Internal assessment resource reference number English/3/7B – version 2

Level Three
Achievement Standard 3.7
Complete independent research on a language or
literature topic and present findings in written form

Credits: 3

Internal assessment resource reference number:

English/3/7 – B version 2
“In Search Of”

Date version published: 30 October 2003

Ministry of Education
quality assurance status For use in internal assessment.

© Crown 2003 1
Internal assessment resource reference number English/3/7B – version 2

Teacher Guidelines:
The following guidelines are supplied to enable teachers to carry out valid and
consistent assessment using this internal assessment resource.

Context/setting:
This investigation is integrated with themes that the class explores as part of the study
of one or more texts. Students then complete their own independent research based
on themes they select. They focus on formulating effective key questions, then select
and read other relevant texts and present a written report. As well as examining the
theme in each text they investigate connections between texts and develop
judgements about those connections.

Conditions:
This activity requires a combination of class and homework time. Students can collect
information and develop their reports in and out of class time. Teachers will need
careful checkpoint procedures to ensure authenticity of student output.

Headings and examples have been suggested for aspects of the research process
and reports. Students should follow these. Explanatory Note 6 requires that a written
bibliography is provided.

Resource requirements:
Access to information sources to model the research process should be given during
class time.

Possible Local Adaptation:

Where local adaptations are made, teachers and schools should ensure that they
have:
• checked that the adapted assessment validly assesses the achievement standard;
• checked the copyright status of any material imported into the assessment
resource;
• complied with all internal and external quality assurance requirements.

©Crown 2003 2
Internal assessment resource reference number English/3/7B – version 2

2004
ENGLISH
Level Three
Achievement Standard 3.7
Complete independent research on a language or literature topic and present findings
in written form

Credits: 3
Internal assessment resource reference number: Eng/3/7 – B version 2

“In Search Of”

Student Instructions Sheet

Part of your English programme will focus on one or more texts featuring themes that
are important to writers and directors. Using text(s) studied in class as a starting point,
complete your own investigation into one of these themes based on several texts you
have chosen. As suggested by the title of this activity, you will develop key questions
that expand understandings of your topic. You will select relevant information from a
range of referenced resources. The report on your findings will make connections
between the texts and develop judgements about the importance or significance of
your chosen theme. In this way you will have gone ‘in search of’ how texts have
explored your theme, then presented your findings.

An essential step in the research process involves formulating effective key questions
that are central to you expanding your understanding of your chosen theme and
developing judgements. As you read texts as part of your research you will be
encouraged to keep your key questions under review. You may decide to adapt your
questions to make them more effective and relevant.

Your teacher will introduce you to the research process using a range of sample
materials

You will complete work in class and for homework. Your teacher will guide you on how
much time you have to prepare the task. Your research will be presented in written
form.

You will be assessed on how well you:

• propose research questions which expand understandings of your topic
• select relevant information from a range of referenced resources
• present well supported findings that develop judgements

©Crown 2003 3
 Internal assessment resource reference number English/3/7B – version 2

Task 1: In search of … themes and texts

a) As a class discuss significant themes in texts which are part of your English
programme this year. A range of themes in New Zealand texts read in an English
programme might include:
• the development of a New Zealand identity
• freedom versus conformity
• race relations in New Zealand
• New Zealanders’ relationship with the environment
• spiritual and/or personal growth

Add other themes to this list. This activity uses texts drawn from a New
Zealand setting. You can approach your selected theme using texts
from other backgrounds.

b) Write the themes linked to texts from your English programme on the board. With
your teacher’s input list other texts linked to that theme. You could set your ideas
out in this way for each theme:
Other texts which are student
selected and could link to this theme
from outside the class programme
Texts studied in class
THEME: Relationships
in New Zealand The Piano – Jane Campion
‘Wife to Husband’, Literature
‘Advice to a
Discarded Lover’ – Once Were Warriors – Alan Duff
Fleur Adcock ‘

‘At the Bay’, ‘Prelude’ – Katherine Mansfield

Thoughts of Remuera Housewife’, ‘Calvary Street’ - James K. Baxter

c) Having considered a range of possible themes and texts as a class, select one
theme. You must gain teacher approval for your theme before beginning research.
You can complete research on ‘relationships in NZ Literature’ (from tasks 1(a) and
(b)), or other themes shown in the exemplars.

d) Expand your initial list to include other possible texts that could be linked to your
selected theme. You could include:
• written texts, such as fiction, drama, biography / autobiography, short
story collections, and poetry anthologies.
• visual texts, such as film, television, and theatre.
• oral texts, such as discussions, interviews, radio documentaries and
readings.

You must gain teacher approval for the texts you intending using for your research.
You should also examine any critical readings and commentaries available on
these texts.
©Crown 2003 4
Internal assessment resource reference number English/3/7B – version 2

Task 2: In search of … key questions

a) Your key questions must allow you to expand understandings of your theme. To
gain achievement you must be able to present findings (draw conclusions) about
the information you have found. At excellence level those findings will include
perceptive judgements.

Consider these key questions developed to explore the ‘relationships in New

Zealand literature’ theme. Effective questions can lead you to interpret and make
judgements about your information.

Key questions and where they can lead:

1. Through whose eyes do

we witness the relationship
presented in each text?
‘How’ is the critical word here which
How influential is their
will lead you towards making
perspective in portraying
judgement statements.
the relationship?

2. To what extent does

‘To what extent’ will lead you towards
the context (time, place,
making evaluative comments about
social conditions, other
the role the context has.
people) influence the
relationship?

Making perceptive connections

3. How can I connect the
between texts means synthesising
portrayal of key
judgements across more than one
relationships in each text to
source.
other texts?

4. What do these key Being able to assess the

relationships shown in importance or significance of an
texts reveal about NZ idea in a wider context (like the
literature or society? significance of a theme raised in a text
to NZ society) leads to evaluation.

b) Read the research reports in Exemplar A (p11, 12) and Exemplar B (p

14, 15) focusing especially on how the key questions are addressed. Using the
annotations on the right of each report as a guide, underline several sections
where students make judgements. Note that these judgements are sustained
across the report to gain excellence or merit.

