Name: Carys Arnold

Student ID:10096097

Module: Narratives that shape our world

Week 1

1. Introductory lesson plan including Aboriginal narratives.

2. A deeper study of ancient narratives. This lesson focuses on the Aboriginal

dreamtime stories How the Water got to the Plains and Thukeri – both of which are

tales told to the young to teach them the perils of greed and to be aware of their

environment. They will be contrasted with the African San story of Cagn which is

similar in theme. The lesson will focus on “connecting people within and across

cultures, communities and historical eras” (NESA, 2018). Content: explore a wide

range of texts, including those that represent the diverse experiences of Aboriginal

and/or Torres Strait Islander Peoples, to engage with ideas, perspectives and

conventions in familiar and new context.

3. Read the Brothers Grimm The Four Accomplished Brothers and Old Wives Tales.

Were these stories taken seriously within their culture? Compare these to J.K

Rowling’s use of the fairy tale in The Tale of the Three Brothers. Discuss how

historical communities are represented through their attitudes and values (NESA,

2018). Small group discussion around how modern society views the fairy tale and its

value today, thus revealing and affirming or questioning cultural practices; sharing

collective or individual experiences” (NESA, 2018). Content: consider the effect of

engaging with other cultures and values through texts on their own perspectives and

value

4. Students will evaluate the texts they have studied this week and compare and

contrast them in small groups, then present to class. This lesson will focus on what
 Name: Carys Arnold
Student ID:10096097

similarities in style these narratives have, how that shapes meaning from the author

and intended audience’s perspective, along with a modern perspective (NESA, 2018).

Content: . explore a wide range of texts, including those that represent the diverse

experiences of Aboriginal and/or Torres Strait Islander Peoples, to engage with ideas,

perspectives and conventions in familiar and new context, and investigate similarities

and differences between and among texts that may be linked by form, perspective or

genre.

Week 2

5. Red Riding Hood lesson plan

6. Open class discussion of the modern cultural significance of The Company of Wolves

by Angela Carter in contrast to Little Red Riding Hood to show how “narratives are

shaped by the context and values of composers” (NESA, 2018). The historical context

of when it was written (women’s rights movement, post sexual revolution) will assist

students in critiquing how “narratives are shaped by the context and values of

composers and responders” (NESA, 2018). Content: analyse the diverse ways in

which imaginative, informative and persuasive texts can explore human experience,

universal themes and social, cultural and historical context.

7. Look at current news articles about women who are assaulted (including domestic

violence, sexual assault etc.) and contextualise how the news deals with that.

Compare 5 years ago to the #metoo movement and the recent focus on “locking up

the wolf” rather than just warning the girl. Individual work and class discussion.

Content: explore how literature reflects cultural change.

 Name: Carys Arnold
Student ID:10096097

8. Fairy tales reimagined. Today’s lesson focuses on reimagining the narrative. Students

will choose a fairy tale or folk tale and rewrite it with a culturally relevant moral (can

be social, political or personal). This activity will teach the students “how narratives

can be appropriated, reimagined or reconceptualised for new audiences” (NESA,

2018). This will be the starting point for their first assessment. A rough draft must be

submitted by the end of the lesson. Content: develop independent interpretations of

texts supported by informed observation and close textual analysis.

Week 3

9. My Last Duchess by Robert Browning lesson plan. The haiku will assist students to

“increase their confidence and enjoyment to express personal and public worlds in

creative ways” (NESA, 2018). This will also tie back to the cultural theme of women’s

rights within the Red Riding Hood section.

10. Further discussion of Browning’s My Last Duchess. Students will examine the point of

view of the Count’s servant and discuss what he may have told his master. Individual

writing activity. Content: examine different points of view represented in texts, for

example those of characters, narrators and the implied author, and the ways in

which these points of view are created.

