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Title: English is Deadly, Unna? Subject/Course: English


Topic: Analysing Themes & Literary Techniques in Writing Grades: Year 10
Designer: Brodie West Date: 2013
Overview
In this modern day and age it is vital for students to have the necessary skills to be able to view a
text and then critically analyse the messages and techniques used to create the text. There are
many prevalent social issues surrounding the contemporary student, but the focus of this unit will
be stereotypes and racism, in particular Australian stereotypes and racism towards Indigenous
Australians.
Deadly, Unna? is a book written by Phillip Gwynne and it discusses stereotypes and racism in the
setting of a small country town in rural South Australia. This text grapples with the issue of social
stereotypes and racism in society (as well as having several other underlying themes), and both
convey their message(s) using various techniques. The aim of this unit of work is for students to
examine the techniques used in the book and film, examine the major themes of the book and film,
and assess how effective each technique is in conveying the themes.
This unit has been constructed for a class of predominantly English speaking students, from
middle-income families. There are however several ESL students in the class. The school is country
based (not metropolitan). This unit is the first of the semester, and will lead into persuasive
writing, which will draw upon some of the knowledge gained in this Deadly, Unna? Topic.
Over the course of this unit students will
Read the book Deadly, Unna? by Phillip Gwynne
Research social stereotypes (and the racist effects of them) surrounding Indigenous people
in Australian communities (e.g. good footballers, not good enough to be seen with, etc)
Critically analyse the strategies used in the book to portray these stereotypes and racism,
and how effective they are
Become more comfortable with receiving written and oral feedback
Further develop their critical analysis skills
Stage 1 Desired Results
Established Goals:
The Australian Curriculum English Year 10
Examining Literature:
- Identify, explain and discuss how narrative viewpoint, structure, characterisation, and
devices including analogy and satire shape different interpretations and responses to a text
(ACELT 1642)
- Compare and evaluate how voice as a literary device can be used to evoke particular
emotional responses (ACELT 1643)
- Analyse and evaluate text structures and language features of literary texts and make
relevant thematic and intertextual connections with other texts (ACELT 1774)
Texts in Context:
- Analyse and evaluate how people, cultures, places, events, objects and concepts are
represented in texts, including through language, structural and/or visual choices
(ACELY 1749)
Literature and Context:
- Compare and evaluate a range of representations of individuals and groups in different
historical, social and cultural contexts (ACELT 1639)
Text Structure and Organisation:
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- Understand how paragraphs and images can be arranged for different purposes,
audiences, perspectives and stylistic effects (ACELA 1567)
Interpreting, Analysing, Evaluating:
- Identify and analyse implicit or explicit values, beliefs and assumptions in texts and how
these are influenced by purposes and likely audiences (ACELY 1752)
- Use comprehension strategies to compare and contrast information within and between
texts, identifying and analysing embedded perspectives, and evaluating supporting
evidence (ACELY 1754)
Understandings:
Topical Understandings
- Gary Blacky Black defies the social
norms of the time, and befriends Dumby
Red, displaying true strength of
character, and exemplifying change is
possible.
- Being true to you is more important than
being popular in the eyes of others.
Enduring Understandings
- Authors use various techniques, such as
characterisation, voice, metaphor,
colloquialisms, etc, to shape the readers
opinions.
- All writing represents a particular
viewpoint (e.g. is written using a
particular voice).
- Authors take their reader into account
when writing.
- Stereotypes and racism are still a part of
contemporary Australian society due to
the firmly embedded cultural ideals of
Australia
Essential Questions:
- What is racism?
- What is a stereotype?
- What techniques do writers and
filmmakers use to convey their message?
- What are the most prevalent themes in
Deadly, Unna??
- How can racism and stereotypes
negatively impact upon society?
- How has this book impacted you?
Knowledge:
Students will know
- How to critically analyse texts to
determine themes and techniques
- A range of stereotypes surrounding the
Indigenous population of Australia
- Viewpoint, or voice is everything when
it comes to the portrayal of issues in
literary pieces
- The plot and characters of Deadly,
Unna?, and how they are used by the
author to effectively convey the
message(s) of the story.
