YEAR 11 EXAM
REVIEW 2015
Language Analysis
SECTION A – TEXT RESPONSE
(READING AND RESPONDING
ESSAY TO PROMPT)
Detailed knowledge and understanding of the selected
text (The Kite Runner or Stolen), demonstrated
appropriately in response to the topic
Development in the writing of a coherent and effective
discussion in response to the task
Controlled use of expressive and effective language
appropriate to the task
SECTION B – WRITING IN
CONTEXT (CREATING AND
PRESENTING)
Understanding and effective exploration of the ideas, and/or
arguments relevant to the prompt/stimulus material (The Illustrated
Man – Context is ‘Future Worlds’ or We Can Be Heroes – Context is
‘Australian Identity’)
Effective use of detail and ideas drawn from the selected text as
appropriate to the task (E.g. TEEL – Topic sentence, explain, evidence
and link back to topic, or key questions raised in narrative)
Development in the writing of a coherent and effective structure in
response to the task, showing an understanding of the relationship
between purpose, form, language and audience
Controlled use of language appropriate to the purpose, form and
audience – Expository (Explain), Persuasive (Speech or essay), Narrative
(Story, journal, diary entries)
SECTION C – LANGUAGE
ANALYSIS (USING
LANGUAGE TO PERSUADE)
Understanding of the ideas and points of view
presented (CONTENTION on ISSUE)
Analysis of ways in which language and visual features
are used to present a point of view and to persuade
readers (TEE – Technique, Explain, Effect on reader)
Controlled and effective use of language appropriate
to the task (Metalanguage)
THE KITE RUNNER – KHALED HOSSEINI
Question or prompt will focus on the BIG IDEAS that the novel presents, such as:
1) Identity can be shaped due to actions that are unforeseen.
2) The issue of forgiveness, atonement and redemption.
3) The issue human beings’ unintentional sins. Amir is almost an 'accidental'
sinner and it is this that helps develop his character into one which we can
relate to.
4) The issue of time and how it prohibits us from dealing with past sin –
sins of the past.
5) Masculinity and relationships between males. (Father/son)
SETTING OF THE KITE
RUNNER
• Afghanistan in the 70s – Monarchy to Communist revolution
through to Taliban (Time and place)
• Contrasting life/society impacted by conflict
• House is of the wealthy to emphasise the social classes that
existed between cultures
• Hazara serves Pashtun (Racism, abuse of power) - only in this
setting?
• Westernised world contrast to Middle East (Afghanistan and
America)
NARRATIVE STRUCTURE
OF THE KITE RUNNER
• The narrative structure of a text refers to the
arrangement of events; the sequencing of events or
material.
• Events in the novel unfold chronologically, through
flashbacks, using the juxtaposition of different
viewpoints and different narrative accounts.
• Effects are gained by the conscious arrangement of
events – filling in details, contrasting before and after,
emphasising the impact of change.
NARRATOR OF THE KITE
RUNNER
• Amir (main character)tells the story, in first person.
• The author has used the word “I” to give the impression that
the character, not the author, is telling the story. Gives eye
witness immediacy to the story and controls the point of view
– enables us to sympathize with Amir.
• However, the narrator must have witnessed the events being
told and this may lead to bias – idealised account?
• The Kite Runner is narrated in first person retrospective,
creating a dual perspective – the adult and the younger self.
So the narrator has the benefit of hindsight and maturity, and
can offer insight and judgment on their earlier experiences.
LANGUAGE AND STYLE
• Recurring images, symbols and patterns: Symbols add
depth to the themes and ideas in a text. The eye, scars,
the kite, animals used to represent human qualities or
concepts.
• Similes and metaphors, imagery and other figurative
language techniques – usually found in the most
memorable quotes.
• Authentic dialogue used to create the cultural contrast
between Afghanistan and America.
LINKING CHARACTERS AND THEMES
Certain events should be a focus because they reveal information about both character and theme:
1.
Crisis points and turning points:
a. Character: What do we learn about the characters from how they cope with the crisis? How do they
change in response to the crisis or the turning point?
b. Theme: Why have the crisis points/turning points arisen? Is it in response to society? Are any values
reflected by the characters at the time of the change or crisis?
2. Reflection points:
a. Character: What do the characters look back on later and realize? Why didn’t they realize it at the
time of the event? What does their response tell us about the character now?
b. Theme: What do we learn about issues or values? Are new values embraced or the need for change
highlighted? Are certain values abandoned or re-enforced?
3. Relationships:
a. Character: What do we learn about the characters as they create or break a relationship? Which
relationships break down and why? How do characters reveal themselves?
b. Theme: What issues are raised due to the establishment or breakdown of the relationship? What
issues arise for the characters, and what values are shown?
4. Journeys and quests
a. Character: Which characters journey and grown throughout the text? What values are embraced and
rejected?
b. Theme: What values or ideas does the journey represent? What do you learn?
THE QUESTION/PROMPT
Will enable you to create an essay to discuss:
- the ideas, characters and themes constructed by the
author/director and presented in the selected text (obvious
aspects)
- the way the author/director uses structures, features and
conventions to construct meaning (evidence for your ideas)
- the ways in which authors/directors express or imply a point of
view and values (you interpret from text)
- the ways in which readers’ interpretations of texts differ and why
(your opinion/evaluation can be validated)
ESSAY STRUCTURE
1) Introduction
• The introduction is the Melways map reference to the
rest of the text. It is the road map with the directions
imprinted in it to show readers the way – it must
prepare the reader and set up discussion – contention
and preview.
• Introduction MUST address the prompt and contain a
contention. This is based on the prompt. Don’t simply
restate the prompt.
ESSAY STRUCTURE
Body paragraphs (TEEL – the E’s are interchangeable)
• Topic sentence: In your topic sentence state your argument.
This will form the basis of the topic you explore in the rest of
your paragraph
• Evidence: State the example from the text that supports the
topic sentence or Explain the argument/point further
• Explanation: Explain how the example supports your
argument or Evidence to support your idea and more
explanation OR Evaluate the quote through more
explanation
• Linking sentence: Link the your argument to your contention;
sum up your paragraph
ESSAY STRUCTURE
Conclusion
• The conclusion is not merely a restatement of your
contention. It draws your explanatory comments
together.
