english (advanced) course 2016 higher school certificate · english (advanced) course 2016 higher...

ENGLISH (ADVANCED) COURSE

2016 HIGHER SCHOOL CERTIFICATE

1. COURSE SCOPE AND SEQUENCE

2. COURSE ASSESSMENT SCHEDULE

3. SUBJECT SPECIFIC TERMS LIST

4. ASSESSMENT TASKS # 1, 2, 3, 5 & 6

STUDENT NAME: ____________________________________

HOMEROOM: ______________

HSC ADVANCED – SCOPE & SEQUENCE 2016

2015

Term 4

1 2 3 4 5 6 7 8 9 10 11

Completion of Preliminary Course:

ORTs

Area of Study – Discovery

Prose Fiction – ‘Wrack’

Outcomes: 2,7,9,11,12,12A, 13

Task 1 – Representation (15%)

Due: Week 9 (submitted)

2016

Term 1

1 2 3 4 5 6 7 8 9 10 11

Module B: Critical Study of Text

Poetry – W.B. Yeats

Outcomes: 1,2A, 6, 10,12, 12A,13

Module B (continued)

Module A: Comparative Study of Texts Intertextual

Connections –Drama & Film

Outcomes: 2,5,6,8,12,12A,13

Task 2 – AOS Journaling (10%)

Due: Progressive submission

(Wk 10, Wk 2 & Wk 4)

Task 3 – Digital Portfolio

(15%) Due: Week 7

(submitted)

2016

Term 2

1 2 3 4 5 6 7 8 9 10

Module A: Comparative Study of Texts Intertextual

Connections –Drama & Film ‘Richard III’ & ‘Looking for

Richard’

Outcomes: 2,5,6,8,12,12A,13

Module C: Representation & Texts – Representing People & Landscapes

Non-fiction – ‘The Art of Travel’

Outcomes: 1,3,4,10,12,12A,13

Task 5 – Digital Portfolio (15%)

Due: Week 4 (submitted)

Task 6 – Digital Portfolio (15%)

Due: Week 1, Term 3 (submitted)

2016

Term 3

1 2 3 4 5 6 7 8 9 10

Module C (continued)

AOS & Modules Revision

Task 6

(see above) Task 7 – Trial Exam (20%)

Weeks 3-4

2016 HSC Course – English Advanced

COMPONENTS

Wei

gh

tin

g

Task 1 Task 2 Task 3 Task 4 Task 5 Task 6 Task 7

Term 4

Week 9

Date: 4/12/15

Term 1

Week 4

Date:progressive

submission

Term 1

Week 7

Date: 9/3/16

Term 1

Week 9

Term 2

Week 4

Date: 20/5/16

Term 3

Week 1

Date: 21/7/16

Term 3

Weeks 3-4

Area of Study

Representation Area of Study

Writing

(Journalling)

Module B:

Digital

Portfolio

Area of

Study

Paper 1

Module A

Digital

Portfolio

Module C

Digital

Portfolio

Trial HSC

Paper 1 & 2

Submission Progressive

Submission Submission Examination Submission Submission Examination

Outcomes 2,7,9,11 7,11 1, 2A,6,10 2, 7, 9, 11 2,5,6,8 1,3,4,10 1,2,2A,6,8

Sy

llab

us

Co

mp

on

ent

Area of Study – Prose Fiction,

‘ Wrack’ 40 15 10 10 5

Module A – Exploring

Connections – Shakespeare’s

“Richard III” and Pacino’s

“Looking For Richard”

20

15 5

Module B – Critical Study of

Text – Poetry of William

Butler Yeats

20

15 5

Module C – People and

Landscapes ‘The Art of

Travel’ Alain de Botton

20

15 5

Marks 100 15 10 15 10 20 15 20

Lan

gu

age

Mo

des

Listening 15

5 5 5

Speaking 15

5 5 5

Reading 25

5 5 5 10

Writing 30

5 5 10

Viewing/Representing 15 15

Marks 100 15 10 15 10 15 15 20

YEAR 12 – ENGLISH ADVANCED

2016 Subject Specific Terms – Area of Study & Modules A, B & C

AREA OF STUDY: DISCOVERY

Prose Fiction: Wrack

NARRATIVE

antagonist A character, group of characters, or institution in opposition to the protagonist

character A character is a person presented in a dramatic or narrative work, and characterisation is the

process by which a writer makes that character seem real to the reader through techniques

such as physical description, action, dialogue, interaction with other characters, and the

depiction of thought and beliefs.

climax The part of a narrative or drama at which the crisis point is reached, the moment of greatest

emotional tension.

coda Final statement in a narrative that often has a moral lesson or message.

complication Situation within a narrative that causes problems for a character.

conflict Forces that a character faces. Types of conflict include:

conflict with self - conflict of an internal nature where a character struggles with thoughts,

emotions and/or desires

conflict with others – conflict between the character and others

conflict with society - conflict with groups or elements of society

conflict with nature/environment – conflict with natural or man-made environments

dialogue Direct speech spoken exactly by a character.

foreshadowing A clue or hint of what is to come in the future of the text.

narrative The basic storyline of a text. A story of events or experiences, real or imagined. Narrative

includes the story (what is narrated) and the discourse (how it is narrated).

narrative structure The sequence of events and conflict development within the text. Includes; prologue,

orientation, rising action, complication, climax, resolution, epilogue, flashbacks and

foreshadowing. May follow a linear or non-linear structure

narrator The voice of the person telling the story, not to be confused with the author’s voice.

orientation The exposition or beginning of a narrative, where the audience is informed about the ‘who’,

‘what’, ‘where’, ‘when’ and ‘why’ of the events which are to follow.

plot An author’s selection and arrangement of incidents in a story to shape the action and give the

story a particular focus.

protagonist The main character through which the plot evolves

recount To retell a story or event in detail.

resolution The falling action (or resolution) is the ‘wrapping up’ of a story after the climax, where the

main conflict or complication is resolved.

rising action The rising action of the plotline is where complications create some sort of problem or conflict

for the protagonist.

setting The physical, historical and social context in which the action of a story occurs. The major

elements of setting are the time, the place, and the society that frames the characters and the

story.

subplot A secondary storyline to the main plot

theme The main ideas that are developed within a text, sometimes the message or moral of the story.

voice The voice of a text helps to suggest its mood, attitude and purpose. It can also refer to the

narrative perspective presented within a text.