11. Students will make comparisons between Browning’s and Margaret Atwood’s My

Last Duchess as a means of “connecting people within and across cultures,

communities and historical eras; inspiring change or consolidating stability;

revealing, affirming or questioning cultural practices; … [and] celebrating aesthetic

achievement (NESA, 2018). Students will discuss conflicting themes between the two
 Name: Carys Arnold
Student ID:10096097

and why Atwood gave her piece the same name. Small group work. Content: explain

how composers (authors, poets, playwrights, directors, designers and so on) adapt

language forms, features and structures of texts from other genres, periods and

cultures in new texts, for example appropriations in popular culture and the use of

literary allusion.

12. In this lesson, students bring a second draft of their short story for peer review. Once

peer reviewed, students will mark out their proposed changes during class time. This

will allow them to individually and collaboratively evaluate their own writing (NESA,

2018). The teacher will be available to all students during this time. Content:

experiment and reflect on changes to texts, for example point of view, form or setting

to explore different cultural meaning, and use constructive, critical feedback from

others to improve learning, including their own composing and responding

Week 4

13. Sherlock Holmes lesson plan.

14. Class viewing of an episode of Elementary, the modern Sherlock Holmes adaptation.

Class must take notes on “how narratives are shaped by the context and values of

composers and responders alike” (NESA, 2018). Students should also note any subtle

ways the Sherlock Holmes narrative has been “appropriated, reimagined or

reconceptualised for new audiences” (NESA, 2018). Pre-viewing discussion about

how the character of Sherlock Holmes himself has been adapted. Content: examine

how texts in different literary forms, media or traditions are similar or different.
 Name: Carys Arnold
Student ID:10096097

15. Students critically evaluate narrative devices common across Sherlock Holmes in its

various formats (NESA, 2018). They will then compare the other texts used in the

unit to see which devices are common across all narratives, if any, and what the

biggest differences are. Small groups and class discussion. Content: reflect on

intertextual relationships between familiar texts and a widening range of new texts.

16. Introduction to dystopian futures as political expression. Students will look at

themes of civil unrest and representations of authority in the context of politically

motivated narratives to examine values of the time period. The next set of texts will

be discussed. Content: analyse how and why perspectives are represented differently

in a range of complex texts.

Student Assessment

Students will submit a 1000 word writing assignment the week following final lesson of the

sub-unit. The assignment will be;

Choose a relatively minor character in one of the texts studied and rewrite an event or part

of the story from their perspective.

OR

Rewrite one of the texts we have analysed in class to make it socially relevant to your

culture.

ENGLISH LESSON PLANNING TEMPLATE

 Name: Carys Arnold
Student ID:10096097

English Lesson Plan 1

Outcomes

EA11-1

Content
Students:
Engage personally with texts
 explain the relationship between responder, composer, text and context
 appreciate the aesthetic qualities of texts and the power of language to express
personal ideas and experiences
Develop and apply contextual knowledge
 explain the personal, social, historical and cultural contexts of composing and
responding, and evaluate how these contexts impact on meaning
 analyse and explain how and why texts influence and position readers and viewers
(ACEEN040)
EA11-8
 examine the ways in which authors represent Australian culture, place and identity
both to Australians and the wider world (ACELR040)
 understand the contemporary application of Aboriginal cultural protocols in the
production of texts in order to protect Indigenous cultural and intellectual property

Materials

YouTube video –The myth of Aboriginal stories being myths

https://www.youtube.com/watch?v=aUIgkbExn6I

Procedures
Time Organisation Teaching/ learning activities

5 Introduction Introduce class to Narratives that Shape our World.

minutes to narrative
Overview of the syllabus and what we will cover in the unit

20 Historical Play YouTube video of Jacinta Koolmatrie – on Aboriginal

minutes narrative dreamtime stories coming from warnings about pre-
historic Australian megafauna.

Class discussion about the significance of that talk;

How does the narrative connect people within a culture?
 Name: Carys Arnold
Student ID:10096097

What was the purpose of a narrative for pre-literate

societies?
How is the historical context significant?
Can anyone think of other narratives from the ancient
past?

