HSC Unit Plans - AOS Belonging Standard and Mod A Comparative Study of Texts and Context Advanced 4090 A2 Complete

c3109550 EDUC4090 Complete
by Sonia Carpenter
WORD COUNT 27051
CHARACTER COUNT 147329
TIME SUBMITTED 07-JUN-2013 11:59PM
PAPER ID 335176160
EDUC4090 /Q: HSC English c3l09550
Contents
English (Standard)
1. Program Overview - Area of Study (Belonging)
2. Assessment Notification
3. Lesson plans and resources
4. QT Codi ng Report
English (Advanced)
1. Program Overview - Module A: Comparative Study of Texts and Context
Elective 1: Exploring Connections
2. Assessment Notification
3. Lesson plans and resources
4. QT Codi ng Report
EDUC4090 "2: HSC English c3l09550
Resources List
Area of Study Resources
Resource AOSB.l Page 8 f rom 2011 HSC English Exam Paper 1
Resource AOS13.2 Page 3 from Marking Guide
Resource AOS13.3 Page 2 from 2011 HSC Notes from t he Marking Centre - English
Standard and Advanced - Board of Studies NSW
Resource AOS14.1 Pages 9- 13 f rom Area of St udy Resources - Karen Yager
Resource AOS15.1 English Std & Adv Paper 1 AOS Rubric
In Appendix:
Resource AOS17.1 - HSC Study Day Presentation
Resource AOS19.1 - Belonging proforma f rom Chat ham High School English Bookl et 2010-
2011
Resource AOS20.1 - comparison table based on Warilla High School resource
Module A Resources
Resource MA9.1 Pride_and_prejudice_lesson_1_worksheet from Teaching English
Resource MA10.1 pgs 1-8 Romanticism - Wiki pedia, t he f ree encyclopedia
Resource MA11.1 Pride_and_prejudice_lesson_6_worksheet from Teaching English
Resource MA12.1 Pride_and_prejudice_lesson_S_worksheet f rom Teaching Engli sh
Resource MA12.2 11140630 1-P ride-and- Prejudice-a nd-Letters-to-AI ice-Speech from
boredofstudies.org
Resource MA13.1 Pride_and_prejudice_lesson_ 4_worksheet_O from Teaching English
In Appendix:
Resource for week 4 "MA13.1" Page 16 from BladeFrank- Teaching Program
Resource MA29.1 Wikispaces English- Comparat ive Study
EDUC4090 AZ: HSC English Unit plan: AOS (Standard) Belonging 2. Ten Week Program Outline c3109550
HSC English {Standard)
Area of Study: Belonaina
Description
This Area of Study requires students to explore the ways in which the concept of belonging is
represented in and through texts.
Perceptions and ideas of belonging, or of not belonging, vary. These perceptions are shaped
within personal, cul tural, historical and social contexts. A sense of belonging can emerge from
the connections made with people, places, groups, communities and the larger world. Within
this Area of Study, students may consider aspects of belonging in terms of experi ences and
notions of identity, relationships, acceptance and understanding.
Texts explore many aspects of belonging, including the potential of the individual to enrich or
challenge a community or group. They may reflect the way attitudes to belonging are
modified over time. Texts may also represent choices not to belong, or barriers which prevent
belonging.
Perceptions and ideas of belonging in texts can be constructed through a variety of language
modes, forms, features and structures. In engaging with the text. a responder may experience
and understand the possibili ties presented by a sense of belonging to, or exclusion from the
text and the world it represents. This engagement may be influenced by the different ways
perspectives are given voice in or are absent from a text.
In their responses and compositions students examine, question, and reflect and speculate on:
how the concept of belonging is conveyed through the representations of people,
relationships, ideas, places, events, and societies that they encounter in the
prescribed text and texts of their own choosing related to the Area of Study
assumptions underlying various representations of the concept of belonging
how the composer's choice of language modes, forms, features and structures
shapes and is shaped by a sense of belonging
their own experi ences of belonging, in a variety of contexts
the ways in which they perceive the world through texts
the ways in which exploring the concept and significance of belonging may broaden
and deepen their understanding of themselves and their world.
http://hsc.csu.edu.au/english/area of study/area intro/3634/aos intro.htm
I Time: 10 weeks = 45 hours, 4Sxlhr lessons
Principal focus:
Provides students with t he opportunity to explore, analyse and experiment with:
2012
meanings conveyed, shaped, i nterpreted and reflected i n and t hrough texts
ways texts are responded to and composed
ways perspectives may af fect meani ng and i nterpret ation
connections between and among texts
how texts are i nfluenced by other texts and contexts
Selected prescribed text
HERRICK, Steven, The Simple Gift, University of Queensland Press, 2000
Past Paper Questions {Section Ul) 15 marks, 40 minutes
An individual's perceptions of belonging evolve in response to the passage of time and interaction
with their world.
In what ways is this view of belonging represented in your prescribed text and at least ONE other
related text of your own choosing>
2011
Explore how perceptions of belonging and not belonging can be influenced by connections to places.
In your response, refer to your prescribed text and at least ONE other related text of your own
choosing.
2010
'An individual's interaction with others and the world around them can enrich or limit their experience
of belonging.'
Discuss this view with detailed reference to your prescribed text and ONE other related text of your
own choosing
2009
Understanding nourishes belonging .. . a lack of understanding prevents it.
Demonstrate how your prescribed text and ONE other related text of your own choosing represent
this interpretation of
ICT Resources
For prescribed text:
The belonging blog, specifically entry on The Simple Gift: http:l/belongingareaofstudy.blogspot.com.au/2008/10/analytical-wri ting-key-scene-analysis.html
ForORMs
Use the Belonging Additional Material Suggestions - Classic choices selection process guide from Prime Education available here:
htto://www.orimeeduca tion.com.au/HomePD F /Belonai
4
EDUC4090 AZ: HSC Enqlish Unit plan: AOS (Standard) Belonqinq 2. Ten Week Proqram Outline c3109550
HSC English(Advanced) Outcomes:
1. A student explains and eval uates the effects of different co ntexts of responders and
composers on texts.
3. A student develops language relevant to the study of Englis h
4. A student explains and analyses the ways in which language fonms and features, and
structures of texts shape meaning and influence responses.
5. A student explains and eval uates the effects of textual forms, technologies and their
media of production on meaning
6. A student engages with the details of text in order to respond critically and personally.
8. A student articulates and represents own ideas in critical, interpretive and imaginative texts
from a range of perspectives.
10. A student analyses and synthesises information and ideas into sustained and logical
argument fo r a ra nge of purposes, audiences and contexts.
11. A student draws upon the imagination to transfonm experience and ideas into texts
demonstrating control of language.
HSC English (Advanced) Content
1.1 comparing and contrasting texts and their contexts
1.2 responding to and composing texts to achieve meaning in a range o f contexts
1.3 explaining how values and attitudes are reflected in texts
2.1 comparing and contrasting the forms and features of texts
3.1 relevant English study terminology
3.2 language for maki ng connections, questioning, affirming, challenging, speculating about
and generalising about texts
3.3 language of personal, cul tural, public and critical expression
4.1 explaining and analysing the effects of a variety of language fonms and features, and the
structures of texts
4.2 identifying a range of possible responses to texts influenced by their language forms and
features, and their structure
5.1 describi ng and explaining the conventions and the effects of textual forms, technologies
and media of production on meani ng
5.2 choosing from the range of textual fonms, technologies and media of production to
compose texts for specific audiences and purposes
1-:----------------------------------; 5.4 explaining the relationships between representation and meaning
As_sessment . . . 6.1 analysing texts in detail
Th1s program of study prescnbes to the sample HSC assessment gnd ava1lable from the 6.2 composing sustained arguments supported by textual evidence
Board of Studies, here: http:l/www.boardofstudies.nsw.edu.au/syllabus hsc/english std 6.3 composing and supporting a personal response to texts
ass-sc
Internal Assessment
This grid assigns task 2 to the AOS; the Viewing/representing of Related material.
This is worth a to tal weighting of 25% and assesses two of the language modes: 10%
wri ting and 15% Viewing/Representing.
The attached assessment notification provides details on how students meet these
assessment requirements in this AOS program.
Assessed in Paper 1 Section If - o utcomes 3, 8, 11
Assessed in Paper 1 Section Iff - outcomes 1, 3, 4, 5, 6, 10
5
6.4 evaluating the responses o f others.
8.1 engaging with complex texts
8.2 refining the clarity of their composition to meet the demands of increasing complexity of
thought and expression
8.4 using stylistic devices appropriate to purpose, audience and context.
10.1 discerning ideas, attitudes and values refl ected in texts
10.2 making connections between information and ideas, and synthesising these for various
purposes and audiences
10.3 usi ng the information and ideas gathered from a range of texts to present a point of
view in analytic, expressive, imaginative and evalua tive ways.
11.1 making connections between life experience and imagined experience
11.2 experimenting with ways of transfonming experience into imaginative texts in different
contexts for specified audiences
11.3 recreating texts into new texts by changing perspective and context
EDUC4090 AZ: HSC En qlish Unit plan: AOS (Standard) Belonqinq 2. Ten Week Proqram Outline c3109550
Week Outcomes Suggested Sequence of Teaching & Learning Activities Assessment
1-2 Introduction to Stage 6 HSC Course and Area of Study and the concept of Belonging
Lessons Introduce the AOS and concept of "belonging:
1-8 Distribute copies of syllabus p 32, 35-38, SO, 53-56 and encourage students to put forward initial ideas about the concept of belonging. Refer students to
description on httl:rll!lsc.csu.edu.auenglisharea of intro3634aos intro.htm
Pose the question "What does belonging mean to you?" How does this compare to a dictionary definition?
HSC exflectations for the Area o f
Discuss past HSC questions (paper 1, sections 1. 2 and 3), ask students what they think these questions are looking for in a response.
Distribute HSC rubrics and provide a detailed explanation of the ORM requirement and the responsibility of students.
Deconstruct these key concepts explicitly, using www.Bubbl.us to create an interacti ve mindmap wi th students for later reference: belonging, identity,
relationships, understanding, perspective, attitude, representation, composer, responder, context social, cultural, historical)
Jigsaw - groups are allocated a syllabus outcome. They collaborate lor ideas on how a study of The Simple Gift will help them achieve it, then present their
findings to the class
3-4 Focus study on Paper 1 Sections I and U
lessons Section 1: Past Papers
9-16 Take students through various past papers, sample answers and notes from the marking centre lor section I. 3 lessons max.
Section II: Creative writing process and practice - see lesson plans attached.
Spend a week to prepare lor Paper 1 Section II by brainstorming ideas, explicitly teaching the creative writing process, and examining past HSC questions
and exemplars.
5-7 Depth study of the Prescribed Text The Simple Gift and Other Related Materials (ORMs) of students' choosing
All
Lessons First Impressions: The Verse Novel
17-28 Display a section of verse from The Simple Gift without introducing the text or its form. What text type/form do the students guess it belongs to?
Document initial student reactions as a board brainstorm, save lor future reference.
Introduce the form of verse novel gauge student background knowledge of verse novels. Discuss the Iliad, Odyssey as the earliest forms of verse novels;
refer to https://en.wikipedia.orglwiki/Verse novel lor a general introduction
ATl: a) ORM Portfolio 10% and bl Seeaking Task 15% - due week 8
Distribute the Assessment Task notification to students and discuss requirements, criteria and rubric.
A simple gilt in depth: Resources AOS17.1, AOS20.1, MAH1
Role Assign the characters Billy, Old Bill and Caitlin to confident st udents or volunteers. Read Night (Billy), Too Rich (Caitlin), Billy (Billy), Business
(Caitlin), and as a class discuss the texts representation of belonging. Pay particular attention to form; how does the verse novel create perspective, emotion
ATlb: Presentat ions of ORM Portfolio students must present at least one text from the assessment task and explain how it relates to belonqinq.
8-9 Focus study on Paper 1 Section m- The Integrated Response
Lessons Bored of Studies: Students 'peer-mark' select available student essays lor Module A on these texts and then discuss the marks given, compare to teacher
29-36 marks.
HSC praq ice: Simulate the HSC examination setup in class and have students complete a past HSC Paper 1 in completion. Not assessable.
Glossarv Discussion: Photocopy and distribute paqes 97- 100 of the Enqlish Staqe 6 syllabus. Discuss the relevant terms to the AOS.
10 Lessons 37-40: (and lessons 41-45 in review period before HSC exam) Review of learning and the AOS demands in the HSC
6
All Assessment Notification
Course: English (Standard)
Area of Study: Belonging
Weighti ng: 25%
Outcomes assessed: 1, 4, 6, 7, 10, 12, 13
a) ORM Portfolio 10%
Task Description:
You are to create a ORM portfoli o for your use in the HSC Paper 1 examination, but finding ONE text
related to the concept of belonging from EACH of the following categories:
1. Medi a text: TV news report, radio interview, magazine article, newspaper arti cle
2. Wri tten text: poem, short story, song lyrics, novel, play. Blog, biography, travel memoirs
3. Visual text: pi cture book, advertisement, poster, websi te, artwork, graphi c novel, manga
4. Film text: feature fi lm, short film, documentary, TV show, You lube, webseri es, vl og
For EACH text you must use the attached proforma to provide accurate and clear source details and
j usti fy how i t relates to the concept of belonging.
You must present all of your texts as a complete portfolio (Including screenshots and URl s/details for
film and vi sual texts) in hardcopy and in the class moodl e.
Marking Criteria
You will be assessed on how well you:
Select four appropriat e t exts and provide accurate source details
Record and organise the texts in an acceptable hardcopy and virtual format
For EACH text, using t he att ached proforma:
justify your text selection
Outline i deas in the text that rel at e to belonging
Discuss the techni ques used in the text that present ideas about belonging
Demonstrate link between your selection and the prescri bed text The Simple Gift, as well as
one other ORM in your portfolio
See marking rubric over page
Assessment task based on resource devebped by Chatham High School, available here:
h!!p-Uwww chathamh schools rnw edu auldocumentsa91414a923351a317954783025 19eb9eeb2b886e0d012cdced6e6237
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Marking Rubric
You will receive a mark o ut of 10 that will represent 10% of your i nternal HSC assessment i n English.
Criteri a Marks
Successfully explores. analyses and articulates the ways in which perceptions of 'Belonging are shaped 9-10
in texts
Thoughtfully selects relevant texts from designated categories and provides adequate bibliographical
details
Presents critically refined i deas, using succinct and well -organised notes i n the pro forma provided
Demonstrates a very high level of ability i n explaining the techniques used in texts to present the
perceptions of
'Belonging'
Demonstrates a very high level of abi li ty i n showing l inks between texts i n terms of i deas and
techniques
Demonstrates flair, oriqinalitv. sophistication and precision of both thouqht and expression
Attempts to explore, analyse and articulate the ways in which perceptions of ' Belonging are shaped i n 7-8
texts
Selects relevant texts from designated categories and provides adequate bibliographical det ail s
Presents critically refined i deas, using succinct and well -organised notes in the pro forma provided
Demonstrates a hi gh level of abi li ty in explaini ng the techniques used i n texts to present the
percepti ons of
'Belonging'
Demonstrates a high level of abi li ty in showi ng links between texts in terms of ideas and techniques
Demonstrates sophisticated control of both thouqht and expression
Demonstrates a sound understanding of the ways in which perceptions of 'Belonging' are shaped i n 5-6
texts
Selects relevant texts from designated categories and provides adequate bibliographical det ail s
Presents critical ideas, using well -organised notes in the pro forma provided
Demonstrates an abili ty to explai n the techniques used in texts to present the perceptions of
'Belonging'
Demonstrates an ability to explain the links between texts in terms of ideas and techniques
Demonstrates confi dent control of both thouqht and expression
Demonstrates a limited understandi ng of the ways i n which perceptions of ' Belonging' are shaped in 3-4
texts
Selects texts from designated categories and provides some bibliographical details
Presents underdeveloped i deas, usi ng notes in the pro forma provided
Demonstrates a limi ted level of abili ty i n explaining the techniques used in texts to present the
perceptions of 'Belonging'
Demonstrates a limi ted level of abi li ty i n explaining the links between texts in terms of ideas and
techniques
Demonstrates insuffi cient control of both thought and expression
Demonstrates an elementary understanding of the ways in which perceptions of ' Belonging' are shaped 1- 2
in texts
Selects texts from some of the designated categories: provldes no bibliographical details
Presents mini mal or no i deas or usi ng notes in the pro forma provided
Demonstrates an i nadequate level of abi lity in explaining the techniques used in texts to present the
perceptions
of ' Belonging'
Demonstrates an elementary level of abi lity i n explaining the l inks between texts in terms of ideas and
techniques
Demonstrates li mi ted control of both thought and expression
hnp Uwww chathamh schools rnw edu auldocumentsa91414a92335la317954783025 19eb9eeb2b886e0d012cdced6e6237
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All Assessment Notification
Course: English (Standard)
Weighting: 25%
Outcomes assessed: 1, 4, 6, 7, 10, 12, 13
b) Presentation 15%
Task Description:
In this task you are required to present an oral presentation which is at least 5 minutes long, based on
a character from The Simple Gift.
In this task you are to:
Choose a character from The Simple Gift.
Explain what concepts of ' Belonging' are presented in the text through the representation of your
character. You may wish to refer to aspects of ' Belonging' that include: your character's experiences,
notions of identi ty, relationships, alienation, acceptance and understanding by others.
Discuss how the composer's choice of language features, forms and structures has shaped your
character.
Compare the ideas about 'Belonging' in The Simple Gift with those presented in one of the texts from
your ORM Portfolio.
Refer to both what the texts say about ' Belonging' and how those meanings are shaped.
All students will be called upon randomly to present. You must give your teacher a copy of your
speech at the start of the lesson on the first day of the oral presentations. How well you communicate
your presentation is the main focus of this assessment task.
Marking Criteria
You will be assessed on how well you:
Make minimal uoe of noteo in an interpretative, well organioed preoentation
Explain the concepts of ' Bel onging' as presented in the text
Discuss a variety of relevant techniques used in the text
Compares prescribed text wi th related text in terms of ideas and techniques
h!!Q' Uwww chathamh schools rnw edu auldocumentsa91414a92335la317954783025 19eb9eeb2b886e0d012cdced6e6237
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Marking Rubric
You will receive a mark o ut of 15 that will represent 15% of your i nternal HSC assessment i n English.