http://en.wikipedia.org/wiki/Institution

MODULE A: COMPARATIVE STUDY OF TEXTS

ELECTIVE: INTERTEXTUAL CONNECTIONS

Drama: Richard III / Film: Looking for Richard

DRAMA

allegory A symbolic narrative in which the surface details imply a secondary meaning. Allegory often

takes the form of a story in which the characters represent moral qualities.

antagonist A character or force against which another character struggles.

aside Words spoken by an actor directly to the audience, which are not "heard" by the other

characters on stage during a play.

characterization

The means by which writers present and reveal character. Although techniques of

characterization are complex, writers typically reveal characters through their speech, dress,

manner, and actions.

climax The turning point of the action in the plot of a play or story. The climax represents the point

of greatest tension in the work.

complication An intensification of the conflict in a story or play. Complication builds up, accumulates,

and develops the primary or central conflict in a literary work.

conflict A struggle between opposing forces in a story or play, usually resolved by the end of the

work. The conflict may occur within a character, between characters, with society or one’s

environment.

connotation The associations called up by a word that goes beyond its dictionary meaning.

denotation The dictionary meaning of a word. Writers typically play off a word's denotative meaning

against its connotations, or suggested and implied associational implications.

denouement The resolution of the plot of a literary work.

dialogue The conversation of characters in a literary work. In fiction, dialogue is typically enclosed

within quotation marks. In plays, characters' speech is preceded by their names.

diction

The selection of words in a literary work. A work's diction forms one of its centrally

important literary elements, as writers use words to convey action, reveal character, imply

attitudes, identify themes, and suggest values. We can speak of the diction particular to a

character.

dramatic monologue A type of poem in which a speaker addresses a silent listener.

exposition The first stage of a fictional or dramatic plot, in which necessary background information is

provided.

falling action In the plot of a story or play, the action following the climax of the work that moves it

towards its denouement or resolution.

flashback An interruption of a work's chronology to describe or present an incident that occurred prior

to the main time frame of a work's action. Writers use flashbacks to complicate the sense of

chronology in the plot of their works and to convey the richness of the experience of human

time.

foil A character who contrasts and parallels the main character in a play or story.

foreshadowing Hints of what is to come in the action of a play or a story.

irony A contrast or discrepancy between what is said and what is meant or between what happens

and what is expected to happen in life and in literature. In verbal irony, characters say the

opposite of what they mean. In irony of circumstance or situation, the opposite of what is

expected occurs. In dramatic irony, a character speaks in ignorance of a situation or event

known to the audience or to the other characters.

monologue A speech by a single character without another character's response. See Dramatic

monologue and Soliloquy.

parody A humorous, mocking imitation of a literary work, sometimes sarcastic, but often playful

and even respectful in its playful imitation

pathos

A quality of a play's action that stimulates the audience to feel pity for a character. Pathos is

always an aspect of tragedy, and may be present in comedy as well.

plot The series of events that unify to create an entire narrative.

http://highered.mcgraw-hill.com/sites/0072405228/student_view0/drama_glossary.html#conflict

http://highered.mcgraw-hill.com/sites/0072405228/student_view0/drama_glossary.html#plot

http://highered.mcgraw-hill.com/sites/0072405228/student_view0/drama_glossary.html#soliloquy

protagonist The main character of a literary work through which the plot unfolds.

resolution The sorting out or the outcome of a plot at the end of a play.

rising action A set of conflicts and crises that constitute the part of a play's or story's plot leading up to the

climax

soliloquy A speech in a play that is meant to be heard by the audience but not by other characters on

the stage. If there are no other characters present, the soliloquy represents the character

thinking aloud.

stage direction A playwright's descriptive or interpretive comments that provide readers (and actors) with

information about the dialogue, setting, and action of a play.

staging The spectacle a play presents in performance, including the position of actors on stage, the

scenic background, the props and costumes, and the lighting and sound effects.

subplot

A subsidiary or subordinate or parallel plot in a play or story that coexists with the main plot.

symbol An object or action in a literary work that means more than itself, that stands for something

beyond itself.

syntax The grammatical order of words in a sentence or line of verse or dialogue. The organization

of words and phrases and clauses in sentences of prose, verse, and dialogue

VISUAL LITERACY – FILM/PICTURE BOOKS/VISUAL TEXTS

animation Style of film that makes use of stop motion techniques to make inanimate objects appear

lifelike

background Objects that are placed behind other objects in an image

body language The meanings communicated through the use of gestures, stance and facial expressions.

camera angles The position of the camera in relation to the subject. Five basic angle types: aerial or bird’s

eye view, high, eye level, low, worm’s eye view.

camera movement Tracking shot – moves along with the action (camera typically on a track)

Pan Shot – camera is stationary but moves from one side of the scene to another

Zoom Shoot – camera moves from a distance to focus in on a person/object

Handheld Camera – movement by the camera operator evident (gives an impression of the

action taking place)

Crane Shot – camera is attached to a crane that can move above or down to the scene

camera shots close-up –detailed aspects of the characters or objects, showing little or no background

extreme close-up – finer details of a close up shot

medium shot – torso and above

long shot – shows all or most of the subject

point of views shot – the view from the perspective of one of the characters

establishing shot – long shot that reveals the setting, scene and mood of a film.

colour The hue, shade or pigment given to objects to create meaning

contrast Where two or more features of a visual text reveal and highlight their differences in relation to

one another.

costume The style of dress and garments

demand Used in visual texts when a figure gazes directly out of the image at the reader demanding a

response

dialogue The verbal exchanges between characters. Dialogue makes the characters seem real to the

reader or audience by revealing their thoughts, responses, and emotional states.

diegetic sound Sound that would naturally occur within a scene

director The supervisor of the acting and film/stage production

editing cut – end of a shot

jump cut – quick, non-sequential cut to another shot

montage – director deliberately moving the plot through a combination of a number of shots

from different scenes

split screen – more than one frame can be seen at once

http://highered.mcgraw-hill.com/sites/0072405228/student_view0/drama_glossary.html#climax

http://highered.mcgraw-hill.com/sites/0072405228/student_view0/drama_glossary.html#plot

MODULE B: CRITICAL STUDY OF TEXT

POETRY: W.B. Yeats

foreground Objects that are placed in front of other objects in an image

framing The shaping of a text by a border, outline, shading or margin

layout The way the text is physically arranged on a page

lighting Refers to the degree and type of lighting that is used on the subject

melodrama A drama where emotions are exaggerated and any incident is seen as either disastrous or

absolutely wonderful

mis-en-scene The term mis-en-scène is describes what is ‘put into the scene’. It includes use of lighting,

props, costumes and placement of characters

modality the degree of which an image represents a realistic depiction of both an image as a whole, and

the different objects represented in an image.