10 Talk about how the story of Noah’s Ark has connections to

minutes many other cultures. Have class break into 5 groups and
each find a different culture that has a flood story (10
minutes)

15 Groups present back to class the culture that they have

minutes discovered (roughly 2 minutes to each group)
Why are these stories similar?
How do they connect us to the rest of the human race?

10 Class discussion - How would these narratives have

minutes influenced their audiences? How does it differ in our
society?

Homework

Evaluation/ Extension
Students will be evaluated through the answers they come up with in the discussion. They
should make connections between the cultures and talk about the cultural influences on
both the audience and composer of these narratives.
 Name: Carys Arnold
Student ID:10096097

English Lesson Plan 2

Outcomes
EA11-8
Content
Students: Engage personally with texts
 explain and evaluate whether their own perspectives and values align with the
perspectives and values expressed in texts (ACELR039)
 consider the effect of engaging with other cultures and values through texts on their
own perspectives and values

Develop and apply contextual knowledge

 evaluate the impact of specific cultural references on meaning, for example historical
allusion, cultural stories and symbol
 explore how literature reflects cultural change (ACELR053)

Materials
Little Red Riding Hood story http://www.dltk-teach.com/rhymes/littlered/story.htm
Picture 1
Picture 2
17th Century Red Riding Hood story http://www.wright.edu/~christopher.oldstone-
moore/cinder.htm
Red Riding Hood trailer https://www.youtube.com/watch?v=hxyy_YoLYKk
Angela Carter, “The Company of Wolves” printout

Procedures
Time Organisati Teaching/ learning activities
on
25 Class Have class read modern version of Little Red Riding Hood aloud
minutes reading (the basic story for small children).

Small Show picture 1: this is what we just read

group Show picture 2: this is what we’re about to read.
activity /
discussion Think/Pair/Share activity (1 min, 5 min, 9 mins). These are
illustrations from two different versions of Red Riding Hood.
 What are the differences in these pictures?
 Describe the intended audience for each picture.
 What do you think we’re about to read and why?
25 Class Class reads 17th Century French version of Red Riding Hood aloud.
minut reading /
es discussion Ask class to map the differences and any overlapping similarities in
the digital Venn diagram
http://www.readwritethink.org/files/resources/interactives/venn_
diagrams/
 Name: Carys Arnold
Student ID:10096097

Ask the class to discuss the following based on the Venn diagram
(Think/Pair/Share (2 min, 5 min, 9 mins);
 What influence has the cultural context had on the story?
 How has the Red Riding Hood narrative been shaped over
time? Has the moral changed?
 What is the context of the authors of each of these tales?
What are their values and what are they trying to achieve?
Why?
 Is there still a need for this narrative?
10 Class starts reading a modern reinterpretation based on the old
minutes tale: Angela Carter, “The Company of Wolves” printout
Homework Finish reading “The Company of Wolves” for next lesson.

Evaluation/ Extension
The students will be evaluated based on their ability to map out the differences in the two
stories, and on the complexity of answers in the Think/Pair/Share discussion. They should be
able to comment on the moral of the original story and come up with theories as to why the
tale has changed so much over time. Specifically, they will be expected to comment on the
cultural impact of the story and how their own perspectives have shaped their
interpretation of the narrative.

Picture 1: https://itunes.apple.com/kw/app/little-red-riding-hood-
toybook/id627391132?mt=8
Picture 2: http://www.frogonarockfairytales.com/little-red-riding-hood/
 Name: Carys Arnold
Student ID:10096097

English Lesson Plan

Outcomes
EA11-5
Students: Engage personally with texts
 investigate, reflect on and explain differences between initial personal responses and more
studied and complex responses (ACELR003)

Develop and apply contextual knowledge

 compare the ways texts may be composed and responded to in different contexts and how
this influences meaning

Respond to and compose texts

 investigate complex ideas and information through sustained argument and imaginative
compositions

Materials
Robert Browning My Last Duchess printout
Haiku rules (5-7-5 syllable layout)

Procedures
Time Organisation Teaching/ learning activities

10 Class reading My Last Duchess by Robert Browning will be read aloud by

minutes students in turn.