• The discoveries you have made in the course of your
essay are now offered as final proof of the insights you
have managed to discover. Thus, the quality of your
explanation/discussion will produce a strong
conclusion.
• Final statement of reflection on the universal
significance of the text and must provide a final
evaluation of the prompt.
QUOTES
‘In the end, I was a Pashtun and he was a Hazara. I was Sunni and he was Shi’a, and nothing was ever going to
change that. Nothing. But we were kids, who had learned to crawl together. And no history, ethnicity, society, or
religion was going to change that either.’
‘And that right there was the single greatest moment of my twelve years of life, seeing Baba on that roof, proud
of me at last.’
‘We actually deceived ourselves into thinking that a toy of tissue, paper, glue and bamboo could somehow close
the chasm between us.’
‘Strangely, I was glad that someone knew me for who I really was, I was tired of pretending.’
‘But I would stand my ground, I decided. I didn’t want to sacrifice for Baba anymore. The last time I had done
that, I had damned myself.’
‘I was afraid that l’d let the waters carry me away from what I had to do. From Hassan. From the past that had
come calling. And from this one last chance at redemption.’
‘You’ve always been a tourist here, you just didn’t know it.’
‘Somewhere over those mountains in the west slept the city where my hare-lipped brother and I had run kites.
Somewhere over there, the blind-folded man from my dream had died a needless death. Once, over those
mountains, I had made a choice. And now, a quarter of a century later, that choice had landed me right back
on this soil.’
‘…I wondered if that was how forgiveness budded, not with the fanfare of epiphany, but with pain gathering its
things, packing up, and slipping away unannounced in the middle of the night.’
QUOTES
‘Children aren't coloring books. You don't get to fill them with your favourite colours’
‘With me as the glaring exception, my father molded the world around him to his liking. The
problem, of course, was that Baba saw the world in black and white. And he got to decide
what was black and what was white. You can't love a person who lives that way without
fearing him too. Maybe even hating him a little.’
‘If America taught me anything, it's that quitting is right up there with pissing in the Girl
Scouts' lemonade jar.
There is only one sin, only one. And that is theft. Every other sin is a variation of theft....When
you kill a man, you steal a life. You steal his wife's right to a husband, rob his children of a
father. When you tell a lie, you steal someone's right to the truth. When you cheat, you steal
the right to fairness.’
‘One time, when I was really little, I climbed a tree and ate these green, sour apples. My
stomach swelled and became hard like a drum, it hurt a lot. Mother said that if I'd just
waited for the apples to ripen, I wouldn't have become sick. So now, whenever I really want
something, I try to remember what she said about the apples.’
‘I wondered if that was how forgiveness budded, not with the fanfare of epiphany, but with
pain gathering its things, packing up, and slipping away unannounced in the middle of the
night.’
‘I think that everything he did, feeding the poor, giving money to friends in need, it was all a
way of redeeming himself. And that, I believe, is what true redemption is, Amir jan, when
guilt leads to good.’
QUOTES
‘That was a long time ago, but it's wrong what they say about the past, I've learned, about how you can bury
it. Because the past claws its way out. ‘
‘But coming close wasn't the same as winning, was it? ... He had won because winners won and everyone else
just went home. ‘
‘It was Homaira and me against the world... In the end, the world always wins. That's just the way of things.’
‘
War doesn't negate decency. It demands it, even more than in times of peace.’
‘I stepped back and all I saw was rain through windowpanes that looked like melting silver.’
‘You're gutless. It's how you were made. And that's not such a bad thing because your saving grace is that
you've never lied to yourself about it. Not about that. Nothing wrong with cowardice as long as it comes with
prudence. But when a coward stops remembering who he is.. God help him.’
‘But that's what I'm saying to you... That there are bad people in this world, and sometimes bad people stay
bad. Sometimes you have to stand up to them. ‘
‘Quiet is peace. Tranquility. Quiet is turning down the volume knob on life. Silence is pushing the off button.
Shutting it down. All of it.’
‘How could I of all people, chastise someone for their past? ‘
‘There is a way to be good again.’
‘For you, a thousand times over.’
INCLUDING QUOTES
1. Introduce your quotations
Always introduce your quotes. Any quote that lacks an introduction is
called a floating quote. Never use floating quotes in your essay! They are
confusing and disorienting. To introduce your quotes, make sure you
explain how the quote supports your point.
Tragic irony is a vehicle for revelation, and it also serves as a rhetorical
strategy to validate the narrator’s claim: “I’ve learned . . . [how] the past
claws its way out.” Likewise, tragic irony becomes a rhetorical strategy for
comparing and contrasting characters’ behaviours as they manipulate
knowledge and claim ignorance in their relationships. For example, Amir’s
childish ploys to get rid of Hassan and his father, Ali, culminate in a tragic
scene, in which “Hassan knew . . . everything. . . . He knew I had betrayed
him and yet he was rescuing me once again.” Hassan would not expose to
Baba that Amir was actually a liar and a cheater. This marks a critical
moment in Amir’s life because he realizes that he loves Hassan, “more than
he had loved anyone else”; still, Amir cannot confess the truth and will
never again see Hassan.
INCLUDING QUOTES
2. Integrate your quotations. Words or phrases can
be quoted without quoting the entire sentence
from which they were taken. In this case, the
quoted words must fit into the grammar of your
own sentence. Pick only the relevant parts. This is
the best way to quote the text.
- Example - Prince Prospero is positioned as the
prince only for the rich; a “happy”, “dauntless”
and “sagacious” prince who believed that “the
external world would take care of itself.”
STOLEN BY
JANE HARRISON
Stolen is a candid and empathetic work that traces the
lives of five Aboriginal children:
Anne
Shirley
Ruby
Sandy
Jimmy…
as they share their unique stories when removed from
their families under official Australian government policy
known as ‘Assimilation.
STOLEN BY
JANE HARRISON
Jane Harrison’s, Stolen represents a vitally important work
for Australian Theatre, dramatising the fear, persecution
and anguish felt by the children and their families,
displaying the ongoing devastating effects on
generations of Aboriginal people physically,
psychologically and culturally.