Criteri a Marks
Demonstrates an excellent understanding of composing a speech 14-15
Demonstrates a very high level of ability to represent ideas and understanding of the concept of
'Belonging' i n a logical and imaginative speech
Presents an imaginative and critically refi ned speech showing highly developed skills in the discussion
and comparison of texts and techniques
Demonstrates a very high level of ability to develop and sustain an oral presentation, which shows
sophisticated control of form appropriate to purpose, audience and context
Exhibits flair, originality, sophistication and precision of both thought and expression
Demonstrates a highly developed understanding of composing a speech 12-13
Demonstrates a high level of abi lity to represent ideas and understandi ng of the concept of 'Belonging'
in a logical and imagi native speech
Presents an imaginative and critically refined speech showing highly developed skills in the discussion
and comparison of texts and techniques
Demonstrates a high level of abili ty to develop and sustain an oral presentation, which shows
sophisticated control of form appropriate to purpose, audience and context
Exhibits evidence of sophisticated control of both thouqht and expression
Demonstrates a developed understanding of composing a speech 10-11
Demonstrates an abi lity to represent ideas and understandi ng of the concept of 'Belonging' in a l ogical
and i maginative speech
Presents an imaginative and refined speech showing sound ski lls in the discussion and comparison of
texts and techniques
Demonstrates an ability to develop and sustain an oral presentation and shows satisfactory control of
form appropri ate to purpose, audience and context
Exhibits evidence of control of both thought and expression
Demonstrates a li mited understandi ng of composing a speech 8-9
Demonstrates a li mited level of ability to represent ideas and understanding of the concept of
'Belonging' i n a logical and imaginative speech
Presents an i nformed speech showing some evidence of skills i n the discussion and comparison of
texts and techniques
Demonstrates a li mited abi lity to develop and sustai n an oral presentation, which shows basic control
of form appropriate to purpose, audience and context
Exhibits reasonable control of language and expression
Demonstrates an elementary understanding of composing a speech 7 and below
Demonstrates i nadequate level of abi lity to represent ideas and understandi ng of the concept of
'Belonging' i n an i nformed, logical speech
Presents a speech showing mi nimal evidence of skills in the discussion and comparison of texts and
techniques
Demonstrates an elementary abili ty to develop and sustain an oral presentation, which shows limited
control of form appropri ate to purpose, audience and context
Exhibits variable control of language and expression
Assessment task based on resource devek>ped by Chatham High School, available here:
http 1/www chaJhamh schools rnw edu auldocumentsa914148a923351a31?954783025 19eb9eeb2b88e0d012cdced6e6237
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EDUC4090 AZ: HSC English Lesson plans: AOS (Standard) Belonging 5x60 minute lesson plans c3109550
WEEKS 3-4 LESSON 12/ 45 "Belonging in Stories"
TOPIC: AREA OF STUDY: Belonqinq (Standard) - Focus study on Paper 1 Sections I and n I TIME: 60mins
INTRODUCTION: LESSON RESOURCES:
This lesson is designed to revisit previous learning about creative writing
withi n the theme of belonging and the expectations of Paper 1 Section II Ideas are also sourced from Amy Holthouse's creative writing program, here:
of the HSC examination. httl2:lenglish.illinoisstate.edulrlbroadlarchivelteachi nglstudentl2ubslRevelationslHolthouse
This lesson is about the process of conceptualising an idea about
J2ill
belonging into a creative story on belonging.
At the end of this week students will submit the story they plan and compose this week to
LESSON OUTCOMES
the belonging exhibition website:
htt12:lwww.belonging.orglmisc-12ageslsubmit.html
5.4 explaining the relationships between representation and meaning
11.1 makinq connections between life experience and imaqined experience
TEACHING AND LEARNING ACTIVITJES
1. View Shaun Tan's The Arrival as a model of a creative expression of belonging.
2. Discuss as a class how this text depicts belonging and not belongi ng through setting, characters, plot, conflict. climax and resolution (to int roduce the elements
of creative writing)
3. On the board, visit the Belonging Exhibition website: htt12:Uwww.belongi ng.orglmisc-12agesl12e0121e 12lace.html and explore the representations on this site of
'belonging' in Australia. How does the site represent belonging? Encourage students to comment on whether they can relate to any of the representations of
belonging on the website- do any students have background/cultural knowledge about arriving in Australia, being 'not welcome', or belonging to a
community?
4. Defi ne key terms on the website like 'community,' arrival, welcome, home.
5. Visit the 'people> dressed to belong' section of the website htt12:llwww.belonging.orgl!?eo12leldressedlschoolkids.html and discuss the quote by Harry Stei n
about uniforms. Do the students agree with his comment on uniforms?
6. Students volunteer groups and institutions they belong to: teacher prompts start with home and school, expands to workplaces, social and sporting groups,
and discuss how belonging to these groups is ' represented' through tangible items like uniforms, emblems and abstract concepts like relationships and
interests and beliefs.
7. Students independently write notes about a group or institution they belong to and an experience they have had in that group that defi ned thei r place in the
group: suggest inauguration ceremonies, victories (sport), rites of passage
8. Mini-lesson - direct instruction that models the process of planning a creative story. Record this exposition and post for later student access on a web 2.0 tool
- moodle, voice thread, prezi. Demonstrate the development of the various parts of a story:
Plot: What happens in the story; Theme: Main idea behind the story; Character: The people in the story; Settinq: The place where the story happens
CLOSURE I Explain to students that notes taken today will form the basis of a creative writi nq piece in future lessons. Next lesson: creative writinq for the HSC.
ASSESSMENT I Monitor student development throuq h contri bution in discussions, have students present their notes (7) before beqi nninq mini-lesson. (8)
WEEKS 3-4 LESSON 13/45 "HSC Creative Writing"
TOPIC: AREA OF STUDY: Belonging (Standard) - Focus study on Paper 1 Sections I and n 1 TIME: 60mins
INTRODUCTION LESSON RESOURCES:
This lesson examines Paper 1 Section II of the 2011 HSC examination to AOS13.1, 13.2 and 13.3
give students an understanding of the expectations of the creative
response section of paper 1. Students also begin planning creative story
LESSON OUTCOMES
1.2 respondi ng to and composing texts to achieve meaning i n a range of
contexts
1.3 explaining how val ues and attitudes are reflected i n texts
3.1 relevant English study terminology
6.3 composi ng and supporting a personal response to texts
6.4 eval uating the responses of others.
8 .4 using stylistic devices appropriate to purpose, audience and context.
10.1 discerni ng i deas, attitudes and values reflected i n texts
11.1 makinq connections between l ife experience and imaqined experience
1. Di stri bute copi es of AOS13.1 Ask students how they would respond to this questi on.
2. Mini-lesson: explicitly unpack the question: key verbs, words, marking rubric, criteria and stimuli . Record this for future reference.
3. Distribute AOS13.2 andl3.3. Unpack the notes; assign the 4 6 and 10-12 standards to half of class, 7-9 and 13 15 to other hal f.
4. Students follow the unpacki ng process you have demonstrated to analyse key verbs and words and compare the two standards they have been assigned, and then
share their comparison ideas in a class discussion.
5. Di stri bute sample answers from boredofstudies.org wi thout telli ng students the marks the contri butors supposedly' received (If advertised on the si te.) Have them mark
the creati ve story according to the marking guidelines.
6. Have students revisi t notes from acti vi ti es 6 & 7 i n lesson 24, to come up with a "plotl ine to thei r personal bel ongi ng story, by tracki ng the lead up and subsequent
events in a timeline format, character profi les for the characters in their story, and a short description of the opening setting i n thei r story, keeping in mind the
expectations of a HSC creative piece indicated i n the marking notes and guidel ines.
7. Prompt setting descripti ons by remi ndi ng students to include details of the specific l ocati on of the experience, includi ng time, month, season, city, country (and others
that p ~ l v , depend ina on timel ine)
CLOSURE Activities 6 & 7 will be the basis of a story to be started next lesson. Type them i nto moodle now i n case you forget hard copies I
ASSESSMENT Assess student responses to activities 1 and 4.
Section II
15 marks
Attempt Question 2
Allow about 40 minutes for this section
Answer the question in a SEPARATE writing booklet. Extra writing booklets are avail able.
In your answer you will be assessed on how well you:
express understanding of belonging in the context of your studies
organise, develop and express ideas using language appropriate to audience, purpose
and context
Question 2 ( 15 marks)
Compose a creative piece that captures the signi ficance of remembered places to the experience
of belonging.
You may use the visual image as stimulus for your creative writing.
- 8-
2011 HSC English (Standard) and English (Advanced) Paper I Marking Guidelines
Section II
Question 2
c .;teria Marks
Composes ski lfully an engaging piece of creative writing that captures the
significance of remembered places to the experience of belonging
Skilfully explores the experience of belonging 13- 15
Demonstrates skilful control of language and structure appropriate to
audience, purpose, context and selected form
Composes effectively an engaging piece of creative writing that captures
the significance of remembered places to the experience of belonging
Effectively explores the experience of belonging 10-12
Demonstrates effective control of language and stmcture appropriate to
Composes a piece of creative writing that focuses on remembered places
and the experience of belonging
Explores aspects of the experience of belonging 7- 9
Demonstrates adequate control of language and structure appropriate to
Attempts to compose a piece of writing
Attempts to explore an experience of belonging
4-6
Demonstrates limited control of language and structure with limited
appropriateness to audience, purpose, context and selected form
Attempts to compose a response
1- 3
Demonstrates elementary control of language
- 3-
2011 HSC Notes from the Marking Cemre - English Standard and A ... hnp://www.boardofstudies.nsw.edu.aufllsc_examslhsc20llexams/notes ...
2 of II
Weaker responses dealt superficially with the texts and relied upon description rather than analysi s. These candidates struggled to
develop the relationship between place and identity.
Sect ion II
Question 2
In better responses, candidates used language appropriate to their chosen for m of cr eative wr iting. They explored the signrticance of
remembered places to the experience of belonging wi th insight, complexity and/ or subtlety. The interpretation of place was often
metaphorical which allowed for a broad representati on of place. These responses were well crafted and evocative, displaying originality
and artistry and the mechanics of language were applied skitfully.
In sound responses, candidates were often more literal in their r epr esentation of place. They tended to be predictable, linear or cliched in
their examination of the significance of r emember ed places to the experience of belonging. In these responses, the mechanics of language
was controlled and writing structure was appropriate to for m,
Weaker responses tended to lack structural direction, were simplistic and i nconsistent in their representation of place and mentioned
belonging in a literal manner. These responses lacked credibility, were gener alty inappr opriate for the audience and/ or purpose. Aawed
mechanics of language was usually a feature of these responses. f'1emor ised, pr e- pr epar ed responses and r esponses to questions from
past papers featured at this level.
Section III
General comments
Candidates' approaches to the question varied, with many consideri ng t he statement as an opportunity to discuss the positive or negative
impact of place on one's sense of belonging. Other candidates offered the view that a connection to place alone was not the sole
determinant of belonging, suggesting that ideas of place are inextricably connected with notions of identity and human r elationships,
among others.
Stronger responses demonstrated the candidate's ability to skilfully engage with the comment and apply their knowledge to develop a
strong thesis. Setter responses sustained this thesis throughout the response through a discerni ng selection of text ual detail and a
perceptive analysis of both the prescribed text and a text or texts of their own choosing. These candidates applied conceptual ideas to
their responses and used textual details as a means to support their level of conceptual understanding. They showed a discerning choice of
texts, using related materials that clearly demonstrated insight into the concept of be&onging and the question being examined.
In sound responses, candidates engaged with the concept and used their knowledge to develop a thesis in response to the question. Many
candidates approached the question in a logical and structured way, but often rel ied on an overview of texts and description as a means of
discussion. These responses tended to list rather than analyse textual details and features, and adopted a series of explanations. Some of
these responses were r eliant on textual analysis at the expense of a well-developed and coherent line of argument. Links between texts
were evident, but remained undeveloped. Candidates did not sustain their conceptual discussion throughout the response.
In weaker responses, candidates attempted to consider the i mportance of place in affecting one's sense of belonging, but experienced
some difficulty in using textual evidence or features to suppor t a discussion of the texts. Candidates often r esorted to storytelling with
intermittent reference to, rather than an analysis of, textual featur es.
Weaker responses were often colloquial, conversational and segmented, demonstrating a varying control of language and displaying an
elementary knowledge of the concepts and the texts studied. Some candidates established a si mplistic thesis in their introduction that was
not sustained or developed throughout the response.
Another characteristic noted was the tendency of some students to list techniques in their introduction. This serves no real purpose and
potentially limits the opportunity for candidates to develop a more personal response to the statement. Text selection was noted as a
potentially discriminating factor, with some candidates fi nding that the complexities of certain texts limited their ability to engage in an
effective and sustained manner with the concept and question.
Prose Ficti on
Amy Tan, The Joy Luck Club
'Place' was interpreted on a number of levels including cultur ally, psychologically, socialty, metaphorically and in memory, Candidates
discussed physical environment as both a barrier to, and enhancer of, belongi ng. Some argued t hat belonging to place and culture
primarily occurred through relationships.
Setter responses dealt with the duality of place that under pins the novel in a skilful and perceptive manner. I n these r esponses, students
focused on the ways in which geographic transitions influenced familial bonds. Their r esponses brought together the tensions that ' place'
can exert on one's desire to both affiliate and yet maintain a sense of self. Conflicting societal barriers were seen to create difficulties for
the daughters, but also opportunities to confront where they stood in the world.
In weaker responses, candidates relied on r ecount to illustrate ideas, identified te<:hniques, made links to the idea of 'place' but on a
superficial rather than conceptual level.
Jhumpa Lahiri,The Namesake
In stronger responses, candidates established a t hesis that allowed for a considered, analytical treatment of the text. This thesis was often
embedded in notions of identity and culture and firmly linked to 'place'. Candidates were then on fi rm ground to deal with the conflicts
which beset characters, Gogol in particular. Place be<:ame a metaphor for attempting to belong in either America or India.
Weaker responses relied too heavily on the 'movements' of the characters from location to location without attempting to conne<:t this to
the question. Quite often, too, names and Gogol's changing of his name became the focus of the response without any real exploration of
the symbolic significance of names and naming as intrinsic features of the idea of 'place'. A rel iance on retelling also limited many
responses with too little attention given to textual features. When included, they wer e identified but not often explained or connected to
the concept of 'place'.
Charles Dickens, Great Expectations
6/06/2013 4:49PM
WEEKS 3-4 LESSON 14/45 "Writing Your Belonging Story"
TOPIC: AREA OF STUDY: Belonging (Standard) - Focus s tudy on Paper 1 Sections I and D 1 TIME: 60mins
This lesson focuses on students planning their belonging story and Resource AOS14.1 - Pages 12-13 of Karen Yager's area of study resources document,
giving peer feedback on the presence of elements expected in the HSC. available here: httg:LLweb2.warilla-h.schools.nsw.edu.auLdegtLenglishLBelongi ngL
LESSON OUTCOMES
1.2 responding to and composing texts to achieve meaning in a range of AOS14.2 - Scholastic Lesson plan worksheet When Characters Meet, available here:
contexts httQ:LLwww.scholastic.combrowsecollection.jsQ?id=658
6.3 composing and supporting a personal response to tex:ts
8.4 using stylistic devices appropriate to purpose. audience and context.
10.1 discerning ideas, attitudes and values reflected in texts
11.1 makinq connections between life experience and imaqined experience
1. Take students through Resource AOS14.1 - Pages 12-13 of, give them the opportunity to ask questions.
2. Have students revisit the timeline created in activity 6 lesson 25, have them fill out the worksheet, and explain that both of these will be distributed to a classmate for feedback.
3. Collect and redistribute timelines 0n pairs) throughout the classroom and have students conduct an analysis on their peer's work, to identify the necessary elements for turning
the experience into a story:
Exposition (background story).
lnsighting incident (something that causes a problem or challenge to belonging)
Conflict (the problem (s) details).
Cli max (when the action is at it's height) and
Denouement (the resolution of the story).
Students should write down the formal names with their notes so they can provide informative feedback to their peers.
4. Peer to peer interviews; students discuss their analysis of each other's work
5. Support students to revise their choice of theme or subject if their peers cannot identify more than one of these elements in their timeline and worksheet.
6. Students beqin a fi rst draft of their story. Explain that this draft is due next lesson. so the more work they do now, the less to do at home!
CLOSURE I We have learnt that the writing process takes time and planning. Next lesson; how this works with unseen stimuli.
ASSESSMENT I
From http://web2.wari ll a-h.schools.nsw.edu.au/dept/en!?lish/Belonging/ Karen Yager-
NSR Professional Learning and Leadership Coordinator ' Belonging'
Approaches for Section II: Writing- AOS 'Belonging'
Craft
'They demonstrated structural complexity. cohesion. the use of an authentic.
sustained and engaging voice and took advantage of the opportunity the
question presented to showcase originality and perceptiveness. The
mechanics of language, punctuation, sentence structure and paragraphing were
applied skilfully in these responses' (NSW BOS, 2007, p.S).
To focus on the craft of writing try these quick writing exercises:
Compose a 100 micro word (no more no less) story that reflects one of
the key ideas of ' Belonging':
Focus on the power of verbs
Avoid too many adjectives
Include figurative language - a simile is simple but effective
You could use an analogy or extended metaphor
Describe in two paragraphs a place that is special to you; where you feel
as if you belong. Now describe a place where you feel alienated and
isolated.
Focus on creating a mood that reflects your feelings through emotive
language and colour.
Use the details of the place to represent your feelings without actually
describing your feelings.
Take a recent well known event such as the Federal Government's
National Apology and write it into an imaginative text that reflects one or
more of the key ideas of 'Belonging'. E.g. Like I said, I didn't miss her. But
she was an addiction of sorts, and like any habit, even once you break it
there are still moments that nothing will replace. Like being so amazingly
warm with her in your arms that you just want to laugh at the Winter that
lives outside the windows. Like the image of her washing her hands at the
kitchen sink for fifteen minutes, humming a tune and wearing nothing but
pale pink cottons. Or the time we made love on the living room floor, with
the background noise of two planes flying into two towers, and hoping our
love would make us invincible, and keep us safe.
Narratives
As ' Belonging' is such a personal concept begin tackling Section II by composing
a narrative with a focus on the craft of writing. Garth Boomer stated that 'Stories
are the lifeblood of a nation.' Stories enable writers to convey significant
9
From hllp://web2.wari lla-h.schools.nsw.edu.au/dept/en!?lish/Belonging/ Karen Yager-
NSR Prof essional Learning and Leadership Coordinator ' Bel onging'
concepts and differing perspectives. and have the potential to invite empathy and
understanding.