©Crown 2003 5
 Internal assessment resource reference number English/3/7B – version 2

Read this extract from a research report on New Zealanders’ Relationship with
their Environment.
Complete your analysis of the reports in Exemplars A and B in the same way:

Sample of student
comments and What relationship do New Zealanders have with the
underlinings highlighting
judgements /evaluations environment?
made:
In the poem, `The Mountains' the persona is terrified of the
rugged landscape that surrounds his hometown. To him the
Supporting evidence: mountains seem predatory and dangerous "like tigers". He
gives the example that the shape and conditions of the
Several
judgements made landscape have more influence on where we build our cities
and run our communities than anything else. He feels that
- and
developed. nature has some sort of control over humans and it is this Develops perceptive
original judgements.
control that he fears. This power turns the environment into
a spiritual presence. The persona senses freedom in nature
but is too scared of its power to grasp this freedom.
However, in the song `Nature' by Wayne Mason the persona
craves this freedom. It seems that he is troubled by his life
Supporting evidence: and so turns to nature for "some thoughts that are new", that
Judgements on is a new start. There is no fear apparent in this text though
‘Nature’ linked to
‘The Mountains’’ which suggests that it is up to the individual whether they are
afraid of nature’s power or not. In some respects these two
Evaluation Makes effective links
texts embody the ambivalent attitude New Zealanders have
assesses significance back to this hypothesis
throughout the report.
of previous comments towards the environment: on the one hand fearful, on the
in a wider NZ context
other having a real desire to be immersed in it.

It is important that you keep your research report stage in mind as you select
and record information from your texts. The information you assemble at this
stage will be the basis of the judgements you will make in your report.

c) Develop at least three key questions. It is essential that your key questions allow
you to make judgements. You can use or adapt the questions shown in task 2 and
in the exemplars for your own research, but you may not repeat any information,
findings or judgements.
As you find new texts, keep your key questions under review as you may
decide to adapt the questions to make them more effective and relevant.

©Crown 2003 6
Internal assessment resource reference number English/3/7B – version 2

Task 3: In search of … relevant information

a) You need to select information from a range of referenced sources. As you

consider each text you need to scan it to determine its usefulness and relevance.
When you have determined if a source is potentially useful, skim read it keeping
your key questions in mind.

b) Look over this sample log entry based on a text studied in class:

Title Wife to Husband

Director/ Author Fleur Adcock
Date of entry 9/5/2003

1. Through whose eyes do we witness the relationship

presented in each text?
The narrator is a married woman. She is still awake after an
argument with her husband – he seems less concerned: “into
the pit of sleep/ You go with a sudden skid.” She is more
troubled: “On me/ Stillness falls gradually . . . twitching
nerves”. We see the gulf between the characters through the
Key questions woman’s eyes and because of this we sympathise with her.
from task 2:
2
2.How does the context (time, place, social conditions,
other people) influence the relationship?
The context here is the marital bed and the troubles of
marriage. After the argument, the husband’s head is turned
away but her face is “hidden.” This might suggest that she
hides (or has to hide) her true feelings but he doesn’t feel the
need to mask his views. The husband seems to be the
dominant character.

3. Connections with other texts?

Some connections between narrator and Beth in Once Were
Warriors. Marriage sustained on a physical level but
lovemaking appears to only paper over deeper cracks in
marriage. Some connections on same idea to The Piano.
Interesting that the portrayal of male insensitivity is consistent
over these three texts despite time difference and setting and
both male and female authors. (N.B. Must check Baxter out
for counter to this.) Perhaps, here both characters share
some of the blame: “Do we dare, now, to open our eyes?”

b) Use your key questions as headings as you record information.

c) You may include texts studied in class as part of the introductory stages to the
research process, but the emphasis of your research will be on texts you have
selected.

©Crown 2003 7
Internal assessment resource reference number English/3/7B – version 2

Task 4: Completing your research report

a) Before you begin your research, read the research reports in Exemplars A - D and
discuss their strengths and weaknesses.

b) Follow the format of exemplars A to C (Excellence to Achievement). To meet the

criteria for this achievement standard, you must:
• include your key questions which expand understandings of your topic. You
may use or adapt key questions from this activity or the exemplars.

• show evidence that you have selected relevant information from a range of
referenced resources. You must have a research log for each text. You must
have researched at least FOUR TEXTS, ONE OF WHICH MUST BE A
WRITTEN TEXT. (This may include one text studied in class but you must
complete a research log for it).

• present well supported findings that develop judgements in a written report.

Your report will be approximately 700 words long, and include a bibliography.
Your report should include:
• an introduction outlining the focus of your research
• a number of sections integrating findings and judgements. Points
should be well supported by appropriate quotations.

You may not repeat any findings or judgements from the exemplars used
in this activity.

©Crown 2003 8
Internal assessment resource reference number English/3/7B – version 2

Exemplar A: Excellence

In search of: ‘Representations of Masculinity’ -

as explored in Foreskin’s Lament, Man Alone, What Becomes of the Broken Hearted?,
Once Were Warriors, ‘The Farmhand’.
Proposes research questions which expand
understandings of the topic.
Key Questions
1. How significant is the central character’s masculinity and how does it help
shape his role in each text?
2. How important is masculinity to the society portrayed in each text?
3. What similarities are there between the texts in how masculinity is
portrayed?

Resources: Selects information from a range of

referenced sources.
Title: Foreskin's Lament
Author: Greg McGee
Date: 7/4/2003
QU 1:
The central figure in the text is Seymour known to his friends as "Foreskin." The university
educated man is unlike his rugby teammates who are rural Kiwi `hard' men . Masculinity
puts more important things, like life, into perspective for him as it is shown when one of the
men tries to play through the pain barrier (an attempt to appear strong and manly) but
suffers further injuries, which prove to be fatal.