music Musical accompaniment to a scene or action to add emotion or create atmosphere

non-diegetic

sound

Sound which is additional to the scene such as soundtracks, voice overs and which would not

be heard by those in the film

offer Visual texts in which the figure possesses an indirect gaze that does not address the reader

directly.

positioning The deliberate placement of images on a page for an effect

reading path the movement/path of a viewer’s gaze around a visual text

salience The focal point of a visual text, created by a specific technique/s

setting The physical location revealed in or by an image

size The dimensions of particular objects

sound effects Natural or artificial sound added to a scene or action for effect

special effects Artificial editing effects that are used to create illusions in films or on stage

vector lines Lines (real or imaginary) that direct the eye of the responder around the text

voice-over An off-camera narrative voice that comments about the images on screen

POETRY

alliteration Repetition of a consonant letter at the beginning of several words within close proximity to

create a particular sound

assonance Repetition of a vowel in several words within close proximity to create a particular sound

connotation The suggested meaning by words or phrases

denotation The literal meaning of a word

emotive language Use of words packed with emotion to influence audience judgment and emotional response.

extended metaphor When a metaphor is carried through or developed further in a text

figurative language Words and phrases which make comparisons for effect including simile, metaphor,

personification

imagery Vivid descriptive language that appeals in one or more of the senses. These include sensory

(sight), auditory (sound), kinaesthetic (touch), gustatory (taste) and olfactory (smell).

juxtaposition The placement of two images in close proximity to highlight the differences between the

two. Also referred to as ‘contrast’.

metaphor a comparison where one thing is said to be something else

motif A reoccurring image that gains meaning throughout the text

onomatopoeia A term given to words that resembles the sound it denotes

personification To give an non-living object qualities that are associated with being human

repetition Repeated words or phrases to amplify or emphasise a point.

simile Comparison of two objects/things using the words ‘like’ or ‘as’

sound devices A manipulation of sounds and/or letters to create imagery or an emotional response. It may

include alliteration, assonance, dissonance, euphony and onomatopoeia

symbol, symbolism A thing that stands for, or represents, something else

MODULE C: REPRESENTATION & TEXT

ELECTIVE: PEOPLE & LANDSCAPES

Non-fiction: The Art of Travel

GENERAL:

mood The atmosphere or emotional condition created by the piece within the setting. Mood refers

to the general sense or feeling which the reader is supposed to get from the text

tone A writer's attitudes towards a topic can be detected by the way that topic is discussed. Tone

can be more easily understood by imagining the tone of voice a writer might be using if the

writer was speaking the text

word choice The deliberate selection of words used by the composer to produce a particular effect

EXPOSITION/ POINT OF VIEW

non-fiction An account or representation of a subject which is presented as fact. Includes text types

such as memoirs and autobiographies.

anecdote A personal story which is used to persuade and entertain the responder.

bias A leaning to one side of an argument, issue or concern rather than having an objective

viewpoint.

perspective Particular viewpoint or attitude that is emphasised within the text.

exposition A text type that argues an opinion with reason and evidence.

rhetorical question A question which does not expect an answer. Rhetorical questions are asked to

encourage responders to think and question issues of discussion.

modality The degree of certainty in words and expression The degree of certainty can be low,

medium or high.

emotive language Language deliberately designed to arouse the emotions.

evidence The available facts or information to support a point of view. Evidence used in

expositions can range from statistics, expert opinion, anecdotes and facts.

opinion A view or judgment formed about an issue.

issue An important topic or problem for debate or discussion

arguments A reason or set of reasons given with the aim of persuading others that an action or idea

is right or wrong

LANGUAGE & STYLE EXAMPLES

alliteration Repetition of a consonant letter at the beginning of

several words within close proximity to create a

particular sound

He declined the deal deliberately.

amplification Repeating a word or expression while adding more

detail and emphasis.

This is a crisis. A large crisis. In fact it's

a twelve-story crisis.

anaphora The repetition of the same word/words at the beginning

of successive sentences.

I believe that we can make a difference.

I believe that things will change.

assonance Repetition of a vowel in several words within close

proximity to create a particular sound

go home Joe

asyndeton Omitting conjunctions between words, phrases or

clauses.

He was base, he was bad, he was mean.

connotation The suggested meaning by words or phrases home – comfort, security, family

denotation The literal meaning of a word mother = female biological parent

ellipsis Three dots (full stops) placed together to indicate words

have been left out, often used to create tension or leave

a statement partly unspoken

John thought and thought … and then

thought some more.

emotive language Use of words packed with emotion to influence

audience judgment and emotional response.

positive – gorgeous, delicate, lovely

negative – vain, fastidious, easily

damaged

extended

metaphor

When a metaphor is carried through or developed

further in a text

figurative

language

Words and phrases which make comparisons for effect

including simile, metaphor, personification

hyperbole An extreme exaggeration “I’ve told you a million times!”

idiom An expression understood beyond its literal meaning,

best understood by members of a particular culture

I think I’ll hit the sack. (I think I’ll go to

bed.)

imagery Vivid descriptive language that appeals in one or more

of the senses. These include sensory (sight),

auditory(sound), kinaesthetic (touch), gustatory (taste)

and olfactory (smell).

crisp dry paddocks (gives reader a sense

of the drought conditions)

irony i. a tone that indicates that the responder is not

intended to read the text as it appears

ii. dramatic irony

iii. other types include contradictions

i. sarcasm

ii. when the audience knows more that

some or all of the characters

iii. a vegetarian who worked at

McDonalds, or a flight attendant

who was afraid of enclosed spaces

jargon Refers to the language or technical terms specific to a

particular subject.

technology – kilobytes, USB

military – AK47,

juxtaposition The placement of two images in close proximity to

highlight the differences between the two. Also

referred to as ‘contrast’.

black/white

male/female

young/old

metaphor a comparison where one thing is said to be something

else

My fingers are ice.

modality High modality is direct and forceful, ‘It will be done’

whereas low modality is weaker in emphasis, ‘It may

be done if necessary.’

motif A reoccurring image that gains meaning throughout the

text

onomatopoeia A term given to words that resembles the sound it

denotes

buzz, rattle, bang

personification To give an non-living object qualities that are

associated with being human

the icy fingers of the wind

pun a play on words, often where the words have two

meanings

Shopaholics never die, they just sale

away.

repetition Repeated words or phrases to amplify or emphasise a

point.