This non-linear play opens with the characters as children
and reveals their experiences through story telling in nonconventional episodic form, ending with adult characters
as they find their way home. It is through this personal
experience of these characters that we are able to more
deeply understand this devastating period of our history
and allows us the opportunity to build a deeper unity
between Indigenous and non-Indigenous people.
STOLEN BY
JANE HARRISON
The History of Political Government Approaches to Indigenous
Cultures
The Aborigines Protection Board
- Between 1909 and 1969, Aboriginal and Torres Strait Islander
children’s removal was enforced and maintained by the
Aborigines Protection Board (APB) – brought up in the
Christian faith.
- By the 1950s, the Australian Government was attempting to
'breed out' Aboriginality for assimilation into Western society.
Aboriginal children who were “half-caste” or lighter coloured
were more likely to be removed from their families and
placed in mission, welfare homes or fostered out to white
homes ostensibly to provide them with a better standard of
living and education.
STOLEN BY
JANE HARRISON
Life on the Missions
• The conditions of missions, government institutions and
children’s homes were often very poor. Resources were
insufficient to improve them, or keep children properly,
clothed, fed and sheltered.
• Children were essentially prepared for menial labour,
placed in work by the authorities as farm hands or
domestic helpers and were not entitled or trusted to
receive their wages. These were supposed to be held in
trust, but many never received the money that was
rightfully theirs.
STOLEN BY
JANE HARRISON
• Many children were physically, assaulted and brutally
punished in placements. These children were most at risk of
this treatment in foster or adoptive families. 23.4% of these
children who were fostered and adopted reported being
assaulted there. One in six children who were institutionalised
reported physical assault and punishments.
Consequences
• Depression and suicide
• Delinquency and violence sometimes leading to
imprisonment
• Insecurity and lack of self-esteem, feelings of worthlessness
• Alcohol and drug abuse; and/or
• Lack of trust and intimacy
SANDY
STOLEN BY
JANE HARRISON
Sandy has spent his entire life on the run, never having a
set home to live in. His quest is to find a place to call
home, a place where he can be at peace, where he’s
not abused and where he doesn’t have keep hiding. His
realization about his own powers and the notion of home
is a significant one.
- Suitcase
- Dreamtime story of the Mungee
- Sandy (name)
- Twenty-dollar note
STOLEN BY
JANE HARRISON
RUBY
Ruby was forced to work as a domestic from a young
age, whose mental health was adversely affected by the
sexual abuse of her white ‘carers’. Ruby is eventually
reunited with her Aboriginal family.
- Doll and book
JIMMY
STOLEN BY
JANE HARRISON
Jimmy was separated from his mother at a very young
age, and she spent her entire life looking for him. Jimmy
thought his mother was dead because her letters are
taken and hidden. On his release from prison Jimmy was
told about his mother’s search but before he could meet
her, she died, and Jimmy subsequently committed
suicide.
- Jimmy: I’ve been a thug and thief but I’ve never stolen
anyone’s soul.’ (p.34)
STOLEN BY
JANE HARRISON
ANNE
Anne was a young girl when removed from her family
and placed in a white family’s home. She was materially
happy in this home and disinterested in discovering her
origins. When her indigenous family tried to meet her, she
felt bewildered and caught between cultures and her
two “families”.
STOLEN BY
JANE HARRISON
SHIRLEY
Shirley is a nurturer who was removed from her parents,
and had her children removed from her. Shirley never
gives up on the search for her kids, keeping herself
occupied by knitting. She is overjoyed when her
granddaughter is born without the fear of removal.
- Knitting
STOLEN BY
JANE HARRISON
Setting
The set of Stolen is minimal with the focus on props and use of lighting to create
different spaces, allowing a greater focus on the actors as storytellers and
representing a deprived environment.
Props
Props are an integral part of Stolen and are used symbolically, or as metaphors
throughout the play.
The institutional iron beds lack individuality, represent conformity and rigidity
and an authoritarian environment. Jimmy’s bed being turned around tells us of
his time away in prison.
Suitcases represent the continual movement, of a life on the run, of a lack of a
sense of home, of upheaval.
Shirley’s knitting represents the children she lost and that she yearns to provide
comfort for. That the knitting keeps unravelling is symbolic of the gift she will
never give, of a life where Shirley has often felt useless seeing her role as a
Mother has been taken from her.
The filing cabinet keeps the records of the past, controls the flow of information
and contains information that is kept from the children.
Bell control – regimented time, a sign of the institutionalized.
Pillows – soft, nurturing but often found on the floor where it provides limited
comfort.
STOLEN BY
JANE HARRISON
Language and Structure of the play
Dramatic forms:
•
Episodic
•
Non-liner
•
Non-naturalistic
•
Post Modern
•
Uses an eclectic range of performance styles
•
Blurred narrative
STOLEN BY
JANE HARRISON
Techniques and Conventions
•
Monologues
•
Chorus
•
Split Focus
•
Flashback/Flash forward
•
Narration
•
Rhyme
•
Soliloquy And Spoken Thought
•
Chanting
•
Song
•
Music
•
Sound Effects
•
Transformational Acting
•
Off Stage Voices
STOLEN BY
JANE HARRISON
Racism and Stereotypes
P. 7
FATHER: We’ll give her the best of everything.
MOTHER: Oh yes, a good education…
FATHER: My word! A sense of security…
MOTHER: Yes! And a good upbringing…
P.28
ANNE: I thought they’d live in the country or the outback or
something. You know, on the land.
P.30
JIMMY: God I hope she’s not real dirty or something
STOLEN BY
JANE HARRISON
Abuse
P. 8
CHILDREN: What did he give to ya?
RUBY: Gave me a doll.
CHILDREN: He gave her a doll. What else did ya do?
They stop clapping.
RUBY: I promised not to tell.
JIMMY: Oh, Ruby!
STOLEN BY
JANE HARRISON
Quotes
I carry my home with me. Sandy. P1
I’m finally gunna meet my Mother. P1.
