1 Hsc Advanced English Introductory Ppt2

HSC Advanced English

Area of Study: Belonging 40% Three Modules: 20% each = 60% HSC = Two x two hour exams Some graphics and information from Karen Yager OUP

Text requirements for Advanced English from Karen Yager Oxford University Press

You are required to engage in the close study of at least five types of prescribed text, one drawn from each of the following categories:  Shakespearean drama  prose fiction  drama or film  poetry  nonfiction or media or multimedia texts  You are also expected to engage with a wide range of additional related texts and textual forms.

Key Ideas Understanding language, forms, features and structures of texts  Understanding context, purpose and audience  Understanding characters, settings, themes and values  Responding to and composing texts 

Requirements for the HSC Advanced English course from Karen Yager

Advanced Course Area of Study Module A

Module B Module C

Belonging Romulus my Father Raimond Gaita (nf) Comparison of texts: Texts in Time Frankenstein Mary Shelley (pf) and Bladerunner directed by Ridley Scott (f) Critical Study of a Text Poetry: William Butler Yeats (p)

40%

Representation and text: Conflicting Perspectives Julius Caesar William Shakespeare (Sd)

20% Fourth unit Critical

Second unit

Language, Creative, Critical

20% Third unit Critical

20%

First unit

Critical

For example: Note-taking scaffold for analysis of a text Adapted from Karen Yager

Questions Purpose: why has this text been constructed?

Considerations to tell a story, to entertain, to inform, to record history, to persuade or argue, to describe, to teach, to express an emotion or feeling or idea, to respond to a person, situation or event ,to reflect. Audience: who has this text age group, gender, education level, been constructed for? cultural and religious background, personality and interests, biases and prejudices Context: when and where personal, social, historical, cultural was this text constructed? and workplace considerations What do I bring to this text? Techniques: what are the

dramatic, literary, filmic or poetic forms, genre, textual integrity,

Scaffolding responses considers : Karen Yager

      

Language form and features/ cinematography Structure/plot of text Form Characterisation Narrative Themes Values/valuing: What cultural or social assumptions (values and beliefs responders are expected to share) are made in this text? Is this text culturally and socially neutral? Has the way this text is read changed over time?

Area of Study: Belonging  The

concepts  Representation  Perceptions  Context  Interrelationships  Imaginative and extended response  Suggestions and a scaffold

Meanin g

Meaning Me an in

Perceptions: interplay of recognition and interpretation and is influenced by our preconceived ideas, memories, experiences and senses

Meanin g

g

Meanin g

Text

Meanin g

Meanin g

Composer

Assumptions about belonging Meaning

Context & Perspectives: personal, cultural, historical, social

Representation of belonging through language features and ideas

ng i n ea M

Context & Perspectives: personal, cultural, historical, social

Responder

Perceptions: interplay of recognition and interpretation and is influenced by our preconceived ideas, memories, experiences and senses

Area of Study: Belonging 

Writing exercises such as: 

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A young child has just landed in Australia for the first time at Sydney’s busy International Airport. She moves closer to her mother, reaching for her hand feeling confused by the loud foreign voices. Describe what she sees, hears, smells and feels in one to two paragraphs. A backpacker has been on the same flight as the young child. He has been travelling around Europe for over a year. He quickens his pace and lengthens his stride. The cacophony of familiar Aussie voices makes him smile. Describe what he sees, hears, smells and feels in one to two paragraphs.

Extended responses and tips such as:  

The importance of developing and integrating a thesis or line of argument ‘Texts for a variety of reasons can invite us to be part of their world or make us feel disengaged and disconnected.’

What we cover in Romulus, My Father  The

Idea of Belonging to a new world  A newfound sense of family  Setting  Characters  Language  Selecting and Integrating Related Texts  Practice Assessment Tasks: Mid-Course and Trial Examinations

HSC English (Advanced) Area of Study: Romulus, My Father by Raimond Gaita (nf) Features of the chapter:  Unpacking the Rubric: the key concepts  Background and context of Gaita  Social and Historical Context of Romulus, My Father  Textual Form and Structure  Ideas of Belonging.

Gaita’s Use of language is characterised by:  Concrete

description  Respect and reverence for the landscape  His tone is understated; style direct and simple  Humour to underlay pathos and tragedy  Extract from the novel analysed and annotated with language features and links made with the concept of belonging

Linking landscape to concept

Gaita uses the landscape to reflect the feelings and attitudes of the characters. It is as if their isolation and alienation are reinforced by the stark, barren landscape. This is evident in chapter three when Gaita recounts a time when his mother was brought by taxi from Maldon to Frogmore.

He first sees her “when she was two hundred metres or so from the house, alone, small, frail, walking with an uncertain gait and distracted air. In that vast landscape with only crude wire fences and a rough track to mark a human impression on it she appeared forsaken.” p.32.

Using the landscape as a stimulus for imaginative writing: Section II Select one of the following quotations from the text. Use this quote as a central idea in your own piece of imaginative writing that explores how landscape shapes our sense of belonging or of not belonging. Recall how Gaita uses language in his descriptions of the landscape and try to use some of his techniques in your own writing. ‘He longed for the generous and soft European foliage’ (p.14) ‘We walked in the hills and often swam in the river’ (p.19) ‘The landscape seemed to have a special beauty’ (p.61) ‘The hills looked as old as the earth’ (p123)

Advanced: Module A: Comparative Study of Texts & Contexts – Elective 2: Texts in Time Connections framed through:  Context: 1816 England - societal transformation with an industrial revolution and a working class society demanding to be heard; 1982 US threat of acid rain and global warming, economic rationalism and unemployment  Creators: Victor Frankenstein and Eldon Tyrell  Creations: The monster and the replicants  Values: compassion, love, courage and integrity

The creators  Victor

Frankenstein and Eldon Tyrell lack insight, humility and empathy. They are egocentric and indifferent to the needs and feelings of their creations.  Tyrell is not horrified by his creations like Frankenstein; rather he delights in his own handiwork. Yet, his treatment of them is as cruel as Frankenstein’s rejection of his monster.