It was the best experience ever, the best

for him and the best for the family.

rhetorical

question

A question that is asked but not designed to be

specifically answered, its answer being self-evident

“Do we want our children using drugs?”

simile Comparison of two objects/things using the words

‘like’ or ‘as’

Tom was as quick as a fox

The diamond dazzled like the sun

sound devices A manipulation of sounds and/or letters to create

imagery or an emotional response. It may include

alliteration, assonance, dissonance, euphony and

onomatopoeia

symbol,

symbolism

A thing that stands for, or represents, something else snake = evil

crucifix = Jesus

RHETORICAL DEVICES

ethos Proof deriving from the character of the speaker himself/herself. The tone of the speech should

establish the speaker’s virtue and moral worth.

pathos The emotions induced in the audience. The audience begins to feel that the speaker must be right

and is won over to his side.

logos Demonstration of the speaker’s position by means of argument such as syllogisms, examples and

maxims.

tone The position, attitude or viewpoint of the composer on

an issue

rude, condescending, polite,

sympathetic, etc

MISCELLANEOUS

allegory a story or situation which stands for another situation, and the whole story is symbolic. eg The

Hare and the Tortoise

analogy a comparison demonstrating the similarities between to things, people, situations. It can be an

extended metaphor or simile that continues to provide all the reasons why.

audience The intended reader, listener, viewer of a text

bias A leaning to one side of an argument, issue or concern rather than having an objective viewpoint.

cliche a phrase or expression which was once novel, but has been used so often that it lacks real meaning

eg. love at first sight

colloquial

language

words and phrases that belong to everyday speech and conversation eg. How’s things?

commentary A narrative voice in the documentary that expresses a specific argument or point of view

composer the person who created the text

concept A broad based and abstract idea such as ‘journey’

context The background situation of events, personalities or situations within a text. It can refer to things

such as the historical period or the social or cultural setting.

dramatic irony Where the audience has a larger knowledge or understanding than the character.

genre A category or group which a text belongs to

genre

conventions

Accepted practices and characteristics of a text that are generally used and understood

modality LITERARY: the degree (strength or weakness) of words in a written text

mood The atmosphere or emotional condition created by the piece within the setting. Mood refers to the

general sense or feeling which the reader is supposed to get from the text

non-fiction An account or representation of a subject which is presented as fact. Includes text types such as

memoirs and autobiographies.

perspective Particular viewpoint or attitude that is emphasised within the text.

point of view The person or voice that tells the story (First, Second or Third Person)

purpose The reason the text was created, eg to persuade, educate, entertain

register The type of language according to purpose, audience and context

responder the person responding to the text (reader, viewer, listener)

rhetoric The study of effective writing and speaking.

stereotype A popularly held understanding or idea of a group that is based on a set of expectations or beliefs.

structure the organisation of a text (layout or sequence)

style The way an author chooses words, arranges them in sentences or in lines of dialogue or verse, and

develops ideas and actions with description, imagery, and other literary techniques

tense How the composer presents the time things occur; past, present or future

text types Classification of a text according to its structure and purpose, eg. information report, exposition,

narrative, discussion, procedure, recount

tone A writer's attitudes towards a topic can be detected by the way that topic is discussed. Tone can be

more easily understood by imagining the tone of voice a writer might be using if the writer was

speaking the text

word choice The deliberate selection of words used by the composer to produce a particular effect

allusion reference to some text, person or event outside the present situation. The effect is to enrich the

text by inviting the responder to consider more information than can be dealt with in detail

amplification (see

repetition)

repeating a word or expression while adding more detail to it, in order to emphasize what might

otherwise be passed over

analogy any figure of speech based on comparison between two, unlike, objects or actions or processes

anaphora repetition of a word at the beginning of consecutive phrases, clauses, or sentences

anecdote a short tale narrating an interesting or amusing biographical incident.

antithesis establishes a clear, contrasting relationship between two ideas by joining them together or

juxtaposing them, often in parallel structure.

aphorism a brief saying embodying a moral, a concise statement of a principle given in pointed words

aporia expresses doubt about an idea or conclusion

asyndeton omission of conjunctions between words, phrases, or clauses

cliché a phrase or expression which was once novel, but has been used so often that it lacks real

meaning

contrast/

juxtaposition

When two opposite viewpoints, ideas or concepts are placed close to each other for effect.

emotive language choice of words packed with emotion can influence an audience for or against your ideas, to be

with you or against you.

figurative language similes, metaphors, personification, imagery

hyperbole trying to impress or influence by overstating a viewpoint, statement or idea

inversion the syntactic reversal of the normal order of the words and phrases in a sentence

irony o a tone that indicates that the responder is not intended to read the text as it appears

o other types include contradictions

isocolon repetition of phrases or clauses of equal length and corresponding grammatical structure

listing In order to emphasise important points lists are often used

qu

esti

on

s

quaesitio string of questions in rapid succession for sake of emotional emphasis

rogatio rhetorical question and answer

percontatio enquiry in atone of bewilderment and allowing no satisfactory or easy reply

interrotatio employing a question as a way of confirming or reinforcing the argument one has just made.

paradox a seemingly contradictory statement that contains a truth or opinion

polysyndeton the use of a conjunction between each word, phrase, or clause, the rhetorical effect is multiplicity,

energetic enumeration.

pro

nou

ns

pronouns to

address the

audience

Basically to address an audience as a group, but not necessarily to persuade them at this stage.

pronouns to

include

(inclusive

language)

Speakers want the audience to be on their side and agree with their statements/ideas

pronouns to

exclude or to

distance the

audience

Sometimes we want to distance the audience from those who have differing arguments.

repetition involves repeating a word or expression while adding more detail and emphasis

rhetorical question a question asked for effect, but not necessarily needing to be answered

sound devices alliteration, assonance, onomatopoeia, sibilance, rhyme

understatement understating a viewpoint for effect.

Student’s Name: ____________________________________

Teacher’s Name: ____________________________________

http://en.wikipedia.org/wiki/Narrative

http://en.wikipedia.org/wiki/Biographical

Assessment Task for Stage 6: HSC

Subject: English (Advanced)

Assessment

Task No. 1 Date:

Term 4 Week 9

Friday, 04/12/15 Weighting

15%

(Viewing/Representing)

THIS ASSESSMENT TASK CAN BE FOUND ON THE COLLEGE WEBSITE UNDER THE

LEARNING AND TEACHING TAB

Submission Instructions

Submit the task by placing it in the Assessment Bin at the Student Foyer by 9:00am

This cover sheet must be attached to the task.