I want my Mummy. Ruby, P.2.
Sandy, Run! Sandy’s Mum P.3
…mummy’s face is getting smaller and smaller…, Shirley, P.4.
Oh. Do ya get to stay there forever? P.6
They’re gonna choose me one day. Jimmy. P.6
I musn’t have been in that children’s home long, cos I can’t
remember it at all. Anne. P.7
I promised not to tell. Ruby. P.8
They just came and this woman picked him up and put him in
the car. Shirley. P.9
Play Techniques:
STOLEN BY
JANE HARRISON
a) P.6. ANNE’S WHITE PARENTS are represented by shadows
falling on a Venetian blind or white sheets. Her PARENTS and
ANNE speak in turn but do not hear what the other is saying.
b) Read how the pillow P12. What is the double meaning of
the pillow in this context?
c) Consider what the filing cabinet meant.
d) Why are Symbols and Mood so important to the story of
Stolen?
e) Why has the playwright projected the Letter from Jimmy’s
Mother onto his face during the scene where he is being
beaten? (P12).
f) Effect of the bells (P20)
g) Effect of unravelling knitting (P19)
STOLEN BY
JANE HARRISON
h) Sandy’s feelings when he thinks about a can of peas.
(P.19)) What double meaning does the term ‘past it’s use
by date’ (in relation to the can of peas) have?
i) Use of Rain and how it is used on P4 in relation to tears.
What is the effect of the rhythm and repetition in this
stanza?
j) Impressions of the song, ‘Happy Little Vegemite?’
Symbolism in the song and what ‘Vegemite’ represents as
an Australian brand. ‘Satire’ in relation to the Happy Little
vegemite’ song.
k) The jovial tone of the song is used to create dramatic
effect when juxtaposed with the loneliness and actuality of
Ruby’s experience.
PART B – CONTEXT WRITING
(FUTURE WORLDS)
For this context you must imagine the future of
our world, aspects include:
• Technology
• Medicine
• War and conflict
• Values and attitudes
• Space
• Science
• Virus mutations and evolution
FUTURE WORLDS
The creation of classic dystopian societies. The opposite of a utopia (an
.
imagined
perfect place), a dystopian society is one of moral corruption,
social oppression and human misery, where its people live in fear or even
terror.
People are not free but rather, controlled by an outside force, being victims
of governmental, technological or social oppression. Nature is unable to
bloom freely; it is usually destroyed by futuristic advancements in
technology. This human misery may also be made worse by either disease
or overcrowding.
In classic dystopias, humanity and compassion are compromised in
exchange for technological advancement. Simple pleasures found in
nature are lost and devalued. The texts create a miserable dystopia for the
audience to confront. They ask us to define a blurry line. In the future,
where does technology end and humanity begin?
FUTURE WORLDS
A disturbingly bleak view of the future is depicted where mankind has been dehumanized and de-sensitized by an obsession with consumer driven technological
.
advancement.
Ironically, progress in a materialist sense has been matched by an emotional
decline. Individualism has been eroded by the steady march of scientific discovery
to the point where people have sunk to the level of mere commodities whose worth
is measured in commercial terms.
Technological innovation has quantified existence and robbed it of anything
approaching what viewers or readers would consider being meaningful relationships
or codes of behaviour.
Society seems barren, empty and superficial.
The central protagonists are vulnerable individuals who have become alienated
from their peers and found themselves as outcasts and victims in a world that is
unable to answer their needs.
A powerful warning is given of what the future may be.
FUTURE WORLDS
•
. Family life and personal relationships have been sacrificed in the name
of social progress.
•
•
•
Totalitarian regimes control the masses by propagandist and
authoritarian methods such as regulatory measures and unrelenting
surveillance.
Society has become a drab, dark conformist environment where
animals and nature have been exploited in order to sustain and
promote technological development.
Scientific advancement has given governments the power of God
because scientists have been able to conquer nature and replicate life
artificially.
AUSTRALIAN IDENTITY
British heritage; wealth and poverty; city and country
• Australia's population is very diverse but there are some things that many
Australians have in common
• Much of Australia's lifestyle is inherited from the British and this is still the
dominant culture that is promoted
• Wealth and poverty vary across Australia's population
• The sharply-defined class system of Britain is more blurred in Australia
• Country and city people in Australia often hold different values
• Australians tend to identify with bush or beach themes, even though most
Australians are city people
• Will we become a more Asian Pacific country, where the dominant culture
will be Asian?
AUSTRALIAN IDENTITY
• Each one of us could describe ourselves with a multitude of different
identities.
These identities can be seen as defining us as people and may
.
be cultural, ethnic, religious, gendered, class-oriented or ideological. They
are as varied as our imagination. In Australia, the religious, cultural and
ethnic complexity of our society is particularly diverse.
• In the midst of this diversity, is there an elusive quality, a ‘national identity’,
which binds us all as Australians?
• There are certainly national cultural stereotypes and national symbols that
we all recognise as Australian, but do these really reflect the everyday
reality of living as an Australian today?
• Do national identities ever have anything to do with cultural experience or
are they more to do with a constructed image of a ‘nation’?
• What is it about our cultural stereotypes, if anything, that continues to
resonate with Australians? Who is excluded?
• Does our national identity still depend upon a white Anglo-Celtic male
viewpoint?
AUSTRALIAN IDENTITY
• Globalisation is characterised by a high degree of mobility
of people and capital. National boundaries are
becoming less important in terms of trade and investment
and this could lead to anxieties and insecurities about
national identity.
• Globalisation is perceived by some as a fragmenting of
national culture and society. Will this lead to a reassertion
of cultural identity that focuses on social coherence rather
than emphasising multi-culturalism and multi-racialism?
• Perhaps ideas of civic values and a renewed
appreciation of our interconnectedness through local
communities will reinvigorate ideas of national identity in
ways that do not need to ‘assimilate’ difference?
• How might this vision of national identity view the
difference and choice of Indigenous Australians?
RESPONDING TO THE
‘PROMPT’
1. What general form will I choose? – expository, persuasive
or imaginative?
a. Think about the style you are most comfortable with.
b. What are the challenges of an imaginative piece? Will it
be appreciated by everyone?
c. Which style will have the most impact?