Before you begin writing: Discuss ' Belonging' and how it is interpreted by
different people. E.g.
Belonging spiritually to the land
Belonging to a peer group/family/team/institution/town/country
Alienation and exclusion
Displacement
Belonging to the past
How an individual can enrich or challenge an individual , group or
community's sense of belonging
Select one or more ideas and start to plan a narrative.
Prescribed Text as a Stimulus
Use your prescribed text as a stimulus for a writing task:
Feature the perspective of one of the characters in their prescribed text
towards the notion of ' Belonging'.
Use one of the main ideas from the prescribed text such as alienation or
displacement.
Take a key quote from the prescribed text and use it as a focus for an
imaginative text.
Compose a transcript of an interview with two people in the prescribed
text. Explore in the transcript what belonging meant to them' the barriers
they encountered; and how ther experiences shaped their attitude to
belonging.
Responding to Stimulus Texts
1. Jeannie Baker - Belonging
10
From hllp://web2.wari lla-h.schools.nsw.edu.au/dept/en!?lish/Belonging/ Karen Yager-
Compose an imaginative text that is connected to ' Belonging to place'
Compose an imaginative text that is connected to ' Belonging to community'
2. Read the extract from Robert Gray's poem " Under the Summer Leaves'
that evocatively captures the place that he once lived and finds has
changed.
When I was growing up around here, that place had been
just another small town off the highway,
with mothy streetlights, a motel's insomnia,
treeroots under the pavement blocks,
broken fences and long yards, white fibro
beyond the tree's braod shadows,
bougainvilleas, weatherboards.
Now there were split-level Spanish houses
in an estate across the hillslopes. There was the first
tall block of flats. Tourist were driving
to the beach, along the new road; and out there, you found,
was also getting freckled over.
Now the cars and motorbikes were everywhere,
their tyre-marks drawn about the sand
like great tangled ropes - so that people might seem
a lynch mob, threatening everything that's natural.
II
From http://web2.wari ll a-h.schools.nsw.edu.au/dept/en!?lish/Belonging/ Karen Yager-
Describe a place that you remember or feel close to focusing on the use of
imagery and sensuous language. Evoke a sense of belonging and then
disrupt that feeling through your descriptions.
Planning a Narrative for 'Belonging'
Create the setting
Think about your characters who move in the setting, your key ideas, your
purpose and how you are representing your perception of 'Belonging.'
Focus on the craft of writing: imagery, figurative devices, syntax,
punctuation and structure.
Ensure that your readers can 'see' the setting- don't neglect those small
details that can capture the essence of a place! E.g. We buzz north
through hours of good farm country. The big, neat paddocks get browner
and drier all the while and the air feels thick and warm. Biggie drives. He
has the habit of punctuating his sentences with jabs on the accelerator
and although the gutless old Volksie doesn't exactly give you whiplash at
every flourish, it's enough to give a bloke a headache. We wind through
the remnant jarrah forest, and the sickly-looking regrowth is so rain-
parched it almost crackles when you look at it. (Tim Winton, The Turning)
In one to two paragraphs create the setting
Create the character/s
Sometimes our most effective writing is based on our lives and our
experiences. Think about the people you have met, even yourself and
create one or more characters.
Think about the character Is' perceptions of 'Belonging' and how this
perception has been shaped by their context, attitudes, experiences,
values, perspectives, etc.
Consider dialogue and how it can be used to effectively capture and
reflect the character Is.
Compose one or more paragraphs that describe or represent the
character.
Suggestions
Good writers have been influenced by many other accomplished writers.
Dip into as many texts as you can so that you experience the craft of
writing. Tim Winton and Gail Jones have mastered the art of creating
detailed settings, appealing characters and intriguing story lines. Read
some of the short stories in Winton's The Turning and read extracts from
Jones' Sixty Lights and Sorry.
Write for a specific audience and use the appropriate language and form.
E.g. If you are requested to compose a letter to a friend, remember that it
12
From http://web2.wari ll a-h.schools.nsw.edu.au/dept/en!?lish/Belonging/ Karen Yager -
NSR Prof essional Learning and Leadership Coordinator ' Bel onging'
should be personal . descriptive and even humorous. It usually starts with
a greeting.
Show don't tell. Avoid too much information and focus on appealing to the
senses through effective descriptions. Remember our most powerful tool
is our imagination! A text that suggests rather than tells all has a powerful
impact on the reader.
Develop a strong, distinctive voice. To achieve this is it is advantageous
to write about what you have experienced so that your writing comes from
the heart. If this is not possible because of the nature of the set task,
adopt a believable persona and maintain his/her voice. This could mean
using colloquial register and slang so that you convincingly capture the
voice of the character.
Choose and control your use of a range of language features to engage
and influence an audience. This means using techniques such as:
- A variety of sentence beginnings and sentence lengths. You could use
short, simple sentences and fractured sentences to create tension or long,
complex sentences to slow the action down. Ellipsis( ... ) is a dramatic way
of leaving something not said or hinting that what will happen is too
difficult to describe.
Vary paragraph lengths- don't be afraid to use a single sentence
paragraph to make a dramatic statement.
Poetic devices such as: similes, metaphors. personification. alliteration.
assonance, sibilants and onomatopoeia. There are many others. Tim
Winton in The Turning cleverly uses very ordinary similes to make us
smile and visualize what he is describing or what the character is feeling.
E.g. "Reeds bristled like Venetian blinds in the breeze. "
- Contrast: juxtaposition can be very effective. E.g. You could start by
describing the beauty of a place, stressing its quietness and tranquility and
in the next paragraph have a bomb drop.
Imagery: paint a picture for your reader- add colour. sound and smells.
Tim Winton does this well : "From the water's edge you couldn't even see
our street. I found eggs in the reeds, skinks in the fallen log, a bluetongue
lizard jawing up at me with its hard scales shining amidst the sighing wild
oats. I sat in the hot shade of a melaleuca in a daze."
You are most convincing when you write about what you have
experienced. So ground your imaginative writing in things you know.
It is a writing task so the structure and construction of the text do matter:
paragraphing, varied sentence structure, punctuation, word choice, and
the opening paragraph and the concluding paragraph.
13
....
/
When ehOJ'o.cterg Meet
'
Step 1: Planning
.,.
lolL
Use the space below to record some of the facts and Jlot details that you will include in your story.
1. Which two characters will meet each other in your story?
2. What are some of thei r main physical and personality characteristics?
3. How will these characters meet and where?
4. What conflict will they have with each other, or what force will t hey join together
to fight?
5. What major crisis will you include in your story?
6. How will you resolve t his crisis?
Step II: Writing
Now that you have gathered your plot elements, begin writing your short story, deciding first how you will
set the scene. Be sure to use descriptive images to entertain your reader. Use the back of this page to wri te
your story.
WEEKS 3-4 LESSON 15/ 45 "Editing & Publishing Your Belonging Story"
TOPIC: AREA OF STUDY: Belonging (Standard) - Focus study on Paper 1 Sections I and n 1 TIME: 60mins
This lesson focuses on remindi ng students that they must create a story Resource AOS14.1 - Pages 9-13 of Karen Yager's area of study resources document,
of belonging in response to unseen stimuli. Students practice this available here: httR:LLweb2.warilla-h.schools.nsw.edu.auldeRtlenglishlBelongi ngL
process and discuss options for adapting thei r already created story.
LESSON OUTCOMES Resource AOS15.1 - HSC exam rubric for Paper 1 Section 2.
1.2 responding to and composing texts to achieve meaning in a range of
contexts
6.3 composing and supporti ng a personal response to tex:ts
8.4 using stylistic devices appropriate to purpose, audience and context.
11.1 makina connections between life experience and imaained experience
1. Have students revisit notes from lesson 25. Re mind them that responding to the sti mulus given in the HSC exam is essential.
2. Take a recent well -known event with belonging themes and display a news article or clip from the events as stimuli. Have students compose a 100 micro word
story (no more no less) story based on the stimuli that reflects how ' Belonging' - through alienation in this case - is represented. Encourage them to based
their mice-story on both the stimuli and the story they have been planning this week, if possible.
3. Discuss with students whether they were able to adapt anything from the story or not to this stimuli. Discuss strategies for students to adapt their stories, or
elements of their stories, to a stimulus.
4. Class revisits lesson 25 by collaboratively creating a marking guideline on the board; this remains displayed.
5. Have students revisit thei r draft from last lesson in light of the micro story written today, and make any last minute changes before peer marking session.
6. Students swap drafts with a chosen partner (of if impossible, distributed partners)
7. Students peer mark work according to the HSC rubric - Resource AOS15.1 - and the marking guideline on the board, and give thei r peers a mark.
8. Safe Zone Peer to peer interviews; teacher monitored and guided to ensure there is no discrimination or abusive criticism.
9. Following peer feedback, students revise their draft independently. Draft to be typed and stored on moodle.
10. Students submit their fi nal story to the Belonqi nq Exhibition, here: (if they wish) http://www.belonaina.ora/misc-Paaes/submithtml
CLOSURE I Explain to st udents that their draft wil l be used in next lesson to write a creative story under HSC exam conditions
ASSESSMENT l in activities 1 and 5, assess student understandi ng of the HSC requirements
WEEKS 3-4 LESSON 16/ 45 "Your Belonging Story & the HSC"
TOPIC: AREA OF STUDY: Belonging (Standard) - Focus study on Paper 1 Sections I and n 1 TIME: 60mi ns
This lesson focuses on remindi ng students that their creative piece must Resource AOS14.1 - Pages 10-11 of Karen Yager's area of study resources document,
conform to HSC exam requirements i n order to get a good mark. They avai lable here: httR:LLweb2.wari lla-h.schools.nsw.edu.auldeRtlenglishlBelongi ngL
practice writi ng i n response to sti muli and write under simulated exam
conditions for the majority of the lesson. Sport (Billy) i n The Simple Gift
LESSON OUTCOMES
1.2 responding to and composi ng texts to achieve meani ng i n a range of Resource AOS15.1 - HSC exam rubric for Paper 1 Section 2.
contexts
1.3 explaining how val ues and attitudes are reflected i n texts
5.4 explai ning the relationships between representation and meani ng
6.3 composi ng and supporting a personal response to texts
8.4 using styl istic devices appropriate to purpose, audience and context.
11.1 maki nq connections between l ife experience and imaqined experience
1. Practice the process of responding to stimuli by modelli ng a response to Sport (Billy) i n The Simple Gift and displaying a variety of stimuli on the smartboard;
students have to write plans for stories about belongi ng that respond to one of the stimuli. Suggestions: an i ll ustration from The Arrivot Past paper sti muli
(2011) and Yager's list of how belonging is i nterpreted on page 10, resource AOS14.1
2. Students select one of the sti muli displayed and use thei r plan to wri te thei r creative story for 40 mi nutes, under exam conditions. Allow planning ti me, but
explai n to students that they cannot access previous drafts of thei r story, as per HSC exam conditions.
3. Discuss as a class the challenges of wri ti ng to stimuli and under time pressure. Respond to areas of weakness i dentified i n discussion.
4. Students volunteer thei r creative stories to the teacher for feedback. Explain that you will mark thei r stori es as per the HSC rubric (display and discuss resource
AOS15.1)
CLOSURE I Next lesson we will begin our study of the prescribed text The Simple Gift that you were introduced to today through Sport (Billy)
ASSESSMENT I
Subject Area:
Stage:
Focus area:
Unit coded by:
Intellectual Quality
Deep knowledge
Deep understanding
Problematic knowledge
Higher order thinking
Metalanguage
Substantive communication
English (Standard)
6
Area of Study (Belonging)
c3109550- Soni a Carpenter
Code Descriptor
The unit requires sustained focus on key concepts and ideas
and requires clear articulation of the relationships between
and among concepts.
5
A substantial part of the unit requires students to provide
information, arguments or reasoning that demonstrate deep
4
understanding.
The unit requires knowledge to be treated as socially
constructed, with muhiple and/or conflicting interpretations
5
presented and explored to an extent that a judgement is
made about the appropriateness of an interpretation in a
given context.
Throughout the unit students are required to demonstrate
5
higher-order thinking.
The unit requires students to make substantial reference to,
5
and complex comments on, language and how it works.
The unit requires students to present some sustained
4
clarification of the ideas, concepts or arguments related to
the substance of the topic.
Notes
This unit has is structured on a timeline that
provides the opportunity for students to gain
deep understanding of the key concepts of texts,
representation of a thematic concept and
tlhrough individual studies of the textschniques
and their contexts. The consolidation of this
knowledge to meet HSC requirements ensures
OK is sustained throuqhout.
7 of the 1 o weeks in this unit focus on students
developing and demonstrating a deep
understanding of HSC requirements, and 3
weeks focus on the students acquiring a deep
understanding of the texts; the assessment task
assesses DU.
The concept of problematic knowledge is central
to the conceptual themes of this unit and is
integrated throughout.
Problematic learning tasks that mandate active
student involvement are constant.
The study of language is a core function of this
unit in the student of how concepts, themes, and
characters are represented.
Throughout the unit there are constant debate
and discussion-based learning tasks that require
constant substantive communication; such as
peer interviews in lessons 14 and 15.
Quality Learning Environment
Clear statements are made regarding the quality of work but The assessment task is delivered in the area of
there is little elab-oration of what it means to do well. the unit covered in the lesson plans, but the
Explicit quality criteria 3 assessment task notification demonstrates a
clear explanation about the quamy of work
expected in the task.
The unit presents serious challenges to all students, and Throughout the unit the are are high expectations
encourages them to take risks in demonstrating their for students to demonstrate learning in written
High expectations 5
learning. and oral, formal and informal situations. The
emphasis on planning a story for publication in
this unit highlights this.
Students are able to exercise some control in relation to at This unit focuses on student composition in
least one significant aspect of the unit. preparation for Paper 1, Section 2. Ahhough the
Student direction 3 broad subject of personal experience and theme
of belonging have been determined, students are
resQQnslble for all decisions bevond this.
Sig nifica nee
Students' background knowledge is mentioned or is Background knowledge is the foundation for the
Background knowledge
connected to the substance of the unit, and includes design of most lessons, as they focus on the
4
connection to out-of-school background knowledge. of a creative story based on
personal experience.
The unit requires students to include substantial recognition This occurs significantly in the lessons that focus
Cultural knowledge 4
and valuing of cultural knowledge, and to challenge the on composition of a personal story
framework of the dominant culture.
The unit requires no meaningful connections. All knowledge There are no meaningful connections to other
Knowledge integration 1
required for the unit is restricted to that explicitly defined KLAs in this unit.
a single topic or subject area.
The unit requires students to recognise and explore The focus of this unit is to personalise the HSC
connections between classroom knowledge and situations experience by encouraging students to write their
outside the classroom in ways that create personal meaning creative response about personal experience.
Connectedness 4
and highlight the significance of the knowledge. The unit may
include opportunities to influence an audience beyond the
classroom.
Narrative 5
The unit makes substantial use of narrative and it is integral Narrative is a central component of this unit and
to the requirements of the its thematic base.
EDUC4090 AZ: HSC English (Advanced) Module A Elective l Ten Week Program Outline c3109550
Topic Module A- Comparative Study of Texts and Contexts (Advanced)
C l - - +: 1: Cu-1-. .. : - .- r ~
Principal focus:
Provides students with the opportunity to explore, analyse and experiment with:
meanings conveyed, shaped, interpreted and reflected in and through texts
ways texts are responded to and composed
ways perspectives may affect meaning and interpretation
connections between and among texts
how texts are influenced by other texts and contexts
Description
This module requires students to compare texts in order to explore them in
relation to their contexts. It develops students' understanding of the effects of
context and ques tions of value.
Students examine ways in which social, cultural and his torical context influences
aspects of texts, or the ways in which changes in context lead to changed values
being reflected in texts. This includes study and use of the language of texts,
consideration of purposes and audiences, and analysis of the content, values and
attitudes conveyed through a range of readi ngs.
Students develop a range of imaginative, interpretive and analytical composi ti ons
that relate to the comparative study of texts and context. These compositions may
be realised in a vari ety of forms and media.
ICT: ICT Resources:
I Time: 10 weeks = 45 hours, 45xlhr lessons
Text Option
Prose Fiction and Nonfiction
AUSTEN, Jane, Pride and Prejudice, Penguin Red Classics, 2006 AND
WELDON, Fay, Letters to Alice on First Reading Jane Austen, Sceptre/Hachette, 2008
Past Paper Questions (Section I - Module A) 20 marks, 40 minutes
2012
Our interest in the parallels between Pride and Prejudice and Letters to Alice an First
Reading Jane Austen is fu rther enhanced by consideration of their marked differences in
textual form.
Evaluate this statement in light of your comparative study of Pride and Prejudice and
Letters to Alice on First Reading Jane Austen.
2011
In what ways does a comparative study accentuate the distinctive contexts of Pride and
Prejudice and Letters to Alice on first reading Jane Austen?
2010
Analyse how the central values portrayed in Pride and Prejudice are creatively reshaped in
Letters to Alice on First Reading Jane Austen
2009
'A deeper understanding of relationships and identity emerges from pursuing the
connections between Pride and Prejudice and Letters to Alice on First Reading Jane Austen.'
Compare how these texts explore relationships and identitv.
Active use of non-print resources in
study of Pride and Prejudice through
LBO, movie adaptations
Green, H., & Su, B. (Writers). (2012). The Lizzie Bennet Diaries [mp4]: http://www.lizziebennet.com/story/.
practise ethical behaviour when using
the internet during using scribd to
publish and download sample
essays/work
Choose appropriate software and
references relevant for the locating and
study of appropriate supporting texts.
Cavanagh, V. (2013). Pride And Prejudice: Ranking The Adaptations Worst To Best. Film Retrieved June 01, 2013, from
ht!p:l/whatculture.com/film/pride-and-prejudice-ranking-the-adaptations-worst to-best.php
Scenes from the following fil ms may be used, sourced through YouTube or DVD:
Jarrold, J. (Writer). (2007). Becoming Jane. Newtown: Magna Pacific.
Chadha, G. (Writer). (2004). Bride & prejudice. In D. Nayar (Producer). Australia: Roadshow Entertainment.
Maguire, S. (Writer). (2005). Bridget Jones's diary. United States: Universal Studios.
Zeff, D. (Writer). (2008). Lost in Austen: Image Entertainment.
Coke, C., & Weldon, F. (Writers). (1985). Pride and prejudice United Kingdom: BBC Worldwide Americas.
tLJVI...IIVW rt:>l... tnqusn V\OvanceoJ MOOule A tlecuve .l 1 en weeK t'roq ram uumne
HSC English(Advanced) Outcomes: HSC English (Advanced) Content
1. A student explains and evaluates the effects of different contexts of responders and 1.1 comparing and contrasting texts and their contexts
composers on texts.