Skills:
Students will be able to
- Begin learning to critically analyse texts,
and make informed judgments based on
their analyses
- Identify the techniques of writing
evident in Deadly, Unna?
- Use note-taking to keep record of the
important and relevant aspects of the
text
- Construct relevant and engaging
essays/presentations that appropriately
and effectively answer the questions of
the performance tasks.
- Draft, review and revise their
writing/presentations.
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Stage 2 Assessment Evidence
Performance Tasks:
Performance Task 1
- Students will read Deadly, Unna? taking
notes on style, themes, language, etc.
- They will then critically analyse the text,
looking for prevalent themes (in
particular social stereotypes) propagated
throughout
- Upon identifying these
themes/stereotypes, students will then
complete a short 600-800 word summary
of the themes and stereotypes, and what
impact they have in contemporary
society.

Key Criteria:
Key Criteria 1
- Knowledge and understanding of the
prevalent themes and stereotypes
present in the text.
Adequate evidence is shown to prove
that the student(s) have an
understanding of how people, cultures,
places, events, objects and concepts are
represented in texts, including through
language, structural and/or visual
choices (ACELY 1749)
- Proof that the student(s) understand
how paragraphs and images can be
arranged for different purposes,
audiences, perspectives and stylistic
effects (ACELA 1567)
- Clear, coherent writing style, with
relevant information and appropriate
formatting, style and structure.
Performance Task 2
- Students must then complete a major
essay (of approximately 800-1000 words)
based on one of the following questions:
1. How is plot used to explore racial
discrimination? Refer to specific
examples from the timeline, or your
own interpretations (include page
numbers).
2. In chapter 22 Blacky comments
Mugs away, was one of my old
mans sayings. And now I was
saying it. Its crazy, isnt it, the stuff
you absorb from your parents?
What do you think this quote is
really alluding to? Hint: consider
predetermined beliefs, stereotypes,
attitudes and racism.
3. At the grand final do, Mark Arks
(Robertson) is awarded the best on
ground trophy. Explain why this
event is a turning point for Blackys
view of the town and their
treatment of the Indigenous people
of the point. Consider racism,
double standards (one set of rules
for Goonyas, another set for
Key Criteria 2
Q1
- Clear understanding of how paragraphs
and images can be arranged for different
purposes, audiences, perspectives and
stylistic effects (ACELA 1567)
- Relevant analysis and evaluation of text
structures and language features of the
text (ACELT 1774)
Q2
- Identify and analyse implicit or explicit
values, beliefs and assumptions in the
text and how these are influenced by
purposes and likely audiences
(ACELY 1752)
- Use comprehension strategies to
compare and contrast information
within the text, identifying and
analysing embedded perspectives, and
evaluating supporting evidence
(ACELY 1754)
Q3
- Compare and evaluate a range of
representations of individuals and
groups in different historical, social and
cultural contexts (ACELT 1639)
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Nungas).
4. What is the voice of a novel? Who
provides it in Deadly, Unna?? How
effective is the voice in addressing
the relevant points of the novel,
such as racism and fear? Refer to
examples.
- Note: Students may choose to complete
this assignment by way of oral
presentation. If they choose this option,
they must still complete their choice of
the above questions, but must present
their opinion in a short video
(approximately 5 minutes worth).
- Identify and analyse implicit or explicit
values, beliefs and assumptions in the
text and how these are influenced by
purposes and likely audiences
(ACELY 1752)
Q4
- Evaluate how voice as a literary device
can be used to evoke particular
emotional responses (ACELT 1643)
- Identify, explain and discuss how
narrative viewpoint, structure,
characterisation, and devices shape
different interpretations and responses
to the text (ACELT 1642)
Other Evidence:
- Notes taken during class time, and for homework
- Drafts of Performance Task(s) 1 & 2
- Students input for class discussion/group work
- Satisfactory completion of formative tasks in class, as well as providing input into class
discussion based upon their answers

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Stage 3 Learning Plan
Learning Activities: Consider the WHERETO strategy throughout the unit
Week 1: 100 minute double, 2 x 50 minute single
1. (DOUBLE pt. 1) Introduce the topic: Deadly, Unna?. Underlying focus on racism and racial
stereotypes in Australia, and how they are portrayed in different forms of media.