6. How will you incorporate the ideas from the
text/outside the text into your piece?
a. Will you quote from the text?
2. What specific form will I choose e.g. short story, editorial,
letter, essay?
a. Am I aware of the demands of the form I have chosen?
b. What are the structural features of that form?
b. Create parallel situations or characters,?
c. Interview a character?
d. Argue a similar or alternative viewpoint?
3. What is the purpose of the piece?
7. What features of the original text will you
incorporate?
a. How will it address the prompt?
a. Will you use a similar structure to the text?
b. What is your contention or position in response to the
prompt?
b. Will you use similar language (colloquial or formal,
idioms, figurative language)?
4. Which ideas from the texts will you draw from?
a. Am I confident these are the most appropriate examples?
5. Which external references will you draw upon?
a. Is there dimension to the ideas I have chosen from real
life?
c. What aspects of the text will you refer to (e.g.
setting, symbols, tone)?
EXPOSITORY WRITING
Body Paragraphs
Each body paragraph should deal with a different argument. Some of your
arguments will be from the text/s you have studied, others from external
sources. The body paragraph is a place to state, and support your
argument. The support comes from the examples you wish to use, be that a
text, history, current news, a famous person, etc. You cannot use your own life
or friends, as this is more reflective. A good way to approach an expository
essay is to brainstorm your topic sentences first. What do you want to say
about the topic? Write them out as statements.
Topic sentence: In your topic sentence state your argument. Remember this is
NOT based on a text, so don’t mention any characters or texts – just the idea.
The argument must exist separately to the text (even though you spend the
majority of the paragraph discussing a particular text or example) – this is
important!! E.g. Life is both observation and participation.
Evidence: State the example you’re looking at E.g. A student watching
another being bullied is implicated in the bullying by the act of observation.
Explanation: Explain how the example shows your argument, giving more
evidence as you do so. Quotes are not especially important for context
essays – you do not have to include them.
Linking sentence: Link the your argument to your contention
EXPOSITORY WRITING
Contention
Identify the discoveries and insights you have made.
These should be clearly evident in your explanation. Use
these insights to conclusively state what it is to be a
bystander, the specific nature of the difficulties faced
and how comparable these outcomes are to the
various types of conflicts you have explored.
IMAGINATIVE WRITING
Imaginative Writing
Imaginative writing asks you to use the ideas from a text or texts to produce your own creative
response. The typical features of an imaginative response are that it:
1. Concentrates on one or two main characters and has parallels with in the text
2. Follows the structure of a narrative: a. introduction, complication, climax, resolution
3. Incorporates creative writing conventions: a. description, figurative language, dialogue
and internal thought about the character’s feelings
4. May be the same tone, style and narrative perspective as the original text
5. Is creative in presentation. You might add a scene to the original text, write a short story,
journal entry or letters or a script.
6. Crafts a consistent voice:
a. An old woman sounds different to a small child, who sounds different to a working-class
builder and a high-flying businessman
7. Keeps the prompt in mind: a. There’s no point writing a brilliant story if it doesn’t relate to the
prompt and the ideas presented in the text. It’s a good idea to focus on one text in an
imaginative response; more than one and you risk losing control.
PERSUASIVE WRITING
Persuasive Writing
A persuasive response is inviting you to respond to the
context by presenting a point of view on it. Your answer
will be narrower in scope that in an expository essay –
whereas the purpose of an expository essay is to explain
or expose the main ideas raised by the prompt, using it
as a springboard to further explore your ideas, a
persuasive essay is asking you to present a biased
reading of the context and argue a particular point of
view.
Persuasive essays may include a rebuttal.
PART C: ULTP LANGUAGE ANALYSIS
You will be reading and analysing one or more texts and
discussing the language techniques they have used to
influence the reader/viewer in relation to the
contention.
There may be different contentions about the same
issue in the articles and you may need to compare
them and evaluate which one is the more persuasive
and why???
CONTENTION
1. Contention(s)
Definition: A statement communicating the author’s main point
of view: what the writer or writers want you to agree with. The
contention is the broadest possible argument, and should be
present throughout the whole of the text. All of the arguments
presented in the text will support the overall contention.
Be aware: If there is more than one article there might be more
than one main contention. This allows you to establish a contrast.
Look to determine if the contention in a single article is
consistent.
Establish if the supporting graphics or headlines support or
compete with the contention being put forward.
SUPPORTING
ARGUMENTS
2. Supporting arguments
Definition: Supporting arguments are the two or three main
reasons used to justify the overall contention. These
supporting points do not permeate the entire text, but are
the main reasons given for the overall argument.
WRITER’S POSITION
3) Writer’s Position
Definition: You need to identify who the writer or writers are and
how this influences their views in the debate. This involves their
job and political orientation. It may also involve their race,
gender, religion, sexuality etc, although you should be careful
to refer to these characteristics only if the author makes it clear
it has had an influence on the argument.
Example: Devout Catholics would oppose legalizing abortion.
Their faith is influencing their views. By way of contrast, a feminist
might be expected to support a woman’s right to choose. The
orientation of these individuals is influencing the stance taken.
Be aware: Your task is not to say if the writer’s point of view is
correct or incorrect. You are there to establish how effectively
the writer has communicated a point of view. Have the
techniques employed been effective and appropriate given
the topic and nature of the discussion.
TONE
4. Tone
Definition: Tone refers to the voice or attitude of the
writer. When determining tone, look not at what is
stated, but how it is stated. To identify the tone of a
piece, think about how the piece made you feel as a
reader and what impressions are generated about the
author.
Be aware: Establishing the tone provides the general
umbrella under which ideas can be grouped. It’s a way
of structuring your response. A single writer may
transition between several tones or we can contrast the
different tones of multiple writers.