1.2 responding to and composing texts to achieve meaning in a range of contexts
2. A student explains relationships among texts.
Particularly:
1.4 explaining and evaluating changes in meaning arising lrom changes ol context
2A. A student 2A. Students learn to recognise ways in which
1.5 generalising about the relationships between context and meaning.
recognises different particular texts are valued by:
5.1 describing and explaining the conventions and the ellects ol textuallorms, technologies
ways in which 2A.1 responding to a range ol texts that are valued
particular texts are dillerently in particular personal, social,
and media ol production on meaning
valued. cultural, historical and workplace contexts
5.2 choosing from the range ol textual forms, technologies and media ol production to
2A.2 explaining how and why they are valued
compose texts for specific audiences and purposes
5. A student explains and evaluates the effects of textual forms, technologies and their
5.3 reflec ting on the effects ol a change in textual form, technology or medium of production
through their own processes of composing
media of production on meaning.
10. A student analyses and synthesises information and ideas into sustained and logical
argument for a ra nge of purposes, audiences and contexts. 10.2 making connections between information and ideas. and synthesising these for various
purposes and audiences
12A. A student explains and evalua tes different ways of responding to and composing
10.3 using the information and ideas gathered from a range of texts to present a point of view
texts.
in analytic, expressive, imaginative and evalua tive ways.
Resources
Austen, J. (2006). Pride and prejudice. London: Penguin Books.
Coke, C., & Weldon, F. (Writers). (1985). Pride and prejudice Uni ted Ki ngdom: BBC Worldwide Americas.
Grahame-Smith, S. (2009). Pride and prejudice and zombies : the classic Regency romance -- now with u/traviolent zombie mayhem! . Phi ladelphia: Quirk Books.
Morrison, R. (Ed.). (2013). Jane Austen's Pride and Prejudice: A Routledge Study Guide and Sourcebook. Hoboken: Taylor and Francis.
Murphy, 0 . (2005). Books, bras and Bridget Jones: reading adaptions of Pride and Prejudice. Sydney studies in English, 31,21-38.
Teachman, D. (1997). Understanding Pride and prejudice: a student casebook to issues, sources, and historical documents. Westport: Greenwood Press.
Dixon, Melpomene (2008) Frankenstein and Blade Runner (Teaching Notes) English Teachers Association
EDUC4090 AZ: HSC En qlish (Advanced) Module A Elective 1 Ten Week Proqram Outline c3109550
Week Outcomes Suggested Sequence of Teaching & Learning Activities Assessment &
Feedback
1-2 1. 5 Introducti on to Stage 6 Module A: The concepts of Texts and Context and our elective " Exploring Connections" Encourage constant
Lessons
Introduce the Module concept and elective concept: Distribute copies of syllabus p 47 and encourage students to put forward initial
writing practice, in
1-8
ideas about the concept of texts and context. Refer students to description on
preparation of the
http:LLhsc.csu.edu.auLenglishLarea of stud)ILarea introL3634Laos intro.htm
HSC, through
HSC expectations for Module A Discuss past HSC questions (paper 2, section 1), ask students what they think these questi ons are
attempting to make
sure most learning
looking for in a response. Distribute HSC rubrics and provide a detailed explanation of the Module A requirements and expectations.
activities involve a
Deconstruct these key concepts expli citly, using www.Bubbl.us to create an interactive mind map glossary with students for later
reference: text, context, responder, world, perspective, connection, appropriation
written aspect.
3 1.2. 5 Pride and Prej udice: Context - see attached lesson pions
lessons
Jane Austen: the name, the author - details of career and bio and modern reception. View scene/s from Becoming Jane (2007)
9-12
Romanticism the philosophy, the authors, the influence on Austen and P&P
The Regenc)l World
Marriage and social status in P&P
4 Pride and Prej udice: study of text
lessons
Instant Book and Characterisation: Resource MA13.1
13-16
"ll a lt!Jlb The famous quotes and enduring stories of P&P
Board Brainstorm What we already know about the Pride and Prejudice story? What we would like to know about Jane Austen and
Pride and Prej udice?
5 10, 12 letters to Alice on First Reading Jane Austen: Context
lessons
Fay Weldon: detail s of career, bio, and works especially in 1980s, especially Pride and Prej udice mini seri es involvement
17-20
ORM Viewing: Select scenes from Becoming Jane that demonstrate Jane's writing context and discuss a comparison of this to the
1980's context of Wel don's Letters to Alice
The genre: epistolary novel. Compare to similar modern texts like Sorrow, W. (Writer). (2009). Dracula by Bram Stoker [blog]:
httpJNracula-feeg.biQgspQtwm.aul and Bushman, J. (2007-2008). The Good Captain Retrieved from
www.twitter.com/ooodcaotain
6 l etters to Alice on First Reading Jane Austen: study of text Practice Writing
Lessons
Class Reading and Comparison: Chapter 1 Weldon, F. (1985). Letters to Alice on first reading Jane Austen. london: Coronet.
21 24
Read and compare to the perspective's raised in the blog entry Pride And Prejudice: Ranking The Adaptations Worst To Best
Class role play: Some students choose a character/composer in one of the texts and others are modern-day interviewers. Using
limited prepared notes, students conduct interviews of the character/composer to demonstrate understanding of context
Practice Writing Task: Students attempt 2011 HSC question in 40 minutes
EDUC4090 AZ: HSC En qlish (Advanced) Module A Elective l Ten Week Proqram Oulline c3109550
7 1,2, 10, 12 Focus study on Paper 2 Section I Prepared Extended
Lessons
Practice Writing Task: Students attempt 2009 HSC question in 40 minutes
Response (Due
2528
Assessment Task: Prepared Extended Response: Class discusses the 2012 HSC ques tion and collaboratively constructs an essay
Week 10)
plan. Distribute and discuss assessment task notification.
Bored of Studies: Students 'peer-mark' select available student essays for Module A on these texts and then discuss the marks given,
compare to teacher marks.
8-9 Comparison of texts: Explori ng Connections
lessons
Prezi: View the prezi on this elective here: htiJ;!:lLJ;!rezi.comlgi91lJ21goiacLJ;!ride-and-J;! rejudice -and-letters -to-alice-on-fi rst -reading-
29-36
jane-austen-connections-between-texts/ Use the "make a copy" feature to edit the prezi and re-pos t; present to class.
Class ada12tation debate: which fil m adaptation of P&P is the best? Teams are cons tructed to argue for some of the most popular
adaptations.
Jigsaw: Work through Resource MA29. 1 - httJ;!:{L09english.wikisJ;!aces.comLComJ2arative+Studl
View and discuss HSC Module A: Pride & Prejudice I Letters to Alice podcast here: hiiJ;!:LlsubscriJ;!tions.viddler.comLecritureLn27cJ2a
10 Lessons 37-40: (and lessons 41-45 in review period before HSC exam) Review o f learning and the Module A demands in the HSC
4090A2: HSC English (Advanced) Module A Elective 1 2. Assessment Notification c3109SSO
Assessment Notification: Prepared Extended Response (Essay)
Course: English (Advanced)
Module A: Comparative Study of Texts and Context
Elective 1: Exploring Connections
Weighting: 15%
Outcomes assessed: l , 2, 2a, 3, 4, 6, 8, 10, 12a
Task Description:
For this task, you are to use the essay plan formed in class in week 7 to prepare an extended response
to the 2012 HSC question for this module:
Our interest in the parallels between Pride and Prejudice and Letters to Alice on First Reading Jane
Austen is further enhanced by consideration of their marked differences in textual form.
Evaluate this statement in light of your comparative study of Pride and Prejudice and Letters to Alice on
First Reading Jane Austen.
Marking Criteria
Your response will be assessed by the official HSC marking criteria for the Module A response in Paper
2. This means that in your answer you will be assessed on how well you:
demonstrate understanding of the meanings of a pair of texts when considered together
evaluate the relationships between texts and contexts
organise, develop and express ideas using language appropriate to audience, purpose and
form
4090A2: HSC English (Advanced) Module A Elective 1 2. Assessment Notification c3109SSO
Marking Rubric
You will receive a mark out of 15 that will represent 15% of your internal HSC assessment in English.
Criteria Marks
Evaluates percepti vely the relationships between texts, contexts and values 13- 15
Presents a sophisticated comparison of the values associ ated wi th texts and
their contexts
Explains skil fully how l anguage forms, features and structures of texts
shape meaning and influence responses
Composes a perceptive response using language appropriate to audience,
purpose and form
Evaluates effectively the relationships between texts, contexts and values 10-12
Presents an effective comparison of the values associated with texts and
their contexts
Explains effectively how language forms, features and structures of texts
Composes an effective response using language appropriate to audience,
purpose and form
Explains soundly the relati onships between texts, contexts and values 7-9
Makes a sound comparison of the values associated with texts and their
contexts
Explains how some language forms, features and structures of texts shape
meaning and influence responses
Composes a sound response using language appropriate to audience,
purpose and form
Explains some aspects of the relationships between texts, contexts and 4-6
values
Makes a limi ted comparison of the values associated with texts and their
contexts
Describes how some language forms, features and structures shape
meaning and influence responses
Composes a limi ted response using some aspects of language appropriate
to audience, purpose and form
Attempts to explain with limited understanding the relationships between 1- 3
texts, contexts and values
Attempts a comparison of the values associated with texts and their
contexts
Attempts to describe how some l anguage forms, features and structures
Attempts to compose a response using some aspects of language
appropriate to audience, purpose and form
EDUC4090 A2: HSC English (Adv) Lesson plans: Module A (Exploring Connections) 2. 5x60 minute lesson plans c3109550
WEEK 3 LESSON 9/45 "Lost in Austen"
TOPIC: Module A (Explorinq Connections) Pride and Prej udi ce: Context I TIME 60mins
This lesson focuses is the first lesson in a week on the context of Pride Lost in Austen mini-series, available in full on You Tube: b.l.!p'//www.voutube com/watch?y-uz-
and Prejudice.
9gmfXjTI this lesson, you only need to view the fi rst couple of minutes.
This week is designed to frame the subsequent close study of Pride and
MA9.1
Prejudice novel
LESSON OUTCOMES
Episode 1 of Green, H., & Su, B. (Writers). (2012). The Lizzie Bennet Diaries [mp4):
http:l/www.lizziebennet.com/story/
10.1 discerninq ideas, attitudes and values reflected in text
TEACHING AND LEARNING AcnviTJES
1. View the first few minutes of "Lost in Austen" on Youtube. Discuss with the students how the 'worlds' of modern day England and Regency England are
represented in the opening scenes. Prompt with differences in sound, lighting, setting, colour.
2. Establish that the worlds are represented through the interpretation of the director, and the creation of this mini-series has influenced how he has represented
the modern day and regency worlds -this is context.
3. What is context? Revisit lessons from week 1 and reaccess the www.Bubbl.us glossary for the definition of context. Add the dimensions of social, cultural and
historical through internet research and class collaboration.
4. Show students any pictures of Elizabeth Bennet and Mr Darcy from various book covers and film adaptations. Pai r-work: students tell each other what they
know about the characters.
5. Distribute resource MA9.1 and have students individually complete Task 1.
6. As a class, check answers and discuss the content of the paragraph- what was easy to guess, or know, and what was harder' Were you surprised by the correct
answers?
7. Read the fi rst page of chapter 1 and view episode 1 of The Lizzie Bennet Diaries, and the opening scene of the 1995 mini-series adaptation; how is the
presentation of a t ruth universally acknowledged" different in each of these texts? Explai n how this is a result of context in which the texts were made.
8. On www.Bubbl.us create an interactive mind map with students for later reference. Central bubble is "Pride & Prejudice: Context"- add initial ideas, pictures and
links from this lesson.
CLOSURE I Encouraqe students to watch and interact with The Lizzie Bennet Diaries: these will be revisited later in lesson 13.
ASSESSMENT I
ee BRITISH
eecOUNCIL
Task 1 Check the meaning of the words below.
characters misunderstanding mutual
outdated portrays rural
variety
Fi ll in t he gaps in the text using the words form the box.
Pride and Prejudice Lesson 1
Worksheets
themes
Pride and Prejudice was first published in 1813. It (1), ______ the life in the polite
(2) ____ society in England in the 19
1
h century. It is t he story of t he initial
(3) ______ and later (4) _____ attraction between Eli zabeth Bennet and Mr
Darcy. It is one of the most popular novels in Engli sh literature. There are a number of films
and TV adaptations of t he book and many modern novels and stories try to imitate Austen's
(S), _______ or style. The main (G) _____ in the story are love, reputation
and social class. Austen uses a (7), _____ of vocabulary and grammar structures.
Sometimes her vocabulary is a bit (8) because of the time when she
wrote her novels.
Task 2 Read chapter one of Pride and Prejudice and make a lust of the things you learnt about
Elizabeth's family and Mr Bingley. Compare your li st with your partner's.
The Bennets Mr Bingley
Task 3 Sometimes Austen's vocabulary is a bit outdated because of t he time when she wrote her
novels. Match the words and expressions to their meaning.
a. be in want of a large income at t he t ime ( )
b. a chaise and four a closed carriage drawn by four horses ( )
c. Michaelmas to need or to be looking for something ( )
d. four or five thousand a year 29
1
" September ( )
Homework
Visit these websites. Read more about Jane Austen and take notes about her life and her books.
http://www .jan ea uste nsoci. f reeuk. com/pages/biography. ht m
http://www. janeausten.org/jane-austen-books.asp
WEEK 3 LESSON 10/45 "Romanticism and Jane Austen"
This lesson focuses is second in a week of the context of Pride and MAl O.l , MA9.1, MA10.2
Prejudice. It is a deconstruction of the philosophy of ' Romanticism and
how it influenced Pride and Prejudice
Miss Austen regrets: http:/Jwww.youtube.com/watch?v-Zn3eFOOR08o
LESSON OUTCOMES
1.5 generalising about the rela tions hips between context and meaning.
1. Introduction to Romanticism: resource MA10.1 -especially discuss the pg. 8 comment about Jane Austen and her "conservative view: Do you agree with the
author of this article> P&P is not mentioned as one of the texts where a "tremor under the surface has been detected. Do you agree that P&P is a conservative
text that doesn't fit the context of Romanticism?
2. Discuss the name of the text- Pride and Prejudice; or Firs t Impressions. What does this title suggest about Austen's ideas of its content, themes and
philosophy?
3. Group activity: groups try to fi nd elements within assigned sections of P&P that could relate to Romanticism, as it is presented in MA10.1.
4. Students individually complete the 'homework' task in MA9.1 - do these websites present a similar or different interpretation to MA10.1? Students who have
read the novel before, or watched an adaptation are encouraged to comment.
5. On www.Bubbl.us add the dimension Romanticism and document student ideas and contributions
6. MA10.2- How is Jane and her relationship depicted here? After initial discussion, reveal that this is an extract from the production notes of the 2005 adaptation
of P&P. How much more does an understanding of the context of this text influence your unders tanding of the content?
7. View Miss Austen regrets: http:l/www.youtube.com/watch>v- Zn3eFOOR08o.
Discuss this video in light of today's lesson
CLOSURE
I
ASSESSMENT I
Romanticism Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Romanticism
I of 30
Romanticism
From Wikipedia, the free encyclopedia
Romanticism (or the Romantic er a!Pe1iod) was an artistic, literary, and intellectual movement that
originated in Europe toward the end of the 18th century and in most areas was at its peak in the approximate
period from 1800 to 1850. Partly a reaction to the Industri al Revolution,[Jl it was also a revolt against
aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific
rationalization of natureJ21 It was embodied most strongly in the visual arts, music, and literature, but had a
major impact on historiography,lJl education1
4
1 and the natural sciences.! 51 Its effect on politics was
considerable and complex; while for much of the peak Romantic peri od it was associated with liberalism and
radicalism, in the long term its effect on the growth of nationali sm was probably more significant.
The movement validated strong emotion as an authentic source of aesthetic experience, placing new
emphasis on such emotions as apprehension, horror and terror, and awe-especially that which is
experienced in confronting the sublimity of untamed nature and its picturesque qualities, both new aesthetic
categories. It elevated folk att and ancient custom to something noble, made spontaneity a desirable
characteristic (as in the musical impromptu), and argued for a "natural" epistemology of human activities as
conditioned by nature in the form of language and customary usage. Romanticism reached beyond the
rational and Classicist ideal models to elevate a revived medievalism and elements of art and narrative
perceived to be authentically medieval in an attempt to escape the confi nes of popul ation growth, urban
sprawl, and industrialism, and it also attempted to embrace the exotic, unfamiliar, and distant in modes more
authentic than Rococo chinoiserie, harnessing the power of the imagination to envision and to escape.
Although the movement was rooted in the German Sturm und Drang movement, which prized intuition and
emotion over Enlightenment rationalism, the ideologies and events of the French Revolution laid the
background from which both Romanticism and the Counter-Enlightenment emerged. The confines of the
Industrial Revolution also had their infl uence on Romanticism, whi ch was in part an escape from modem
realities; indeed, in the second half of the 19th century, "Realism" was offered as a polarized opposite to
Romanticism. 1
6
1 Romanticism elevated the achievements of what it perceived as heroic individualists and
artists, whose pioneering examples would elevate society. It also legitimized the individual imagination as a
critical authority, which permitted freedom from classical notions of form in art. There was a strong recourse
to historical and natural inevitability, a Zeitgeist, in the representation of its ideas.