The creations 

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

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In Frankenstein and Blade Runner, humanity desires to test the limits of technology and imagination to create life without considering the consequences. In Frankenstein, the monster is represented sympathetically as being intelligent and sensitive, but his experiences with humanity transform him into a dark creature. In Blade Runner, the opposite occurs as when we first meet the replicants they are cast in the role of villain, yet as the narrative unfolds we develop empathy for their plight. Batty, in Blade Runner, begins as a fallen angel and rises symbolically on his death as a dove to heaven, but Frankenstein’s monster, who emerges as Adam, becomes the fallen angel hell-bent on revenge and retribution.

The assessment tasks and a possible approach 

You are in a bar in China Town in Los Angeles, 2019. You overhear a conversation between Frankenstein’s monster and Roy Batty. You hear them exchange their stories, discuss their attitudes towards their creators, and compare their values and experiences.



“Scotch without the rocks, Sam.” Outside the rain belted out its all too familiar dissonant rhythm on the city of fallen angels. Inside, a cold blue light chilled me to the core despite the fleeting warmth of the scotch, and cast thin eerie shadows on the faces of the regulars in the bar. A giant of a man sat heavily down on the bar stool between me and the guy whose blue eyes shone strangely. A patchwork of red scars perverted his face into a repulsive visage. My instinct was to get the hell out of there, but nothing much happened in this place, so I stayed.

Vocabulary for Creating an Argument with Complex Sentences Furthermore  Moreover  Also  However  Nevertheless  Nonetheless  Consequently  Therefore  Thus 

Hence  Similarly  Contrastingly  Alternatively  Firstly , Finally  Most significantly 

Whilst…  Although…  Since…  Both… 

Composers: represent, accentuate, reinforce, highlight, propose, promote, allude to, denote, connote, convey, evoke, indicate, signify, explore, suggest, emphasise, recall, reveal, include, conceive, accentuate, draw attention to, stress, reflect, reinforce, assert that demonstrate, elicit a response, encourage, enhance, exemplify, foster, create, indicate, intensify, promote, typify, undermine, condemn, appeal to senses, speculate, urge

Tone detached, impassive, ironic, condescending, superior, innocent, earnest, alien, urgent, warm, encouraging, indomitable spirit, regretful, relaxed, resentful, nurturing, haunting, disconnected, reflective, confronting, desperate, relaxed, mysterious

Language, Graphics, Layout Composer,

context, culture and

values Purpose Originality versus appropriation Vectors, Framing Salient images Compositional axis and rule of thirds Perspective/power/ positioning/ persuasion Colour /line/texture/ balance/shapes Background – contextual/non Light source Parody, satire, subversion Modality: cartoon, photograph

 Contrast/juxtapositio

n  Symbolism  Demanding or offering gaze  Body language and gesture: interactive  Grouping of figures  Modality  Intertextuality  Above all: effect on meaning and responder

Idiot’s Guide to Western Cultural Eras Age of

Dark Ages 470800 AD

Renaissance Mid 14001600s Art/ Science revival Shakespeare Humanism

Middle Ages 10001400

2. Ancient Rome: science, maths, drama, art

1. Ancient Greece:

science, maths, drama, art

??? ??

Enlighten ment 16501800s Science Maths Augustan satire

Postmodernis m Appropriation Uncertainty??? ?? 1945- Now-> Who knows? Things are relative

Industrial Revolution 1700-1900 TechnologyRomanticis m 1750-1900 Individuality Imagination Art beauty Emotion Energy Nature Modernism 1900- 1945 ‘Everything Victorianism 1837- 1901 new’ prudish Progress aesthetics Social Order Disillusionm ent

 Aristotle,

Socrates, Plato  Seneca, Cicero, Ovid, Pliny  Caedmon, Venerable Bede, ‘Bards’, Beowulf, Everyman  Chaucer, Mallory  Spencer, Marlowe, Johnson, Shakespeare  Bacon, Newton, Descartes, Jonathon Swift, Wollstonecraft  Poe, Mary Shelley, Percy Shelley, Wordsworth, Coleridge, Lord Byron, Keats  Fitzgerald, Hemingway, Woolf, Yeats

Essay and Paragraph Structure Point- complex topic sentence/argument + question

Explain/explore/ Expand your point

Answer the question in every paragraph Introduction- summary of 5 arguments Paragraph 1 = Argument 1 + 2 texts Paragraph 2 = Argument 2 + 2 texts Paragraph 3 = Argument 3 + 2 texts

Analyse/ support,

Paragraph 4 = Argument 4 + 2 texts

compare/ contrast, examples/ quotes

Paragraph 5 = Argument 5 = 2 texts

Relate to question

Conclusion- summary of arguments Aim by next year for 1200 words max

Vocabulary for written responses:  Responders

are: positioned by, engaged in , engrossed by, interested in, challenged by, encouraged to, included in, involved in, connected to, entranced by, convicted by  Responders: comprehend the, appreciate the, discern the, envisage a, perceive a, embrace, are convicted by, associate with