SAMPLE LIST OF TONE
WORDS
Sample list of tone words
seductive
romantic
apathetic
snooty
hollow
upset
encouraging
dreamy
humorous paranoid
angry
desperate
sarcastic
superficial
sweet
sad
harsh
artificial
light-hearted
passive
cheerful
authoritative
humble
persuasive numb
pleasant
surprised
instructive
afraid
cynical
brash
sharp
ironic
disinterested
tired
facetious
apologetic
disgusted
content
haughty
hurt
soothing
melancholic
depressed
confused
questioning
inquisitive
enthusiastic
uninterested
pleading
happy
hating
consoling
friendly
loud
appreciative
cheery
disappointed nervous
joyful
manipulative
dejected
miserable
contradictory
aggravated
excited
loving
scornful
Vibrant
ecstatic
arrogant
agitated
condescending
sympathetic
coarse
serious
calm
proud
AUDIENCE
5. Audience
Definition: The intended audience of a text is the people the author is
targeting. Think about who the author is trying to reach with their
message. To identify the audience, think about:
- Whether anyone is being directly targeted
- The content
- The tone and techniques used
- Be aware: The audience may well determine the approach and style
taken by the writer/speaker. A large public audience will require
different techniques and approaches to an individual reading a
paper over a morning cup of coffee.
PERSUASIVE TECHNIQUES
The next step is to think about the persuasive techniques
that the authors have used to support their contentions.
There are three broad types of persuasive techniques
that you should be aware of; logos, pathos, ethos.
Be aware: Do not fall into the trap of focusing only on
techniques you can name. If something feels persuasive
to you, this is because it is persuasive, whether it has a
“name” or not – it may be related to word connotation
or appeal
LOGOS – ‘LOGIC OR
REASON’
Definition: Logos (Greek for “word‟) is an appeal based
on logic or reason. It refers to the internal consistency of
a message the clarity of the claim, the logic of its
reasons and the effectiveness of its supporting
evidence.
“LOGOS” TECHNIQUES
Expert opinion
Research
Anecdotes
Reputable sources
Appeals to common sense and rationality
Offering a solution
Cause and effect statements and logical conclusions
Recognition of opposing viewpoints
PATHOS – ‘EMOTION’
Definition: Pathos (Greek for “suffering” or “experience”)
is an appeal based on emotion (often found in
advertisements, for example.) Language choice affects
the audience’s emotional (as opposed to “logical” or
“reason-based”) response. An appeal to pathos causes
an audience not just to respond emotionally but to
identify with the writer’s point of view.
PATHOS - 1.
CONNOTATIONS
Definition: A connotation is the emotional meaning associated with
the word. Connotations can be historical, biblical or current social
references. For example:
If a man is killed we imagine that he has died.
If a man is ‘slaughtered’, we understand that he was violently and
brutally killed.
If a man is ‘euthanised ’, then we understand his life has been
compassionately and
gently ended. Thus the connotations or ‘suggestions ’ behind each
word differ.
Effect: Connotations have the effect of positioning the reader to
feel a certain way about a topic. Readers usually respond to them
on an emotional level because of the images they tap into when
they hear a particular word or phrase.
Attacks/praise is also a very common technique – where the writer:
• Denigrates or humiliates another
• Discredits opponents
• Attacks a person or their credibility, rather than an idea
• Discredits another idea
PATHOS - 2. THE SOUND OF
LANGUAGE
a) Alliteration: Alliteration is the repetition of a sound, often at thebeginning
of a word, that plays on the same constant or syllable. For alliteration to
occur, a sound must be repeated several times in a short space e.g. “Dirty
deeds done dirt cheap!” Be aware of alliteration.Only make note of
alliteration that has a purpose i.e. supports an argument.
b) Repetition : Repetition is the repeating of words and phrases throughout a
text. Repetition doesn’t necessarily make a statement true but it makes sure
that a reader remembers the statement.
c) Colloquial language and idioms: Colloquial language, or slang, is
language that is used in every day conversation. It is persuasive because it is
friendly and invites the audience to see the writer as being “one of us”,
someone who is on the same wavelength. There appears to be no
pretension about someone who uses such language, making their message
more palatable to readers, e.g. “G’day mate!”
d) Clichés: Clichés are overused expressions, e.g. “There’s a time and a
place for everything. ”Clichés can be used because they often carry an
array of connotations. They can also help readers to feel familiar with the
material presented and thus attract their attention. On the other hand,
however, the overuse of clichés in intellectual writing can detract from the
quality of the writing
PATHOS - 3.
GENERALIZATIONS
Definition: A generalization is a phrase that is said to be
true for all because it is true for some. Generalizations
are also known as stereotypes e.g. “All teenagers are fat
and lazy. ”
Effect: They can be persuasive because they appeal to
our general sense of what seems true and they also
appeal to social stereotypes and racial prejudices
which are familiar. This familiarity can lull the reader into
accepting the claim.
PATHOS –
4)HYPERBOLE/EXAGGERATION
Definition: Hyperbole is the use of language to denigrate an
opposition to make them appear ridiculous, e.g. “Those who
support this ridiculous idea would have us believe that it will
dramatically improve the quality of modern living. Of course it
will! And it will probably cure cancer, eradicate pollution,
improve traffic flow and make the kids go to bed when we
tell them!”
They may also emphasize the author’s point e.g. if someone
were to describe the damage caused by a storm as “pretty
bad”, the reader won’t be likely to think much of it. However,
if they were to describe the aftermath as a storm as being
“like a warzone” the effect is to emphasize the severity of the
situation (even if the only damage was a few broken
windows).
PATHOS – 5) INCLUSIVE
LANGUAGE
Definition: Inclusive language refers to the use of
pronouns such as “you and me”, “we” and “our”.
Through these words, the writer seeks to identify with the
readers.
Effect: The writer is identifying as one of us, implying that
we are equally affected by the issue and that he or she
speaks for our concerns. For instance, “people like you
and me don’t want to see this happen. We know how
socially destructive it will be, and we don’t want our kids
growing up in that sort of society.”
PATHOS – 6) RHETORICAL
QUESTIONS
Definition: A rhetorical question is a question posed for
persuasive effect without the expectation of a reply,
e.g. “How much longer must we suffer in silence?”
Effect: The effect of a rhetorical question is to
encourage the reader to think about what the (often
obvious) answer to the question must be. Make sure you
are very specific with your explanation of the effect,
however what is the obvious answer? What does the
author want you to think and how does the question he
or she posed lead to that conclusion?