20 Small Group Students will collaborate in small groups to discuss the context
minutes activity of poetry’s place in Victorian society amidst the ever-
increasing popularity of the novel and, and the commentary
on man’s control over woman in the 16th Century.

Discussion points:

What was Browning’s perspective of a woman’s place in the

world – he wrote the poem in the 1800’s, but it was set in the
1600’s?

10 Individual Students will create a haiku based on their interpretation of

minutes poem writing the theme of the poem from the group discussion.

20 Themed Class will read their haikus and have a short discussion about
minutes haiku reading each one after each group presentation of their poems.

Homework Read the short story My Last Duchess by Margaret Atwood for
the lesson after next.

Evaluation/ Extension
Students will be assessed on their ability to recreate the poem in a new way, whilst still maintaining
the original meaning or themes of the poem.
 Name: Carys Arnold
Student ID:10096097

English Lesson Plan

Outcomes
EA11-6
Students:
Engage personally with texts
 compare how composers draw on aspects of other texts, for example through
theme, genre, intertextuality, style, event and character

Develop and apply contextual knowledge

 reflect on the ways in which particular texts are influenced by other texts and
contexts (ACELR019)
 examine how texts in different literary forms, media or traditions are similar or
different (ACELR055)

Understand and apply knowledge of language forms and features

 investigate similarities and differences between and among texts that may be linked
by form, perspective or genre
 analyse how composers combine elements from different texts, sources and genres
to create new texts for particular audiences

Respond to and compose texts

 analyse the relationships between conventions of genre, audience expectations and
interpretations of texts, and the ways texts may conform or subvert these
conventions (ACELR020)

Materials
Sherlock Holmes reading from A Study in Scarlet printout
https://www.gutenberg.org/files/244/244-h/244-h.htm#link2HCH0004
Sherlock Holmes (2009) movie trailer https://www.youtube.com/watch?v=J7nJksXDBWc
A Study in Scarlet (1933) https://www.youtube.com/watch?v=kBpqVDtQyuc from 13
minutes to 15 minutes.

Procedures
Time Organisation Teaching/ learning activities
10 Intro to Play Trailer of 2009 Sherlock Holmes movie – this one is
minutes Sherlock still set in the time the novel was written.
Holmes Play A Study in Scarlet (1933 Sherlock Holmes movie)
excerpt.
10 Group Ask students to divide into groups based on whether
minutes activity – free they think it’s the same or different from the original.
thinking List differences between the novel and the movie up the
front (have one group list differences, another list
similarities).
 Name: Carys Arnold
Student ID:10096097

20 Class Class reads the excerpt from the original Sherlock

minutes reading Holmes novel, A Study in Scarlet.
20 Class Think/Pair/Share activity 1.
minutes discussion Students will discuss how the media the narrative is told
through shape its meaning?
What does the representation of the same character tell
us about the people of that period of time?

Think/Pair/Share activity 2.
What has changed to make the movie interesting to
modern audiences?
How do the modern adaptations connect modern
audiences to the original audience of the novels?
What appeals to people across time?
Homework

Evaluation/ Extension
Students will be evaluated based on their ability to compare and contrast theme and
character across the different texts. They should analyse how the authors of each text have
manipulated textual structures to make it appropriate for their respective audiences, and
analyse how audience expectations have influenced the text.
 Name: Carys Arnold
Student ID:10096097

Printout

Excerpt from A Study in Scarlet by Arthur C. Doyle.