Contents
l Defining Romanticism
l.l Basic characteristics
1.2 The term
1.3 The period
1.4 Context and place in hi story
2 Romantic literature
2.1 Germany
2.2 English literature
2.3 France
2.4 Russia
2.5 Catholic Europe
2.5. 1 Latin America
2.6 North America
2.6.1 Influence of European Romanticism on American writers
7/0612013 3:30 PM
Romanticism Wikipedia, the free encyclopedia
2 of30
3 Romantic visual atts
4 Romanticism and music
5 Romanticism outside the atts
6 Romantic nationalism
7 Gallety
8 Romantic authors
9 Scholars of Romantici sm
10 Romantic societies
ll See also
11.1 Related tenns
11.2 Opposing terms
11.3 Related subj ects
11.4 Related movements
12 Notes
13 References
14 Further reading
I 5 External links
Defining Romanticism
Basic characteristics
Defining the nature of Romanticism may be approached
from the slatting point of the primaty impottance of the
free expression of the feelings of the artist. The
importance the Romantics placed on untrammelled
feeling is summed up in the remark of the German
painter Caspar David Friedrich that "the artist's feeling is
his law" Pl To William Wordsworth poetry should be
"the spontaneous overflow of powerful feelings" [S) In
order to truly express these feelings, the content of the
att must come fiom the imagination of the artist, with as
little interference as possible fiom "arti ficial" rules
dictating what a work should consist of. Coleridge was
not alone in believing that there were natural laws
governing these matters which the imagination, at least
of a good creative artist, would freel y and unconsciously
follow through attistic inspiration if left alone to do
so.l
9
1 As well as rules, the influence of models from
other works would impede the creator's own
imagination, so originality was absolutely essential. The
concept of the genius, or attist who was able to produce
his own original work tluough thi s process of "creation
from nothingness", is key to Romantici sm, and to be
derivative was the worst sin[ IO)[Il)[IZ)[IJ) This idea is
often called "romantic originality."1
14
1
Not essential to Romanticism, but so widespread as to be
nonnative, was a strong belief and interest in the
http://en.wikipedia.org/wiki/Romanticism
Caspar David Friedrich, Wanderer Above I he Sea of
Fog.J818
Eugene Delacroix, Dealh o[Sardanapalus, 1827,
taking its Orienta list subject from a play by Lord
Byron
7/0612013 3:30PM
3 of 30
William Blake, The Little Girl Found,
importance of
nature. However
this is
particularly in the
effect of nature
upon the attist
when he is
sunounded by it,
preferably alone.
In contrast to the
usually very
social att of the
Enlightenment,
Romantics were
distrustful of the
human world,
and tended to
believe that a
close connection
from Songs of innocence and with nature was
Experience, 1794 mentally and
morally healthy. Philipp Otto Runge, The Moming, 1808
Romantic att addressed its audiences directly and
personally with what was intended to be felt as the personal voice of the artist. So, in literature, "much of
romantic poetry invited the reader to identi fy the protagonists with the poets themselves" [I S)
According to Isaiah Berlin, Romanticism embodied "a new and restless spirit, seeking violently to burst
through old and cramping tonns, a nervous preoccupation with perpetually changing inner states of
consciousness, a longing for the unbounded and the indefinabl e, for petpetual movement and change, an
effort to return to the forgotten sources of life, a passionate effott at self-assettion both individual and
collective, a search after means of expressing an unappeasable yearning for unattainable goals.''(
16
1
The term
The group of words with the root "Roman" in the various European languages, such as romance and
Romanesque, has a complicated history, but by the middle of the 18th century "romantic" in English and
romantique in French were both in common use as adj ectives of praise for natural phenomena such as views
and sunsets, in a sense close to modern Engli sh usage but without the implied sexual element. The
application of the term to literature first became common in Gennany, where the circle around the Schlegel
brothers, critics August and Friedrich, began to speak of romantische Poesie ("romantic poetry") in the
1790s, contrasting it with "classic" but in terms of spirit rather than merely dating. Friedrich Schlegel wrote
in his Dialogue on Poetry ( 1800), "I seek and find the romantic among the older moderns, in Shakespeare, in
Cervantes, in Italian poetty, in that age of chivahy, love and fable, from which the phenomenon and the word
itself are derived."(! ?) In both French and German the closeness of the adjective to roman, meaning the fairly
new literaty fonn of the novel, had some effect on the sense of the word in those languages. The use of the
word did not become general vety quickly, and was probably spread more widely in France by its persistent
use by Madame de Stael in her De L'Allemagne (1813), recounting her travels in Germany.ll
8
l In England
Wordsw01th wrote in a preface to his poems of 1815 of the "romantic harp" and "classic lyre"Jl
8
1 but in
1820 Byron could still write, perhaps slightly disingenuously, "! perceive that in Germany, as well as in Italy,
there is a great struggle about what they call "Classical" and "Romantic", terms which were not subjects of
classification in England, at least when I left it four or five years ago"['
9
l It is only from the 1820s that
Romanticism cettainly knew itself by its name, and in 1824 the Academic took the wholl y
7/0612013 3:30 PM
4of 30
ineffective step of issuing a decree condemning it in literature.l
20
1
The period
Unsurprisingly, given its rejection on principle of rules, Romanticism is not easi ly defi ned, and the period
typically called Romantic varies greatly between different countries and different artistic media or areas of
thought. Margaret Drabble described it in literature as taking place "roughly between 1770 and 1848",1
2 1
1
and few dates much earlier than 1770 will be found. In English li terature, M. H. Abrams placed it between
I 789, or 1798, this latter a vety typical view, and about 1830, perhaps a little later than some other critics.l
22
1
In other fields and other countries the period denominated as Romantic can be consi derably different;
musical Romanticism, for example, is generally regarded as only having ceased as a major artistic force as
late as 1910, but in an extreme extension the Four Last Songs of Richard Strauss are described stylistically
as "Late Romantic" and were composed in 1946-48[
23
1 However in most fields the Romantic Period is said
to be over by about 1850, or earlier.
The early period of the Romantic Era was a time of war, with the French Revolution (1789- 1799) followed
by the Napoleonic Wars until1815. These wars, along with the political and social turmoil that went along
with them, served as the background for Romanticism[
24
1 The key generation of French Romantics born
between 1795- 1805 had, in the words of one of their number, Alfred de Vigny, been "conceived between
battles, attended school to the rolling of drums"[
25
l
Context and place in history
The more precise characterization and specific definition of Romanticism has been the subject of debate in
the fields of intellectual history and literruy history throughout the 20th century, without any great measure
of consensus emerging. That it was patt of the Counter-Enlighterunent, a reaction against the Age of
Enlightenment, is generally accepted. Its relationship to the French Revolution which began in 1789 in the
very early stages of the period, is clearly important, but highly variable depending on geography and
individual reactions. Most Romantics can be said to be broadly progressive in their views, but a considerable
number always had, or developed, a wide range of consetvative views,l
26
l and nationalism was in many
countries strongly associated with Romanticism, as discussed in detai l below.
In philosophy and the history of ideas, Romanticism was seen by Isaiah Berlin as disrupting for over a
century the classic Western traditions of rationality and the very idea of moral absolutes and agreed values,
leading "to something like the melting away of the vety notion of obj ective tntth" ,1
27
1 and hence not only to
nationalism, but also fascism and totalitarianism, with a gradual recovery coming only after the catharsis of
World War II.l
28
l For the Romantics, Berlin says,
in the realm of ethics, politics, aesthetics it was the authenticity and sincerity of the pursuit of
inner goals that mattered; this applied equally to individuals and groups - states, nations,
movements. This is most evident in the aesthetics of romanticism, where the notion of eternal
models, a Platonic vision of ideal beauty, which the artist seeks to convey, however impetfectly,
on canvas or in sound, is replaced by a passionate belief in spiritual freedom, individual
creativity. The painter, the poet, the composer do not hold up a minor to nature, however ideal,
but invent; they do not imitate (the doctrine of mimesis), but create not merel y the means but the
goals that they pursue; these goals represent the self-expression of the artist's own unique, inner
vision, to set aside which in response to the demands of some "el\'lemal " voice - church, state,
public opinion, family friends, arbiters of taste - is an act of betrayal of what alone justifies
their existence for those who are in any sense creative.l
29
1
Atthur Lovejoy attempted to demonstrate the difficulty of defining Romanticism in his seminal article "On
The Discrimination of Romantici sms" in hi s Essays in the History of Ideas ( 1948); some scholars see
7/0612013 3:30 PM
5 of30
John William Waterhouse, The Lady
ofShalolt, 1888, after a poem by
Tennyson; like many Victorian
paintings, romantic but not Romantic.
Romanticism as essentially continuous with the present, some like
Robett Hughes see in it the inaugural moment of modernity, [
30
1 and
some like Chateaubriand, 'Novalis' and Samuel Taylor Coleridge see
it as the beginning of a tradition of resistance to Enl ightemnent
rationalism- a 'Counter-Enlightenment'- [
31
)[
32
1 to be associated
most closely with German Romanticism. An earlier definition comes
from Charles Baudelaire: "Romanticism is precisely situated neither
in choice of subj ect nor exact truth, but in the way of feeling. "[
33
1
The end of the Romantic era is marked in some areas by a new style
of Realism, which affected literature, especially the novel and drama,
painting, and even music, through Verismo opera. This movement
was led by France, with Balzac and Flaubert in literature and Combet
in painting; Stendhal and Goya were important precursors of Realism
in their respective media. However, Romantic styles, now often
representing the established and safe style against which Realists rebelled, continued to flourish in many
fields for the rest of the centmy and beyond. In music such works from after about 1850 are refeJTed to by
some writers as "Late Romantic" and by others as "Neoromantic" or "Postromantic", but other fields do not
usually use these terms; in English literature and painting the convenient term "Victorian" avoids having to
characterise the period fmther.
In northem Europe, the Early Romantic visionary optimism and belief that the world was in the process of
great change and improvement had largely vanished, and some art became more conventionally political and
polemical as its creators engaged polemically with the world as it was. Elsewhere, including in very different
ways the United States and Russia, feelings that great change was underway or just about to come were still
possible. Displays of intense emotion in art remained prominent, as did the exotic and hi storical settings
pioneered by the Romantics, but experimentation with form and techni que was generall y reduced, often
replaced with meticulous technique, as in the poems of Tennyson or many paintings. If not realist, late 19th
century att was often extremely detailed, and pride was taken in adding authenti c details in a way that earlier
Romantics did not trouble with. Many Romantic ideas about the nature and purpose of art, above all the
pre-eminent impottance of originality, continued to be important for later generations, and often underlie
modern views, despite opposition from theorists.
Romantic literature
See also: Romantic poetry
Henry Wallis, The Death ofChallerton 1856, by
suicide at 18 in 1770.
In li terature, Romanticism found rectment themes in the
evocation or criticism of the past, the cult of"sensibility"
with its emphasis on women and children, the heroic
isolation of the artist or narrator, and respect for a new,
wilder, untrammeled and "pure" nature. Furthermore,
several romantic authors, such as Edgar Allan Poe and
Nathaniel Hawthome, based their writings on the
supernatural/occult and human psychology. Romanticism
tended to regard satire as something unwotthy of serious
attention, a prejudice still influential today.l
34
l
The precursors of Romanticism in English poetry go back to
the middle of the 18th centmy, including figures such as
Joseph Warton (headmaster at Winchester College) and his
brother Thomas Warton, professor of Poetry at Oxford University. [
35
1 Joseph maintained that invention and
7/0612013 3:30PM
6of 30
imagination were the chief qualities of a poet. Thomas Chatterton is generally considered to be the first
Romantic poet in English[
36
1 The Scottish poet James Macpherson influenced the early development of
Romanticism with the intemational success of his Ossian cycle of poems published in 1762, inspiring both
Goethe and the young Walter Scott. Both Chatterton and Macpherson' s work involved elements of fraud, as
what they claimed to be earlier literature that they had discovered or compiled was in fact entirely their own
work. The Gothic novel, beginning with Horace Walpole's The Castle of Otranto (1764 ), was an important
precursor of one strain of Romanticism, with a delight in horror and threat, and exotic picturesque settings,
matched in Walpole's case by hi s role in the early revival of Gothic architecture. Tristram Shandy, a novel by
Laurence Sterne (1759-67) introduced a whimsical version of the anti-rational sentimental novel to the
English literary public.
Germany
An early German influence came from Johann Wolfgang von Goethe,
whose 1774 novel The Sorrows of Young Werther had young men
throughout Europe emulating its protagonist, a young artist with a
vety sensitive and passionate temperament. At that time Germany
was a multitude of small separate states, and Goethe's works would
have a seminal influence in developing a unifying sense of
nationalism. Another philosophic influence came from the German
idealism of Johann Gottlieb Fichte and Friedrich Schelling, making
Jena (where Fichte lived, as well as Schelling, Hegel , Schiller and the
brothers Schlegel) a center for early German Romanticism ("Jenaer
Romantik"). Important writers were Ludwig Tieck, Nova! is (Heinrich
von Ofterdingen, 1799), Heinrich von Kleist and Friedrich Holderlin.
Heidelberg later became a center ofGennan Romanticism, where
writers and poets such as Clemens Brentano, Achim von Arni m, and
Joseph FreihetT von Eichendorff met regularly inliteraty circles.
Title page of Volume III of Des
Knaben Wunderhom, 1808
Important motifs in Getman Romanticism are travelling, nature, and Germanic myths. The later German
Romanticism of, for example, E. T. A. Hoffmann's Der Sandmann (The Sandman), 1817, and Joseph
Freihen von Eichendorffs Das Marmorbild (The Marble Statue), 1819, was darker in its motifs and has
gothic elements. The significance to Romanticism of childhood innocence, the importance of imagination,
and racial theories all combined to give an unprecedented importance to folk li terature, non-classical
mythology and children' s literature, above all in Germany. Brentano and von Arnim were significant literary
figures who together published Des Knaben Wunderhom ("The Boy's Magic Horn" or comucopia), a
collection of versified folk tales, in 1806- 08. The first collection of Grimms' Fairy Tales by the Brothers
Grimm was published in 1812.(
37
1 Unlike the much later work of Hans CJuistian Andersen, who was
publishing his invented tales in Danish from 1835, these German works were at least mainly based on
collected folk tales, and the Grimms remained true to the style of the telling in their early editions, though
later rewtiting some patts. One of the brothers, Jacob, published in 1835 Deutsche Mytilologie, a long
academic work on Germanic mythology[ JS) Another strain is exemplified by Schillet's highly emotional
language and the depiction of physical violence in hi s play The Robbers of 1781.
English literature
In English literature, the group of poets now considered the key figures of the Romantic movement includes
William Wordsworth, Samuel Taylor Coleridge, John Keats, Mary Wollstonecraft Shelley, Percy Bysshe
Shelley, and the much older William Blake, followed later by the isolated figure of John Clare. The
publication in 1798 of Lyrical Ballads, with many of the finest poems by Wordsw01th and Coleridge, is often
held to mark the stattofthe movement. The majority of the poems were by Wordsworth, and many dealt
with the lives of the poor in his native Lake District, or the poet's feelings about nature, which were to be
more full y developed in his long poem The Prelude, never published in his li fetime. The longest poem in the
7/0612013 3:30 PM
7 of 30
volume was Coletidge's The Rime of the Ancient J'vfariner
which showed the Gothic side of English Romanticism, and the
exotic settings that many works featured. In the period when
they were writing the Lake Poets were widely regarded as a
marginal group of radicals, though they were supported by the
critic and writer William Hazlitt and others.
In conbast Lord Byron and Walter Scott achieved enormous
fame and influence throughout Europe with works exploiting
the violence and drama of their exotic and historical settings;
Goethe called Byron "undoubtedly the greatest genius of our
century" [
39
1 Scott achieved immediate success with his long
nanative poem The Lay of the Last Minstrel in 1805, followed
by the full epic poem 1\1/armion in 1808. Both were set in the
distant Scottish past, already evoked in Ossian; Romanticism
and Scotland were to have a long and fmi ttiul patt nershi p.
Byron had equal success with the fi rst part of Chi/de Harold's
Pilgrimage in 1812, followed by four "Turkish tales", all in the
form oflong poems, slatting with The Giaour in 1813, drawing
from his Grand Tour which had reached Ottoman Europe, and
orientalizing the themes of the Gothic novel in verse. These
featured different variations of the "Byronic hero", and his own
life contributed a further version. Scott meanwhile was
effectively inventing the historical novel , beginning in 1814
with Waverley, set in the 1745 Jacobite Rising, which was an
enormous and highly profitable success, followed by over 20
fmt her Waverley Novels over the next 17 years, with settings
going back to the Cmsades that he had researched to a degree
that was new inliterature.l
40
1
In conbast to Germany, Romanticism in English literature had
little connection with nationalism, and the Romantics were
often regarded with suspicion for the sympathy many felt for
the ideals of the French Revolution, whose coll apse and
replacement with the dictatorship of Napoleon was, as
elsewhere in Europe, a shock to the movement. Though his
novels celebrated Scottish identi ty and histoty, Scott was
politically a firm Unionist. Several spent much time abroad,
and a famous stay on Lake Geneva with Byron and Shelley in
1816 produced the hugely influential novel Frankenstein by
Byron c. 1816, by Henry Harlow
Shelley's wife-to-be Mary Shelley and the novella The \lampyre Girodet, Chateaubria11d in Rome, 1808
by Byron's doctor John Will iam Polidori. The lyrics ofRobett
Burns in Scotland and Thomas Moore, from Ireland but based
in London or el sewhere reflected in different ways their countries and the Romantic interest in folk literature,
but neither had a fully Romantic approach to life or their work.
Though they have modern critical champions such as Georg Lukacs, Scott's novels are today more likely to
be experienced in the fonn of the many operas that continued to be based on them over the following
decades, such as Donizetti' s Lucia di Lammennoor and Vincenzo Belli ni's I puritani (both 1835). Byron is
now most highly regarded for his shott lyrics and his generally unromantic prose writings, especially his
letters, and his unfinished satire Don Juan.l
41
1 Unlike many Romantics, Byron's widely-publ icised personal
life appeared to match his work, and his death at 36 in 1824 from di sease when helping the Greek War of
Independence appeared from a distance to be a suitably Romantic end, entrenching his legend[
42
1 Keats in
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8 of30
1821 and Shelley in 1822 both died in Italy, Blake (at al most 70) in 1827, and Coleridge largely ceased to
write in the 1820s. Wordsworth was by 1820 respectable and highly-regarded, holding a government
sinecure, but wrote relatively little. In the discussion of English literature, the Romantic period is often
regarded as finishing around the 1820s, or sometimes even earlier, although many authors of the succeeding
decades were no less committed to Romantic values.
The most significant novelist in English during the peak Romantic period, other than Walter Scott, was Jane
Austen, whose essentially conservative world-view had little in common with her Romantic contemporaries,
retaining a stmng belief in decorum and social rules, though critics have detected tremors under the smface
of some works, especially Mansfield Park (1814) and Persuasion (1817)[
43
1 But around the mid-century the
undoubtedly Romantic novels of the Bronte family appeared, in particular Charlotte's Jane Eyre and Emily's
Wuthering Heights, which were both published in 1847.
