail, community, Darabont,
plural words.
There was an overuse of second and first person which changed the register of the essays, as did informal
language e.g. guys, bunch of friends, use of clichés. Quotations generally need to be incorporated more
effectively into discussion.
Criterion 2
Introductions and conclusions were often too brief and paraphrased the question, rather than stated the argument
to be addressed. Most candidates knew a good deal about the themes of hope and friendship; most developed
community with reasonable understanding; continuity was either missed out completely or dealt with
superficially. Markers believe that this strand was very difficult to interpret. Three themes would have been
adequate for discussion. Nevertheless, some candidates presented creative interpretations and were lauded for their
efforts.
There was evidence of many candidates learning a general question, almost by rote, with quotations, and trying
to use it with a statement of the question as the introduction and conclusion. Often, thanks to the question, they
more or less sometimes hit the mark, hope and friendship being quite large themes. However this practice led to
widespread failure on criterion 2. Teachers need to do more to discourage this approach.
Criterion 5
There was no doubt that candidates knew a great deal about three of the themes and they were able to give many
examples in most cases with good supportive quotations.
Question 20
Angela’s Ashes proves the saying that with education anything is possible, and success i n
life is definitely assisted. How accurate is this statement about Frank McCourt’s book?
This question was awkwardly phrased. Nevertheless candidates managed to interpret it more broadly and this
enabled them to consider and discuss other factors that assisted success in life. Those candidates who focused
solely on institutional education were not disadvantaged.
Criterion 1
There were problems with paragraphing; far too many single sentence paragraphs. Generally there was a sound
command of expression conventions. Candidates should avoid using personal pronouns.
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Criterion 2
Some candidates included all the themes studied and barely addressed the theme requested in the question. Most
of the more capable candidates disagreed with the question and argued confidently that institutional or formal
education did not assist with success. Some candidates do not understand themes – e.g. ‘Frank’s life is definitely
assisted by a number of themes’. There was much irrelevant information given, especially about poverty.
Weaker answers retold the story (of endless poverty).
Candidates must be instructed to answer the particular question on the exam paper and not other questions they
have answered or prepared during the year. Stronger candidates used the question as the basis for the structure of
the essay, including supporting evidence, analysis, and relevant linking.
Criterion 5
Many candidates displayed a good knowledge of the text. Some however were confused by the film details; they
had most probably not read the book. Generalisations needed to be supported by textual detail; candidates were
rewarded for this. Candidates should read the question carefully and strive to discuss the themes in detail. In this
instance a consideration of education should not have been confined to Frank’s schooling.
Question 21
Once in a House on Fire is a moving account of triumph over poverty and domestic
violence, but what does it also have to say about surviving childhood and adolescence i n
general?
There were only three answers for this question and it was very poorly addressed. It was a complex question, but
a little time spent ‘unpacking’ the question could have resulted in some clear structural divisions for a successful
discussion. This did not appear to have happened.
Criterion 1
The standard of expression was quite ordinary. In one case there was no indication that the candidate understood
formal register. This essay was inappropriately composed in a very chatty and colloquial manner.
Criterion 2
None of the candidates answered the question. Candidates were more concerned to identify with the main
character and to ponder issues of adolescence and poverty in a very general sense. No-one addressed the matter of
triumph.
Criterion 5
Candidates clearly have some strong views about adolescence and domestic violence. However it is not
appropriate merely to offer these rather personal views. The text and its issues must be discussed. All
candidates fared badly on this criterion.
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Question 22
The Perfect Storm focuses on the themes of greed, endurance and respect for the natural
world in its depiction of a community and a once in a lifetime event. Discuss.
This was not a difficult question; it provided candidates with ample ideas and material to include in their
responses if they were confident with the content and ideas of the text. Many text examples were available for
inclusion in a discussion of the themes of greed, endurance and respect for nature, as well as Junger’s portrayal of
the communities of Gloucester and fishing and his depiction of the ‘perfect storm’. The greatest problem was a
simplistic handling of the three issues, at the expense of the ideas presented in the latter half of the question.
Criterion 1
Expression and accuracy in writing were generally sound, although candidates should seek to extend their
vocabulary in order to discuss the text with greater competence and originality. There is some confusion in the
correct indication of titles, notably boat titles and chapter titles, which include the ‘Foreword’ and the
‘Afterword’.
Criterion 2
Essay responses were largely constructed in a somewhat pedestrian manner, dealing with the issues presented in
the question one by one, with most neglecting to explain and or link these to the ‘depiction of a community’
and the ‘once in a lifetime event’. Better answers acknowledged all terms of the question and endeavoured to
make connections between these. A small number of candidates had difficulty discussing the themes presented in
the question and tried to turn these into seemingly ‘learnt’ themes with one candidate ignoring the terms
contained in the question altogether, and writing on several issues of his/her own choosing.
Candidates are reminded that good answers will respond to the demands of the question, shaping their knowledge
of the material to answer the set question. Candidates who were confident in their knowledge and understanding
of the text were best able to answer this particular question.
Criterion 5
Many candidates took a narrow or superficial view of the issues presented in the question, offering only one view
or interpretation of events and characters. One candidate claimed that no-one liked fishing; they all did it for the
money. One very able candidate competently considered both views on the issues, exploring different
perceptions of, for example, the spending habits of the fishermen – a consequence of the risky lifestyle and/or a
lack of responsibility or goals. Weaker candidates merely stated Junger explored greed, and provided one or two
examples to support their idea, without any deeper thought or exploration.
Question 23
Robert Drewe’s The Shark Net is an examination of one boy’s coming of age, and a
haunting depiction of a murderer. Discuss
The responses were refreshing in their treatment of this straightforward question. The answers were astute in
revealing an ability to combine a detailed knowledge of Drewe’s book with a discussion of the way that Robert
coped with the awkwardness of trying to belong as a new boy in an isolated and unfamiliar world of Perth;
recognising the hypocrisy of his parents, in particular his father; and the way he ultimately learned moral
courage by shouldering responsibility of early fatherhood. Most all addressed the second aspect of the question:
the condemnation of that same society which contributed to the development of Cooke’s psyche through its
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discrimination and failure of support and sensitivity to another young man growing up at the same time and who
became increasingly dissociated from his community.
Criterion 1
The respondents were careful with the accuracy of their work and answered this question fluently and with
expertise.
Criterion 2
Candidates wrote strong relevant introductions and performance tended to be closely linked to results on Criterion
5. Essays tended to be well structured and supported with relevant citation.
Criterion 5
Answers were particularly thoughtful in the analytical manner with which they discussed the self knowledge
gained by Robert as he came of age and did not miss the opportunity to discuss the negative aspects of his
family’s which seemed to strengthen, ironically, his own values and resilience. The responses also showed a
lovely balance in the treatment of the second aspect of the theme and depicted sensitivity to the alienation and
corruption of another boy whose life circumstances were hauntingly different and tragic, leading to the revengeful
attacks on Perth society. Social culpability was strongly argued.
Question 24(a)
What do three of the poets in Group 1 have to say about choosing one’s destiny?
It was gratifying to see some outstanding responses to this question which was accessible and enabled candidates
to demonstrate the depth of their knowledge. Weaker candidates fell into the trap of working through poems and
loosely tagging on sentences containing “destiny’.
Criterion 1
Overall the standard was sound. It is good that most know how to include title in inverted commas but some
were underlining and a few were quite ‘creative’ and underlined the title of a poem then put the poet’s name in
inverted commas. Poets’ names need to be correct- Cavity did not write ‘Ithaka’.
