Area of Study Paper 1 Section 1 Reading Area of Study - The - - PowerPoint PPT Presentation

Higher School Certificate Area of Study

Paper 1 Section 1 Reading Area of Study -

The focus of this presentation

This presentation addresses not only you but also your teachers.

 We/they share in the development of your

understanding and ability to compose effective, strategic responses.

 We learn new developments and strategies every time

the HSC comes around.

 Time is limited – two sections to cover. An insight into

answering effectively using two scaffold approaches for this section.

 Writing conceptually for Section II

Discovery…….. the rubric:

Know it. What is discovery? What is discovering? How is a discovery experienced as an individual, as a community or society? Consider impact

The philosophy behind this section

The philosophy behind this paper is that it is a reading paper.

 In previous years there was a drift toward assessing student writing rather than

their reading comprehension and ability to deconstruct and express meaning.

 We are back to looking for comprehension not writing excellence. We

aren’t talking about fluency or cohesion of the writing, or spelling, punctuation, grammar etc. We are looking for understanding; for what is right. This is a big shift from what has occurred in previous years.

 As an example students should be able to score 6/6 even if they are a Band 3

English student

 Detail does not equal length – 10 lines can be comprehensive. Length is

not necessarily a predictor of quality.

Section 1: Reading

Usually, three or four texts of different types

• Cartoon
• Photograph and article
• Feature article
• Prose excerpt
• Poem
• Song
• Non-fiction excerpt

The texts will reflect discovery in ways identified in the AOS rubric. They may not be explicit; they may be implied.

Discovery : Students explore the ways in which the concept of discovery is represented in and through

Discovery can



encompass the experience of discovering something for the first time or rediscovering something that has been lost, forgotten or concealed.



Discoveries can be sudden and unexpected, or they can emerge from a process of deliberate and careful planning evoked by curiosity, necessity or wonder.



Discoveries can be fresh and intensely meaningful in ways that may be emotional, creative, intellectual, physical and spiritual.



: can also be confronting and provocative.



:lead us to new worlds and values, stimulate new ideas, and enable us to speculate about future possibilities.



Discoveries and discovering can offer new understandings and renewed perceptions of ourselves and others.



An individual’s discoveries and their process of discovering can vary according to personal, cultural, historical and social contexts and values.



The impact of these discoveries can be far reaching and transformative for the individual and for broader society.



Discoveries may be questioned or challenged when viewed from different perspectives and their worth may be reassessed over time. The ramifications of particular discoveries may differ for individuals and their worlds.



By exploring the concept of discovery, students can understand how texts have the potential to affirm or challenge individuals’ or more widely-held assumptions and beliefs about aspects of human experience and the world.

What does Section 1 look like:

Just a reminder…….

Text 1 — Short story extract

 (a) In what ways is dialogue used to capture the young couple’s reactions to

the items they find? 2 Text 2 — Image

 (b) How does the image represent an individual who values discovered

• bjects? 2

2 Text 3 — Poem

 (c) Explain how the poem conveys the personal response of the father to

his discoveries. 3 3 Text 4 — Nonfiction extract

 (d) Analyse how the text portrays the difficulties of discovering ‘what is true

and what is false’. 3 Text 1, Text 2, Text 3 and Text 4 — Short story extract, Image, Poem and Nonfiction extract

 (e) Compare how TWO of the texts represent the significance of curiosity in

the process of discovering. 5 End of Question 1

Different approaches to the question:

1.

Many students approached each question by dealing with the concept of Discovery in relation to each specific question. This conceptual approach allowed them to analyse and explore how Discovery was represented in each text.

2.

Some candidates used textual analysis as an approach to this question. Students used the textual forms and features of each text to support the notion of Discovery with reference to each question.

My concerns re: the Discovery concept approach to the question…. What might happen with student writing using this approach?

Using The Merry-go-Round in the Sea extract.

An example of a Discovery text: T ext One: Novel Extract: The Merry-Go Round by the Sea a) Explain how the writer captures the perspective of a young boy. Keep it tight and formal. Cite text to support your identification of features and techniques/structural aspects. Target the key verbs of the question – Explain/how/captures/perspective/ (ALARM)

3 marks

How to answer these reading questions:

Scaffolds remind students of the key steps for answers in this section: Try TEEED

• Topic statement – answer the question in a statement
• Explain/elaborate re: how this presents the ‘perspective’ of

the child.

• Evidence – features and techniques/structural aspect of the

text plus textual quote/evidence and

• Evaluative statement linking to the question.
• Do this once if the question is worth 2 marks/twice if the

question is worth 3 marks. Length of answer 7- 8 lines no more.