Times New Roman 12 point font is to be used.

Penalty for non attendance on day of assessment or late submission

o Assessments submitted after 9.00 a.m. on the due date will immediately receive a 50%

mark penalty of the achieved mark pending Illness/Misadventure certification.

o Assessments submitted after 9.00 a.m. on the next day will receive a zero mark pending

Illness/Misadventure certification.

PLEASE NOTE: THIS TASK WILL NOT BE ASSESSED BY YOUR TEACHER UNLESS YOU

HAVE ASSESSED YOUR PERFORMANCE BY HIGHLIGHTING OR TICKING THE

APPROPRIATE BOXES ON THE ATTACHED ASSESSMENT CRITERIA

Outcomes being Assessed: 2, 7, 9, 11

2. A student demonstrates understanding of the relationships among texts.

7. A student adapts and synthesises a range of textual features to explore and communicate

information, ideas and values for a variety of purposes, audiences and contexts.

9. A student assesses the appropriateness of a range of processes and technologies in the investigation

and organisation of information and ideas.

11. A student draws upon the imagination to transform experience and ideas into text demonstrating

control of language.

Student Confirmation

By submitting the task for marking, I acknowledge the following:

1. The work submitted is my own work and appropriate acknowledgement of all sources has been made.

2. I am aware that the work may be submitted to plagiarism detection processes for the purpose of

detecting possible plagiarism.

3. Where the work of others is used and not acknowledged, a finding of plagiarism will be made, a

Thursday detention issued and I will have to resubmit the task.

4. I have a copy of this assessment if the original is lost or stolen.

Student’s signature: ______________________________________ Date: ______________

TASK DETAILS

1. Description of the Task

Part A: Viewing

Visit http://www.campfire.org.au/festival/senior-english-discovery and view each of the following short films:

My City Walkabout

Mary Meets Mohammad

The Hero Pose

Legoland

You Are Invited To My Funeral

After viewing all of these films, select ONE as an ORT that will be incorporated into your representation in Part B

(below).

Part B: Representing

Create an A3 graphic representation that reflects the discovery ideas/concepts that are contained in your prescribed

text, Wrack, and ONE short film from Part A (above). Each discovery idea/concept is to be accompanied with text

reference/s in support.

1. You may create :

- a mind map

- an infographic

- or any other diagrams or graphic organiser designs of your choice

2. You may create your graphic representation on computer OR by hand

3. It must be no larger than A3 size (a penalty will be incurred for mind maps that exceed this size.)

4. You should think about your layout and use of colour, symbols, font and other organisation devices for your

graphic representation.

5. Your graphic representation will be assessed for the conceptual and textual information it contains (see the

Marking Guidelines attached)

http://www.campfire.org.au/festival/senior-english-discovery

2. Classroom Learning:

Students will be prepared to effectively complete this task through:

Learning to:

o identify and articulate how discovery concepts

are represented in various ways

o use appropriate terminology to show

understanding of key concepts and ideas

o analyse the form, structures and features of texts

used by composers to convey their ideas

o summarising and organising information

graphically

Learning about:

o how to respond to texts

o how composers can represent discovery ideas

o how the use of language techniques and devices

convey meaning

o effective visual communication of ideas

3. Glossary Terms

diagram: a drawing or plan that outlines the parts of something. Information represented in

diagrams relies on organisation of that information to clearly and logically set out key

ideas. Diagrams can also visually indicate relationships and contrast ideas through the

use of lines, arrows, brackets, tables, as well as graphic organiser models.

infographic: graphic visual representations of information, data or knowledge intended to present

information quickly and clearly (Wikipedia)

mind map: a diagram used to visually organize information. A mind map is often created around a

single concept, drawn as an image in the center of a blank landscape page, to which

associated representations of ideas such as images, words and parts of words are added.

Major ideas are connected directly to the central concept, and other ideas branch out from

those. (Wikipedia)

ORT: other related text

represent: the act of portraying someone or something in a particular way.

summarise: express, concisely, the relevant details

register: language appropriate to the purpose, audience and context

https://en.wikipedia.org/wiki/Information

https://en.wikipedia.org/wiki/Data

https://en.wikipedia.org/wiki/Knowledge

https://en.wikipedia.org/wiki/Diagram

Marking Criteria

Through the completion of this assessment task, you have:

E

(1-3)

D

(4-6)

C

(7-9)

B

(10-12)

A

(13-15)

ELEMENTARY

ACHIEVEMENT

BASIC

ACHIEVEMENT

SOUND

ACHIEVEMENT

HIGH

ACHIEVEMENT

EXCELLENT

ACHEIVEMENT

Gra

phic

Rep

rese

nta

tion

attempted to create a

graphic representation

recorded information as

sentences or ideas listed on

a page

made no attempt to prepare

information in the form of

a graphic representation

provided irrelevant, brief or

minimal information

have not defined or

addressed the concept of

discovery

not included text references

shown no understanding of

the Area of Study possible

from information provided

created a basic graphic

representation

simply defined the concept

of discovery

provided some textual detail

from the prescribed and/or

related texts

presented information in

text rather than graphically

composed your graphic

representation larger or

smaller than A3 in size

made no use of colour,

highlighting or symbols

organised information in a

way that does not assist

understanding of the Area

of Study

satisfactorily created a

graphic representation that

reflects discovery concepts

of your prescribed and

related texts

included suitable

information

given unequal attention to

both concept and text

made some connection

between texts

made some use of colour,

highlighting and/or

symbols

organised information that

does not necessarily assist


of Study

competently created a

developed graphic

representation that reflects

discovery concepts of your

prescribed and related texts

selectively included

suitable information

given equal attention to

both concepts and texts

suitably connected your


used concise bullet points

or key words rather than

full sentences

suitably used colour,

highlighting and/or

symbols


mostly sensible layout that

assists understanding of the

Area of Study

effectively created a

detailed graphic

representation that reflects

discovery concepts of your


selectively included highly

relevant and aptly chosen

information

given equal attention to

both concepts and texts

insightfully connected your


used concise bullet points

or key words rather than

full sentences

effectively used colour,

highlighting and/or

symbols


sensible, logical layout that

indicates insightful


of Study

Conce

ptu

al u

nder

stan

din

g attempted to convey some

ideas about discovery

and/or texts

provided irrelevant

conceptual information in

the visual representation

used discovery vocabulary

inaccurately or not at all provided no text

references to support

discovery ideas/concepts

conveyed simple ideas

about discovery and/or

texts

provide relevant responses

to the two questions asked

occasionally used

discovery vocabulary or

may repeat the same terms

throughout

offered discovery ideas

without text references to

support

conveyed ideas about

discovery in the texts

provided mostly relevant

responses


reasonably supported discovery ideas

with reasonable text

references

conveyed thoughtful ideas

about discovery in the texts

provided relevant

responses


consistently

supported discovery ideas

with suitable text

references

conveyed strong,

insightful and original

ideas about discovery in

the texts

provided highly relevant

responses


selectively and consistently

supported discovery ideas

with thoughtful and aptly

chosen text references

Suggested Approach to the Tasks

To prepare for this task you should:

Date & Progressively record conceptual ideas/concepts throughout the Area of Study.