Criterion 2
Most candidates endeavoured to make connected points and support with relevant evidence though some felt
inspired to wax lyrical and wander into rambling philosophical discussion about the future of the planet. Those
candidates who made the huge error of learning essays must realise that they will be given a D.
Criterion 5
There were some wonderful responses where interpretation of themes was supported by relevant quotations.
However, it is not clever to insert chunks of lines throughout an essay, nor to quote incorrectly. Weak
responses paraphrased content.
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Question 24(b)
What do three of the poets in Group 2 have to say about the cyclical nature of life.
This was a question which allowed candidates to demonstrate good knowledge of the poems. They could also
choose which three poems to discuss which made the question even more accessible. On the whole answers
were detailed and articulate, with candidates showing a sound and perceptive understanding of the poems they had
chosen to discuss. The most successful candidates were those who knew the poems in detail and were able to
analyse this aspect of theme. The weaker candidates tended to generalize and give their own opinions on the
theme, with little reference to the actual poem.
Criterion 1
More capable candidates seem to have chosen this question, as expression and spelling were generally competent.
Quotations were apt, and usually appropriately included. Candidates need to remember that poetry titles should
be included in inverted commas. There was the usual problem with the apostrophe, and it is wise to remember
that poems do not ‘talk’.
Criterion 2
Candidates only had to deal with the idea of ‘the cyclical nature of life’, and connect this idea to the three poems.
The structure of the essay was clear. Candidates wrote sound essays with only the weaker candidates not clearly
‘unpacking’ the idea of ‘cyclical’. Simply repeating ‘the cyclical nature of life’ at the end of every paragraph
does not demonstrate that the term is understood. The introduction, and then the development of ideas in the
essay should clearly explain/discuss what is meant by the phrase.
Most candidates dealt with each poem separately. The better candidates linked and contrasted the poems, usually
at the beginning or ending of a paragraph. Some candidates were totally confused by technique and missed the
theme altogether. Some just muddled the two.
Criterion 5
There were many excellent answers, with some candidates comparing and contrasting the different poems in order
to make more forceful points. This was not required by the question but it did help candidates to clarify their
ideas about ‘life’ and ‘cyclical nature’. Only a few candidates wandered into a detailed discussion of techniques.
Poorer answers discussed other themes or only generalized without detailed reference to the poems.
Question 24(c)
Family trauma has become commonplace in the literature of modern society. How do three
of the poets in Group 3 deal with this issue?
The essays in response to this question were somewhat disappointing. The question was a straightforward one,
but most candidates approached their essays in a very pedestrian manner. Some candidates sought to consider and
comment on the statement contained in the question regarding family trauma providing the subject of much of
modern literature, enabling some effective introductions and conclusions to the discussion of their chosen
poems. Largely, however, the essays were very basic in their structure and content.
Criterion 1
At times the vocabulary of candidates proved limited, with many struggling to find alternative ways of
expressing ‘trauma’ and the poets’ handling of the issue. Quotations were often quite accurately and effectively
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incorporated, but a number of candidates struggled to include these in their discussion with accuracy and fluency.
Quotations should be introduced and commented upon; it is also advisable to avoid lengthy quotations without
clear purpose. Paragraphing was predominantly, and poorly, organised according to poems rather than idea,
resulting in some lengthy paragraphs which detracted from candidates’ expression and discussion of ideas.
Candidates must take greater care with spelling of poets’ names – ‘Less’, ‘Murry’, ‘Haywood’, ‘Audin’ and
‘Oliver’, for example, are errors that should not occur. Spelling of words such as ‘separate’ remain problematic,
along with plural forms of ‘family’ and ‘baby’.
Criterion 2
The structure of candidates’ essays largely proved disappointing, following a pedestrian ‘introduction – poem 1 –
poem 2 – poem 3 – conclusion’ format. Better answers attempted to link paragraphs and poems, while a few
excellent answers made more comprehensive links between the poems and the poets’ handling of the family
trauma issue throughout the body of their essay.
Criterion 5
Candidates must take care not to draw conclusions about the events and/or characters within the poems without
textual evidence to support their statements, and avoid generalisations such as ‘poets thrive on emotion’ and
‘mothers are more caring’, which present a very narrow and simplistic understanding of the issues explored in the
literature. Many candidates made only superficial attempts to explain the poets’ handling of the issue of trauma;
answers receiving higher awards generally defined and discerned different types of trauma (physical, natural
disaster, emotional), whether such shocks/injuries may be sudden or chronic and how people respond differently
to such crises in the context of the family. These responses were generally more comprehensive and explicit in
the way they discussed the issue of trauma as presented in the selected poems. Candidates are again reminded to
avoid too much description of the poems at the expense of discussion of their ideas.
Question 25
Jhumpa Lahiri claims that, as a writer, she is a kind of ‘interpreter of maladies’. D i s c u s s
her concerns about the ‘maladies’ within marriage, with close reference to ‘A Temporary
Matter’ and ‘This Blessed House’.
This question attracted a range of candidates. Candidates mostly wrote competent essays.
Criterion 1
Expression was generally sound. The apostrophe continues to confound candidates. One-sentence paragraphs
occur far too frequently. There was obvious confusion about how to title the anthology (which should have
been underlined) and the stories themselves. Too often these were underlined instead of being placed in inverted
commas. Some candidates continue to use both forms simultaneously. There was widespread misspelling of
the singular form of ‘maladies’ as ‘maladie’.
Criterion 2
Candidates mostly answered the question which was worded in quite a helpful manner. Two forms of structuring
the essay were evident – by malady, and by story. In both cases quite solid essays were completed. Discussion
was fairly well supported by evidence from the text and quotations were quite well included.
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Criterion 5
The better answers dealt with aspects of the theme very well indeed, defining different kinds of malady which
were evident in the two marriages in question. Weaker answers were largely devoted to retelling story.
Question 26
‘Herbie’ and ‘You gave me Hyacinths’ explore the social and cultural problems of l i v i n g
in small rural communities. Discuss.
The question led many candidates to make sweeping generalisations about small rural communities per se rather
than focus on what can be interpolated from the texts themselves. Few candidates attempted to distinguish
between social and cultural problems. Candidates needed to provide the authors’ names and most did this
accurately.
Criterion 1
The responses were generally well paragraphed. Candidates need to remember to write in the present tense, show
the title of a short story in inverted commas, avoid colloquial expressions (“kids” was used frequently), and use a
capital letter for Aborigine/Aboriginal. Many candidates used apostrophes incorrectly or not at all. Common
demons in spelling were: except for accept, alot for a lot, and apart for a part, and Aborigine.
Criterion 2
Candidates need to address all aspects of the topic. Some candidates avoided “the living in small rural
communities” aspect of the topic and others made few references to “social and cultural problems”.
Criterion 5
Many candidates wrote with insight and fluency and all candidates appeared to have a sound knowledge of the
texts. Some candidates made too many generalised and stereotyped comments about small rural communities,
rather than making specific comments about the social and cultural problems evident in the two towns featured
in the stories. Candidates need to spend time at the planning stage to choose a range of issues to discuss and to
select the most relevant examples to support each main point they are making. Each set of examples needs to
be analysed in relation to the text.
Section C – Techniques
Generally candidates were able to write well in response to this section, but it should be noted that this section
is more difficult than theme discussion and wise selection of the text and question should be made.