Byron, Keats and Shelley all wrote for the stage, but with little success in England, with Shelley's The Cenci
perhaps the best work produced, though that was not played in a public theatre in England until a centmy
after his death. Byron's plays, along with dramatisations of his poems and Scott's novels, were much more
popular on the Continent, and especially in France, and through these versions several were turned into
operas, many still perfonned today. If contemporary poets had little success on the stage, the period was a
legendary one for performances of Shakespeare, and went some way to restoring his original texts and
removing the Augustan "improvements" to them. The greatest actor of the period, Edmund Kean, restored
the tragic ending to King Lear;1
44
1 Coleridge said that, " Seeing him act was like reading Shakespeare by
flashes oflightning."l
45
1
France
Romanticism was relatively late in developing in French literature, even more so than in the visual arts. The
18th centmy precursor to Romanticism, tl1e cult of sensibility, had become associated with the Ancien
regime, and the French Revolution had been more of an inspiration to foreign writers than those experiencing
it at first hand. The first major figure was Franr,:ois-Rene de Chateaubriand, a minor aristocrat who had
remained a royalist throughout the Revolution, and returned to France from exi le in England and America
under Napoleon, with whose regime he had an uneasy relationship. His writings, all in prose, included some
fiction, such as his influential novella of exile Rene ( 1802), which anticipated Byron in its alienated hero, but
mostly contemporary histOty and politics, his travels, a defence of religion and the medieval spirit (Genie du
christianisme 1802), and finall y in the 1830s and 1840s his enonnous autobiography Menwires
d'Outre-Tombe ("Memoirs from beyond the grave")[
46
1
llte "battle of Hemani" was fought
nightly at tlte tlteatre in 1830
After the Bourbon Restoration, French Romanticism developed in the
lively world of Parisian theatre, with productions of Shakespeare,
Schiller (in France a key Romantic author), and adaptations of Scott
and Byron alongside French authors, several of whom began to write
in the late 1820s. Cliques of pro- and anti -Romantics developed, and
productions were often accompanied by raucous vocalizing by the
two sides, including the shouted assertion by one theatregoer in 1822
that "Shakespeare, c'est !'aide-de-camp de Wellington" ("Shakespeare
is Wellington's aide-de-camp")[
47
1 Alexandre Dumas began as a
dramatist, with a series of successes beginning with Henri Ill et sa
cour ( 1829) before turning to novels that were mostly historical
adventures somewhat in the manner of Scott, most famously The
Three Musketeers and The Count of Moille Cristo, both of 1844.
Victor Hugo published as a poet in the 1820s before achieving
success on the stage with Hernani, a historical drama in a quasi-
Shakespearian style which had famously riotous perfotmances, themselves as much a spectacle as the play,
on its first run in 1830[
48
1 Like Dumas, he is best known for his novels, and was already writing The
7/0612013 3:30PM
IS
Pride & Prejudice
About Jane Austen
The seventh of eight children (and the second of only two sisters), Jane Austen (1775-1817)
was born to Cassandra and George Austen in Steventon, Hampshire, and lived in the small
town in south-<:entral England for the first 25 years of her life. Her father was the rector of the
local parish. Aside from a couple of years away at school, she was taught largely at home,
informally; her mother, for example, taught her to speak French (and a little Italian) and to play
the piano.
The avid reader began to write short satirical pieces while in her teens and completed the
original manuscript of Pride and Prejudice, then entitled First Impressions, between 1796 and
1797, at 21 years of age. This followed her having fallen in love with a young man -only to
have his family discourage a marriage because neither of them had any fortune. A few years
later, Jane became affianced to another man, but broke off the engagement the very next day,
perhaps after realizing that she was not in love with him.
For several years, she did not pursue her writing, because her family began moving frequently
after her father's death in 1805. She was able to work again in 1809 after settling, wth her
mother and her sister Cassandra, into a house in Chawton that one of her brothers owned. A
publisher had, years before, rejected the initial First Impressions manuscript, and it was only at
this time that Jane began the revisions that would bring First Impressions to its final fonn as
Pride and Prejudice. She would also rework some of her early writings to become her later
novels.
Two years after the successful publication of Sense and Sensibility (the publishing of which
was funded by Jane herself, and which was originally titled Elinor and Marianne in its nascent
fonn over a decade earlier), Pride and Prejudice was published in January 1813 and instantly
attained a popularity that endures after nearly 200 years. Four more novels followed: Mansfield
Park, Emma, Persuasion, and Northanger Abbey. The last two were published posthumously in
1817 (the year of her death, at age 41, from a long illness), and Northanger Abbey had
originally been written and worked on (as Susan) in 1798. She left behind an unfinished novel,
Sandition.
For a time, she wrote behind a door that creaked when visitors approached; this warning
allowed her to hide manuscripts before anyone could enter. All of the books were initially
published anonymously. Even so, Pride and Prejudice was such a success that, by September
1813 (eight months after it was first published), her authorship of the novel be,came less of a
secret. Certainly her immediate family and close friends, and the literary community, knew that
she was the author. Though publishing anonymously prevented her from acquiring a reputation
in her own lifetime as a great author, it also enabled her to preserve her privacy at a time when
English society equated a woman's entrance into the public sphere with a loss of femininity and
respectability. Furthermore, as the Napoleonic Wars (1800-1815) threatened the safety of
monarchies throughout Europe, government censorship of literature proliferated.
16
The social milieu of Jane Austen's Regency England was particularly stratified, with class
divisions firmly rooted in family connections and wealth. In her work, Jane is often critical of the
assumptions and prejudices of upper-crust England. She distinguishes between internal merit
(goodness of person) and external merit (rank and possessions). Though she frequently
satirizes snobs, she also pokes fun at the poor breeding and misbehavior of those lower on the
social scale. The self-awareness, or lack of the same, of her characters, variously yields
amusement, poignancy, and dramatic impact. She was in many ways a realist, accurately
depicting the England of the time as one in which social mobility was limited and class-
consciousness was strong.
While social advancement for young men lay in the military, church, or law, the chief method of
self-improvement for women was the acquisition of wealth. Women could only accomplish this
goal through a successful marriage; hence the pervasiveness of matrimony as a goal and topic
of conversation in Jane's writing. Though Jane's young women of the early 19
1
h Century had
more freedom to choose their husbands than those of the early 181h Century, practical
considerations continued to limit their options.
Jane Austen is frequently accused of portraying a limited world. As a clergyman's daughter,
she would have done parish work and was certainly aware of the poor around her. However,
she wrote about her own world, not theirs. The critiques she makes of class structure seem to
include only the middle class and upper class; the lower classes, if they appear at all, are
generally servants who seem perfectly pleased with their lot. While this apparent lack of
interest in the lives of the poor can be seen as a shortcoming, it was one shared by almost all
of English society at the time.
The influence of Jane Austen in general, and Pride and Prejudice in particular, continues to be
evident in movies, television programs, and the works of many an author. As long as the
human comedy abides and love and class complicate it ever further, Jane Austen's perspective
remains relevant and refreshing.
Think only of the past as its remembrance gives you pleasure.
-Elizabeth Bennet in Pride and Prejudice
WEEK 3 LESSON 11/45 "Pride and Prejudice in Regency England"
This lesson focuses on the Regency period in England as part of a week Lost in Austen mini-series, available in full on You Tube: b.l.!p'//www.voutube com/watch?y-uz-
on the context of Pride and Prejudice.
9gmfXjTI this lesson, you only need to view the fi rst couple of minutes.
LESSON OUTCOMES
MA11.1
1.4 explaining and evaluating changes in meaning arising from changes
of context
5.1 describing and explaining the conventions and the effects of textual
forms, technologies and media of production on meaning
5.3 reflecti ng on the effects of a change in textual form, technology or
medium of production through their own processes of composing
10.1 discerninq ideas, attitudes and values reflected in texts
1. Revisit activity 1 from lesson 3. How much do you know about Regency England? Where have you seen representations of Regency England - fi lms, TV,
museums? Encourage sharing of personal experiences.
2. Discuss the opening dialogue of "Amanda Price" in Lost in Austen- about how she can feel and touch the world through the book. Can you suggest any
descriptive passages in the text where the regency world is described? Race to fi nd a description and run a competition for the best description to encourage
students to clarify and defend thei r selection - communicate substantively
3. On www.Bubbl.us add the dimension "Regency England" and document student ideas and contributions from activities 1 and 2.
4. Complete Tasks 1 and 2 in Resource MA11.1
5. Discuss the video from the guardian used in Task 2 - did you notice how the modern, documentary-making context of the participant Marcel Theroux
influenced his representation of regency England? In what ways?
6. Use outcome 5.1 as a learning task - how has this lesson helped you achieve this outcome?
7. Complete Task 5 in MA11.1 and set the homework below it for lesson 12.
CLOSURE I Explain homework task
ASSESSMENT I
ee BRITISH
eecOUNCIL
Worksheets
Task 1 How much do you know about Austen's t ime? Use your previous knowledge and
imagination. Take notes on t he main ideas you come up with.
In Austen's t ime ...
1. How did people dress?
2. How did they behave in society?
3. How did they socialise?
4. How did they make a living?
5. What t hings did they worry about?
Task 2 Watch a video produced by Visit England and published i n The Guardian. Note down as much i nformation as
possible.
'Bath's reputation as England's most romantic city is down to its most celebrated resident - Jane
Austen. Marcel Theroux gets into character on the literary heritage trail by donning Mr Darcy's garb
and manners, and attending a regency ball at the Bath Pump Room'
Source: The Guardian
http:ljwww.guardian.eo.uk/ travel/video/2013/ jan/ 18/marcel-theroux-in-bath-england
Listening Notes:
Task 3 Read the Pride and Prejudice extracts below.
Extract A
The village ofLongbourn was only one mile from Meryton; a most convenient distance for the young
ladies, who were usually tempted thither three or four times a week, to pay their duty to their aunt and
to a milline1's shop just over the way. The two youngest of the family, Catherine and Lydia, were
particularly frequent in these attentions; their minds were more vacant than their sisters', and when
nothing better offered, a walk to Me1y ton was necessary to amuse their morning hours and furnish
conversation for the evening; and however bare of news the countJy in general might be, they always
contJived to learn some from their aunt. At present, indeed, they were well supplied both with news
and happiness by the recent aJTival of a militia regiment in the neighbourhood; it was to remain the
whole winter, and Meryton was the headquarters.
Extract 8
"They are going to be encamped near Brighton; and I do so want papa to take us all there for the
summer! It would be such a delicious scheme; and I dare say would hardly cost anything at all .
Mamma would like to go too of all things! Only think what a miserable summer else we shall have!"
"Yes," thought Elizabeth, "that would be a delightful scheme indeed, and completely do for us at once.
Good Heaven! Brighton, and a whole campful of soldiers, to us, who have been overset already by one
poor regiment of militia, and the monthly balls of Me1y ton!"
Answer True or Folse according to the text s and underline the lines that support your answers.
1. The Bennet girls' occasional pastime was to visit the town nearby. ( )
2. In Regency England people living in the count ryside did not have much access t o news of what
was happening elsewhere. ( )
3. The main source of news was local gossip. ( )
4. A whole navy unit was being st ationed in Meryt on for the winter. (
5. The military staying in Meryton is moving to Brighton in the summer and Mr Bennet is taking
his daught ers to t he seaside t own. ( )
6. Lydia thinks that spending the summer in the country would be depressing without the
regiment there. ( )
7. Elizabeth thinks that going to Brighton in the summer would be a good idea. ( )
8. Elizabeth's thought s suggest t hat t he arrival of troops to towns and villages during the
Napoleonic wars considerably disrupted the lives of country families. ( )
Task 4 Read the quotations from Fulford's article Jane Austen and the Military. Can you f ind links
bet ween the historical situations described in the art icle and the plot and characters in Pride and
Prejudice? Discuss this with your colleagues.
'In the British countryside of the late eighteenth century the most striking new thing was an
officer's coat. ( ... ) despite the alarm about a possible French invasion, the militia impressed
the public more as a spectacle than as a fighting force.'
'A soldier posted away from his home district was free from those who knew him and hi s
reputation. His very identity was changed: he was now an officer by t it le, and his previous
self and his social status were covered by his gaudy regimental dress.'
Fulford, T._(2002).
Task 5 Write sentences comparing and contrasting the Regency period with contemporary times.
Use some of the expressions in the box below. Make sure your sentences are related to t he main
issues in t he novel.
-er / -est or more/most
Less/least
as ... as
t he same as
similar to
di fferent from
Homework
about
approximately
fairly
nearly
quite
roughly
Choose one aspect of life in Regency times. Create a visual representation (poster/ PowerPoint slides)
comparing it to contemporary t imes. Use your sentences in Task 5 as a starting point.
Materials by Chris Lima
Austen's Regency Cards
Who was the Englishman
that defeated Napoleon
at Waterloo in 1815?
A. King George
B. Admiral Nelson
C. The Duke of
Wellington
Which of these
gentlemen had the
greatest income?
A. Mr Bingley
B. Mr Darcy
C. Colonel Fitzwil liam
A pelisse is a ...
A. Long-sleeved
ladies' jacket
B. A square dance for
four couples
C. A card game
Which two tourist
attractions were created
by the Prince Regent?
A. Regent's Park and
Bath's Royal
Crescent
B. Bath's Royal
Crescent and
Brighton Pavilion
c. Regent's Park and
Brighton Pavilion
Since her father was a
clergyman, Jane Austen
always portrayed the
clergy as good, kind,
upstanding people.
A. True
B. False
Who in fact appointed
the clergy serving the
parish within an Estate?
A. The local Bishop
B. The Archbishop of
Canterbury
C. The Lord or Lady
of the Estate
What is the name of
Darcy's estate?
A. Pemberley
B. Netherfield
C. Rosings
What is a parsonage?
A. A public area
reserved for
walking
B. The house of the
leader of the local
Christian church
C. A place for local
balls and public
assembly
Which of the sisters
acted in the most
inappropriate way?
A. Lydia
B. Kitty
C. Mary
In the English Army at
the time most rank
promotions were based
on:
A. Royal patronage
B. Merit
C. They were
purchased
What kind of shop is a
milliner's?
A. A clothes shop
B. A hats shop
C. A shoes and bags
shop
Which of these had the
highest reputation in
Regency England?
A. The Navy
B. The Army
C. The Royal Guard
WEEK 3 LESSON 12/ 45 "Pride, Prejudice, and Marriage"
TOPIC: Module A (Exploring Connections) Pride and Prej udi ce: Context I TIME 60mins
This lesson focuses is the last lesson in a week of the context of Pride MA10.2
and Prejudice. Trailer for BBC Persuasion
It focuses on the representation of marriage in Pride and Prejudice and a MA121
comparison of this to modern representations of marriage, in order to MA12.2
set up students for the study of Letters to Alice.
LESSON OUTCOMES
1.4 explaining and evaluating changes in meaning arising from changes
of context
5.1 describing and explaining the conventions and the effects of textual
forms, technologies and media of production on meaning
5.3 reflecti ng on the effects of a change in textual form, technology or
medium of production through their own processes of composing
1. Revisit MA10.2 and discuss the reason given for the centrality of marriage in Austen's novels, including P&P. Do you agree'
2. Watch a t railer for the BBC adaptation of Persuasion and discuss how this relates to the brief biography given in MA10.2
3. Ask students if they have watched the fi lms Cinderella (Disney animation), Runaway Bride, and Bridget Jones' Diary. What are the similarities and differences in
the way that marriage is represented in these films' Encourage students to suggest films with a central marital theme and how the institution is represented.
4. Resource MA12.2 - the speech from boredofst udies.org -tell the students that they will be learning about Letters to Alice later; for now, concentrate on the
comments made by the student in the opening of the speech about education and how it relates to marriage. Do you agree'
5. Students research a recent news article about gay marriage, and engage with the 're-definitions' of marriage debate in light of P&P. Debate about the political
versus romantic notion of marriage and the ' purpose' of marriage. When is marriage a need? Revisit MA10.2 and discuss Austen's personal experience with
marriage.
CLOSURE
I
ASSESSMENT I
ee BRITISH
eecOUNCIL
Worksheets
Task 1 Discuss the questions below and take notes on the main ideas you come up wit h.
It is a truth universally acknowledged, that a single man in possession of a good fortune,
must be in want of a wife.
1. How much truth is there in Austen's opening sentence? How much irony is there in it?
2. How important was marriage in Austen's time?
3. How important is marriage nowadays in your society?
4. What kinds of marriage are socially acceptable in your country?
Task 2 What are the main ideas in the quotes below? What do the characters and t he narrator
mean? Rewrite the sentences using your own words.
I. ' To be fond of dancing was a certain step towards falli ng in love.'
2. ' We can all begin freely, a slight preference is natural enough; but there are very few of us who
have heatt enough to be really in love without encouragement.'
3. ' . .. in spite of your manifold attractions, it is by no means certain that another offer of marriage
may ever be made you.'
4. ' Happiness in marriage is entirely a matter of chance. '
5. 'A lady's imagination is vety rapid; it jumps from admiration to love, hom love to matrimony
in a moment. '
Task 3 Look at the quotes in Task 2 again. There are a number of collocations there. For example,
fall in love, make an offer, have heart to do something.
The words below are quite frequent in the text of Pride and Prejudice. Complete the table with at
least two words that collocate in each category.
Noun Verb Adjective
Love
Marriage
Pri de
Truth
Fortune
Feeli ngs
Happiness
Admi ration
Task 4 Wri te sentences using some collocations from Task 3. Make sure your sentences are related
to the topic of love and marriage or to the plot of the novel itself.
Homework
' What distinguishes the plot of the courtship novel is its depiction of the entrance of a young woman
into adult society and her subsequent choice among competing suitors. The choice is not without its
anxieties, however, for one of the unstated conventions of the courtship novel is that the lovers must
undergo a traumatic experience, a violent shift from innocence to self-knowledge before their union
can be consummated. '
Hinnanl, C. H. (2006)
Write a text to answer the question below. Your teacher will give you further instructions.
To what extent does Hinnant's statement apply to Pride and Prejudice?
Materials by Chris Lima
Pride and Prejudice and Letters to Alice Speech
Good Morning class,
Today I would like to talk to you about the value of education in personal relationships.
Education is taken for granted by many people across Australia. However, what most people do not
realise is that education can have a high impact in personal relationships
So what is education?
Some say that education is the process of gaining knowledge, while others say that i t is simply a
matter of going to school. The English standard dictionary defines education, and I quot e, as 'the
process of receiving or givi ng systematic instruction'
By studying and comparing Jane Austen's 'Pride and Prejudice' and Fey Weldon's 'let ters to Alice on
first reading Jane Austen', we can conclude that by balancing the knowledge gained from education
and real-life experiences can lead to successful relationships in life.
During the Augustan period, education for men and women differed. The education that men
received was similar to that of today while the 'educated' women were more commonly known as
'accomplished' women.