Revisit this list of ideas/concepts during your study of the prescribed text and record

examples that support your conceptual understanding.

View the videos required in Part A and make a choice of ONE that you will use as

an ORT. Record the conceptual ideas your video of choice contains and record

examples from the text that support these ideas.

Progressively organise your information into graphic form. Consider:

layout

use of colour, lines, symbols, font size, shapes, etc

how a responder will navigate their way around your visual

representation

connections between ideas and texts

Review the progress of your graphic representation. Revise, edit and proofread as required.

Resources

Here are a range of resources to get you started on making planning diagrams:

Mind mapping information:

http://www.mind-mapping.co.uk/make-mind-map.htm

http://www-public.jcu.edu.au/learningskills/resources/lsonline/mindmapping/JCUPRD1_069793

http://www.thinkbuzan.com/intl/support/mindmapgallery

Online Mind-Mapping Tools – use the free versions of the following sites:

http://www.mindmeister.com/

http://www.mindomo.com/

https://bubbl.us/

http://www.mapul.com/#

http://mind42.com/

http://www.diagrammr.com/

http://www.xmind.net/

http://www.spiderscribe.net/

Online Graphic Organiser Tools

http://my.hrw.com/nsmedia/intgos/html/igo.htm

http://www.exploratree.org.uk/

http://www.mind-mapping.co.uk/make-mind-map.htm

http://www-public.jcu.edu.au/learningskills/resources/lsonline/mindmapping/JCUPRD1_069793

http://www.thinkbuzan.com/intl/support/mindmapgallery

http://www.mindmeister.com/

http://www.mindomo.com/

https://bubbl.us/

http://www.mapul.com/

http://mind42.com/

http://www.diagrammr.com/

http://www.xmind.net/

http://www.spiderscribe.net/

http://my.hrw.com/nsmedia/intgos/html/igo.htm

http://www.exploratree.org.uk/

Student’s Name: ____________________________________

Teacher’s Name: ____________________________________



Assessment

Task No. 2 Date:

Progressive submission:

Part 1: Friday, Week 10, Term 4, 2015



Weighting 10%

(Writing)




Submit the task by submitting to your teacher in your English lesson on each submission date.

cover sheet must be attached to the task.

Times New Roman 12 point font is to be used.









Outcomes being Assessed: 7, 11

7. A student adapts and synthesises a range of textual features to explore and communicate

information, ideas and values for a variety of purposes, audiences and contexts.

11. A student draws upon the imagination to transform experience and ideas into text demonstrating

control of language.










TASK DETAILS


Part 1: Due Week 10, Term 4, 2015

For each of the quotes appearing below, extrapolate, in your own words, on the notion of discovery it

declares. Maximum length: 100 words per quote.

i. “The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.”

― Marcel Proust

ii. “Man cannot discover new oceans unless he has the courage to lose sight of the shore.” ― André

Gide

iii. “There is not a discovery in science, however revolutionary, however sparkling with insight, that

does not arise out of what went before.” ― Isaac Asimov

iv. “It's a fact—everyone is ignorant in some way or another. Ignorance is our deepest secret. And

it is one of the scariest things out there, because those of us who are most ignorant are also the

ones who often don't know it or don't want to admit it. Here is a quick test: If you have never

changed your mind about some fundamental tenet of your belief, if you have never questioned

the basics, and if you have no wish to do so, then you are likely ignorant. Before it is too late,

go out there and find someone who, in your opinion, believes, assumes, or considers certain

things very strongly and very differently from you, and just have a basic honest conversation.

v. It will do both of you good.” ― Vera Nazarian, The Perpetual Calendar of Inspiration

vi. “The seeker embarks on a journey to find what he wants and discovers, along the way, what he

needs.” ― Wally Lamb, The Hour I First Believed

vii. “We are all humiliated by the sudden discovery of a fact which has existed very comfortably and

perhaps been staring at us in private while we have been making up our world entirely without

it.” ― George Eliot, Middlemarch

viii. “It's like looking through a microscope your whole life," he (Justin) said. "You miss the whole

picture. Sometimes you need to get lost in order to discover anything.” ― Katie Kacvinsky,

Awaken

ix. “I was a hugely unchaperoned reader, and I would wander into my local public library and there

sat the world, waiting for me to look at it, to find out about it, to discover who I might be inside

it." ― Patrick Ness


You are asked to reflect on a key discovery in your life. You need to examine this personal discovery with reference

to relevant aspects of the AOS: Discovery overview represented in the infographic below (based on the AOS:

Discovery outline – BOSTES Stage 6 English Prescriptions). Length: 500 words.


Locate a Discovery ORT (other related text) of your choosing.

a) Annotate the text to show your understanding of both its Discovery ideas and the text’s language

form and features.

b) Write a paragraph (maximum of 500 words) that examines the Discovery ideas it explores. You

must address:

the object of the discovery

the catalyst for the discovery

the effect, ramifications or implications of the discovery

the understanding of humans and the world we gain from examining this discovery

the links between this ORT and your prescribed text



Learning to:

o identify and articulate how discovery concepts

are represented in various ways

o use appropriate terminology to show

understanding of key concepts and ideas

o analyse the form, structures and features of texts

used by composers to convey their ideas

o summarising and organising information

Learning about:

o how to respond to texts

o how composers can represent discovery ideas

o how the use of language techniques and devices

convey meaning

o effective communication of ideas

6. Glossary Terms

examine: enquire into

extrapolate: infer from what is known

language

features

The techniques, stylistic devices, symbolic patterns and conventions that shape meaning

in texts. These vary according to the particular mode or media of production and can

include written, spoken, non-verbal or visual communication of meaning

ORT: other related text

reflect: to think, ponder or consider


textual form the conventions specific to a particular type of text, often signalling content, purpose and

audience, for example letter form, drama script, blog.