QU 2:
The rural, rugby orientated society is seemingly the epitome of masculinity. The society has
little tolerance or respect for gays (poofs) or women (fluff). Rugby is seen to be the epitome
of masculinity; a hard, no nonsense man's game that ultimately separates the men from the
boys.

QU 3:
There is a definite attitude towards physical weakness and lack of power which is seen as
unmanly. This is also the case with homosexuality which can also be observed in Once
Were Warriors when Jake’s son is labelled a ‘poof’ for not displaying `masculine' behaviour.

Title: Once Were Warriors

Director: Lee Tamahori
Date: 10/5/2003
QU 1:
Jake Heke is an arrogant, explosive man who is easily provoked. His excessive drinking
and knack of getting into fights makes him a dangerous and deadly character. He often
uses his fists to prove his masculinity. Jake also shows no emotion when his wife tells him
that their son is to be sent to social welfare: “Anybody would've thought he's dead the way
you lot are carrying on. It'll toughen him up, he's too soft anyway.”

QU 2:
There is a certain expectancy from the men in the society of the degrading urban ghettos to
act manly and display their toughness. Fighting serves as a warning, earns respect of
others. Jake enforces himself as the sole decisionmaker and head of the household. Beth
told to "just do what you're told!" There is a strong sense of male superiority.

©Crown 2003 9
Internal assessment resource reference number English/3/7B – version 2

QU 3:
It reinforces the belief that strength and physical toughness are the most important
attributes contributing to masculinity. These ideas are evident in Eoreskin's Lament but are
conveyed through actions on the rugby field.

Title: What Becomes of the Broken Hearted?

Director: Ian Mune
Date: 19/5/2003
QU 1:
Jake changes as the film progresses. He attempts to come to terms with his marriage break
up and the deaths of two children. He is still violent though, but becomes aware that this
loses respect. He starts to portray masculinity by protecting those he has hurt (eg Sonny)

QU 2:
They live in a poverty stricken area. Gangs, unemployment feature. When Jake makes
different friends, gets a job he no longer gets involved in meaningless violence. He shows
his masculinity in a more positive way.

QU 3:
Connections with Warriors but a more positive view of masculinity here.

Title: Man Alone

Author: John Mulgan
Date: 22/5/2003
QU 1:
Farm work conveys masculinity through the rural nature of the job. Johnson goes out to `do
it alone' in the big, wide world. A modest income with hard work appears give him an air of
masculinity. “There isn't any better country than this, not where a man can go about and get
work, and stop when he wants to, and make money when he needs it and take a holiday
when he feels ready for one."

QU 2:
The society is very farm and rural orientated and there is an impression of `every man for
himself.'

QU3:
Foreskin's Lament is a text with similar notions of the classic kiwi bloke. The other texts also
suggest masculinity displayed through an emotionless, staunch and tough exterior.

Title: Farmhand
Poet: James K Baxter
Date: 24/5/2003
QU 1:
Portrayal is shown through working on the land. Very shy of women but at home with the
farm work he undertakes.

QU 2:
He is single and working on the farm - it is his life. Isolated but not lonely. Content with the
lifestyle.

QU 3:
Obvious connections with Man Alone. Both characters work hard on the land. Both are quiet
‘no frills’ type of men.

©Crown 2003 10
 Internal assessment resource reference number English/3/7B – version 2

Report: Representations of Masculinity in Literature Excellence

• Consistently
develops
Masculinity is a theme that features prominently in New Zealand literature. In selecting the original
insightful
texts Once Were Warriors and What Becomes of the Broken Hearted (films directed by judgements
Lee Tamahori and Ian Mune), Foreskin's Lament by Greg McGee, Man Alone by John that are
Mulgan, and ‘Farmhand’ by James K Baxter, I am aware that my selection portrays a integrated with
supporting
somewhat stereotypical view of men in a Kiwi society The texts I have used in my evidence
investigation tend to associate masculinity with a rural or lower class lifestyle, violence or throughout the
alcohol consumption. Portrayals of masculinity have changed between texts set in the report.
1930 - 50s and those with more contemporary settings. The central characters all must • Addresses
the third key
deal with masculinity and the pressures related to it which ultimately shape their roles in question
the texts. effectively
(similarities
between texts)
throughout the
How masculinity shapes the character report by
As shown in Once re Warriors to be a ‘real’ man and to be considered masculine is to synthesising
judgements
inflict violence. Warriors contains numerous scenes of Jake Heke, the central character, based on
using his fists to prove his masculinity. The arrogant and explosive character single- findings drawn
from more than
handedly beats a man unconscious in front of an awe struck pub crowd. The attribute of one source.
physical potency is a concept that is strongly associated with masculinity. Tough and
`masculine' behaviour as shown in the film appears to warrant respect and admiration
from others. This belief is also obvious in Foreskin's Lament. Instead of continuous
confrontations however, this physical toughness is exposed through rugby, the sport that Findings are
integrated
is "more than just a game." Seymour, affectionately known to his friends as Foreskin with
witnesses the lengths Ken will go to is order to appear `fine' when his life was in grave perceptive
judgements
danger before a rugby match. The `she'll be right' attitude is often employed to avoid the based on
so-called `unmanly' act of exposing true beliefs or feelings. The team mentality is more than
seemingly an epitome of masculinity in Foreskin's Lament, and also in Warriors in a more one source.
perverse form of ‘team’ through the gang associations when Jake's son Nig turns to Toa
Aotearoa after becoming disillusioned with family life. This could be put down to a desire to
express extreme macho behaviour, a substitute for family life and a ‘team’ in which
maleness is valued. It is worth noting another softer side to masculinity in What Becomes
of the Broken Hearted though. The reformed Jake helps his son Sonny in times of need.
Jake feels proud of what he is doing and feels that he is conducting himself in a masculine
way, which is far removed from Jake, the vicious pub brawler in Warriors.