Example script:

Stow communicates the perspective of the six year old Rob through descriptive language and dialogue. The third person narration establishes the persona’s awareness of his child

• self. The description of Rob ‘scuffing leaves’ and ‘hanging his body over the

narrow seat’ create vivid images of the antics of a child discovering the joy

• f a merry go round and communicate the abandoned contentment of the
• boy. The boy’s frustration when the world does not work a certain way also

communicates the simplicity and limitations of a six year old’s perspective.  His frustration that he could ‘not achieve more than half a revolution’ and the subsequent emphatic demand, ‘I want a ride!’ repeated despite his mother’s explanation of a need to leave, reflects the childish need for immediate

• gratification. The perspective of a six year old is shaped through a fusion of

dialogue and imagery to convey to the reader Rob Coram’s awakening view of a world less innocent than he realised .

 Or…

 The constant questioning and need for explanation also suggests

the childlike need for clarification of the way the world works….Elaboration, evidence, evaluative statement x1 as this question is worth 2 marks.



Write about three to four lines.

 Students may also refer to repetition of questions, imagery,

descriptive language, dialogue, characterisation shaped through these elements etc. to convey perspective.

Scaffolds for this section:

Write tight, concise responses using a scaffold or pattern for each answer. Two scaffold ideas: TEEED

• Topic statement – answer the question in a statement
• Explain/elaborate re: how this presents the ‘perspective’ of the

child.

• Evidence – features and techniques/structural aspect of the text

plus textual quote/evidence and

• Evaluative statement linking to the question.
• Do this once if the question is worth 2 marks/twice if the question

is worth 3 marks. Length of answer 7- 8 lines no more.

A scaffold for that last question:

TOFEES

 Top

• pic se

sentence – address the similarities and differences re: the selected texts. Identify the texts.

 Overview se

• sentence. Address the question for d/e

explicitly.

 Features – identify two textual features in the first text  Evid

vidence – give textual examples of these features and say what their …

 Effect on meaning.  Su

Summation statement tied to the significance of the text and discovery.

 Repeat for th

the se second text

 Finish with a cohesive su

summation se sentence.

Some observations about Section 1:

 As the paper proceeds please keep in mind that the texts become

more challenging.

 Examiners are looking for greater sophistication in your answers as

the paper progresses.

 The first question is often a settling in question. Subsequent

questions may be worth the same number of marks but you are expected to think and write more critically and insightfully about these later texts.

 See the short answer section as incremental in terms of each text

being more demanding.

 As you move through the three or four stimulus texts be aware that

the ideas, language and conceptual representation of Discovery becomes more complex.,

 Your responses to each questions should reflect that increasingly

deep comprehension of these texts and their ideas.

 The final 5 or 6 mark question where you are asked to compare two

• f the texts should result in a highly cohesive and insightful,

textually-grounded response.

What is is a a good comparative resp sponse? Question d/e th the 5 5 /6 /6 mar ark question.

 Students have a sophisticated thesis statement

that is related to the text.

 They follow the TOFFEES/TEEED but with a more

discursive and considered or reflective voice.

 T

echniques and textual references are certainly necessary but some students who only wrote half a page and had a couple of text refs and techniques had more discursive and insightful

• bservations that saw them get 5/6.

 Others were the full 2 or 3 page analyses but

they had already made it to 5 or 6 by the end of the first page, easily.

 So, how much is enough?

Part 2: Imaginative Writing

Discovery Section 11 Imaginative Writing

Some general observations:

 Some of the following comments are derived from

marking the imaginative writing in October 2015.

 These observations may cause some

• ffense/consternation or indignation. No offense is

intended.

 Rather, they are offered in the spirit of shaping the best

possible outcome for you in this imaginative writing section.

What not to write about:

As with Belonging many student responses for the Discovery AOS Imaginative Writing reflected a concentration on topics that tended to be mundane. Emotional and socially-topical events or experiences became overused and unfortunately lac lacked a ‘rising con

• nceptual insight’.

They were suburban, teenage soap operas written as literal recounts with a final sentence summing up what they had ‘discovered’. QED – the subject or focus of your discovery imaginative writing should go beyond soap opera, fantasy, literal recounts or utilise so much dialogue that the story becomes beleaguered and tedious.

The following topics were prevalent.

T

• pics to avoid:

 A fight with your mum or dad

• r… both

 Discovering you are adopted; not

your parents natural child; having a fight with your mum and she says terrible things …

 Finding a treasure ….unless it’s a

metaphoric one.

 Being bullied at school  Finding something on the beach  Finding a boyfriend  Finding any friend  Being lost then found (just in time

for ‘tea’ or meeting your mates.