The areas candidates often found most difficult to analyse were the techniques of ‘point of view’ and the
technique of using ‘narrative voice/s’ The discussion of how texts are ‘structured’ was another area the candidates
found difficult to analyse and to give concrete illustration. This may need to be considered more in class
preparation.
Also candidates were distinctly under prepared to discuss the techniques within ‘vivid use of language’, ‘choice of
language’, and ‘use of tone’. They could not select specific and detailed examples to illustrate their discussion
and even went so far as leaving them out of analysis. They are well advised to have prepared segments of texts,
which have differences of language use and effects from which to select if asked to address such techniques.
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The specific nature of analyzing text techniques is certainly difficult and one which all candidates find
challenging. Many candidates, however, need to be reminded that paraphrasing the plot and identifying a ‘grab’
of techniques remembered from a class essay, only some of which may be relevant to the question, is not
recommended. This is a formulaic approach and such tedious responses will score in the lower range, especially
on criterion 7.
Criterion 1
Every year candidates need to be encouraged to try to proofread for ‘first draft’ faults which occur under the
pressure of writing to time limits: spelling of predictable vocabulary and character names, as well as title
conventions and the structuring of new paragraphs. These ‘slips’ often mar the reception of quality ideas, as
does using the informal register of colloquial expressions and slang. Candidates need to write formally, as they
are not familiar with the audience or readers of their scripts.
Attend carefully to sentence construction. Learning to use the appropriate relative pronouns and colon/semi
colon punctuation will alleviate the simplicity of sentencing, separated by commas, followed by ‘…, this’.
Secondly too many sentences were actually phrases. In particular the weakness of topic sentences was apparent,
as was the predominance of one or two sentence “paragraphs’ which delineates the weaker scripts.
Criterion 2
Strength was shown by many candidates in structuring the essay form. It was encouraging to note that very few
candidates wrote in continuous prose without structure.
Yet more work needs to be done in developing better introductions rather than just reiterating the question. Be
alert to the author/director’s purpose, which is clearly stated by the question. This must remain your focus and
the ‘reasoned’ argument develops from the ‘essay map’ you develop here. Too many introductions lacked
originality in expression and question attack often only began after half a page of writing. This wastes valuable
exam time.
Remember also to indicate the relevance of any statements that lead into the question. They are a “pathway” to
the purpose you are asked to discuss.
The correct way to use citation proved problematic. Candidates need to embed their quotations into sentences
rather than have them ‘floating’ incorrectly after the completed sentence. Large sections of quotations were often
used, but at the expense of the candidate’s own ideas. Short, precise and relevant quotation is essential.
Candidates need also to be careful of borrowing expressions from other questions in the paper, as this often leads
to irrelevant discussion and penalty on criterion 2.
Criterion 7
Film language terminology in particular seems to have deteriorated. The bulk of candidates have not learnt the
standard terms provided in the 821 English Film Glossary. Candidates often had no technical vocabulary with
which to analyse how the director was using techniques, or worse made them up. This is essential vocabulary
without which you cannot competently analyse film.
The use of generic terms like ‘darkness in this scene’, ‘the shot was light’ is insufficient. Many candidates
simply described the film events rather than analysing key techniques as they ranged throughout the film.
Candidates are also advised to consider the complexities of techniques used within a selection of key scenes rather
than organize topic paragraphs around a single technique within one film segment.
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Another area of weakness was the inappropriate discussion of minor elements to the neglect of the more
significant ones. Candidates are reminded that penalties will incur if prepared class essays are regurgitated. In
class essays are study material that you are required to select from to answer a specific exam question.
Regurgitating a class essay is to be avoided as it will weaken ratings.
The specific terms you are asked to discuss in technique essays determines your focus. These only are to be
addressed and in equal treatment otherwise the essay becomes imbalanced. Your approach and the way you will
discuss these techniques should be set up in introductions as mentioned above. You will not know what
techniques you will be asked to discuss, but this should not lead to unfocussed and rambling, irrelevant details.
Question 27
Wolf Lullaby is a play which relies heavily on the imagination of the audience. What
theatrical features of the play particularly call for an imaginative response by the
audience?
This was an interesting and perhaps challenging question in that it was, in a sense, asking what was left out of
the play that an audience had to think about or imagine. For some candidates it caused confusion between the
imaginative responses of the audience as distinct from the imagination of the director.
Overall it was felt that the selection of relevant material for this question was more difficult than for the other
plays in this section. The question did present some problems for some candidates. Some candidates obviously
had difficulty in coming to terms with what was being asked of them and could only make comments about the
play, which would have been more appropriate to a theme essay. The question was confining and did not allow
for them to show what they know. It also encouraged candidates to analyse the play as a script rather than as a
dramatic production.
The question did not stipulate which particular theatrical features to be discussed, but left this for the candidate to
decide. Better responses were able to identify a range of theatrical techniques including sets, lighting, sound,
‘special effects’ (the voices off-stage, and so on), and symbolism. These techniques, once identified, were then
shown to be relevant in calling for an imaginative response from the audience. Most candidates were able to
identify at least some techniques and say something relevant about how the audience must react imaginatively
towards each one.
Criterion 1
This was generally sound, with candidates trying hard to develop their essays using appropriate language and
conventions of English.
Paragraphing and sentence development was generally strong as was the identification of title and author.
However there were exceptions and some candidates struggled to be understood because of poor syntax and
difficulty in sentence construction: in particular candidates need to learn the use of relative pronouns to create
more complex sentences. The use of the semicolon/colons is misunderstood. The control of topic sentences and
the embedding of quotations was another main weakness.
Spelling of some words was problematic e.g. lullabies, decipher, confusion; as well as the distinction between
climate and climax when used as adjectives.
Criterion 2
Candidates who had difficulty understanding or coping with the question in general would have done less well on
this criterion. If they misinterpreted the question or did not grasp the purpose and meaning of the question then
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relevance became a real issue. Many candidates had prepared techniques under headings, which were not
particularly useful for this question. There was also a tendency to sprinkle the word ‘imagination’ throughout the
essay in the vain hope that this would render the material appropriate.
Again the major problem was that a significant number of essays resembled theme essays rather than techniques
essays. Indeed many candidates used the wording of the theme essay for Wolf Lullaby in their answers and
tended to address issues of ‘disturbance’ and Lizzie’s portrayal as a confused and isolated child throughout the
essay.
Criterion 7
Candidates obviously had a good knowledge of theatrical techniques and were able to label and explain a number
of them in their essays. Many had clearly done a good deal of work in getting to know the text very well and
could quote from the stage directions and so on quite extensively.
The best answers dealt with the imaginative response needed as a result of actions which happened offstage, such
as the murder, Lizzie’s bullying, children’s games, and Toby’s reappearance to Lizzie. Some candidates cleverly
incorporated lighting by discussing what could not be seen in the dark and pinlight scenes, discussion of the
minimalist settings, and the structure of inconclusive scene endings. The wolf’s world and Lizzie’s world also
gave scope for discussion. It was also possible to include symbolism by discussing how the audience might use
imagination to interpret deeper meanings in relation to the wolf, the wall or the doll. The wolf interpreted
through sound was obviously relevant.
There appears to be some misunderstanding about the nature of ‘the beat.’ Most candidates saw it as a poignant
moment of short silence in the dialogue which emphasised the importance of that moment, as a sudden
realisation or a change of direction in the dialogue. This is Bell’s explanation at the beginning of the play.