On the flipside as shown in the novel Man Alone and the poem ‘Farmhand’, to be
masculine one has to work on the land, to work and provide for oneself, to be a ‘no frills’
independent man. Johnson the main character in Man Alone, lives “mainly on the birds he
Develops a
could shoot” working often in rugged conditions in the Waikato and central North Island. perceptive
There is a sense of satisfaction from this masculine lifestyle which is contrast to the violent judgement,
contrasting
and alcohol dominated maleness of Warriors or Foreskin’s Lament. When Johnson says with
that “there isn’t any country better than this”, he shares a satisfied oneness with nature comments
also evident in Baxter’s poem ‘Farmhand’: about
previous
“But ah in harvest watch him; texts.
Forking stooks, effortless and strong-“
The farmhand is unsure and uncomfortable with the opposite sex in one aspect of his
masculinity. On the other hand he is totally secure and content with his life on the land,
where he “listens like a lover to the song…of a new tractor engine.”

Masculinity’s place in society

Homophobia and misogyny are rampant in Foreskin's Lament. Women and homosexuals
are mocked, ridiculed and thought of as inferior. Women are known as ‘fluff' and the
homosexual Larry is constantly taunted about being a ‘poof.’ The women in the text are
apparently corruptive of a `pure' male world for which rugby stands. Even the university
educated Seymour is seen as too much brains and not enough brawn. The disrespect

©Crown 2003 11
 Internal assessment resource reference number English/3/7B – version 2
Develops
towards homosexuals and women is evident in Once Were Warriors, where a boy is perceptive
branded a `poofter' for not conforming to the so called manly and criminal behaviour of his original
peers, while Jake frequently orders his wife to ‘just to what you're told’. Failure to comply judgement.
Continues to
means violence, as witnessed by Jake’s vicious attack on Beth when she refuses to cook synthesise
some eggs for one of the men at the party. The belief that failure to live up to masculine judgements
expectations merits such humiliations is the accepted norm in these texts, but these based on
findings
homophobic and misogynist attitudes are seen as less than acceptable in New Zealand across
society today. several
sources.

It is interesting to note the time frames in which texts were set and how this relates to
different aspects of masculinity as seen in the society they portray. Man Alone is the text
set in the oldest time period of the texts in my investigation. Set in the 1930s it depicts
masculinity through the main character's encounters with a demanding rural lifestyle.
Johnson is a hard working man with modest earnings but is prepared to `do it alone'.
These ideas are undoubtedly related to what would have been the typical way of life for
many New Zealand men in the early 1930s. This rugged self sufficient masculinity is
similar to that suggested in ‘The Farmhand’, but the negative side is that both characters
experience isolation.

This contrasts with the ‘team’ masculinity seen in Foreskin's Lament, a text set in the
1980s. The ‘pack’ approach concentrates more on the concepts of mateship and the
stereotypical bloke who conforms to the kiwi identity of playing rugby,consuming alcohol
and being one of the boys. Ironically it is the solitary individuals like Johnson or Baxter’s Presents well
farmhand who are more content with their isolated versions of maleness, than the lonely supported
findings.
and disconnected Foreskin who reveals how he lacks a sense of identity in the play’s Findings are
closing words: “When they really ask you whaddarya but really, really you don’t know.” integrated with
The most recently produced of the texts Once Were Warriors (1994) and What Becomes perceptive
judgements
of the Broken Hearted? (1999) feature modern day poor urban settings, characterised by based on more
alcohol, crime and unemployment. Against this backdrop Jake proves his masculinity often than one source
.
through alcohol fueled violence in Warriors, but a more positive helping aspect of his
masculinity is revealed by a reformed Jake in Broken Hearted.

Conclusion
The way masculinity is portrayed hinges on social climate, setting and circumstance
surrounding the central male characters. In all texts there is a strong trend towards
physical authority and an emotionless staunch manner which all contribute to the view of a
stereotypical ‘Kiwi bloke.’ These concepts appear frequently in New Zealand literature,
perhaps in an attempt to describe kiwi masculinity as false or shallow, to suggest that New
Zealand men ‘once were warriors’ but that the nobility and mana that traditionally entailed Conclusion
synthesises and
is now lost. The aspect of masculinity involving violence, particularly in Once Were summarises
Warriors and the deliberate parallels drawn to the warrior like personalities of Maori could findings.
perhaps be traced back to colonial clashes with Pakeha men. Texts such as Foreskin’s Original
perceptive
Lament, Man Alone and ‘Farmhand’ present masculinity as rural, isolated and rugby insights
obsessed. Apart from Seymour's character in Foreskin's Lament, masculinity is scarcely included.
portrayed beyond the uncompromising exterior that many people have become
accustomed to associating masculinity with in New Zealand.

Selects information from a range of referenced

Bibliography sources.

Baxter James K. (1979) ‘Farmhand’ in Collected Poems. Oxford University Press, Wellington
McGee, Greg. (1981) Foreskin's Lament Currency Press Ltd, Sydney
Mulgan, John. (1949) Man Alone. AH and W Reed, Auckland
Tamahori, Lee. (1994) Once Were Warriors. Communicado, Auckland
Mune, Ian. (1999) What Becomes of the Broken Hearted? Universal Pictures International

©Crown 2003 12
Internal assessment resource reference number English/3/7B – version 2

Exemplar B Merit

In search of: Masculinity in New Zealand Literature -

as explored in Hang On A Minute Mate, Once Were Warriors, Selects information from a range of
referenced sources.
The Book of Fame, ‘The Tomcat’.

Key Questions
1. How is masculinity presented in the society portrayed?
2. How important is the main character’s sense of masculinity?
3. What connections can be made between the portrayal of masculinity
between texts and our society?

Selects information from a range of

Resource Log referenced sources.

Title: Once Were Warriors

Director: Lee Tamahori
Date of Entry: 20 May 2003
1. Masculinity is portrayed as being physically tough, feared by others and therefore respected.
This is because the society in this film is mostly urban, working class Maori. They often spend time
at the local pub, where Jake shows his physical toughness by brawling with other people. The
patrons at the pub congratulate Jake whenever he does this.

