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

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

Key Ideas

 Understanding language, forms, features and structures of texts

 Understanding context, purpose and audience

 Understanding characters, settings, themes and values

Requirements for the HSC Advanced

English course

Advanced Course

Area of

Study Belonging Romulus my Father

Raimond Gaita (nf)

40% Second unit

Language, Creative, Critical

Module A Comparison of texts: Texts in Time

Frankenstein Mary Shelley (pf)

and Bladerunner directed by Ridley Scott (f)

20% Third unit Critical

Module B Critical Study of a Text

Poetry: William Butler Yeats (p)

20% First unit Critical

Module C Representation and text: Conflicting Perspectives

Julius Caesar

William Shakespeare (Sd)

20% Fourth unit Critical

For example: Note-taking scaffold for analysis of a text

Adapted from Karen Yager

Questions Considerations

Purpose: why has this text

been constructed? 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

been constructed for? age group, gender, education level, cultural and religious background, personality and interests, biases and prejudices

Context: when and where was this text constructed? What do I bring to this

text?

Techniques: what are the effects of the composer’s choice of forms, features and structures? How are responders positioned?

personal, social, historical, cultural and workplace considerations

dramatic, literary, filmic or poetic forms, genre, textual integrity, intertextuality, rhetorical devices

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

Composer _Meaning

_Text

Assumptions

about

belonging

Area of Study: Belonging

 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

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

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

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

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

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

 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

Dark Ages 470- 800 AD Middle Ages 1000- 1400

Idiot’s Guide to Western Cultural Eras

Renaissance Mid 1400- 1600s Art/ Science revival Shakespeare Humanism Age of Enlighten ment 1650-1800s Science Maths Augustan satire Industrial Revolution 1700-1900 TechnologyRomanticis m 1750-1900 Individuality Imagination Art beauty Emotion Energy Nature Modernism 1900- 1945 ‘Everything new’ Progress Social Order Disillusionm ent Postmodernis m Appropriation Uncertainty??? ?? 1945- Now-> Who knows? Things are relative 1. Ancient Greece: science, maths, drama, art 2. Ancient Rome: science, maths, drama, art ??? ?? Victorianism 1837- 1901 prudish aesthetics

 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



P

sentence/argument + question



E

Expand your point



A

compare/ contrast, examples/ quotes



R

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 Paragraph 4 = Argument 4 + 2 texts Paragraph 5 = Argument 5 = 2 texts 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