Begin with warm-up activity called Three Words. Give 2-5 minutes and ask each student to
write down three words they associate with the new topic. This gives a very quick insight into
what students mindsets are.
Present the book cover, and blurb page on the board. Ask students what they think the book is
about, e.g. get them to predict themes. Record these somewhere for future referral.
Take students to library to each obtain a copy of Deadly, Unna?
Have students skip through the book for 10 minutes, reading each page for 1 minute, then
skipping to a new page (e.g. 10 pages in 10 minutes). Ask some students what they now think
the text will be about, based on this new understanding.
Give students information regarding performance tasks and how they will be assessed.
Provide the rubric for Performance Task 1 (Appendix 1).
2. (DOUBLE pt. 2) Elicit examples of stereotypes/racism from students. This is facilitated
through providing an image (e.g. of a tattooed motorcyclist) and having students provide 3 or
more stereotypes associated with the character. Other examples may include an image of
someone from Asian descent, a police officer, a politician, someone of Middle Eastern descent,
an Outback Aussie type (e.g. Crocodile Dundee, Steve Irwin). Provide more examples if
necessary. Purpose of this is to open students up to the ideas dealt with in the novel.
Discuss media stereotypes/racism (e.g. Indigenous Australians are just welfare bludgers,
alcoholics, criminals, etc.), using examples found online. Possible examples include the
stereotype assuming the Boston bombing was carried out by Muslim extremists; all police
officers love doughnuts and coffee, etc.
Set homework task to find an article, book, movie, etc., that portrays a stereotype of some
kind. Can be any stereotype, not limited to anything in particular.
3. (SINGLE 1) Ask students to present the examples of stereotypes they collected for homework
and discuss why they chose them. This gets students critically thinking about their choices
and also stereotypes/racism.
Begin reading Deadly, Unna? in class, as a class. Teacher reads first few chapters and then
requests a volunteer to continue reading. Change the reader periodically.
Describe plot to students: plot is the series of events that occur in a particular order. It is
traditional to only discuss events that are of great significance (refer to the overall themes or
ideas) in the story.
Tell students that over the coming lessons, they will be constructing a timeline of the plot
along the wall, as major events occur in the novel. This is a continuous exercise that will take
place over the time it takes to read the book. Also tell them this will help in their summative
assessment pieces.
Additionally, add pictures of Indigenous footballers; famous Indigenous leaders and figures
(e.g. Mabo); posters about and/or displaying racism and/or stereotypes from around the
world; images and quotes of principal challengers of racism; extracts (thought provoking
quotes) from the text. This will help stimulate thinking.
Homework is more reading, again the equivalent of 30-45 minutes. Encourage students to
read with/to their family, and having a discussion at home of the themes and issues present.
4. (SINGLE 2) Start lesson by adding to the timeline any plot points from the homework reading.
Describe what a theme is: a main idea, moral or message of an essay, paragraph, movie or
book. The message may be about life, society, or human nature. Themes often explore timeless
and universal ideas and are almost always implied rather than stated explicitly.
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Elicit examples of themes from the students using the activity Chalk Talk. Write the word
Theme on the board, and have students come up and write their ideas down. Purpose of this
is to get students thinking about themes, and to keep an eye out for the themes present in
Deadly, Unna?. Provide more if necessary (fill in the gaps).
Describe what a literary technique is: a method or tool an author uses to convey their
message.
Elicit examples from students of literary techniques authors use to persuade their audience,
using the same technique as the theme section. Purpose of this exercise is to get students
thinking about literary techniques, and give them cues and pointers to look for as they
continue to read the novel. Provide more if necessary (fill in the gaps).
Read more of Deadly, Unna? as a class, after telling students to pay close attention to the
techniques and themes Phillip Gwynne uses, and take notes if necessary. Teacher will read to
begin with then students are to silently read to themselves.
Homework is to read more of the book (approximately 30-45 minutes worth).