However, some erroneously argued it was like a drum beat which signified a warning that the wolf was coming.
Question 28
In his play R a d i a n c e , how does Louis Nowra
scenes to create a powerful impact?
use structure, symbolism
and climactic
This question was straightforward and required the candidates to respond to three different techniques employed by
Nowra to create his emotive play. There were some very thoughtful answers, particularly in explaining the
significance of the different symbols. Overall there were pleasing responses and some very perceptive answers to
a terrific text!
Unfortunately, the term “climactic” threw candidates who completely ignored it as they did not realise that it
pertained to “climax”.
Criterion 1
Errors were pleasingly few. There were some lapses into colloquial language and a tendency to “lump” all
symbols together into one long, involved paragraph, running over two pages in some instances! In addition,
candidates still tended to use long quotations (usually cited incorrectly in inverted commas) when a short
quotation would have sufficed, embedded in their own writing.
Criterion 2
Most essays followed the three techniques as set out in the question. Some candidates misread ‘climactic’ for
‘climatic’ and therefore produced a discussion on the weather! The idea of discussing the play’s structure
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bothered some who thought it meant a summary of the plot or simply stating how many scenes there were in
each act. A strong answer mentioned the degree of foreshadowing/foreboding in Act 1 and the resolution(s) in
Act 2.
Criterion 7
There were some interesting responses to the significance of the various symbols used in the play. The
common ones were: the chair, the house, the nougat tin and the fire. A strong answer included the wigs, the
‘dress-up’ clothing, Nora Island and ‘the beat’. Some candidates discussed very competently the liberating milieu
of the mudflats as opposed to the claustrophobic atmosphere of the house.
Question 29
The play, The Royal Hunt of the S u n , provides many opportunities for the staging o f
rituals and the use of mime, masks and music. How do these aspects contribute to the
impact of the play?
Candidates on the whole displayed competence in addressing this question. They were provided with a clear
frame within which to work and this enabled them to show their knowledge and understanding of these
techniques. There were some excellent responses that showed a thorough understanding of the play and a
sophistication of writing style.
Some candidates provided discussion of a wider range of techniques than those required by the question, but these
responses were in the minority. Some candidates waste time by writing out the question.
Criterion 1
Candidates generally displayed pleasing competence in this area, with clear paragraphing, introductions and
conclusions. Introductions were very clear in their purpose, but somewhat pedestrian in style. Good
introductions lead to well structured and written essays.
Some candidates have a tendency to write a collection of shorter paragraphs on the same idea, rather than
developing one, well structured paragraph. Use of apostrophes was, on the whole, good. However, a number of
candidates used it when writing the plural of Inca. Correct spelling of ‘massacre’ was a problem, as was the
spelling of ‘scene, ‘Spaniards’ and ‘ascent’ when referring to the mime. Spelling of main characters’ names was
good. It was pleasing to note that the names Pizarro and Atahuallpa were usually correctly spelled! Many
candidates did not underline the text.
Criterion 2
Candidates generally wrote well-structured essays that answered the question, though some had a tendency to
discuss a point, move on to something else, then return to the previous point.
Candidates displayed a sound knowledge and understanding of the techniques employed by Shaffer. They were
able to make a clear connection between the techniques and the impact/effect of them. Many related the use of
the techniques named in the question to the concept of total theatre and did so effectively. Some responses,
however, were generalised and closer attention to the text is needed, with detailed and specific examples. Mime
is an example of one technique that was discussed in too general a manner.
Some candidates were unable to make a clear link between technique and impact, while others were able to link
impact to theatricality, the audience and emotional, intellectual and thematic impact.
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Criterion 7
Two problem areas were the ‘over inclusion’ of knowledge and omitting any discussion of the staging of rituals.
As regards the former, many candidates addressed all or most elements of the question, but then moved on to
discuss other elements of technique not required by the question. The staging or rituals was either ignored or
referred to briefly by a majority of candidates. Some, however, provided a good discussion of this element.
Some candidates substituted a discussion of masks with a discussion of costumes, making entire paragraphs
irrelevant in some cases. Other candidates covered masks and costumes as one and were able to relate it to the
question.
Question 30
Explain how Jane Harrison’s experimental structure and her use of multiple characters i n
Stolen combine to create a powerful impact.
A very heartening question to mark as the responses revealed a deep engagement with, and understanding of, the
power of theatre to provoke and inform public debate, opinion and direction. The question was difficult for
many candidates because they did not understand the term 'multiple characters'.
Criterion 1
Generally the level of accuracy in writing was high. Most candidates were confident in their use of formal
language and in text referencing. The nesting of quotations was particularly good. There were some
surprisingly consistent errors in spelling and grammar, with even the most competent candidates misusing the
phrase 'in which', and not selecting the correct form, or conjugation, of 'choose'. Paragraphing was achieved in a
variety of ways but was generally consistent and effective.
Criterion 2
The misunderstanding of the question impacted most strongly on this criterion of course. Whilst for the most
part the arguments were well structured and reasoned, they frequently only addressed half of the question. The
term 'multiple characters' referred to Harrison's use of the five actors for a multitude of roles; most candidates,
however, interpreted it to mean the use of five characters to reveal the various consequences affecting the stolen
generation. Therefore despite some excellent discussions on Harrison's use of an experimental structure, even
the most capable candidates suffered on criterion 2. In fact the use of multiple characters is an important part of
her experimental structure, as one candidate so eloquently expressed it:
Multiple characters are used to represent figures of authority, family, lost children, racists, abusers and
people seeking reconciliation. Thus Harrison can directly and symbolically present a very complex
situation involving an entire nation and ensure the audience's attention remains focused on the message
she is communicating.
Criterion 7
There were some outstanding discussions of the use of experimental theatre. Candidates' understanding of the
non-linear, non-chronological structure to show directly and confrontingly the ongoing effects of the past on the
present and the future, was evidenced frequently. So too the use of symbolism in the structure and the set was
well understood. The confusion over 'multiple characters' meant that many responses became themes focused,
with candidates discussing the use of the five characters as vehicles for exploring themes and then going on to
discuss the various themes the characters embodied. The strongest responses recognised Harrison's intention to
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include the audience in the events in an unavoidable and confronting way, not to provoke guilt but to promote
understanding and compassion in the face of this national tragedy.
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Question 31
In R e m e m b e r i n g
B a b y l o n , how do symbolism and moments of special revelation
(epiphanies) develop David Malouf’s ideas about the inner world of human beings?
The question challenged candidates to display their knowledge of Malouf’s novel and to write fluently by
integrating two important techniques. Most candidates who attempted the question were able to discuss, in a
competent fashion how symbolism and epiphanies developed Malouf’s ideas about the inner world of human
beings.
Criterion 1
There was a reasonably good standard here. Most candidates observed conventions such as the underlining of
titles. Many candidates integrated relevant quotations very well. ‘Run on’ sentences were mercifully few.
Problems in this criterion included beginning sentences with “ For example”, and joined words such as ‘infact’,
‘alot’ and ‘apart’.
Criterion 2
Most candidates answered the question quite competently integrating examples of symbols and their effects;
exploring the characters’ epiphanies and then showing how subsequent actions and attitudes reflected how the
epiphany had changed them for the better. There was the odd example of a candidate writing a general essay on
symbolism and not adjusting it to the question. These candidates usually spent little time on discussing
epiphanies.