RACHE.
“What do you think of that?” cried the detective,
with the air of a showman exhibiting his show. “This
was overlooked because it was in the darkest corner
of the room, and no one thought of looking there.
The murderer has written it with his or her own
blood. See this smear where it has trickled down the
wall! That disposes of the idea of suicide anyhow.
Why was that corner chosen to write it on? I will tell
you. See that candle on the mantelpiece. It was lit at
the time, and if it was lit this corner would be the
brightest instead of the darkest portion of the wall.”
“And what does it mean now that you have found
it?” asked Gregson in a depreciatory voice.
“Mean? Why, it means that the writer was going to
put the female name Rachel, but was disturbed
before he or she had time to finish. You mark my
words, when this case comes to be cleared up you
will find that a woman named Rachel has something
to do with it. It’s all very well for you to laugh, Mr. Sherlock Holmes. You may be very smart
and clever, but the old hound is the best, when all is said and done.”
“I really beg your pardon!” said my companion, who had ruffled the little man’s temper by
bursting into an explosion of laughter. “You certainly have the credit of being the first of us
to find this out, and, as you say, it bears every mark of having been written by the other
participant in last night’s mystery. I have not had time to examine this room yet, but with your
permission I shall do so now.”
As he spoke, he whipped a tape measure and a large round magnifying glass from his
pocket. With these two implements he trotted noiselessly about the room, sometimes
stopping, occasionally kneeling, and once lying flat upon his face. So engrossed was he with
his occupation that he appeared to have forgotten our presence, for he chattered away to
himself under his breath the whole time, keeping up a running fire of exclamations, groans,
whistles, and little cries suggestive of encouragement and of hope. As I watched him I was
irresistibly reminded of a pure-blooded well-trained foxhound as it dashes backwards and
forwards through the covert, whining in its eagerness, until it comes across the lost scent. For
twenty minutes or more he continued his researches, measuring with the most exact care the
distance between marks which were entirely invisible to me, and occasionally applying his
tape to the walls in an equally incomprehensible manner. In one place he gathered up very
carefully a little pile of grey dust from the floor, and packed it away in an envelope. Finally,
he examined with his glass the word upon the wall, going over every letter of it with the most
 Name: Carys Arnold
Student ID:10096097

minute exactness. This done, he appeared to be satisfied, for he replaced his tape and his
glass in his pocket.
“They say that genius is an infinite capacity for taking pains,” he remarked with a smile.
“It’s a very bad definition, but it does apply to detective work.”
Gregson and Lestrade had watched the manoeuvres 9 of their amateur companion with
considerable curiosity and some contempt. They evidently failed to appreciate the fact, which
I had begun to realize, that Sherlock Holmes’ smallest actions were all directed towards some
definite and practical end.
“What do you think of it, sir?” they both asked.
“It would be robbing you of the credit of the case if I was to presume to help you,” remarked
my friend. “You are doing so well now that it would be a pity for anyone to interfere.” There
was a world of sarcasm in his voice as he spoke. “If you will let me know how your
investigations go,” he continued, “I shall be happy to give you any help I can. In the meantime
I should like to speak to the constable who found the body. Can you give me his name and
address?”
Lestrade glanced at his note-book. “John Rance,” he said. “He is off duty now. You will find
him at 46, Audley Court, Kennington Park Gate.”
Holmes took a note of the address.
“Come along, Doctor,” he said; “we shall go and look him up. I’ll tell you one thing which
may help you in the case,” he continued, turning to the two detectives. “There has been
murder done, and the murderer was a man. He was more than six feet high, was in the prime
of life, had small feet for his height, wore coarse, square-toed boots and smoked a
Trichinopoly cigar. He came here with his victim in a four-wheeled cab, which was drawn by
a horse with three old shoes and one new one on his off fore leg. In all probability the
murderer had a florid face, and the finger-nails of his right hand were remarkably long. These
are only a few indications, but they may assist you.”
Lestrade and Gregson glanced at each other with an incredulous smile.
“If this man was murdered, how was it done?” asked the former.
“Poison,” said Sherlock Holmes curtly, and strode off. “One other thing, Lestrade,” he
added, turning round at the door: “‘Rache,’ is the German for ‘revenge;’ so don’t lose your
time looking for Miss Rachel.”
With which Parthian shot he walked away, leaving the two rivals open-mouthed behind
him.
 Name: Carys Arnold
Student ID:10096097