PATHOS – 7) APPEALS TO
VALUES
values
Definition: Writers often appeal to
that they think that the reader will
hold.
Here is a list of appeals to values:
a) Family values: Appeals to family values evoke ideas of belonging, security,
caring/nurturing, togetherness, safety, love and comfort.
b) Justice/fairness: An appeal to a sense of justice or fairness is often used when the
rights of two opposing sides come into conflict, especially when one side appears to
be being treated unfairly
c) Modernity: Advertisers tend to use this type of appeal most often they urge
consumers to buy the latest in technology or fashion, and do so by hinting that those
who do not consume the latest products are old-fashioned and outdated.
d) Generosity: An appeal to generosity makes the reader feel like they would be
acting greedily or selfishly in their own interests, rather than the greater good, if they
do not agree with a certain proposition.
e) Humanitarianism: Appeals to humanitarianism play on people’s desire to promote
general human welfare it evokes notions of kindness, sympathy and benevolence.
PATHOS – 8) APPEALS TO
VALUES
f) Hip pocket nerve (money) and self interest: Appeals to self interest are
designed to make the reader feel that something they personally value is being
threatened, or that they will be better off as a result of a particular proposal.
g) Belonging: An appeal to belonging makes the reader feel as though they will
be excluded if they do not agree with a certain proposition.
h) Patriotism: The term “un-Australian” is an example of an appeal to patriotism.
References to the national interest, Australia’s interest in the world and its
economic well being, international reputation, and safety, and the respect that
other nations feel for it are examples of appeals to patriotism
i) Tradition: An appeal to tradition suggests that because “we’ve always done it
like this ‟ or “our ancestors fought for this”, an idea is inherently good. Going
against it would mean going against everything we (as a culture, a nation etc)
stand for.
PATHOS – 9) APPEALS TO
EMOTION
Here is a short list of appeals to
emotion:
a) Nostalgia: Nostalgia is the feeling one gets when they look back on the past
fondly. Often, appeals to nostalgia are used to justify a return to older, simpler times.
b) Guilt: Guilt is a powerful emotion and writers who make their audience feel guilty
about an issue (and, in particular, about not acting upon an issue) can be very
persuasive
c) Sympathy/empathy: Encouraging people to feel sympathy for someone (sorry for
them) or empathy (put themselves in another’s shoes)
d) Fear: Appeals to fear may rely on fear of physical violence or death; of loss of
security, family, stability, money, safety; of change; of a specified negative event.
e) Compassion: A description of the plight of the underprivileged is designed to
appeal to the reader’s sense of compassion it aims to make them feel outraged,
sorry, or upset. Whatever the emotion elicited, the aim is to cause the reader to feel
like they want to take some action in response to the situation
PATHOS -EFFECT
Once you have identified the emotional appeal, you
should be able to identify its effect, as the author is
trying to position you to feel a particular way about their
topic.
ETHOS –
‘ANECDOTAL/EXPERT
OPINION’
Definition: Ethos (Greek for “character”) or an ethical
appeal means convincing based on the character of
the author. We tend to believe those people we respect
not only those who are an authority on the subject, but
also those who are likeable and worthy of our respect.
“ETHOS” TECHNIQUES
Ethical appeals are used to establish the writer as fair, openminded, honest, and knowledgeable about the subject
matter. The writer creates a sense of him or herself as
trustworthy and credible. When used correctly, the writer is
seen as...
- Well-informed about the topic
- Confident in his or her position
- Sincere, honest, respectable and trustworthy
- Understanding of the reader's concerns and possible
objections
- On the reader’s side
- Reasonable and rational
- Humane and considerate
VISUALS
Pictures
How does this image support the author’s contention?
Cartoons are sometimes difficult to analyse, as they
present a contention just as an editorial or opinion piece
would. Other images, such as pictures or graphics
accompanying an opinion piece, are easier to analyse
as they do not have a contention per-se rather, they
merely support the contention of the author. You can
still refer to the same things as you do for a cartoon.
However, not all of these things will be relevant, and
your analysis will be much shorter.
EFFECT
Once you have identified any persuasive techniques
used, you should think about the effect of the
techniques – how do they persuade the reader?
NOTE: Explaining the effect should be the bulk of your
analysis.
1. LANGUAGE (WHAT)
Throughout your body paragraphs, you will need
language sentences to introduce the quote that you will
be examining. These sentences will:
Include a quote that you think is persuasive from the
text (e.g. “stringed puppets”) Use a verb such as:
describes, depicts, purports, debunks, illustrates,
suggests, labels, conveys, promotes
Use a tone word before the verb to add more detail to
your analysis (e.g. comically)
Example: Columnist Phillip Craig comically labels the
politicians as “stringed puppets.”
2. INTENDED EFFECT
(WHY AND HOW)
Throughout your body paragraphs, you will need an intended
effect sentence/s AFTER your language sentence. These
sentences will:
Include consideration of both the wider and narrow intended
effects:Narrow: How does this quote make the reader feel about the
thing being described?
Wider: How does this quote position the reader to feel about
the issue generally?
Be specific! Do not say, “this technique makes the reader
think about whether they agree with the author or not”, or,
“this technique persuades the reader to agree with the
author.”
3. USING QUOTATIONS
Generally keep quotations short and focus on key words
that capture the point. Eliminate unnecessary sections
or words by replacing them with ellipsis dots.
Example: About her performance, a critic once said,
“her Medea was . . . without feeling and form.”
STRUCTURE OF
LANGUAGE ANALYSIS
In the exam, students will be required to analyze the use
of language in unseen persuasive text/s.
Make sure you ANNOTATE and then follow the TEE(L)
structure…
T – Explain the technique
E – Outline the effect on the /viewer
E - Evaluation and explanation
(L) – Link back to the overall contention
• Things to look for in
Editorials/Articles
OBVIOUS LANGUAGE
TECHNIQUES
Words that indicate TONE
EMOTIVE LANGUAGE (adjectives)
• Things to look for in
Cartoons
Words that indicate a POSITIVE OR NEGATIVE
CONNOTATION
STEREOTYPES –caricatures that represent someone or a
social group(s)
APPEALS what are being used?