Weaker candidates did not integrate their examples into a discussion, but merely listed symbols beginning each
paragraph with:
“Another symbol in Remembering Babylon is…”
Criterion 7
Various symbols were discussed; the most significant were:
Bees
life force
Light
knowledge and enlightenment
Darkness
fear, superstition and prejudice
Jerusalem
city of righteousness, tolerance, and noble ideals
Babylon
city of subverted motives, fear of what is not understood, lack of tolerance
Fence
choice
Moon
feminine influences, enlightenment: during acts of cruelty the moon was covered by
clouds
Lachlan’s stick
authority, but also the power of irrational fear
The ‘stone’
also the power of irrational fear
Water
life, the rain restores Gemmy’s sense of belonging
Candidates discussed Janet’s, Jock’s, Gemmy’s and George Abbot’s epiphanies with varying degrees of insight.
It was important that they then linked them to the understanding of the inner world of human beings.
The epiphanies selected were:
Janet
being covered by the bees and hearing them murmur, “You are our Queen”
picking the scab and realising her inner beauty; and that she was destined for
something more than her mother’s role
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Jock
seeing the bird pulling eels out of the water, wading through the brilliantly
reflective grass and seeing Australian beauty for the first time
Gemmy
retrieving the papers from George Abbot and as the rain washed away the word,
becoming at peace with himself again
George
falling in love with Leona and changing his aspect on the world.
Question 32
Discuss Charles Frazier's use of point of view and the structure of a quest to create h i s
novel Cold Mountain.
This is a very direct and straightforward question and few candidates were tempted to stray away from the focus
on point of view and the quest structure. There were still a few who panicked and did a breathless re-telling of
the story without much reference to point of view or the qualities of a quest but thankfully these were rare. The
best answers clearly displayed that they had been well taught and could identify the narrative point of view and
discuss the way this related to the authorial intentions. Many moved on to discussion of the split narrative
technique and linked this well to a discussion of quest.
Criterion 1
Most candidates observed the basic conventions of written English and consequently few suffered poor
assessment on this criterion. The main faults were in paragraphing and some candidates struggled to structure
their essays in a convincing and logical manner leading to a lack of fluency.
Criterion 2
Many candidates still fail to recognise that a good essay in English needs to be structured in the form of an
argument and form a fluent discussion of the prompt. Many candidates clearly knew what they wanted to say
but struggled to get it down in the most efficient and fluent manner. Perhaps a little more time spent planning a
response would have raised the Bs and Cs to a higher level on this criterion.
Criterion 7
Most of the responses marked were strong on analysis and discussion of themes and there was a real sense that
candidates had been taught this novel very well indeed. There was also a sense of strong engagement in most
essays and this was very pleasing to encounter. It seems that this text did indeed captivate the majority of
candidates studying it or at least those who chose to write on it. Only a few failed to correctly identify the point
of view employed and many discussed the implications of the choice with confidence and fluency. Most of the
respondents also managed to articulate the way Frazier used the structure of a quest in which to frame his dual
narrative story. The best scripts also displayed very clear and detailed knowledge of where the novel departed
from the conventional structure and postulated reasons for the departures.
Question 33
The structure of The God of Small Things is very complex.
complexity have on the characterization of the novel?
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There was a competent answer in response to what was a difficult and complex text. The candidate examined the
characterisation of the major characters, referring to Roy’s use of shifting point of view and non linear use of
time, as well as retrospective memory. These techniques combine to create a very complex unravelling of plot,
development of character and reader response to them. The answer was a good effort.
Question 34
The Shipping News is a simple story of one of life’s victims made good. Assess the
validity of this statement with reference to Proulx’ characterisation, narrative structure
and use of language.
The question required the analysis of three techniques linked to the purpose of showing Quoyle’s transformation
from victim to successful family man and journalist. Most essays showed sufficient understanding of two
techniques. Narrative structure is less well understood: there is confusion in some essays between structure and
language; or there is a narrow interpretation of structure.
Narrative structure causes some difficulty depending on the way it is interpreted. Usually, it is taken to mean
Proulx’s use of elliptical sentences that decrease during the novel to show Quoyle’s growth as a person; and/or
the shift in omniscient narration towards more of Quoyle’s thoughts of events. It should, however, start with
the organisation of chapters, including some illustration of the meanings of the knots. At least there should be
examples of the quoyle and another knot later in the novel. Another point is the unequal division of chapters:
Chapters 1-3 in Mockingburg, 5-39 in Newfoundland with chapter 4, “Cast Away”, describing the move from
New York to Newfoundland.
Only two essays challenged the idea of a simple story. Perhaps this is too much for candidates to tackle in an
exam essay. This extract from the introduction of one of these essays shows how it can be done:
The Shipping News can hardly be considered a simple story in terms of characterisation, narrative
structure or use of language. Proulx draws on a rich cast of characters with which to populate her novel;
many are eccentric ... the central character of Quoyle is complex, being aware of his own inadequacies at
first but ultimately undergoing a remarkable change. Narrative structure is likewise complex; although
focusing on Quoyle’s journey of transformation in a plot that is linear and chronological. Proulx’s use of
subplots, principally through the use of anecdotes supplied by the characters, can hardly be described as
simple ... Language is rich in use of distinctive words and phrases and dialogue that effectively convey
the setting of Newfoundland.
Criterion 1
Correct structuring of quotes is clear evidence of accurate writing. Weak candidates struggle to express their
ideas clearly.
Criterion 2
Relevance and links to the purpose in the question are the key determinants for Criterion 2. To be relevant, the
essay must discuss all three techniques. Some essays do not clearly identify the technique; rather, they mention
tone or truncated sentences and leave it to the marker to make the link to the technique.
There are often links to the question in the conclusions within the essay, but these conclusions are not supported
by the rest of the paragraphs. Paragraphs should be logical and develop the argument. Too often, the wording
of the question – “one of life’s victims made good” – is repeated again and again.
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Criterion 7
These comments from, respectively C, B and A ratings, show the extent to which the essay satisfies the
criterion:
[C]
[B]
[A]
Lacks examples and quotes to illustrate ideas. Superficial analysis.
Analyses all three techniques but confuses structure and language. Supports with examples.
Assured analysis of each technique, supported with examples and memorable quotes.
In all essays there must be some attempt to link to purpose.
Question 35
Discuss the range and purpose of Winton’s use of symbolism.
links to setting.
Include reference to the
This was a very accessible and commendable question, with the advantage of having only one technique to focus
on. Thus many candidates wrote very effectively in response to this question and were able to develop subtle and
detailed analyses of Winton’s symbols. All could identify the main symbols and what they represented, and
most were able to link the house, the river or water and the “guardian angel” with discussion of the setting to a
certain extent.
Criterion 1
Titles and spelling overall was firm, however it is expected that candidates are accurate with spelling of
predictable or simple vocabulary e.g. guardian angel (‘angle’), tragic, and. whereas/were/where. Plural nouns and
verbs are not formed by adding apostrophes e.g. ‘see’s’.
Criterion 2
It is important for candidates to check and recheck that they are making appropriate linkages between the aspects
they choose to discuss and the actual key words of the topic as they write, in order to gain the best possible
award in Criterion 2. One strong technique to do this is to build in internal conclusive statements at the ends of
body paragraphs. However, repetition of diction from the question is to be guarded against, at the risk of
sounding predictable and pedestrian.