2. Jake feels that it is very important for him to "be the man", and he believes he does this
through his physical, violent nature. "Our people, once were warriors ...they had mana" this
statement by Beth suggests that although Jake may be feared, he does not command mana and
respect.

3. Very different to Hang on a Minute Mate, where masculinity is sharing a relationship with
nature and the land. This may be due to the different cultures of the main characters (Maori and
Pakeha) or different time periods (1950s -1960s and 1980s - 1990s).

Title: Hang on a Minute Mate

Author: Barry Crump
Date of Entry: 15 May 2003
1. Masculinity is portrayed as being a "jack of all trades", someone who shares a relationship with
the land. This is because the society of this novel is working class rural pakeha New Zealand,
where the "typical kiwi bloke" is a drifter, who does odd jobs in order to make a living.

2. The main character of Sam Cash is made out to be the epitome of masculinity. However in this
novel, Sam doesn't care what others think of him nor does he try to be the definition of masculinity
- a drifter who uses his many skills to make a living, it is simply in his nature to do so.

3. The type of employment that Sam and Jack do throughout this novel are similar to the positions
held by the All Blacks in The Book Of Fame. Both Sam, plus Jake from Once Were Warriors, have
a similar derogatory attitude towards women.

Title: The Book of Fame

Author: Lloyd Jones
Date of Entry: 12 May 2003
1. A group of New Zealand rugby players are touring the United Kingdom, France and
America. Within this society masculinity is portrayed as being a great rugby player, a belief

©Crown 2003 13
Internal assessment resource reference number English/3/7B – version 2

held by the New Zealand public in this novel, who took great pride in the numerous
successes of the national team.

2. Although not specifically defined as masculinity, in New Zealand in the 1900s playing
rugby was a manly thing to do. A sense of masculinity is not necessarily that important to
the characters in this novel, but playing rugby is important to them.

3. Rugby in New Zealand is regarded as a tough game, where the players were staunch.
This is similar to Jake in Once Were Warriors where he is portrayed to be extremely tough.

Title: 'The Tomcat'

Poet: James K Baxter
Date of Entry: 22 May 2003
1. The society of this text is middle-class New Zealand, the conformity of which Baxter
despises. The "tight-furred scrotum" is symbolic of the tomcat keeping his masculinity, and
not being "doctored".

2. For Baxter, a sense of masculinity is extremely important. He believes that the middle
class conformist society of New Zealand is destroying men's masculinity. By letting the
tomcat be, he is keeping its sense of masculinity intact.

3. In Once Were Warriors fighting is an important part of how masculinity is defined, this is
to the tomcat as he has “badges of bouts and fights.” However Baxter is saying that
masculinity is being destroyed as opposed to stating what he believes masculinity is, which
is a contrast to the other texts. Merit
• Forms several
judgements
linked to a range
of findings, but
Report further
development
MASCULINITY IN NEW ZEALAND LITERATURE required for
excellence.
In New Zealand literature, masculinity is portrayed and defined in a number of ways. I • Does not present
selected a range of texts including ‘The Tomcat’ by James K Baxter, Once Were a sufficient level
Warriors, a film by Lee Tamahori, Hang on a Minute Mate, a novel by Barry Crump, of perceptive
judgements
and The Book of Fame, a novel by Lloyd Jones. These texts brought up a number of needed for
issues which I explore in my report below. excellence.
Limited
exploration of the
How is masculinity presented in the society portrayed? ‘wider links to
In both Hang on a Minute Mate and The Book of Fame, New Zealand is made out to society’ aspect of
be a largely rural country. In Hang on a Minute Mate, set in the late 1960s, the main key question 3.

characters of Sam and Jack travel the length of New Zealand doing odd jobs in rural
areas. They make out a real man as a bloke who is a "jack of all trades", in effect living Forms
off his ability to perform rural duties. This same image of masculinity is also alluded to in judgements
The Book of Fame, where the jobs held by the touring team are mostly rural positions. based on
findings.
This adds to the portrayal of the New Zealand man being rurally inclined. In both of
these texts the characters share a despising attitude towards city life. It is ironic that in
Once Were Warriors, the Heke family becomes disillusioned with the city and return to
their tribal roots in rural New Zealand. Presents well
supported
findings.
Part of being a man in Once Were Warriors and Hang on a Minute Mate is consuming Develops
beer at the local pub. The local pub in Once Were Warriors is like a second home to several
judgements
Jake, a place where he can drink with his mates, proving his masculinity. In Hang on a across report
Minute Mate, Jack and Sam spend most of their free time at various pubs and inns, integrating
more than one
where they "spin yarns over a pint" with local males. This is portrayed as a key source.
occurrence for kiwi males. In Once Were Warriors, director Lee Tamahori argues that
alcohol is destroying New Zealand society. He does this by showing the violence and

©Crown 2003 14
Internal assessment resource reference number English/3/7B – version 2
Perceptive
destruction caused by Jake whilst under the influence of alcohol, and Bully's rape of judgement which
makes wider
young Gracie when drunk after a party at Jake's. The portrayal of over-indulgence of societal links, but
alcohol is very common in New Zealand literature. This powerful depiction provides us needs to be more
closely aligned to
with a truth about New Zealand society; that maybe we rely on alcohol too much. masculinity theme.
Insufficient
development of
these judgements
How important is the main character’s sense of masculinity? across the report
In Once Were Warriors and Hang on a Minute Mate, part of the main character’s for excellence.
respective definitions of masculinity is having a derogatory attitude towards women.
In Once Were Warriors, Jake beats his wife frequently. This shows Jake's extremely
negative attitude towards women. He thinks of Beth as something he owns and he
undervalues her. In Hang on a Minute Mate Sam describes women as "a waste of
time and a nuisance". He speaks of his previous girlfriends with a tone of bitterness
and says, "a man's better off without a woman to keep you down". Through these
texts comes the idea that New Zealand is a pioneer, male dominated society.