EMOTION CONVEYED through an expressive face
LOADED WORDS or PHRASES that position the reader
SYMBOLISM what symbols can be identified in the
image
EXPERT OPINIONS that give credibility to article
ATTACK OR PRAISE depending on contention
INCLUSIVE OR EXCLUSIVE language
EXAGGERATION or HYPERBOLE
ANECDOTAL STORIES or ANALOGIES of other cases or
situations used for comparison
DIALOGUE and what is it suggesting or questioning
TONE how is it being conveyed (through image or
combined with words)
BACKGROUND is there anything that represents
something more to this issue
POSITIONING of the figures or props in the image
GENERALISATIONS or creating STEREOTYPES from a few
examples
EXAGGERATION of any details to emphasise
something
CHARTS, TABLES and GRAPHS
SATIRE or IRONY is the creator ridiculing something or
someone to make a statement
SOLUTION offered to help
CONNOTATION and TONE of image – is it positive or
negative? What aspects highlight this?
INTRODUCTION
The introduction introduces the persuasive piece you are analyzing and gives a brief
overview on what you will be focusing on in your essay.
Introduce the issue: What is the issue? How was it sparked? What has happened? Be
specific as to who, what, where and when in regards to the issue (1-2 sentences)
A speaker Chris Lee at the 2010 international Biodiversity Conference speaks with conviction to his
audience, attendees involved in the area of nature conservation, contending that action must be
taken to safeguard the variety of life, or, biodiversity. At times an accusatory and disapproving
tone is adopted, however alternates with an alarmist tone, the two complementing each other
and utilised to successfully persuade the speaker’s powerful and influential audience to take
action to preserve biodiversity. The use of a visual aid in the form of a slide presentation assists the
speaker, presenting the argument through a different medium.
Introduce the text’s title and author. Chris Lee/speaker
Identify the publication, date and text type Biodiversity Conference/2010
Restate the author’s contention in your own words. Action must be taken
Identify the writer’s tone. Disapproving, alarmist, accusatory
List the themes (body paragraph headings) you will be exploring.
Form speech/visual aids
Body
BODY PARAGRAPHS
Each body paragraph should deal with a different IDEA or GROUP that you identified.
Completely deal with one text, then use a connective word (in contrast, similarly etc)
and deal with the second text. The body paragraphs should be structured according
to TEEL.
Topic sentence: Re-introduce the author, tone word and the first argument you will be
examining. Rephrase the sentence that you used in your introduction
Lee begins by introducing his contention, an issue of ‘vital significance.’
Evidence and explanation: State what the language used was using a language
sentence, then explain the narrow and broad effect using an intended effect
sentence. Repeat this pattern until you have analysed all the relevant language.
This alarmist tone is further continued, Lee speaking of what has been lost in the past
tense, implying that the problem is already here, and the effects are evident. ‘Sadly’,
hundreds of species are ‘already extinct’ the speaker taking on a more nostalgic tone
full of longing for what has been lost.
Linking sentence: Your final sentence should sum up the overall effect. How is the
reader left feeling about the idea or group presented?
The short, blunt statement, ‘It is too late for them,’ the extinct species, once again
raises alarm in the audience members, . . .
An appeal to social responsibility adds to Lee’s persuasive power.
CONCLUSION
Your conclusion should include an assessment of the
likely audience of the piece and the purpose of the text
– interpret the reason for the appeals and what the
possible achievement would be.
SAMPLE INTRO
A speaker Chris Lee at the 2010 international Biodiversity
Conference speaks with conviction to his audience,
attendees involved in the area of nature conservation,
contending that action must be taken to safeguard the
variety of life, or, biodiversity. At times an accusatory
and disapproving tone is adopted, however alternates
with an alarmist tone, the two complementing each
other and utilised to successfully persuade the speaker’s
powerful and influential audience to take action to
preserve biodiversity. The use of a visual aid in the form
of a slide presentation assists the speaker, presenting the
argument through a different medium.
SAMPLE BODY
PARAGRAPH
Average paragraph
The tone of the writer is given in the first few words of their
speech. By introducing the speech with ‘ladies and
gentlemen’. This gives a serious and professional tone to
readers. This serious and professional tone is used consistently
throughout the speech, which confirms and reassures readers
of the seriousness of the topic, ‘vital significance to our world’.
By using the words ‘vital significance’ tells readers that this
speech is important. Giving facts and figures also tells readers
the seriousness of the matter as when given facts, they can
really believe what is being said is true, instead of just listening
to and opinion, ‘38% are today threatened and 804 already
extinct’. By finishing this figure with ‘it is too late for them’ tells
readers that something should have been done before now,
but because nothing was done, and the species could not
help themselves, it is too late.’
SAMPLE CONCLUSION
The speech uses a range of different tones to appeal to
the different emotions of the conference audience. The
addition of visuals allows the audience to ‘see’ the
argument Lee is presenting, and each slide
complements his words. In doing so, the audience is
able to be persuaded of Lee’s conviction that the
safeguarding of biodiversity is vital, and also convinces
the conference attendees to take action.
ANALYSE THE INFLUENCE
Analyse how tone is created and how techniques are
used to position and influence the reader…
DO NOT just list the techniques…
Use the TEE(L) structure…
For the novel analysis…use TEEL
SAMPLE BODY
PARAGRAPH
The tone of the writer is given in the first few words of their
speech. By introducing the speech with ‘ladies and
gentlemen’. This gives a serious and professional tone to
readers. This serious and professional tone is used consistently
throughout the speech, which confirms and reassures readers
of the seriousness of the topic, ‘vital significance to our world’.
By using the words ‘vital significance’ tells readers that this
speech is important. Giving facts and figures also tells readers
the seriousness of the matter as when given facts, they can
really believe what is being said is true, instead of just listening
to and opinion, ‘38% are today threatened and 804 already
extinct’. By finishing this figure with ‘it is too late for them’ tells
readers that something should have been done before now,
but because nothing was done, and the species could not
help themselves, it is too late.’