Introductions had a tendency to simply restate the key words in the question, without an explanation of the
argument the candidate was putting forward. In many instances the question was not attacked until the second
paragraph, often wasting half a page of writing. Weak candidates are not structuring and embedding their citation
correctly. Quotations should not be lengthy and should not be placed in stand-alone paragraphs. Candidates
should use ellipses if wording is to be left out.
Criterion 7
The most able candidates explored the subtleties of the settings and associated wide ranging symbolism very
effectively, often cleverly weaving in a discussion of seemingly irrelevant symbols e.g. the folding of the tent.
Many candidates, however, could not resist introducing irrelevant discussion of symbols, which could not be
linked to setting e.g. the spinning knife, the “shifty shadow”. They also included discussion of other techniques
in Cloudstreet which were not relevant to this question which clearly gave the single focus of symbolism and
the links to setting. Things symbolic, spiritual, significant and supernatural were at times confused.
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Question 36
Discuss Richard Flanagan’s use of structure, symbolism and point of view with particular
reference to the various ‘voices’ that are part of Aljaz’s past and present.
No report available.
Question 37
‘It’s music that matters.’
Discuss the uses of soundtrack in Brassed Off and explain how it is related to at least t w o
groups of symbols.
No report available.
Question 38
Comment on Weir’s use of cinematography, editing and production design (sets and
costumes) in his creation of a world within a world in The Truman Show.
Candidates should be warned that a film techniques question is a very hard one to do well. The questions are
often complex and candidates must have a very good knowledge of the techniques and how they are used in the
film and how they link to the purpose outlined in the question. They must be able to recognise the technique,
use accurate terms as given in the glossary of film language and explain how they are used within sequences of
the film. Too often candidates are giving a description of the events in the film and using a simplistic and
generic term e.g. ‘lighting was dark’. This is not sufficient.
The standard for this question was generally disappointing. Many of the weaker candidates chose this one and
they proved unable both to express themselves coherently and to answer the question. There was a strong
tendency to present a learned list of techniques, often irrelevant to the purpose in the question. Usually the
examples chosen did not address the question, so could not be counted towards achieving a satisfactory rating.
Terminology used was often wrong. Candidates are urged to learn use the glossary of film language as the
standard acceptable terms.
Criterion 1
The weaknesses here were basic – grammatical construction of sentences, spelling, problems with
pronoun/antecedent agreement which frequently obscured meaning, the lack of formal tone, poor paragraphing
decisions, use of capitals and presentation of titles. Many candidates misspelled names. The writing was
simplistic, showing a limited vocabulary.
Criterion 2
Very few candidates addressed the idea of a creation of a world within a world. They failed to realise they had to
discuss the contrasts that this implied. This required an examination of the two different types of techniques
chosen by Weir to present firstly Truman’s world, and secondly the world of Christof, the actors and the viewers.
Introductions and conclusions were largely irrelevant and undeveloped. Many candidates simply reframed the
question, with minimal changes. Candidates should carefully choose the relevant examples of the specific
techniques asked for, and then develop a cohesive argument which links each paragraph back to the purpose
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outlined in the question. For even better ratings, the links should also be made between paragraphs. Topic and
concluding sentences need to be more focused to give the paragraph a direct link to the question.
It is recommended that candidates discuss 4-5 sequences from the film, rather than organise paragraphs on
specific individual techniques. This usually allows a much broader and more detailed discussion. A few
candidates slipped a little too much into a thematic discussion.
Those who failed to cover all elements, or provided discussion of the relevant techniques without making link to
the question, or wrote with little regard for the set question were duly penalised under this criterion. Candidates
need a more flexible preparation for this kind of exam.
Criterion 7
Relevant examples of cinematography and editing should be chosen and the appropriate terminology should be
used whenever applicable. The terms are clearly explained in the official glossary attached to English on the
TASSAB website. Many candidates discussed cinematography as a whole range of techniques that should be
defined as cinematic e.g. dialogue, sound, music.
The better responses were detailed with examples regarding camera angles, and recognised that cinematography
required a discussion of more than just camera angles. Internal framing is very important to show Truman’s
world within a world, but many candidates chose clumsy terms to describe it e.g. ‘shaded screen borders’, ‘arena
round the lens’, edging on the shot’, ’pencil sharpener shot’, ‘blurred ring around’, lens blackening’, and ‘circular
lens back to square lens’.
Editing in particular was poorly understood by many candidates. Cutaways to the production team and to the TV
(internal) audiences are especially relevant to this part of the question. Editing was often misunderstood to be
Christof’s directions to Marlon.
Production design was hard for the weaker candidates to comment on. Too much generalisation of the set and
poor term use was very apparent in the descriptions of Seahaven in particular. Only a few candidates contrasted it
with the world of Christof and the viewers’ worlds. Some candidates mistook the costuming to be that of the
eighties.
Suggestions:
Cinematography
•
internal framing
•
zooming
•
high key lighting of Seahaven replicating television. This shows that it is a constructed reality, as
are all T.V. shows. Contrast this with the low key lighting and blue filters for Christof’s world
•
panning to Christof in the reunion scene during the voiceover section
Editing
•
•
•
•
cutaways to the different ‘worlds’
flashback and credits
documentary ‘talking heads’
use of montage
Production Design
•
‘plastic’ Seahaven set contrasted with futuristic dome
•
décor of homes of viewers and Truman bar
•
different costumes with emphasis on the contrast achieved and the change in Truman`s attire,
especially at the end
•
primary colours in Truman’s world
•
darker, sombre colours for Christof’s world
Tasmanian Secondary Assessment Board
2002 External Examination Report
EN821
36
English
Question 39
Discuss the complex structure of Hilary and Jackie, especially its effect o n
characterisation of the two sisters, and the use of soundtrack in both Hilary’s and Jackie’s
sections of the film.
This question asks two things of the candidates: firstly, to discuss the structure as it illustrates points of
similarity but mainly difference between the two sisters; secondly, Tucker’s use of soundtrack to enhance his
main concerns for the two siblings.
Whilst the candidates handled the structure of the film confidently, their discussion of the soundtrack was
limited, in most cases, to just music. Soundtrack is a general term which includes ambient sounds, amplified
sounds and distorted sounds. The latter is particularly pertinent to Jackie and her developing multiple sclerosis.
The other technique, less requested in film discussion, which was discussed superficially by some candidates, was
characterisation. A strong answer here would take into account background (parental favouritism),
costume/physical appearance, strengths/weaknesses, mannerisms (flamboyant performance style), speech,
thoughts etc.
Criterion 1
The standard was good. Candidates expressed their ideas fluently. The titles of the individual pieces of music (or
part thereof) proved problematic for most. A complete work is cited like a novel; a movement within a
complete work is cited in inverted commas e.g. Elgar’s “Adagio Moderato” from his Concerto in E Minor.
Most candidates cited everything in inverted commas. Candidates need to be mindful of including the complete
title of pieces too e.g. The Toy Symphony. The spellings of some of the characters’ names were also incorrect
e.g. “Barenboim”, “Kiffer” and “Hilary”.
Criterion 2
Arguments were well-structured, detailed and supported with relevant examples from the film. Most answers
adopted a systematic approach and worked through the structure of the film and then the soundtrack. Teachers
need to encourage candidates to see that soundtrack is a broad “umbrella” term which includes all manner of
sound in the film, not just music.