Week 2: 100 minute double, 2 x 50 minute single
5. (DOUBLE pt. 1) Warm up activity which is a quick round or two of Celebrity Heads, using
characters encountered in the book so far. This is a fun way to get students actively engaged in
the subject matter.
Continue reading as a class.
Halfway through this lesson, stop reading, and ask students to discuss the themes and
techniques they have noticed so far. What were they used for? Were they effective? Why/why
not?
Leave five minutes at the end to mark plot points on the timeline wall.
6. (DOUBLE pt. 2) This lesson, students are to begin their in-depth analysis and comprehension
of the book.
This will help them with their first summative assignment, which students will be beginning
next lesson.
Make a mind-map of the themes of Deadly, Unna? (Appendix 3). Some depth of understanding
is required. Preferably students will justify, with evidence (quotes, examples, etc.), the themes
they include in their diagram.
Next, create mind-maps of characters (Appendix 4), Gary Black; Dumby Red; etc.
This formative task will allow students to begin to come to grips with the main themes of the
novel, and put it into an alternative visual format (which many students will find especially
helpful).
Answer the questions on the worksheet (Appendix 5). This formative task is to develop
students comprehension of the themes, and provide them a foundation for which to base
their summative task on.
Let students know that the next lesson will be partly dedicated to beginning the first
summative piece. As such they should bring their rubric (provided in week 1), and may like to
have a preemptive look at the task and what will be expected of them.
Homework is to finish the book if they have not already done so, and answer any questions
not completed in class.
7. (SINGLE 1) At the beginning of the lesson, assign the class into small discussion groups.
Have them retrieve their worksheets and answers from the previous lesson.
In their groups, have students discuss their answers to the questions, comparing views and
opinions. After some discussion time, get them to create group answers to the questions to
report back to the class.
Encourage discussion and debate, particularly if groups have differing views.
Have groups quantify their answers to the questions.
Following the discussion, introduce the first Performance Task to the class.
Explain in depth what the task is, being sure to highlight word count, expected content, etc.
Quantify the key criteria upon which the assignment will be marked against. Specifically
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mention they need to show: adequate understanding of the themes present; how the
themes/stereotypes impact upon society; what techniques the author has used to present
these themes/stereotypes; adequate evidence to substantiate their claims; and a clear, coherent
writing style (with correct grammar and syntax).
Ask students to then explain the task to you. This then allows you to gauge their
understanding, and if there are still things they do not fully grasp.
Finally, allow students to ask any questions they may have regarding assessment,
expectations, etc.
8. (SINGLE 2) This lesson is solely dedicated to working on the Performance Task 1. Students
may use it as an opportunity to sort out any queries they may still have regarding the piece of
work.
Students may work in small discussion groups (quietly) to flesh out ideas for their pieces.
These groups will be formed by having students draw the name of a character out of a hat.
They will then be partnered with everyone having the same character as them. This is a small
measure ensuring that no students are excluded, and that groups are a mixture of people who
may not usually work together.
They are not, however, allowed to collaborate on the final product.
Let students know that drafts are due in the next weeks double.
Homework is obviously to work on their piece.
Week 3: 100 minute double, 2 x 50 minute single
9. (DOUBLE pt. 1) This lesson will be almost entirely dedicated to working on Performance Task
1 drafts.
Students will be working quietly on their own pieces.
Quiet discussion permitted, so long as it does not disturb other students.
Students may present drafts throughout the lesson if they wish.
10. (DOUBLE pt. 2) Performance Task 1 drafts due at the end of the lesson. Drafting will be done
in free times, and when students are working the formative tasks for next lesson. Also can be
done at home.
No drafts accepted after this time.
11. (SINGLE 1) This lesson will be spent doing groundwork (formative tasks) for Performance
Task 2.
Introduce the idea of voice. Elicit from the class whose voice leads the story.
Give students the question worksheet (Appendix 6), which has the following questions: Why
did the author choose this voice?; How effective is this voice in representing the authors point
of view?; Could the author have used a different voice with same result? If yes, whose voice?
Engage in class discussion in relation to the questions on the worksheet (Appendix 6). This
broadens each students scope of understanding, and may expose them to ideas that they had
not even thought about themselves.
12. (SINGLE 2) Continue the groundwork activities to prepare students for performance task 2.