One of the key issues of masculinity brought forward in Once Were Warriors, ‘The
Presents well
Tomcat’, a poem by James K Baxter and The Book of Fame is fighting, being tough supported
and the macho attitudes involved. In Once Were Warriors, Jake is considered "the findings.
Develops
man" because of his very physical and violent nature. This sense of masculinity is several
very important to Jake. However, when Beth says "Our people Jake, once were judgements
warriors... they had mana", she suggests that having mana and respect is what across report
integrating more
masculinity is, and that drunken brawls and wife beating will not bring this about. than one source.
Similarly in ‘The Tomcat’ Baxter implies that fighting and violence is an important part
of masculinity. Baxter uses the tomcat to be symbolic of masculinity with "badges of
bouts and fights". The touring rugby team in The Book of Fame are treated as heroes,
because of their rugby ability. Rugby at that time in New Zealand was considered a
real man's game because of its toughness and its brutality. Because of New
Zealand's tough colonial past, macho attitudes are frequent in both literature and
society today.

Conclusion makes
In conclusion, I have found many issues relating to masculinity were raised in the thoughtful wider
texts I studied. From alcohol's role in New Zealand through to macho attitudes to societal links.
sport and violence, the way masculinity was explored in these is still a disturbingly Insufficient
development of
accurate reflection of aspects of New Zealand society today. Our society's these judgements
weaknesses – the violence, the anger, the alcohol - rather than our strengths have across the report
for excellence.
been the inspiration for the way our authors and directors have presented
masculinity.

Selects information from a range of

referenced sources.
Bibliography
Baxter, James K. (1979) ‘The Tomcat’ in Collected Poems. Oxford University Press, Wellington
Crump, Barry. (1961) Hang on a Minute Mate. Holder Moa Beckett, Auckland
Jones, Lloyd. (2000) The Book of Fame. Penguin Books, Auckland
Tamahori, Lee. (1994) Once Were Warriors. Communicado, Auckland

©Crown 2003 15
Internal assessment resource reference number English/3/7B – version 2

Exemplar C Achievement

In search of: Race Relations in New Zealand Literature -

as explored in Sons for the Return Home, Once Were Warriors, Crooked Earth,
‘Clenched Fist’, ‘Sad Joke on a Marae’
Proposes research questions which expand
understandings of the topic.

Key Questions
1. What race relation issues/problems do the characters of each text face?
2. What influence does the setting or context have on the race relations in each text?
3. What connections are there between the race relations in this and other texts?

Resource Log Selects information from a range

of referenced sources.

Once Were Warriors by Alan Duff (NOVEL)

4 May 03
1. The characters of this text try to deal with the affluence of the white man, and their own
apathetic attitude to life, living from dole cheque to dole cheque. This is shown when Jake
quits his job because "the government is stupid enough to pay him to do nothing". The
Maori characters express their envy with violence "let’s get out of here before I find one of
those white shits and punchim".
2. The relative squalor of the state housing in Pine Block perhaps fuels the apathy of the
Maori who live there, and they envy the Tramberts, just over the back fence. The marae at
Wainui with its depictions rich in history and culture perhaps persuades Beth to bring some
of that back to her struggling people.
3. Negative stereotypes are also reflected in ‘Sad Joke on a Marae’.

Sons For The Return Home by Albert Wendt (NOVEL)

11 May 2003
1. The Samoan main character is who this text focuses on. He is having a relationship with a
papalagi (pakeha) woman, but the race relations in this text go deeper than that. He is also
having a relationship with his adopted country, the one that he has come to love, and is
torn between that and the ideals of Samoa, his country of birth.
2. The context is the most important part of the race relations in this text. At first, the main
character refuses to become part of his adopted country, treating it as and over long
holiday. He soon becomes involved against his will, and is drawn to love New Zealand. His
trip around the North Island, and his wonder at its beauty is an example of this.
3. This text is not very similar to any of the others I have studied. It suggests the white man to
be a cruel oppressor, ignorant of the ways of the people he is conquering (a la ‘Clenched
First’, Crooked Earth, Once Were Warriors). It is more about a man finding his feet in a
strange country.

Clenched Fist by Witi Ihimaera (SHORT STORY)

14 May 2003
1. One character in this text is trying to convince the other that Maori should not bow down to
the pakeha regime. This is at first the only conflict in this story, until the end when a black
woman is almost run down by youths in a car who scream at her "Get back you black
bitch". Api is also infuriated when photographed by a tourist, furious at being treated like a
walking museum piece - "a real live Maori".
2. The context of this story gives an impression of two Maori with jobs, and doing fairly well
for themselves.

©Crown 2003 16
Internal assessment resource reference number English/3/7B – version 2

3. Maori nationalism is very similar to that in Crooked Earth. Alcoholism again "come to the
pub, brother, he said. Meet some of the boys".

Crooked Earth directed by Sam Pillsbury (FILM)

20 May 2003
1. The characters of this text are trying to recover land stolen from them by white settlers,
(now owned by the crown) who are now proposing a forestry deal. It also involves a rift
between two groups of Maori, those who would rather their land returned to them in
whatever state (they threaten to burn it to the ground) and those who would prefer to play
along with the pakeha and deal with the minister.
2. The rural context of this text makes the relations seem more realistic. The land under
dispute is a large section of forest at the foot of a sacred mountain. The group of Maori
who want the land returned are growing pot under the cover of the trees.
3. The stereotypes of this text are evident in others, Once Were Warriors. Alcoholism, squalid
living, ‘Clenched Fist’ – Poverty, Maori nationalism.