Criterion 7
Some answers were quite sophisticated in their analysis. The term, ‘triptych’ was applied for the first time this
year to describe the three-fold division of the film. Nonetheless, a large number of the answers lacked balance
because they did not go into details of the soundtrack. Apart from the musical pieces which recur, (Elgar’s
Concerto in E Minor, Haydn’s The Toy Symphony; Bach’s B Minor Suite for Flute), mention must be made
of the ambient sounds (thunder, rain at poignant times), amplified sounds (the onset of MS) and the distorted
sounds (from Jackie’s perspective as she realises that her health is failing).
Overall, this was a popular question, chosen by the candidates because they think that techniques are
“straightforward” in films. Whilst this may be true up to a point, the best answers required a thorough
knowledge of the detail of the film, with specific examples being cited to support statements and appropriate
terminology used. The English C Film Language glossary gives standard terms. A mediocre response with
vague allusions to a scene in the film, did not impress the markers.
Tasmanian Secondary Assessment Board
2002 External Examination Report
EN821
37
English
Question 40
Discuss Darabont’s use of soundtrack, cinematography and lighting to emphasise aspects
of the prison setting in The Shawshank Redemption.
Most of the responses in this section were satisfactory but there were very few excellent responses. Most
candidates were really only prepared to discuss one or two examples for each area which did not convey a full
understanding of the whole film.
Criterion 1
The use of paragraphing, expression and spelling on the whole were quite good. Most candidates were able to
spell Darabont correctly but not enough realise that the title of a film should be underlined when it is
handwritten. The text also should be referred to as a film, not a movie.
Criterion 2
It was really pleasing to see that most candidates made a genuine attempt to link their discussion to the question.
Candidates were mostly able to state how the particular techniques were used to convey aspects of the prison
setting and cited several good aspects like the corruption, imprisonment, feeling trapped and caged, incorrect use
of power etc. It was also good to see a number of candidates contrast some of these negative aspects with the
positive elements represented mainly by Andy and Red. A few candidates discussed outer prison settings without
directly linking to the question and were penalised on this criterion for not addressing the question closely
enough. It was acceptable to discuss the feelings of freedom associated with the Pacific Ocean but only if it was
linked back to how they had escaped the confinement of the prison system.
Criterion 7
Unfortunately a large number of candidates were only willing to discuss one or two examples for each of
soundtrack, cinematography and lighting. This meant that they were not able to demonstrate a really full
understanding of the cinematic techniques employed in the film. Some candidates went on to discuss techniques
which were not mentioned in the question which meant they were penalized under Criterion 2 and had not
addressed enough points on Criterion 7 for a satisfactory rating. It was quite disappointing to read a few times
that the ‘soundtrack was not an important part of the film.’ It is clearly an integral part of the film and should
have provided many opportunities to discuss aspects of the prison system. Lighting was understood very clearly
by the candidates, particularly the use of darkness and shadows to show Norton’s corrupt nature and the use of
light to convey Andy’s optimism and hopefulness. Cinematography was also clearly discussed with the
overhead shot of the prison early in the film a favourite example to show the stature of the prison system and
the lack of identity felt by the prisoners. Candidates were also able to cite many examples of low angle shots of
Hadley and Norton to convey their power etc.
Question 41
Assess how McCourt’s point of view, use of vivid language and narrative voice i n
Angela’s Ashes retell a life in a way that makes light of the real hardship suffered.
The use of terms ‘point of view’ and ‘narrative voice’ confused some candidates because they were too similar.
Vivid language also challenged the weaker candidates because it was not specific. Markers endeavoured to
compensate for this particularly where candidates showed a strong knowledge of the text. The question seemed
to attract a number of weaker candidates because of the apparent simplicity of the text and then they found it
difficult to adapt their learnt responses to the question.
Tasmanian Secondary Assessment Board
2002 External Examination Report
EN821
38
English
Candidates should be discouraged from learning chunks of information from the essay or study guide and
reproducing it in their essays. This results in the same examples being repeated ad nauseum and often
inappropriately as they were the only examples they knew.
Criterion 1
Most candidates were able to express themselves in a satisfactory manner. There were few candidates who
showed real flair. It is disappointing that candidates can’t spell “memoir” and “view” and use terms like “sickly
sweet”. Sentence construction faults were prevalent particularly candidates’ inability to join sentences together.
Often “this” was used after a comma instead of “which”.
Criterion 2
Candidates performed badly on this criterion. Most candidates found it hard to address all aspects of the question,
either focusing on the hardships that the McCourts endured or the humour in the text. They tended to
misinterpret the term “ makes light of …” as “sheds light on”. Conversely some candidates could not get past
humour and took a thematic approach to the question. Topic sentences were sadly lacking.
Criterion 7
The candidates had been really well taught on techniques and were able to identify different narrative voices and
the better candidates were able to discuss and provide examples of vivid language. There were some terms that
were repeatedly used incorrectly: novel, stream of consciousness, syntax, third person point of view, omniscient
first person.
Question 44
Robert Drewe’s humorous account of growing up in Perth is set against a rather dark and
dramatic backdrop. Discuss Drewe’s use of structure, choice of language and tone in l i g h t
of this statement.
Candidates who attempted this question ignored the terms of reference and retold the plot by way of attempting
to discuss the interplay of structure. Discussion of the techniques was limited or confused. Very few candidates
could discuss language in any detail and most simply ignored this element in the question. The discussion of
tone was simplistic and general. Most responses felt more comfortable in discussing Drewe’s memories of
childhood in Perth, but hardly moved into discussing the darkness and drama of the Cooke murders.
Criterion 1
The weaknesses here were basic – grammatical construction of sentences, spelling, the lack of formal tone,
paragraphing decisions, limited vocabulary.
Criterion 2
There was a disappointing disregard for the question. There was a strong tendency to present a learned list of
techniques, often irrelevant to the purpose in the question. Usually the examples chosen did not address the
question, so could not be counted towards achieving a satisfactory rating.
Introductions and conclusions were largely irrelevant and undeveloped. Many candidates simply reframed the
question, with minimal changes and proceeded to retell.
Tasmanian Secondary Assessment Board
2002 External Examination Report
EN821
39
English
Candidates need to choose relevant examples of the specific techniques asked for, and then develop a cohesive
argument which links each paragraph back to the purpose outlined in the question. Too many tried to link
totally irrelevant information to the techniques.
Criterion 7
Most of the candidates succeeded in demonstrating a side knowledge of techniques but much of the information
could not be rewarded.
Very few candidates addressed structure adequately. They needed to discuss the interplay of the sections from the
point of view of Cooke with the ironic similarities and contrasts to Drewe’s reflections that this implied.
Discussion of the choice of language and tone proved problematic. Candidates mentioned humorous events such
as “moss pissing” but did not discuss the descriptive language associated. The tendency was to retell rather than
analyse significant sections associated with the light moments in the story. Almost no responses analysed the
grim and macabre depiction of the moments of horror which stand out as graphic and startling.
Question 45(a)
The poems, ’Ulysses’, ’Unknown Girl in the Maternity Ward’ and ‘Beach Burial’ deal w i t h
very moving personal experiences. Show how features such as imagery and point of v i e w
contribute to the readers’ understanding of these experiences.
Candidates who understood the topic and knew their poems responded superbly. There was little middle ground
with responses and weaker candidates’ comments were superficial and rambling.
Criterion 1
General competence was shown and apart from incorrectly underlining names of poets and putting in the word
‘quote’ unnecessarily, candidates understood most of the language conventions. Some referred to ‘author’ instead
of ‘poet’.