An accomplished women 'must have a thorough knowledge of music, singing, drawing, dancing and
the modern languages' unlike the men who studied science, history, geography, mathematics and
li terature. This shows an inequality in the education between men and women.
Since, education did not change the circumstances of women in this society, marriage was
considered more valuable than proper education. As a result, women's educat ion became another
way to entrap wealthy men into marriage; by the allusion of the 'accomplished' woman, and such
was the marriage of Mr and Mrs Bennet.
Mr Bennet, a clever and insightful man, made a mistake by marrying Mrs Bennet. He was 'capt ivated
by youth and beauty, and t he appearance of good humour'. However, Mrs Bennet was in fact
described as a 'woman of mean understanding, li tt le information, and uncertain temper' . This had
soon 'put an end to all affecti on for her' that Mr Bennet had. Thi s shows that Austen is implicitly
satirizing the notion of the uneducated woman, or more commonly the known as the 'accomplished'
woman.
Similarly, Weldon descri bed the accomplished women of her time as the 'Angel of the House' citing
Virginia Woolf. This angel was descri bed as 'never had a mind or a wish of her own' and would
encourage to 'flatter, deceive, and use all the arts and wiles of our [female] sex'. This was a
stereotyped, very acceptable image for the perfect woman and mother; j ust like Mrs Bennet was.
Weldon, just like Austen is mocking this notion, however, she does so explicitly.
This shows that by not being fully educated, the chances of having successful relationships in li fe is
lower t han most.
By properly balancing the knowledge gained, with life experiences can help to build positive
relati onships with others. Mrs Gardiner's and Elizabeth Bennet's relationship with each other in
'Pride and Prejudice' can be described thus.
Mrs Gardiner is an 'amiable, intell igent, elegant woman', suggesting that she is a well-educated
person. Upon her arrival at Longbourn, the first thing she did was to 'distribute her presents and
describe the newest fashions'; signifying that she is a woman who is aware of the world around her.
Since Elizabeth is our protagonist, we know that she i s a well-read young woman who likes to discuss
books as well as other matters with her villagers.
Eli zabeth's portrayal of the Gardiners i s affectionate and posit i ve. This is reinforced by her reference
to Mrs Gardiner as 'My dear aunt' on numerous occasions, suggesting a closer, happier relationship
between the two.
Likewise, in Letters to Alice, this idea of properly balancing education with life experiences is
explored through Alice's parents' marital relationship. Enid, Aunt Fay's sister, i s a wel l-educated
woman who is aware of the world around her, just like Mrs Gardiner. We, as the reader, can see that
she i s an educated woman in letter six, when Aunt Fay accuses her of not instilling the enthusiasm
for reading 'Emma' by Jane Austen into the 'little punk head Alice'. Aunt Fay's words 'a book
[Emma)l know you have read and loved' implies that Enid is a woman who reads literature with the
'capital 'L". However, the words, 'Your mother reads books on tennis, I know' shows that she does
not simply read Literature books but has a balance between the types of books she reads.
Aunt Fay's jealousy in Enid's relationship with her husband, Edward, is shown in letter six, with her
words, ' It is true you must set the dough to rise before going to bed so that Edward can have fresh
home-baked bread rolls for breakfast ... but, because you do that, must no writer ever write about it?
Can you own it, because you do it?' Here, Weldon is implicitl y suggesting that Aunt Fay is jealous
over the life her sister is leading.
Therefore, combining both Mrs Gardiner's and Enid's relationships and their similarities; we can
conclude that properly balancing education and li fe experiences can lead to successful relationships
in life.
In conclusion, happiness and good relationships in life can be affected by our education and how we
apply it to the world. By studying the two texts, 'Pride and Prejudice' by Jane Austen and 'Letters to
Alice on First Reading Jane Austen' by Fay Weldon, we can see this idea is reinforced; through many
characters and is applicable to different contexts.
Thank You.
WEEK 4 LESSON 13/45 "Pride and Prejudice in the 21st Century"
TOPIC: Module A (Explorinq Connections) Pride and Prej udice: Close study of t ext I TIME 60mins
This lesson is the first lesson in a week of close study of Pride and Episode 1 of Green, H., & Su, B. (Writers). (2012). The Lizzie Bennet Diaries [mp4]:
Prejudice as a text. The design allows transition from the previous four
httQ:{Lwww.lizziebennet.comLstortf.
lessons on context to a close study of the Pride and Prejudice novel
LESSON OUTCOMES
MA13.1
MA12.2
1.4 explaining and evaluating changes in meaning arising from changes of MA9.1
context
5.1 describing and explaining the conventions and the effects of textual forms,
technologies and media of production on meaning
5.3 reflecting on the effects of a change in textual form, technology or medium
of production through their own processes of composing
10.1 discernino ideas, attitudes and values reflected in texts
1. LBO: The most recent adaptation of P&P. How does this text represent P&P and its themes, characters and content in the 21" century?
2. Text type: the vlog. What background knowledge do students have about this type text? Do any students have a vlog, or subscribe to vlogs on You tube?
3. Give students 20 minutes to find an episode of the LBO that focuses on a central theme of P&P like marriage, pride, or prejudice. How does LBO connect itself
to the original plot of P&P while adapting it to a 21" Century context? Give the example of when Jane moves to Los Angeles - what part of the book could this
be an adaptation of?
4. Revisit MA12.2 and discuss the choice of the directors to make Lizzie a grad student. How does the fact that her character goes through the same process of
overcoming a strong prejudice about Darcy act as a commentary on the value of education and the impact on relationships. Does this align with the argument
in the speech in MA12.2?
5. MA13.1 - Complete Task 3
6. In light of Task 3, revisit MA9.1 and discuss the last sentence in Task 1; do you agree after reading these extracts? Encourage students to engage in
metacognition and explain how they approached Task 3.
CLOSURE I View the entertaininq rap here: htto://www.voutube.com/watch?v=-b xiWmFWaY and discuss with students in relation to context.
ASSESSMENT I
ee BRITISH
eecOUNCIL
Worksheets
Task 1 Talk to your colleagues and, if possible, find at least one person that can answer Yes to each
question.
Quest ion Name Comments
1. When you read a book, can
you imagine what the
characters look like?
2. When you read a book, can
you visualise the places the
wr it er describes?
3. Have you ever watched a play
based on a book?
4. Have you ever watched a film
based on a book?
5. Have you ever watched a film
version of Pride and
Prejudice?
Task 2 What are the main ideas in t he paragraph below? Rewrit e it in your own words.
In lit erat ure, novelist s t end t o use dialogue as one of several t echniques with which t o
express a character's outlook on the world and to show us how they are thinking. Jane
Austen's use of dialogue has long been regarded as one of her most significant creative
achievements and Pride and Prejudice is a striking example of how she captures
conversations t hat are humorous, happy, sad, unkind and generous. She uses these
conversations t o illustrat e the themes of her novels and also she records a sense of how
people would have spoken to each other two hundred years ago. Some of the ways t hey
spoke might be different t o how we speak English today but in other ways we might be able
to identify many similarities.
Clarke, J. {2013)
Task 3 Read the dialogues and complete the tables.
Extract A
"Come, Darcy," said he, "I must have you dance. I hate to see you standing about by yourself in this
stupid manner. You had much better dance."
"I certainly shall not. You know how I detest it, unless I am particularly acquainted with my partner.
At such an assembly as this it would be insupportable. Your sisters are engaged, and there is not
another woman in the room whom it would not be a punishment to me to stand up with."
Place where it happens Speakers What is the situation? What do the
characters mean?
Cfiar[es 'Bing[ey :Mr 'Bing[ey tfiinli.s :Mr 'Darcy
sfiou[c( aance.
:Mr 'Darcy ...
Extract B
"To walk three miles, or four miles, or five miles, or whatever it is, above her ankles in dirt, and alone,
quite alone! What could she mean by_ it? It seems to me to show an abominable sort of conceited
independence, a most country-town indifference to decorum."
"It shows an affection for her sister that is very pleasing," said Bingley.
"I am afraid, Mr Darcy, " observed Miss Bingley in a half whisper, "that this adventure has rather
affected your admiration of her fine eyes. "
" Not at all," he replied; "they were brightened by the exercise."
characters mean?
.Jl room at
.'Netfierfie[a
Extract C
" All young ladies accomplished! My dear Charles, what do you mean?"
" Yes, all of t hem, I t hink. They all paint tables, cover screens, and net purses. I scarcely know anyone
who cannot do all this, and I am sure I never heard a young lady spoken of for t he first time, without
being inf ormed t hat she was very accomplished."
"Your li st of the common extent of accomplishments," said Darcy, "has too much truth. The word is
applied to many a woman who deserves it no ot herwise than by netting a purse or covering a screen.
But I am very far from agreeing with you in your est imation of ladies in general. I cannot boast of
knowing more than half-a-dozen, in the whole range of my acquaintance, that are really
accomplished." ...
"Then, " observed Elizabet h, "you must comprehend a great deal in your idea of an accompli shed
woman. "
Yes, I do comprehend a great deal in it." ... "All this she must possess," added Darcy, "and t o all t his
she must yet add something more substantial, in the improvement of her mind by extensive
reading."
"I am no longer surprised at your knowing only six accomplished women. I rather wonder now at
your knowing any."
charact ers mean?
A room at
.'Netfi.erfie(c{
Task 4 Look at t he extracts again. What do t he underlined words mean? Writ e their meaning near
t he t ext or on your notebook.
Homework
If you could produce/direct a film production of Pride & Prejvdice ...
Which actors would you choose to play t he main characters?
Which setting would you choose?
Which scene would you choose for t he trailer?
Create your own f ilm project!
Materials by C/Jris Lima
Subject Area:
Stage:
Focus area:
Unit coded by:
Intellectual Quality
Deep knowledge
Deep understanding
Problematic knowledge
Higher order thinking
Metalanguage
English {Advanced)
6
Module A Elective 1: Exploring Connections
c31 09550 -Sonia Carpenter
Code Descriptor
The u n ~ requires sustained focus on key concepts and
ideas and requires clear articulation of the
relationships between and among concepts.
5
A substantial part of the unit requires students to
provide information, arguments or reasoning that
demonstrate deep understanding.
4
The u n ~ requires knowledge to be treated as socially
constructed, ~ h muhiple and/or conflicting
5
interpretations presented and explored to an extent
that a judgement is made about the appropriateness of
an interpretation in a given context.
Throughout the unit students are required to
5
demonstrate higher-order thinking.
The u n ~ requires students to make substantial
5
reference to, and complex comments on, language
and how it works.
Notes
This unit has is structured on a time line that
provides the opportunity for students to gain
deep understanding of the key concepts of
texts, context and the connection between
them in a single text and across time,
through individual studies of the texts and
their contexts, and then consolidation of this
through a focus on using this knowledge to
meet HSC requirements.
5 of the 10 weeks in this unit focus on
students developing and demonstrating a
deep understanding of HSC requirements,
and 5 weeks focus on the students
acquiring a deep understanding of the texts;
the learning activities and resources
throughout challenge students to
demonstrate DU consistently.
The concept of problematic knowledge is
central to the conceptual themes of this unit
and is integrated throughout.
Problematic learning tasks that mandate
active student involvement are constant.
The study of language is a core function of
this unit in the student of how concepts,
themes, and characters are represented.
,--
Substantive communication I 4
Quality Learning Environment
Explicit quamy 3
High expectations 3
Student direction 2
The requires students to present some sustained
clarnication of the ideas, concepts or arguments
related to the substance of the topic.
Clear statements are made regarding the quality of
work but there is little elaboration of what it means to
dowell.
The presents some challenging work for most
students.
Although students are given some control over some
aspect of the (choice, time, pace, assessment),
their control is minimal or trivial.
Throughout the there are constant
debate and discussion-based learning tasks
that require constant substantive
communication. See lesson plans 11 and
12.
The assessment task is delivered in the
area of the covered in the lesson plans,
but the assessment task notification
demonstrates a clear explanation about the
qua my of work expected in the task.
Throughout the unit the students must
demonstrate their knowledge in and
oral, formal and informal situations. The
planned lessons contain some challenging
written work as the foundation for HSC
exam preparation later in the but
focuses on oral demonstration of learning in
debates and discussions.
Most learning tasks in this unit are
prescribed with minimal student direction.
Significance
Students' background knowledge is mentioned or Background knowledge is the foundation
elicited, is connected to the substance of the unit, for the design of most lessons, as they
Background knowledge 4 and includes connection to out-of-school begin an initial stimulus that is
background knowledge. unintroduced and commented on by
students
The requires students to include substantial This occurs significantly in the lessons
Cultural knowledge 4
and valuing of cultural knowledge, and that focus on the context of P&P,
to challenge the framework of the dominant through consistent comparison to other
culture. contexts, including the students own.
The requires students to make some minor or This unit requires substantial study of
Knowledge integration 2
trivial connections, but knowledge is mostly film and media, inherent in English.
confined to that of a specific topic or subject area. There are no meaningful connections to
other KLAs.
The is based around some connection to the The study of this elective can be justified
world outside the classroom, but the does not as significant to student development of
require students to explore implications of these critical media literacy, but is focused on
Connectedness 3
connections which remain largely abstract or forming these skills the micro-
hypothetical. context of the HSC examination.
The makes substantial use of narrative and Narrative is a central component of this
Narrative 5
is integral to the requirements of the unit and its thematic base.
Title: .................................................................................................................................................................... .
Composer: .......................................................................................................................................................... .
Source: ........................................................................................ Date: ............................................................ .
Context: .............................................................................................................................................................. .
Audience: ........................................................................................................................................................... .
Purpose: ............................................................................................................................................................. .
Synopsis of t ext: .................................................................................................................................... .
Ideas relevant to "Belonging": ............................................................................................................ .
10
Techniques used to present relevant ideas about Belonging (Technique, Example, Effect):
1. ....................................................................................................................................................................... .
2 ......................................................................................................................................................................... .
3 ....................................................................................................................................................................... .
Links to other texts in terms of ideas and techniques:
1. Prescribed text:
2. Other t ext of owrn choosing: ..................................................................................................................... .
11
Based on a resource developed by Warilla High School, available here: http://web2.wari lla-h.schools.nsw.edu.au/dept/english/Belonging/
Resource AOS20.1: Comparison/Contrast Table- The Simple Gift & ORMs of Own Choosing
Aspects The Simple Gift
ORM of Own Choosing ORM of Own Choosing ORM of Own Choosing
1 2 3
Context
Perspectives
Textual
Features
Based on a resource developed by Warilla High School, available here: http://web2.wari lla-h.schools.nsw.edu.au/dept/english/Belonging/
Aspects The Simple Gift
ORM of Own Choosing ORM of Own Choosing ORM of Own Choosing
1 2 3
Textual Details
Belonging
Theses/
Lines of
Argument
Personal
Critical
Response
ENGLISH TEACHERS' ASSOCIATION NSW ETA.18.05
STAGE 6 SYLLABUS Advanced A: Texts in Time: Blade Runner and Frankenstein. 20092012
PLOT SUMMARY
A simple way of covering the novel in one lesson is through the Instant Book. Aside from
providing a quick summary, it allows those students who have not finished to at least know
what happens in the end so they can participate in activities. Allocate a chapter to each student
and the tosl< of summarising the content of that chapter in less than 2 minutes. Hove each
student present their summary orally and add it to a Word file to be distributed for class use.
Each student then becomes the class's expert on at least 1 chapter and will be able to respond
to questions about that section whenever they arise during the unit.
In pairs students use the collected summary to
o Identify the important events in the novel
o Find a key quotation from each important scene
o Represent the novel as a plot graph charting incident (orientation), rise of
suspense, complications/ crises, climax, denouement or resolution.
Graphs are then shared with the class and compared.
CHARACTERISATION
Working in groups students take one character each and build up a character profile
considering the following:
o Characters are revealed in their descriptions and the clothing they wear.
descriptions can change as the character faces challenges or grows
o Characters are revealed by the setting they are in and their reaction to different settings
o Characters can be understood by looking at their relationship with others.
o Characters are revealed in what others say about them.
o Characters are revealed by their own thoughts.
o Characters can be revealed by their actions
o Characters can be revealed from what they read
o Characters can be revealed through their choice of words.
Look at the characters of: Walton, Victor Frankenstein, Clerval, Elizabeth, Victor's parents, the
monster in the light of each of the above.
Often characters are constructed to represent a particular type of person or an idea. In this
novel one of the key ideas is obsession- consider how the characters of Walton, Victor
Frankenstein and Clerval serve to illustrate aspects of this idea.
Compare Victor Frankenstein's relationship to his parents with his relationship to his creation.
16
2008
09English - Comparative Study hnp://09english.wikispaces.com/Comparmive+Siudy
I of3
--;. 09English
Comparative Study
Edit
ThiS pago iS tor tho module Comparative ShJCiy.
Pride and Prejudi ce and Letters to Alice
Re: How do you compare l etters to Alice and pride and prejudi ce? -
Through conllieling and similar vatuos whiCh can be soen i'l th& con1ex1. connoctions bOiweon texts are recogniSed through a
variety or aPPJoacMs i.e. the consideralion ot dirOOI or indhoct retemnoos. vak.los. idGas ar'ld the uoo Cll language t&ati.KGS and
torms. What thOSG conooclions have to establiSh iS tho nolion that thO moani"l9 and ur'ldol)rSianding ol a text iS not saatie 1M is rather
shapod and reshaped through ils relationship whh other texis in thiS caso Pride and PrGjudiee and Loners to AIOO.
So It you analyse. compare the toxts and consltuel an eXIencled response irs:
! .Thesis
2.Examples ot contex1s leading to values 10 tusllty ltlesls and eslabllsh c:onnections
3.0uoles to support oonnecllons
4, Techniques In quotes to relay oonneollons
S.Li nk to lhesls and how il causes a shaping or retorming of meaning In BOTH lexts.