‘Sad Joke on a Marae’ by Apirana Taylor (POEM)

25 May 2003
1. This poem is about someone who has forgotten his heritage "In the only Maori I knew", he
does not speak the language, and he quotes DB and the pub as his tribe and home.
2. The marae is the context of this text, and from the descriptions of the carvings and ghosts
on the walls, "the tekoteko raged / He ripped his tongue from his mouth and threw it at my
feet".
3. This poem is in ways similar in theme to Once Were Warriors - Maori loss of heritage.
Again, the common stereotypes show through: alcoholism, violence.

Achievement
Presents findings
Report with a number of
Race Relations In New Zealand Literature conclusions linked
to key questions 1
and 2.
My investigation examined race relations in New Zealand literature. The texts I
chose gave a disturbing portrayal of this. A common theme of distrust, alcohol and More development
of judgements
violence carried through Once Were Warriors by Alan Duff, Crooked Earth directed linked to question 3
by Sam Pillsbury and ‘Clenched Fist’ by Witi Ihimaera. Maori and Polynesians in (connections
my texts felt alienated. Racism fostered from childhood escalated to hatred as between texts)
required to achieve
portrayed in Sons For The Return Home by Albert Wendt. Lastly, the theme of lost merit.
culture and heritage is featured in ‘Sad Joke On A Marae’ by Apirana Taylor.

What race relation issues/problems do the characters of each text face?

Pakeha are shown as the enemy of the characters in most of my texts. Beth Heke
sits and sighs, wishing her family could be like the affluent white farmers who live
across her back fence -The Tramberts. Jake Heke is unashamedly racist, and his
violent nature leaks into his racism. He is angry when the family visits the posh
area of Ainsbury Heights. Finally after begging from his wife, he leaves, with his Presents well
comment "Let's get out of here before I find one of those white shits and punchim". supported
findings.
Some brief
In Crooked Earth a band of Maori cowboys shoot a white farmer who is farming on judgements
made across
land they believe to be theirs, and burn his wool shed. They refuse to deal with the texts, but not
crown, and mount a pseudo uprising. They want their ancestral land back, and developed as
have given up on peaceful means. This portrayal of racism is in sharp contrast to required for
merit.
that of ‘Clenched Fist’. This is the only one of my texts where racism was portrayed
in the opposite way, pakeha violence or prejudice towards Maori. A white tourist
snaps a picture of Api, as if capturing a native in his natural habitat - "I could have

©Crown 2003 17
Internal assessment resource reference number English/3/7B – version 2

mangled the white bastard. I tell you brother, we're just objects, caged animals in a
zoo, entertainment for the tourists.”

Another of my texts, Sons for the Return Home, highlighted a different problem.
The main character is an immigrant from the Pacific islands. He does not fit into his
adopted country, and refuses to make ties because he sees his stay there as
temporary. His upbringing trains him to be racist, and asked why he doesn't like Presents well
Maori, he can find no reply. He simply knows that "...the worst fights are between supported findings.
Islanders and Maoris". He falls in love with a papalagi (pakeha) girl, and when they
decide to get married, his mother objects - she doesn't want her children to be half
castes. What is portrayed is straightforward hatred and envy.

What influence does the setting or context have on the race relations in each text?
Blood and bottles are the staples of Maori life in Pine Block, the home of the Heke
family of Once Were Warriors. Jake Heke is unhappy without fresh blood on his
fists and a cold beer in his belly. Beth Heke is a woman with dreams, but they are
destroyed by her poverty and her husband's fists. She, like many others, drowns Presents well
her sorrow in alcohol. Their children are neglected, huddling close to one another supported findings.
as a violent drunken party smashes the downstairs of their home. They clean up
the next day without a word. The eldest, Nig is a gang prospect, and the rest think
that they have no other option but to follow in their parents' footsteps.

The alcoholism and squalid living conditions also run into Crooked Earth a family
of nearly twenty living in a dilapidated farmhouse decorated only by pictures of
famous revolutionaries, spray painted to the walls. Violence is also evident in Presents
Crooked Earth. findings with
brief links made
to other texts.
Even the title Once Were Warriors suggests that something is missing. Beth needs
to go back to her cultural context to find what it is. The difference between Pine
Block Maori and Wainui Maori, Beth's family, is marked, especially at Grace's
funeral. Pine Block Maori do not speak their language, understand their culture or
their customs. When Grace's funeral is over, Beth Heke mounts a crusade to
enlighten her people.

Race relations are also influenced by context in ‘Sad Joke on a Marae.’ Apirana
Taylor writes "the tekoteko raged / He ripped his tongue from his mouth and threw
it at my feet". "Tihei Mauriora! In the only Maori I knew". This shows us that the
narrator does not know his past, and his lack of knowledge about his culture and
the marae is shown when he speaks.

Conclusion
The portrayal of race relations in my texts was not a positive one. Stereotypes, Brief judgements
included, but not
racism, and loss of culture, alcohol and crime were at the forefront. Maori culture developed
is shown as slowly decaying, taking the race with it. My texts were generally violent sufficiently here or
and angry, and I believe this is a sad reflection on race relations in our society. elsewhere as
needed for merit.

Selects information from a range of

referenced sources.
Bibliography
Duff, Alan. (1990) Once Were Warriors. Tandem Press, Auckland
Ihimaera, Witi. (1972) Clenched Fist’ in Pounamu, Pounamu. Heinemann Educational, Auckland
Pillsbury, Sam. (1995) Crooked Earth. Pandora and Communicado
Taylor, Apirana. (1997) ‘Sad Joke On a Marae’ in An Anthology of New Zealand Poetry in
English Oxford University Press, Auckland
Wendt, Albert. (1973) Sons For The Return Home. Longman Paul , Auckland.

©Crown 2003 18
Internal assessment resource reference number English/3/7B – version 2

Exemplar D Not achieved

In search of: A New Zealand Identity -

as explored in The Piano, ‘Whaling, ‘They Gave Her a Rise’, ‘The Making of a New
Zealander’, ‘The Hole That Jack Dug’.

Closed research questions 1 and 2 which do not allow

Key Questions the student to expand understandings of the topic.
1. Is the society portrayed a New Zealand society?
2. Is the main character a stereotype?
3. What connections can I make with other texts and the NZ identity theme?