Justification of Texts

The unit starts by analysing formative narrative through a variety of historical mythological

and religious texts. The Aboriginal story told by Koolmatrie and the Dreamtime tales

analysed in the following lesson are some of the oldest surviving narratives known to

mankind. The earliest forms of narrative are important to show students how people today

can still connect with ancient tales, and that it is a uniquely human trait to be able to record

our history (Hinchman & Hinchman, 1997), and narrative is a huge factor in our ability to

understand ourselves (Landau, 1984).

Fairy tales are some of the most widely adapted narratives across both time and genre. The

next section focuses on adaptations of fairy tales and their appropriation across time. J.K

Rowling’s tale of The Three Brothers is a modern representation that follows the original

fairy tale story arc (Glinsmann, 2011). The next few lessons focus on the Red Riding Hood

tale because of its primitive symbolism though talking with animals as in the ancient

mythologies earlier in the unit (de Ronde, 2018), and because the original theme still

resonates so strongly today.

My Last Duchess by Robert Browning will be analysed next. It is an excellent poem to

contextualise the Red Riding Hood and fairy tale section of this module. Haikus have been

chosen as a medium for students to help “readers store up necessary text to use during

literary discussions” (Smith, 2003). Having students put pen to paper and reconceptualise

some of the themes from such a powerful poem in such an indecorous and abrupt fashion

will also assist in their enjoyment of literature and links to the NESA principle “evaluate and
 Name: Carys Arnold
Student ID:10096097

refine their own use of narrative devices to creatively express complex ideas about their

world in a variety of modes for a range of purposes” and “using narrative in their own

compositions” (2013). Furthermore, poetry is an important part of narrative evolution and

comprehension (Francis, 2012).

Sherlock Holmes has been chosen as a key point for the next text because of its remarkable

adaptability over time and through cultures. It is as popular a narrative now as it was when

it was first published. Students will be studying this story and character in depth as a way of

analysing the text structures, styles and theme for their literary value and discussing what

makes it so popular.

Dystopian texts are to be studied for the remainder of the module, with a strong focus on

the political environment surrounding their creation. Brave New World, The Hunger Games

and Logan’s Run will be studied. Students will evaluate how the context and values of the

authors and their cultures and historical periods influenced the subversive nature within the

representation of these civilisations.

The novel Brave New World and the film Logan’s Run are focused on dystopian societies and

both were written at times of social upheaval. Brave New World was written during the

great depression, a time where people had lost faith in their government to provide for

them. The book Logan’s Run written during the early Vietnam War years. The film

adaptation was released late in the Vietnam War. The political climate surrounding both of

these texts was a feeling of distrust of the government and a satirical poke at religious cults
 Name: Carys Arnold
Student ID:10096097

and the youth focused culture that continues to this day. These two texts are so similar that

they should be studied together.

The Hunger Games similar in theme to both Brave New World and Logan’s Run, a

contemporary piece that ties the two together. Students should be able to critically evaluate

these three narratives and “investigate how an author’s use of textual structures, language

and stylistic features are crafted for particular purposes, audiences and effects” (NESA,

2018). It is important that a contemporary text is used in conjunction with the older texts

studied in the unit so far, as “contemporary novels [show] how dominant social ideologies

do not simply determine the identity and worldview of the individual; there is always the

possibility of resistance” (Meretoja, 2014). This is a theme that occurs across most dystopian

narratives and will assist the students in creating connections to their modern society.

Orson Welles’ War of the Worlds original radio broadcast will be played in class. Class will be

asked to analyse the “use of textual structures, language and stylistic features … crafted for

particular purposes, audiences and effects” (NESA, 2018). That this radio broadcast was so

widely thought to be a real newscast that it is an excellent narrative to analyse in terms of

how the stylistic aspects of the broadcast and the media it was presented through had an

effect on the audience in 1938. The fact that people were so sure it was real can give insight

to the students about how “people understand and represent themselves” (NESA, 2018).