6.Repeat2 5 many times
7.Conclusi0n
COmparalive Study
Focuses on re-lationships 00-two&n tex1spossiblG links b&ing owrt or subl and mlaling 10 lhGmatic. OOfli O'xtual and styliStiC
leatures
COmparalivG study can de-velop a greater ur)(k)rSiandingtapp.ecialiOn of IM tir'l\Gs in which bOih lexts wore croatoo
Meaning of !ext is interprelive. can change over lime and ls<lepandent on responder's personal allilldes Kid values as well as
relationships that might wilh other l exts. past and presenl
Attitudes. values. c:omposers purpose and Individual achlevemenls can be beller understood by oonslderation of connections
Hlslorical Contex1AUSien
VICtOfian Age
Period unparalleled power for British Empire
Industrial revohAion le.aps in technology. lndustrlali:sallon. engineering, development of electric lights rail system
Tlme ot peaoo. prosperity and oolonlsallon underpinned by economc changes bt'oughl by the lncfuslrlaJ
nme ot political turmoil andconlli1. both owrseaswllhooJonles and at home
nme ol groat achiewmenl in arohitootm&, lit(ualuro and the ar1s and sciGnoo
Focus on role of women and limil&d !&gal rights of womon only b&gan to bG addressod a1 end oC poriOd
VICtorian England wornon soon as puro and unlainl&d- lead 10 concept of IM "idGal woman
storootypicaUy se&n as astrid and tor mal sooiely. SGx was no! spoken or wriltM abOut and womon wero oooond-class citizens
Women in Victorian England
ManiOd women had simiar righls to those of childr&n. ThO law regarded a marri&d coup!& as one perSOn. The husband was
re-sponSibiG for hiS wU& and bound by law to protect hGr. SM was supposed 10 ob&y. P&rsonal proporty lhallhG wiG broughl into IM
mauiago beCame I he proportyof lhG OVGn in tM ownl of divoroo
Custody ot chUdren resled solely with the l ather
Some reforms to laws regarding custody and dlvoroe during !he course or 19th cemury
1657 Act women given llmiled oooess 10 dlvoroe. Husband onty had 10 prove wife's adultery: women had to prove acklltery as well
as lnoost. bigamy, crueny or deser11on.
Ootf)le standard e,dsted with regard 10 sex oulsklo marriage, Husband oould use prosth\Jies and this wasn't oonsktered .,lktelity
Generally. women's rote was to run the household and enl er1aln the husbancf's 10 look aner chUctren and her own
education: be 'sick nurse' ll anyone was ill and watch over her age.,g paJenl s.
PridG and Pre-jlldioo
S&Uing re-striel&d-typical of Austen's f'IOII&ts uses !his as a microcosm ol thG world g&n&rally. SM usostM oxporiGnces ol a sQfoct
tow poople in a smal soiling to rnak& rnore uniVOJSal commonl s
Mauiago
Nurnber ot factors afi i)Cts lhG qualilyof marriage. Al.IS1en rolklds lhG vaii.H)S of IM chmch and hGr limenol acceplable 10 have- a
relationship without being wed. Ttl& world ol hGr nowls d&mandGd maniage
Auston comm.enls that some- rnaniages w&r&rft good rnatchGs. SM mak&s dear I hal maniages ShOuld involve- alf&clion bul lhGy
alSo nood to bO unanciatty sensible. She alSO sugg&Sis that partn&rs shOuld baianc& oach olhGron& can hGfp r&m(Kfy OO!icits in lhG
other. Through different in the !ext AUSien demonstrales her Ideas.
Manlage as the economic basis ot li'te and the means of attafli)g social stalus Of lflanclal security Is pa.rocled tl the novel. 11
remains clear. however. lha.l ror young ladies ot limited Jot1une or beauty. marriage was realy the onlyoplion fOf a secure h.Jture. Mrs
Bennet Is on a constanl quest lo marry oil her 111/e daughl ers Jor 1he business ol her lile was to get her daughters married:
Women were foroed by socfal convenUons 10 anract a potenlial mate through beoomlng singing. playing the
plano. drawirlg and doncirlg.
We are drectly inlorrned ol Cha.rlolle Lucas "wilhout thinking highty either of men or of maurnony, marriage had
alWays boon her object 11 was the only honourable provision Jar weleduca.ted young women ol small fortune .. :
3
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Pages and Fi tas
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hOmO
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eompruativa Study
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Qitical Study
Exam BreaJoclown
Extension One
Helpful Ll'"""
OvorviowThO Crucible
Text List
7/06/2013 5:07PM
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entering the marriage SitU&."
MrS Bonne! i$ equally bfunl wilh EizabQth when l&ami ng of hGr rofusal ol Mr Collins proposal. "If you go on refusing oli os of
marriagQ. you wUI OOVQr gQI a husband-and I am sur& I dO not know whO iS lo mainlai n you whOn your l ather iS dOad:
Charlott o roadity admils shO iS. "aooGpling him soiOiy from lhG pur& di:Sini:OrOSIOd OOsi m lor an oSiabliShmOnL .. Si noo She is atroady
27 yoars old and hom a largo l amily with lilfle luncts. sho foolS thai. "'Happiness in mauiago iS &nli r&ty a manor of chance- and as
such if iS her oost chance of havi rg a r&asonabiO standard of IMng. If she fails fo marry. She would 1\avo to romai n with her family as
a *dopo:nctent" or havi ng to taM up omploym&nl as a "lady's companiOn" or a Marriago. to thO OdiOus Mr Colins
ooorns a oonor OpliOn.
Monoy
Matches made wllh no money on el1her ski& are shown 10 be lmpwdenl, In an era where lhe ge.,.ry had narrow oppor1unll9s for
making money.ll's impor1an11hal an Income was ensured. While Austen beUeveslove should be fflotved. a shoiA<Sn'l be substituted
lor sensible behaviour. Yel l he kfe.a I hal money would be pursued withOut aflecllon is criticised.
There must 00 love. Charlotl e's marrlage 10 Collins repulses Ell zabelh. Charlofl e beUeves r. marriage Is purely a
mauer of chance" and '1 am no! a romanflc . . l ask only a coml ortable hOme. Austen cannot agtee. The reader sees how Charlotte's
choioes are logical. hetped by Weldon's exp&anatlon. and we lind h hard 10 crtticlse. Yet we can't enjoy the relationship. We pity her
lor what she must endure becat.JSO the aUernaHve lor her are much worse.
LOVQ is shown as differenl 10 lusl or passion. Lydia and Wickham wrose ' passions were Sl ronger than their virtue" are shown as a
poor love matCh.
El iZaOOth's sJowCIQvQioping atl ocnon fOr Darcy iS prQSQntOO poSirvely 11 has bOen comilg on so gractually. and 11\ardly know when
ill began: Darcy and Eliza bO-th lasl through Lydia's sham&. This li'lks 10 W<fkk>ns comm&nls fo her rioee about char actor building
aspocts or relatiOnships.
WOidon
Or'IO ol WOidons ohi.ol aimS is to give an appraisal of Jar'IO AUSIOns limes and work.
Weldon argoo:s AUS!Qrfs val uo !Oday:She Shows through her diScUSSiOn lhat lheres much to toarn from Aust&n styli stically and
lhOmaticaUy. Universal concerns aboul rOclafionships and social rosponsi bilily aro sfill r&l&vant. She may be sooptical about thO notion
ol '1USI deserts and thinks Auslen was bending her messages 10 the demands or her Urnes
Weldon reoognlsed as a temlnlsf and Is lnteresfed In the experlenoes ol women. She explores the realities of chi ldbirth and the
very reallears associated with reproducllon. She looks at lhe desirability lor marriage in VicfOfian England and the allematN'es of
not manylng. Her version ol has a dear l emlnl SI bias. If's a siMI lhatleads her 10 make some rather unique on
characters in P&P. she tolerates Mrs Bennel's OOsperatlon and really understands Charlones choices. She Is tnOf& chartable lhan
AuSien
Weldon concerned with women supporll f'!g women. She reoommends Alee support I he Prol essor's wle "My acMce to you Is.
oonsider the nature of UnlovabfO. You may 00 wrong aboul oor. lnt&f9Sfingly. Alioo is friendS wlh lhO professors wife by the fi nal
IOIIOrS.
ThO roador. as the surrogato Alice. glean imporl anl tats aOOuf IM authOr's GGorgian context and opens up a conrextual window
into thO novelist's wor'kl
Gonder divide belween men and women iS madO as iS lhe overarching oppressivor'IOSS ol patriarchal soCiety Austens
boOks aro S1l.ldC:IGCI with lathers i ndiUoronf 10 thOir lamiliOs (in parlicular !heir daughl orS) wollar&:
Weldon tolls Alice thai Austen "lived in a socBfy whiCh assumodas ours: does-lhat its vakJes were righi:We IOarn that orVy 30% of
wom.on marnoo so that the oOOOssiOn wilh marriage thai iS IOund in P&P SUddOnly l akas on now meani'lg. Austons st.alus as a
spinSior still forced to l iVe whh Mr family woukS obvioUSly inpacl on hGr dOpidion of 11'10 social oxpoctation and practiCal dilficuhy of
marrying weU.
Weklon encourages her niece to apprecfate the impor1ance ol lhis confemplafe a soclal enWonment dilerent to her own. "To
marry was a great prize. h was a woman's aim. No wonder Jane Austens heroi nes were soabsofbed by the matter. II is the st!jf of
our women's magazines but II was I he stun ol thelr life. thei r very existence.'"
Weldon's lnteresf In femlnlsf issues seen In other revelations 10 Aloe about female i1estyle. qtkkfy dispeling any 'Vision of
Georgian England as a rl.l'ali<tytt '". She asset1s lhat women suiViwd.in Jane Austen's day. by pteasklg and charrring If they were
middle classes. and by a good. srrong back 11 they were I he pe.asamry. Wekk>n lei Is her ,.ce. Alee. by your standards. i t
was a horrible time 10 be alive."
Weldon also describes Austen's ramify as being. '"energetic and i nfellgem people . .. wellread. llvety and tar lrom bori ng," Mention Is
alSO rnadO that whi iO moi'Jlenlous Ns1orical &vOnfs were happoning in lhG po:riOd in which She was writi ng. AuSion chOse not to wrlo
ab0u1 th0m. we aro informed thai thO Auslens were nol -cuf olf hom workl &vGnts. Thoir .nowspapo:rs wero i llormati\!G and
di:Scursivo. 11 iS true that the world of poi tiCS and pow-or. dissenf and rewk.lfion. loature al moSI nol at all. in Jane Auston's novels. but
this was surely trom chOice rather than hom ignoranoo.
Weldon diSCusses Austorfs wor'k. ineludi-.g all sev&n WhiiO thGre iS no spacial &mphasiS gWen to P&P ovor any othor
novol wo got a roal senso ol AuSIQn !he wril&r. In the oponi ng 1&119r we are told lhal AUSien gavo hersol. through hGr writing.
another tile that outran hOr own: a IHerary Iii&.
Austen's literature snubbed the ool'l'Venflons of I he popular senlknenl al romances and gothic novels of her ti me because of thet
emouonat exoesses ana metoaramauc etemems. lnsteao. sne cnose 10 WTne a!X>ut ner own tleStY'e ano social ooo1ex1.
Her characters moved withi n a narrow soclal tramework. where spechic rules ol conduct were strictly promoted atoog with vakles
of order. reason and good sense.
Her style is highly oornroled. lull of satiric humour and dialogue. Her language does no! exhibll excessive rhei Ofic or
protbci ty(le<flous language) eKcepl when she chooses l o <l el berately use the nanatllte 10 caricature figures such as Mr Collins
Plots tend to be oonoerned wilh problems. oompllcations and mlsunderSiandi ngs lhal beset young kwers. These typk:aly relate to
matters StiCh as family. property, will:s. weanh or breeding.
P&P OKplores social attilude$. values and relationships. The novel challenges us it causes us 10 re-examine the values we take fOf
grantGd and thO valoo:s wo have 101 diG
AUSien essential ly conseiVative position on lh& rol& of woman in hGr &ra iS so&n i n lhG or'd'lg. She dOes. hOwevor.
advocate greater for wornon lhrough her Slrongminded. l ornal& prol agoniSI. Eli2a00ths potSOMity r&Pf&OO-nls a
ciGar deviation lrom sooial oxpoctaliOns an awarenoss ol lhG stupidhy and unl airness ol a patriarchal capitaliSt SOCiOI'y pormoates
every aspoct of AuSions liotiOn- (Claudia Johnson). ThO can sorve as a social commontary 10 which a ,ominist iOns" can be
applied.
AUSiens aohiewrnonts are roinforood lhroughOut the l&ners: "but no-ono woukl burn Emma. No-one would daro .. . lrs
litoraturo whh a eapital l. de-failS abo\J AuSIQns novoiS are oncapsulated whhin 11'10 gonoral dkmclie advice thai is givon from aLWlt
10 nlooe. Austen I he writer Is broughl to li1e lor readers becavse she Is humanised and put within a oootext that is also made easier
7/06/2013 5:07 PM
09Englis h- Comparative Study hnp://09english.wikispaces.com/Comparmive+Siudy
WOICOI'nl). LOam mi)!O atx>IA Wt\AI 00$ 10 OIIOf,
3 of3
Il l UM;II IVIIIIl:I II IO:ll .::>IIU llltlfl:UY VI UIU IU
comment on the limes.
In a barbed obSGIVation ot tho social hypoc1i:Sy and pretentiousness of the Goorgian ora. commoniS thai. Auston l ikes to
ooe thO diviSion bOtwoon oobilily and gentry broken dOwn-or polhaps sM rMrGty wisMs to t'mnobiG IM rather dr&adful habit tho
had. ol using the gentry as thGir bleeding groundchOosing suitable motherS &or their chldr&n as !hoy choSG mates tor th&ir
tarm
In a sonso we see iSSUG$ PfGS&ntoo in novels such as P&P through now &yes. giVon what iS tearn&d through Woldorfs opiStolary
S1yl0.
trs cmr that WGidon iS stressing the quality ot i te1ature such as that WJitten by AUS1en as being Of i nesti mable value. *as c;pposed
to just bOOkS*. Thare iS value in such texts that has a long&vhy d&niOO kltho 1Gxts lound in IM ooOOII)r SlrG&ts oc lhG "Chy o&
lnvenlion'". In I he opening let!er Weldon tells Alioe I hal AuSien is an observer ot 1He "She observes it; she does not condemn",
This so-calle<I"City ot lnvenllon'" Is vividly evoked. crealed menl aJ eanctseape ot buildings. thoroughfares. complete with trmspof1.
busll lng crowds. This is muiUdimensional mela.phor I hat allows Wekjon 10 differenllate the different stytes and qualil5es OC
"bestseUers" as against olher literary l exts thai have looger las1ing qualilies. This use or melaphor gives depth and resonance to the
!)()Wet ot Literature to communicate kfe.as. va-...es and anltudes that remain Hmeless and unlvetsaJ long aJte1 the eta OC
oomposltlon.
Weldon asserts thai in !hi$ cy. the more popular texis are Interior to AuSien. They lack the substance of real lltetat..-e because
they have nothlog bul lleetlng enlertalnmenl value. "because they don1 enllghl en. they are unmporlanl."
Weldon's uoo of tirst p&rson omniSOiOnl narralor. aulhorilatiw. conlickmllone as w&tl as tM assumed ptHSOM oc exporiOnCGd.
older family mentor. makes thO reader IT'IOre prone to aoooplthG assumplions I hal ar& pr&soni Gd.
love
Notions ot love examined via the various relationShips thai ar& rewa led wilhin I he nowt
AttaChments basad on mal&riali:Siie or meroonary consiek)ralions rathor than romanlic inclnalions such as !hat betwoon Chartott&
Lucas and Mr Collins. abound in AUS1on workl. They have lillt!) to u)oof'l"r'n9nd bul neilho&r dO lhoSG lr9g&r&d by passion an::t
rnere physiCal attraction as Mrs Benne! and Lydia and WiCkham.
The ideal rolationship by contrast is ono rui9CI by reason ralhor than &mol ion. a conneclion I hal iS "rationaly fo...-'ldeef and baSGd
on compatibility. ThiS iS oharacteri:S9CI by both par110s having a "Similarity of looling and &ast&- as w.)ll as an -oxoollent ...-'ldGrstar'King-
of the olher. At!une<llnl elflgence. lnteresls. oUIIook musl underpin a romance as well as the abllily to ratlonaJise and
readjust perceptions.
Darcy's Firs! Proposal (Ch 11 )
Comes as a shock to Elzabeth. He ls cteartj nervous and tincts h dlfficul 10 express his lee&-lgs "he came towards her ., an
agftated manner."
He declares 10 her " I admire and love you". ,."ln vain have I struggled" but reterence to the .,terlorlty of her !amity and the
"degradation" it would mean l o be oonnecled to them desltoys any chance ol a posllve reception His first proposal is not delivered
with great sonsHivily. Ho i:S oompkl:toty hoOOSI abOul hi:S auempls to dony hiS intorest ol hoJ fowty connoctions.
OGspife hiS 119&-ling sympathy. 1-iG spoke wGI. but 100ro w.)f& IOOiil'lgS bOSiek)S lhOSG of IM Marl kt be dGtailed ... HiS S(tflOO Of
inloriorttyot ils being a (k)gradation-ot 100 family obStack)s .. :. Sho laShes oul in relum; sM is so ar'lgfy that she iS no1 &von polito in
her r&lusaJ. H&r rejection causing surpriSe and ShoCk. "Hi:S comptoxiOn bocam& pale wilh ang&r and thO diSturbance ol his mild was
visiblo in overy to.ature. ShG is oompt&l ety honost. !&li ng hirn of his rud& comments ar'ld OOspicable behaViOur. She accuoos him of
not being "g&nll&man-like-. Sho goe.s on to declare "I had 001 known you a monlh bOior& I lOb that you wor& I he last rnan in thO world
wtiOml oould ever be prevailod to marry:
Ho i:S iner9Ciulous I hal shG could r&IUSG him. His SGIIishnoss and priCk) iS ShOwn lhrough his l aluro l o considGr 1M mal cfl deopty
beyOnd himsoh. His -torced calrnnoss"largoty exprosses thG vehemenc& ol hiS mspoi\'S&l"And this. iS your opinion of me! ThiS iS lhG
estlmalion in which you hold mer
She reviews whether her rebukes were warranted and can't overlook lhe criticisms ol her lamlly as well as "his pride". Such mlxed
feelings alert the reader 10 her misjudgemenl ot the situation
Transition in her af1eclions tor Darcy is srown in her Internal monologues where she reveals that '"she respected. she esteemed.
she was gratefullo him. she feb a reallnteresl in his wellare: and she only wanl ed to know how tar she wished that welfare to
depend upon hersell .....
His second proposal is oouched In more humble. consklerale lerms. "You are kto generous kt trilla with me. n your leelilgs are Sill
what they were In April. tell me so at onoe. Myaffecllons and wishes are unchanged. bul one word lrom you wilslenoe me on this
subjectlorever ...
Eli2:ab0th acc&pl$ hi:S olfor "tie oxpre.ssed hi'nOOI on 1M occaSion as sonsibty ar'ld warmly as a man violenl ty in tow can be
s:uppoood to be:
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