Log
Does not meet the second criterion.
Title: The Making of a New Zealander Limited information selected from only
Author: Frank Sargeson three of the five named sources.
Date 26/4/03
1. It is a farming society.
2. Yes – a farm worker working on the land. Nick is a Dalmatian settler who becomes a New
Zealander.
3. Connects with other texts where workers do not have many choices.

Title: They Gave Her A Rise

Author: Frank Sargeson
Date 29/4/03
1. Very working class.
2. Main character is single mother. Daughter works at an ammunition factory.
3. Both working and struggling for money.

Title: The Hole That Jack Dug

Author: Frank Sargeson
Date 30/4/03
1. Common NZ. Household.
2. Main character is uneducated, wife is educated. Not achieved
Presents some
3. Can be connected to ‘Whaling’ – not doing what he wants to do. information and attempts
to draw conclusions.

Findings are generally

Report inadequate and
Development of a New Zealand Identity unsubstantiated. The
conclusions drawn are not
convincing.
My report's focus is to see how the New Zealand identity is portrayed in New
Zealand art and literature. The texts I chose come from the early nineteenth
century - The Piano - to the 1940s -in Frank Sargeson's short stories. Even though
these texts may not be very modern, you can still see that there are a number of
different factors that are in them which link to my theme.
Some attempts made to
link resources, but
New Zealand Society superficial and
In the short story ‘The Hole that Jack Dug’ and in the song ‘Whaling’, the male unconvincing
belongs to the working class. In "The Hole that Jack Dug", Jack is a married man conclusions drawn.
who a worker at a quarry. His wife doesn’t like that he does not get a better job,
Findings do not
such as one in an office. Even though Jack has the ability to get a better job, he adequately address key
prefers labouring than anything else. In ‘Whaling’ this man is stuck as a whaler for questions.
a job, possibly because he lacks proper education. "But I'm whaling... Not where I
want to be." This lack of education forced him into a job he didn't want, which
might have been what men had to do at the time.
©Crown 2003 19
Internal assessment resource reference number English/3/7B – version 2

This brings up another issue of women being better educated than men. This can
be seen in ‘The Hole that Jack Dug’ where Jack's wife is educated in England. "...
she'd been a governess ... read more than ten books by an author called Hugh
Walpole." Because she is interested in literature and Jack isn't, their marriage isn’t
a very good one. Jack shows rebellion against her and her interests, because of
Unsubstantiated
her resentment towards him. This can be seen as New Zealand not valuing
findings.
education during the time which led to people like Jack having working class jobs.
These working class jobs can be seen as a New Zealand tradition. Jack and the
Whaler were both labourers, a line of work which has continued its way into our
modern times. This is evident by the fact the New Zealand has a successful
farming industry which requires a large amount of labour. It can also be linked to
today's New Zealand men, who are do it yourself type people who like to fix things
themselves.

Men and women have not always got along well, as seen in Jane Campion's film
The Piano. The Piano follows a widow and her daughter. The widow has been
married by her father to a New Zealand settler. Because Ada is mute and the fact
that she wasn't very willing to be married creates problems with her new husband.
Ada enjoys playing the piano, an issue that her husband doesn't care too much
about. Ada also has an affair with one of her husband's workers which makes him
so angry that he cuts off her finger. Unsubstantiated
This conflict between men and women can be seen today in the form of sexism findings.
and increasing divorce rates. This is also shown in ‘ The Hole that Jack Dug’
where Jack's wife convinces him that the hole was a bad idea and gets him to refill
it. This is seen today as women overcome sexism. People like Helen Clark are
elected in high positions in our society instead of men.

Stereotypes
In all of the short stories that I studied, one issue became clear: men don’t say
much. This is shown in the ‘They Gave her a Rise’ and ‘The Making of a New
Zealander’, both by Frank Sargeson. In ‘They Gave her a Rise’ the male in the
story doesn’t say much. In ‘The Making of a New Zealander’, there is a young
farmhand. Even though the story is centered around him, the narrator says very
little- "Maybe there's nothing in it and maybe there is." This is often hard to Findings not linked to
understand, which is maybe why they didn't say much. key question.

It is clear that there are many different sides to the New Zealand identity and they
are shown in great depth and detail in NZ literature, and that there are indeed
many different viewpoints of it. In the majority of my texts the issue of working
class was dealt with more than the other issues. The importance of working class
is still seen in modern NZ society. I think it is a good thing that these issues have Unsubstantiated
had the effect they have because if society keeps advancing, then so will our conclusions.
sense of identity.

Selects information from a range of

Bibliography referenced sources.
Campion, Jane. (1992) The Piano. Miramax
Dobbyn, Dave. (1984) ‘Whaling’ in DD Smash
Sargeson, Frank. (1936) ‘They Gave her a Rise’, ‘The Making of a New Zealander’, ‘The Hole
that Jack Dug’ in Collected Stories (1964) Blackwood and Janet Paul, Auckland

©Crown 2003 20
 Internal assessment resource reference number English/3/7B – version 2

Assessment schedule: 3.7

Complete independent research on a language or literature topic and present

findings in written form

Descriptor Example
Propose research questions
Achievement that expand understandings of Refer exemplar C on page 16
a topic. -18.

Select relevant information

from a range of referenced
sources.

Present well supported

findings.
Propose research questions
Merit that expand understandings of Refer exemplar B on page 13 -
a topic. 15.

Select relevant information

from a range of referenced
sources.

Present well supported

findings that develop
judgements.
Propose research questions
Excellence that expand understandings of Refer exemplar A on page 9 -
a topic. 12.

Select relevant information

from a range of referenced
sources.

Present well supported and

integrated findings that
consistently develop original,
perceptive judgements.

Model the
research
process as a
class using a
shared topic.
From here
follow the
same process Maybe this uses John;s
having chosen©Crown 2003 21
from a material as a sample for
selection of the modelling process.
topics.