 NO FANTASY – NONE. NADA!

 Falling out of love/meeting the

boy/girl of your dreams

 Being a cat or dog (Writing from

the perspective of an animal; an inanimate object or similar pathetic fallacy approaches is not recommended.

 Discovering a new island  Breaking up with your boyfriend;

girlfriend (unless you can write about it in a unique and clever way)

 Being adopted….  Avoid topics that are not going to

be dealt with in a sophisticated or nuanced way. You will have noticed some repetition in the topics….

Writing conceptually….

What does this mean?

 To

• compose con
• nceptuall

lly so sophis isticated nar arratives is is to writ rite ab about disc iscovery ry in in a a way th that it it is is im impli lied th through th the events, ch characters an and context of

• f your nar
• arrative. In

In

• th
• ther wor
• rds, th

the story ry goe

• es beyond th

the lit literal. l.

 You

• ur nar

arrative im impli lies or

• r cr

creates a a th theme/metaphor/alle legory/ th that th the reader in interprets as as a a revela latory ry event for th the ch characters an and, con

• nsequently it

it is is als also a a disc iscovery for th the reader.

Area of Study Section II

Attempt question 2: Allow about 40 minutes for this section Answer the question on pages 8-15 of the Paper 1 Writing Booklet. Extra writing booklets are available. ______________________________________________________________ Your answer will be assessed on how well you:

 Express understanding of discovery in the context of your studies  Organise, develop and express ideas using language appropriate to audience,

purpose and context. ______________________________________________________________ Question 2 (15 marks) Compose a piece of imaginative writing which explores the unexpected impact of discovery. Use ONE of the images on the next page as the central element of your writing.

The question came from the Rubric…..

 The impact of these discoveries can be

far reaching and transformative for the individual and for broader society.

How to achieve A and B bands:

The most successful imaginative texts were:

 Those that impli

lied a moment of

• f discovery that had an

an impact or

• r consequence on
• n the characters and …the

reader.

 The reader and the character ‘realised’ new insights or

• r

understandin ings.

How can I compose a conceptually sophisticated narrative?

Some suggestions for teachers and for you: There are a lot of different approaches but these are some that I have found successful.

 Experiential or artefact items as a stimulus  99 words  Creative non-fiction (English teachers breathe…breathe….

 The Window Folder effect  Jigsaw the rubric + a picture/word/quote  The box – what’s inside?  Analogies – sofa is to loss, apple is to bus; photograph

is to shoe…etc

 Luke Neff Writing Prompts.com Tumblr site also

99 words Give students an image, quote, phrase from a text, article, cartoon, etc… They have to compose using Orientation, Complication, Climax, Resolution, Coda…but have only 99 words no not including the title. All narr narrativ ives mus ust ha have a tit itle. This is then becomes the basis is of

• f an

an ext xtended pie piece of

• f writ

ritin ing. Trust me me…it it wor

• rks.

Creative non-fiction

 Many of the most effective

narrative texts used this form. I was surprised simply because these were obviously not highly able, creative writers but by creating a context it allowed students to imagine themselves in a particular context and write in a more elevated way.

 E.g. Refugee writing; experiences

• f new locations, cities, escape,

moments in history.

 But…they must be personalised.

They are not writing about the ‘big event’ but rather as a witness

• r as being present in a moment

in time or a moment in a particular place

The he win indow frame effect



Go to Spotlight – buy the cardboard fold out window



A3 photocopy of images that are provocative; historically important; graphically appealing.



Cover one half – show students this half and they use it as a stimulus for writing – 12 minutes.



Open the other half – usually shocking; confronting or revelatory in some way…they write for another 12 minutes.



You will be surprised…



They then re-work, edit, incorporate figurative language and textual features for effect – don’t over do it…



And consider whether the notion or concept of discovery is present in their writing.



At no time should the word ‘discover’

• r I discovered be present in your

narrative. Luke Ne Neff: A wonderful site for all Year groups and for great writing ideas. Regular writing using 99 words and his prompts will build a ‘catalogue’ of narratives that can be developed and shaped. Use these texts to address different aspects

• f the rubric…

Impact Consequences How people have changed in their understanding of something..

Suggested resources:

 Smash HSC  ETA Discovery

handout 2014

 Luke Neff Writing

Prompts.com

 ETA Imaginative

Writing guide

 Creative Non-

Fiction-search this topic and you will be surprised. Be careful of Bored of Studies texts and commentary Avoid literal writing for the Imaginative Section Practise your stories – Develop these over and over. Re-work them and play around with structure, voice.

NEVER STAND STILL….well, only for a little while…just to rest…