Task is to complete several Venn diagrams (Appendix 7) for several different character
couplings. Examples could be Blacky/Dumby; Blacky/Pickles; Dumby/Pickles; Arks/Blacky;
etc. Students are free to choose whatever combinations they like.
Run through one example with the class as a whole on the board, eliciting answers from
students. Then hand out the worksheets (Appendix 7) and let students work on their or in
small discussion groups.
Near the end of the lesson bring the class back together and have some students present their
Venn(s) on the board. Promote debate of differing point of view, ensuring students elicit
justification.
Attempt to have all drafts returned to students by the end of this lesson at the latest. This then
allows them weekend homework time, and all of the double lesson the following week to
complete their final copies. When returning drafts ensure students are reminded that final
copies are due next lesson.
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Week 4: 100 minute double, 2 x 50 minute single
13. (DOUBLE pt. 1) Begin the lesson by providing students with the rubric for Performance Task 2
(Appendix 2).
Let students know that this task will be started next lesson, and that a more detailed
explanation of expectations, key criteria, etc. will be covered in that lesson.
The reason for providing the rubric now is it gives students an opportunity to prepare
themselves for the task, and pre-read what they are required to do if they so wish.
The remainder of the lesson will be for work on Performance Task 1.
14. (DOUBLE pt. 2) Allow students to come to you with any final questions regarding the
assignment, particularly regarding any queries they have in relation to draft feedback.
Reiterate that the Performance Task 1 final copy due at the end of the lesson, and that
penalties apply for late work.
15. (SINGLE 1) Begin Performance Task 2.
Go through the rubric (Appendix 2) with the class, ensuring to explain in depth what the task
is.
Be sure to highlight word count, expected content, etc. Quantify the key criteria which the
assignment will be marked against. Specifically mention they need to show: the relevant key
criteria for their chosen question (see above in Key Criteria 2 for more details) adequate
evidence to substantiate their claims; and a clear, coherent writing style (with correct grammar
and syntax).
Finally, allow students to ask any questions they may have regarding assessment,
expectations, etc.
Homework is to continue the assignment.
16. (SINGLE 2) This lesson, students will begin/continue their assignments.
Any further questions they may have can be asked here, but otherwise it is expected all
students will be working on their Performance Task 2 papers in some way (e.g. quiet
discussion with classmates, brainstorming ideas, trawling the book for relevant evidence, etc.).
Homework is to continue working on the draft.
Week 5: 100 minute double, 2 x 50 minute single
17. (DOUBLE pt 1) This lesson will be entirely dedicated to working on Performance Task 2 drafts.
Students will be working quietly on their own pieces.
Quiet discussion permitted, so long as it does not disturb other students.
Drafts will be accepted throughout the lesson, for those students who are on the ball.
18. (DOUBLE pt 2) Drafts may be submitted here if students wish.
Let students know that the latest that their drafts will be accepted is at the end of the next
single.
This lesson may be used to continue with the task, including any queries regarding draft
feedback (for those students who submitted early), or any last questions regarding the
assignment itself.
19. (SINGLE 1) At the beginning of the lesson reiterate this is the absolute last draft deadline.
All lesson students are to be working on their Performance Task 2 assignment drafts.
Absolute last draft deadline at the end of this lesson.
20. (SINGLE 2) Have drafts back to students for this lesson. They may continue to work on their
final copies for the rest of this lesson.
Their finished piece is due at the end of next weeks double, but this is the last class time they
will have on it, as next week we begin the new topic.
Possible Extension Work
21. For those students who complete their final copies early, find them a quiet room somewhere
and have them watch Australian Rules, the movie adaptation of Deadly, Unna?. After watching,
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have them answer the following questions:
What are the similarities and differences between the book and the movie?
Are they both effective in conveying the desired message originally intended by Gwynne?
Which is more effective overall, and why?
Which resonated more with you personally, and why?
Resources
http://www.educatekidz.com/warmup.html
http://adulted.about.com/od/teachers/tp/warmupsforlessonplans.htm
Deadly, Unna? written by Phillip Gwynne
Australian Rules directed by Paul Goldman

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