Criterion 2
Most introduced their “understandings” correctly and several sustained a logical, supported argument centred on
imagery and point of view. A few candidates insisted on including every technical term they knew and their
responses were reduced to lists of points which in no way connected to how the two components contributed to
the reader’s understanding of moving personal experiences. Candidates need to maintain the focus and links
throughout and sadly some had digested entire essays and insisted on regurgitating them.
Criterion 7
Whilst it is difficult to generalise from such a small sample, it would appear that the more able candidates were
comfortable tackling poetry. All candidates were successful in their essays with one third of the responses
highly commendable.
Tasmanian Secondary Assessment Board
2002 External Examination Report
EN821
40
English
Question 45(b)
Painful events in our lives make us wiser people. Show how Harwood in ‘Mother Who
Gave Me Life’, Auden in ‘Stop All The Clocks, Cut Off the Telephone(XXXIV)’ and
Tranter in ‘North Light” use imagery and point of view to give their views on the gaining
of wisdom.
In general, the answers showed that candidates had a very sound understanding of the three poems – this was very
encouraging. The question allowed candidates to show this understanding but because it only asked for a
discussion of imagery and point of view, weaker candidates found it difficult to achieve a lengthy answer.
A number of very good discussions were significantly disadvantaged because candidates did not discuss each of
the three designated poems. It is essential candidates are aware that any comments on other poems cannot be
assessed. When attempting this section of the exam, candidates have to be prepared to discuss any three of the
six poems as directed by the question. Careful time management is essential if a balanced discussion is to be
completed.
It was noted that, as in previous years, a number of candidates made dismissive comments about Auden’s poem.
These comments didn’t help them to develop any depth in their discussion, instead, it limited their consideration
of the question.
Criterion 1
The vast majority of candidates attempting this question were competent writers whose essays were fluent and
well organized – they were a pleasure to read! It was also pleasing to note that a number of candidates had
obviously re-read their essays and made appropriate corrections and additions.
It was disappointing that the poets’ names and the titles of their poems were not always accurately spelt –
accuracy was expected, especially as they were provided on the paper! In addition to this, it was expected that the
names of the poetic devices be accurately spelt. Candidates need to make an effort to learn these key terms.
It is worth noting that most candidates were able to integrate quotes using the accepted conventions.
Criterion 2
The majority of answers were structured and logical discussions which directly addressed the question in an
informed and well-supported manner. They displayed a clear understanding of the question and an appreciation of
the poets’ views on the gaining of wisdom. Some candidates found it difficult to identify a gaining of wisdom
in Auden’s poem and rather than make an attempt to comment on what was learnt, they dismissed it. Candidates
need to make an effort to link a poem and the poet’s ideas to the question, even if they are unsure. Emotional
comments do not equal analytical and detached ones.
A number of answers did not address the poets’ use of point of view and it was unclear whether this was due to a
lack of planning or a lack of understanding of the device. Candidates were expected to balance their discussions
to include both imagery and point of view (especially as they were only asked to focus on the two).
Criterion 7
A significant number of candidates did not discuss, or did not discuss with any accuracy, the poets’ use of point
of view. This was of some concern as it was expected that candidates would be familiar with discussing its use
in style analysis.
Tasmanian Secondary Assessment Board
2002 External Examination Report
EN821
41
English
On a more positive note, the answers did display a very good appreciation of the poets’ use of imagery to give
their views on the gaining of wisdom. The better answers were able to identify and discuss the rich variety of
imagery used and were also able to refer to numerous appropriate examples.
Question 45(c)
Show how Murray in ‘The Steel’, McGough in ‘The Railings’ and Auden in ‘Stop All the
Clocks, Cut Off the Telephone (XXXIV)’ have used imagery and point of view to explore
some of the lessons learnt from life’s experiences.
Criterion 1
The responses were generally sound. Poorer answers contained overlong rambling sentences. Candidates should
note that the use of contractions and colloquial register detract from the formality and sophistication of
discussion.
Criterion 2
A number of candidates did not discuss all three poems fully. A few only attempted two poems. Weaker
answers had awkward structure and included irrelevant discussion on other techniques such as tone, and structure.
Overall there was relevant use of quotations.
Criterion 7
Better candidates had a good working knowledge of the poems and used a range of quotations. Imagery may have
been too narrow a focus for most candidates to maintain a logical and sustained discussion of lessons learnt from
life’s experiences. Responses tended to be superficial, lacking depth and detail. More quotations from the whole
poem needed to be incorporated to support statements. Some candidates seemed unclear about point of view and
had difficulty linking this to the essay question.
Question 46
Discuss the significance of Lahiri’s choice of title, structure and, above all, symbolism t o
build sympathy for her characters in ‘A Temporary Matter’ and ‘A Real Durwan’
As in past years Short Stories seem to be the section where weaker candidates meander, perhaps as they see this
as shorter to revise. Overall the responses were very average and lacked understanding of the author’s techniques.
Criterion 2
Some of the candidates failed to actually mention any significance of Lahiri’s choice of title. They were the
ones who obviously needed to read the story more than once.
Criterion 7
The better responses were from the candidates who understood the two stories and were able to show that
understanding with relevant points and adequate examples.
The relevance of the symbolism was ignored by some. However, the significance of when Boori Ma moved up
and down the stairs and the significance of her keys was mentioned by the better candidates.
Tasmanian Secondary Assessment Board
2002 External Examination Report
EN821
42
English
The temporary lapse in communication between Shukumar and Shoba and the temporary interruption of the
electricity was a point understood by most of the candidates.
Question 47
In “Herbie” and “You gave me Hyacinths” there is a strong sense of place. Discuss h o w
the two authors of these stories use setting, choice of language and point of view t o
develop this quality.
More than half of these were concentrated in the weaker range for both Criterion 2 and Criterion 7. There were
two reasons for this. Firstly, candidates interpreted “sense of place” as “sense of belonging”(possibly a past
theme prepared response). Secondly, candidates tended to write generally about the techniques as required by the
question but did not give specific examples. Some responses read more like themes responses and any relevant
points had to be searched for.
Criterion 1
Most responses were in the satisfactory range.
Most common errors were: single sentence paragraphs; use of first person (I, we, our); “alot” used as “a lot”;
incorrect use of capital letters for “author” and “narrator”; confusion between “aborigine” the noun and
“aboriginal” the adjective; common spelling errors (describe, description, view, sense, acceptance, develop).
Criterion 2
Candidates need to use the introduction to explain clearly their understanding of the topic, then the body of the
essay should explain how a particular technique develops / expands / enhances that meaning. Most candidates
wrote about the sense of belonging of the characters rather than the distinct sense of place created in each story.
In this case, candidates needed to explain briefly the “sense of place” for each story: “Herbie” - a small rural town
where racism is rife and accepted and “You gave me Hyacinths” -a small tropical cane-growing town where there
is a sense of life following a set pattern. All points and examples should be linked to how this purpose is
achieved by the particular use of settings, choice of language and point of view.
Criterion 7
Candidates showed a reasonable understanding of the techniques themselves but had trouble selecting relevant
examples and applying them to the question. For “choice of language’ most candidates only commented on the
formal/colloquial language in both stories and ignored descriptive language.
All correspondence should be addressed to:
Tasmanian Secondary Assessment Board
PO Box 147, Sandy Bay 7006
Ph: (03) 6233 6364 Fax: (03) 6224 0175
Email: reception@tassab.tased.edu.au
Internet: http://www.tassab.tased.edu.au
Tasmanian Secondary Assessment Board
2002 External Examination Report