This can also be linked to the use of advertorial and the current social climate surrounding

“Fake News” today. Discussion questions may be, for example; are people more suspicious

of the news now, or have we just become accustomed to the sensationalisation of the news

and hoaxes?
 Name: Carys Arnold
Student ID:10096097

References

Aboriginal Dreamtime Stories. (2018). How the Water got to the Plains. Retrieved from
http://dreamtime.net.au/water/

Aboriginal Dreamtime Stories. (2018). How the Water got to the Plains Explanation Story.
Retrieved from http://dreamtime.net.au/exp-water/

Aboriginal Dreamtime Stories. (2018). Thukeri. Retrieved from

http://dreamtime.net.au/thukeri/

Browning, R. (n.d.). My Last Duchess. Retrieved from

https://www.poetryfoundation.org/poems/43768/my-last-duchess

Carter, A. (1979). The Company of Wolves. Retrieved from

http://www.napavalley.edu/people/LYanover/Documents/English%20123/English%20
123%20Angela%20Carter's%20The%20Company%20of%20Wolves%20-%20Story.pdf

Castro, J. (2012, July 2). The Truths Behind 10 Old Wives' Tales. Live Science. Retrieved from
https://www.livescience.com/34046-wives-tales.html

Croese, C. (2018). Guide to Year 11 HSC Advanced English Module A: ‘Narratives That Shape
Our World’. Retrieved from https://www.artofsmart.com.au/narratives-that-shape-
our-world/

de Ronde, M. (2018). Walking in a fairy tale forest in search of a second primitivity with the
help of Little Red Riding Hood. British Journal of Guidance & Counselling, 46(3), 315-
325. DOI: 10.1080/03069885.2018.1429561

Doyle, A. C. (2008). A Study in Scarlet. Retrieved from

https://www.gutenberg.org/files/244/244-h/244-h.htm#link2HCH0004

Francis, N. (2012). Poetry and narrative: An evolutionary perspective on the cognition of

verbal art. Neohelicon, 39(2), 267-294. Retrieved from https://search-proquest-
com.ezproxy.uws.edu.au/docview/1197063404/fulltextPDF/B4F37C87E2F34AC8PQ/1
?accountid=36155

Glinsmann, M. (2011). Harry potter and the reimagined fairy tale: J.K. Rowling's use and
manipulation of fairy tale narrative in the Harry Potter series. Retrieved from
https://search-proquest-
com.ezproxy.uws.edu.au/docview/885647110?accountid=36155

Grimm, J., & Grimm, W. (1994). The Complete Illustrated Works of the Brothers Grimm.
London: The Bath Press.

Guenther, L. (n.d.) Little Red Riding Hood. Retrieved from http://www.dltk-

teach.com/rhymes/littlered/story.htm
 Name: Carys Arnold
Student ID:10096097

Hieber, M. (2017). How to Plan and Implement the 2018 English Stage 6 Curriculum and
Survive Auditing Part VI. [Blog post]. Retrieved from
https://www.freelancewritingbymil.com/single-post/2017/07/13/How-to-Plan-and-
Implement-the-2018-English-Stage-6-Curriculum-and-Survive-Auditing-Part-VI

Hinchman, L. P., & Hinchman, S. K. (1997). Memory, Community, Identity: The Idea of
Narrative in the Human Sciences. Albany: State University of New York Press

Landau, M. (1984). Human Evolution as Narrative: Have hero myths and folktales influenced
our interpretations of the evolutionary past? American Scientist 72(3). Retrieved from
https://www.jstor.org/stable/pdf/27852647.pdf?refreqid=excelsior%3A67a2d5093cd
b393d1956ccb437834883

Matrix Education. (2018). Narratives that Shape Our World: The New Year 11 Module A.
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