Marking Criteria:

Note – this criteria applies to Part 1, 2 & 3

1-2 3-4 5-6 7-8 9-10

ELEMENTARY

ACHIEVEMENT

SATISFACTORY

ACHIEVEMENT

SUBSTANTIAL

ACHIEVEMENT

HIGH

ACHIEVEMENT

EXCELLENT

ACHIEVEMENT

Demonstrates a some

knowledge and limited

understanding of the

concept of the discovery

Demonstrates a fair

knowledge and some



Demonstrates a

reasonable knowledge

and sound



Demonstrates a detailed

knowledge and strong



Demonstrates a detailed

knowledge and

perceptive



Communicates a limited

response to the question

with little or no

demonstration of


concept of discovery.

Communicates a


with some

demonstration of


concept of discovery.

Communicates a

personal point of view

based on reasonable

interpretations of texts

which demonstrates


concept of discovery

Communicates a

sustained personal point

of view based on sound

interpretation and

analysis which

demonstrates



Communicates a

sustained personal point

of view arising from

sophisticated

interpretation and

analysis which

demonstrates



Demonstrates limited

control of language

appropriate to audience,

purpose and form

Demonstrates some

control of language


purpose and form

Demonstrates a sound

control of language


purpose and form

Demonstrates precision

and effective control of

language appropriate to

audience, purpose and

form

Demonstrates precision,

flair and sophisticated

control of language


purpose and form

Student’s Name: ____________________________________

Teacher’s Name: ____________________________________



Assessment

Task No. 3 Date:

Term 1, Week 7

Wednesday, 09/03/16 Weighting

15%

(5% Listening, 5%

Speaking, 5% Reading)




Submit the task by digitally submitting your podcast during your lesson on the due date.

This cover sheet must be submitted on the due date.









Outcomes being Assessed:

1. A student explains and evaluates the effects of different contexts of responders and composers on texts.

2A. A student recognises different ways in which particular texts are valued.

6. A student engages with the details of text in order to respond critically and personally.

10. A student analyses and synthesises information and ideas into sustained and logical argument for a

range of purposes, audiences and contexts.










TASK DETAILS


Part 1: Reading (5%)

Read Marjorie Perloft’s analysis of W.B. Yeats poem, ‘Easter 1916’ from The Oxford Handbook of British

and Irish War Poetry). Colour code the text using the analysis frames (subjective – structural – cultural –

critical)

Part 2: Listening (5%)

Listen to podcast ‘The Wild Swans of Coole’ – by Julian Girdham of St Columbus College, Dublin.

Transpose Girdham’s analysis into the relevant analysis framework tables

Part 3: Speaking (5%)

Using the reading and podcast as models, students create an analysis podcast. Your podcast is to be a

maximum of 10 minutes in duration and respond to the following question:

‘Analyse the features of Yeat’s poetry that contribute to the textual integrity and enduring value of his

work.’

In your podcast you should consider the construction, content and language of Yeat’s poetry as well as

how his poetry has been received and valued in a variety of historical and other contexts. At least TWO

poems are to be discussed in detail to support your ideas. One poem must be Easter 1916 and the other a

prescribed Yeat’s poem of your choice.



Learning to:

o describe and analyse the ways that language

forms and features, and structures of texts shape

the responses to the text

o compare responses to the text in its different

contexts; use individual and collaborative

processes to generate, clarify, organise, refine

and present ideas

o describe and explain the conventions and the

effects of textual forms

o articulate the ways they approach texts

o recognise the different perspectives and values

of texts across varying times and contexts.

Learning about:

o engaging with a wide range of texts in personal,

social, historical, cultural and workplace

contexts

o connections between life experience and

imagined experience

9. Glossary Terms

analysis Identify components and the relationship between them; draw out and relate implications

context The range of personal, social, historical, cultural and workplace conditions in which a text

is responded to and composed.

language

features




podcast audio/digital recording for broadcast to others

prescribed

poem

poems by W.B. Yeats set by the Board of Studies - ‘When You Are Old’, ‘The Wild

Swans at Coole’, ‘An Irish Airman Foresees his Death’, ‘Easter 1916’, ‘The Second

Coming’, ‘Leda and the Swan’, ‘Among School Children’




textual

integrity

the unity of a text; its coherent use of form and language to produce an integrated whole

in terms of meaning and value

Marking Criteria:

Through the completion of this assessment task, you have demonstrated the ability to

1-2 3-4 5-6 7-8 9-10

ELEMENTARY

ACHIEVEMENT

SATISFACTORY

ACHIEVEMENT

SUBSTANTIAL

ACHIEVEMENT

HIGH

ACHIEVEMENT

EXCELLENT

ACHIEVEMENT

Attempt to explore aspects

of Yeat’s poems through an

elementary knowledge of

the texts

Describe the construction,

content and/or language of

Yeat’s poems

Explore how the

construction, content and

language of Yeat’s poems

contribute to their success

Explore effectively how the



contribute to the textual

integrity and enduring

value of the text

Explore skilfully how the



contribute to the textual

integrity and enduring

value of the text

Make limited reference to

the text

Describe aspects of the text Demonstrate an

understanding of context,

language, form and ideas

with some relevant textual

references

Demonstrate an informed

understanding of context,

language, form and ideas

using relevant and detailed

textual references

Demonstrate a well-

informed understanding of

context, language, form

and ideas using well

selected and detailed

textual references

Attemps to compose a


Compose a limited response Compose a sound argument

using language appropriate

to audience, purpose and

form

Compose an effective

argument using language


purpose and form

Compose a thoughtful

argument using language


purpose and form

Verbally communicate

ideas


information by reading a

response


information through uneven

delivery with inconsistent

attention to expression,

voice modulation and pace


information in a rehearsed

and effective delivery

through suitable expression,


to engage listeners


information in a well-

rehearsed and highly

effective delivery that is

clear and intelligible

through suitable expression

and voice modulation and

pace to engage listeners

Student’s Name: ____________________________________

Teacher’s Name: ____________________________________



Assessment

Task No. 5 Date:

Term 2, Week 4

Friday, 20/05/16 Weighting

15%

(5% Listening, 5%

Speaking, 5% Reading)




Submit the task by digitally submitting your podcast during your lesson on the due date.











2. A student explains relationships among texts.

5. A student explains and evaluates the effects of textual forms, technologies and their media of

production on meaning.

6. A student engages with the details of text in order to respond critically and personally.

8. A student articulates and represents own ideas in critical, interpretive and imaginative texts from a

range of perspectives.










TASK DETAILS



Listen to Emma Smith’s podcast on ‘Richard III’ from The University of Oxford and make notes on

contextual influences.

Part 2: Reading (5%)

Read ‘Looking for Richard in Looking for Richard: Al Pacino Appropriates the Bard and Flogs Him Back

to the Brits’ - Kim Fedderson & J.M. Richardson and highlight relevant sections addressing contextual

influences.


In the form of either a podcast or vodcast (maximum of 10 minutes in duration), students to create a

comparative review of the prescribed texts in response to the question:

In what ways does a comparative study accentuate the distinctive contexts of King Richard III and Looking

for Richard?



Learning to:




o compare texts in respect of the effect of their

context, purpose and audience and how this

shapes meaning

o use individual and collaborative processes to

generate, clarify, organise, refine and present

ideas






Learning about:


social, historical, cultural and workplace context

o the ways in which different social, cultural and

historical contexts can influence composers and

their texts


imagined experience

12. Glossary Terms

analysis Identify components and the relationship between them; draw out and relate implications

context The range of personal, social, historical, cultural and workplace conditions in which a text


language

features








textual

integrity



vodcast video recording for broadcast to others

Marking Criteria:


1-2 3-4 5-6 7-8 9-10

ELEMENTARY

ACHIEVEMENT

SATISFACTORY

ACHIEVEMENT

SUBSTANTIAL

ACHIEVEMENT

HIGH

ACHIEVEMENT

EXCELLENT

ACHIEVEMENT

Describe aspects of the

texts using elementary

knowledge

Explain some aspects of the

connections between the

prescribed texts

Argue soundly the ways in

which a comparative study

accentuates the distinctive

contexts of the prescribed

texts

Argue effectively the ways

in which a comparative

study accentuates the

distinctive contexts of the

prescribed texts

Argue skilfully the ways in

which a comparative study

accentuates the distinctive

contexts of the prescribed

texts

May describe aspects of

texts and/or contexts

Demonstrate limited


relationship between texts

and contexts

Demonstrate an

understanding of some

aspects of the relationship

between texts and contexts

using relevant textual

references

Demonstrate effectively an



and contexts using detailed

text references

Demonstrate skilfully an



and contexts using well-

selected and detailed

textual references

Attempt to compose a


Composes a limited

response

Compose a sound response

using language appropriate

to audience, purpose and

form

Compose an effective

response using language


purpose and form

Compose a perceptive

response using language


purpose and form


ideas



response




attention to expression,



information in a rehearsed

and effective delivery

through suitable expression,


to engage listeners


information in a well-

rehearsed and highly

effective delivery that is

clear and intelligible

through suitable expression

and voice modulation and

pace to engage listeners

Student’s Name: ____________________________________

Teacher’s Name: ____________________________________



Assessment

Task No. 6 Date:

Term 3, Week 1

Thursday, 21/07/16 Weighting

15%

(5% Listening, 5%

Speaking, 5% Writing)




Submit the task by digitally submitting your podcast and handing your written component to your

teacher during your lesson on the due date.











1. A student explains and evaluates the effects of different contexts of responders and composers on texts.

3. A student develops language relevant to the study of English.

4. A student explains and analyses the ways in which language forms and features, and structures of texts

shape meaning and influence responses.

10. A student analyses and synthesises information and ideas into sustained and logical argument for a

range of purposes, audiences and contexts.










TASK DETAILS



Listen to ‘The Art of Travel’ video by Alain De Botton. Summary of its key ideas to be recorded with

specific links to the module outline.

Part 2: Writing (5%)

Students to explore and evaluate the representation of people and landscapes in an artwork or poem of their

choosing in the style of De Botton’s writing in ‘The Art of Travel’. Word length: 600-800 words.


Students to record a podcast in which they represent their own personal experience of a particular

landscape and how this exemplifies the importance of relationships with place. (Maximum of 10 minutes

in duration)



Learning to:




o explore and evaluate representations of people

and landscapes

o use individual and collaborative processes to

generate, clarify, organise, refine and present

ideas






Learning about:

o representation of ideas


social, historical, cultural and workplace context

o the ways in which different social, cultural and

historical contexts can influence composers and

their texts


imagined experience

15. Glossary Terms

analysis: Identify components and the relationship between them; draw out and relate implications

context: The range of personal, social, historical, cultural and workplace conditions in which a text


evaluate: Make a judgement based on criteria; determine the value of

explore: to look into closely; scrutinize; examine

language

features:






textual form: the conventions specific to a particular type of text, often signalling content, purpose and


textual

integrity:



Marking Criteria:


ELEMENTARY

ACHIEVEMENT

SATISFACTORY

ACHIEVEMENT

SUBSTANTIAL

ACHIEVEMENT

HIGH

ACHIEVEMENT

EXCELLENT

ACHIEVEMENT

1-3 4-6 7-9 9-12 13-15

Wri

tin

g

Describd aspects of people

and/or landscapes in an artwork

or poem.

Explain some aspects of people

and/or landscapes an artwork or

poem

Evaluate or explain the

relationship between people

and landscapes in an artwork or

poem in the style of De Botton

Skilfully evaluate the


and landscapes in an artwork or

poem in the style of De Botton

Insightfully and skilfully

evaluate the relationship

between people and landscapes

in an artwork or poem in the

style of De Botton

Attempt to compose a response

to the question

Compose a limited response Compose a sound response

using language appropriate to

audience, purpose and form

Compose an effective response



Compose a perceptive response



Sp

eak

ing

May describe aspects of people

and/or landscapes

Represent a limited


relationship between texts and

contexts

Represent an understanding of

the relationship between people

and landscapes

Skilfully represent an



and landscapes

Insightfully and skilfully

represent an understanding of

the relationship between people

and landscapes

Verbally communicate ideas



response




attention to expression, voice

modulation and pace


information in a rehearsed and

effective delivery through

suitable expression, voice

modulation and pace to engage

listeners


information in a well-rehearsed

and highly effective delivery

that is clear and intelligible

through suitable expression and

voice modulation and pace to

engage listeners

english (advanced) course 2016 higher school certificate · english (advanced) course 2016 higher...

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