For all Queensland schools

2017 Senior External Examination

English Tuesday 24 October 2017Paper Two Part B — Question book 1:15 pm to 4:25 pm

Time allowed• Perusal time: 10 minutes• Working time: 3 hours (Part A and Part B)

Examination materials provided• Paper Two Part B — Question book• Paper Two Part B — Response book

Equipment allowed• QCAA-approved equipment

DirectionsYou may write in this book during perusal time.Paper Two has two parts:

Attempt all questions.All three responses are of equal worth.

Suggested time allocation• Paper Two Part A: 1 hour• Paper Two Part B: 2 hours

AssessmentPaper Two assesses the following assessment criteria:

• Knowledge and control of texts in their context• Knowledge and control of textual features• Knowledge and application of the constructedness of texts

Assessment standards are at the end of this book.

After the examination sessionTake this book when you leave.

• Part A (yellow book): Question 1 — Imaginative and reflective writing

• Part B (blue book): Question 2 — Media: Analytical exposition

Question 3 — Poetry: Analytical exposition

Planning space

Part B

Question 2 — Media: Analytical expositionIn response to the topic below, write about 500 words (excluding quotations).

Topic — Media

Genre: Analytical exposition

Roles and relationships: As a contributor to a media website

Your task: Evaluate the extent to which objectivity is demonstrated in a documentary you have studied.

You should:

• name the documentary and identify its subject matter• clearly establish your thesis/central idea• develop this thesis/central idea using at least three main points• support these points with evidence from the documentary• provide a conclusion.

End of Question 2

1

Question 3 — Poetry: Analytical expositionIn response to one of the following topics, write about 500 words.

Either

Topic 3A — Unseen poem

Genre: Analytical exposition

Roles and relationships: As a contributor writing for a literary magazine

Your task: Identify an invited reading of Down from the Country by John Blight and analyse how this invited reading is constructed.

You should:

• identify the subject matter of this poem• state the invited reading you are going to focus on• analyse how the poet constructs this reading through the use of:

– poetic devices (imagery, simile, metaphor, personification, mood, tone, etc.)– foregrounding, privileging, gaps, silences, etc.

The unseen poem is on page 3.

or

Topic 3B — Notified poems

Genre: Analytical exposition

Roles and relationships: As a contributor writing for a literary magazine

Your task: Compare the representation of gender or isolation or hardship or relationship in any two of the notified poems.

You should:

• identify the subject matter of these poems• analyse how the poets construct their representations through the use of:

– poetic devices (imagery, simile, metaphor, personification, mood, tone, etc.)– foregrounding, privileging, gaps, silences, etc.

The notified poems are on pages 4–16.

2

Unseen poem

Down from the Country

When we came down from the country, we were strangers to the sea.The rise and fall of waters without rain,the lunglike breathing of the estuarycaused our amazement; and the white stainof salt on the rocks, when the tide receded,where we were used to dark mud that a flood leaves behind,held us enthralled; and we neededsome mental adjustment which people noticed. When the mindis confronted by such magnitude of sight and soundthere is no mask for refuge in frown or grimace;but the face looks blank, as if it were dragged up, drowned.

How much loneliness is there in a different place,out of one’s shell, out of all knowledge, to be caughtout of the dullness of self by such alien thought?

John Blight (1913–1995)

3

Notified poem

At Cooloola

The blue crane fishing in Cooloola’s twilighthas fished there longer than our centuries.He is the certain heir of lake and evening,and he will wear their colour till he dies,

but I’m a stranger, come of a conquering people.I cannot share his calm, who watch his lake,being unloved by all my eyes delight in,and made uneasy, for an old murder’s sake.

Those dark-skinned people who once named Cooloolaknew that no land is lost or won by wars,for earth is spirit, the invader’s feet will tanglein nets there and his blood be thinned by fears.

Riding at noon and ninety years ago,my grandfather was beckoned by a ghost —a black accoutred warrior armed for fighting,who sank into bare plain, as now into time past.

White shores of sand, plumed reed and paperbark,clear heavenly levels frequented by crane and swan —I know that we are justified only by love,but oppressed by arrogant guilt, have room for none.

And walking on clean sand among the printsof bird and animal, I am challenged by a driftwood spearthrust from the water; and, like my grandfather,must quiet a heart accused by its own fear.

Judith Wright (1915–2000)

4

Notified poem

William Street

The red globes of light, the liquor-green,The pulsing arrows and the running fireSpilt on the stones, go deeper than a stream;You find this ugly, I find it lovely.

Ghosts’ trousers, like the dangle of hung men,In pawnshop-windows, bumping knee by knee,But none inside to suffer or condemn;You find this ugly, I find it lovely.

Smells rich and rasping, smoke and fat and fishAnd puffs of paraffin that crimp the nose,Or grease that blesses onions with a hiss;You find it ugly, I find it lovely.

The dips and molls, with flip and shiny gaze(Death at their elbows, hunger at their heels)Ranging the pavements of their pasturage;You find it ugly, I find it lovely.

Kenneth Slessor (1901–1971)

5

Notified poem

One Tuesday in Summer

That sultry afternoon the world went strange.Under a violet and leaden bruiseThe air was filled with sinister yellow light;Trees, houses, grass took on unnatural hues.

Thunder rolled near. The intensity grew and grewLike doom itself with lightnings on its face.And Mr Pitt, the grocer’s order-man,Who made his call on Tuesdays at our place,

Said to my mother, looking at the sky,‘You’d think the ending of the world had come.’A leathern little man, with bicycle-clipsAround his ankles, doing our weekly sum,

He too looked strange in that uncanny light;As in the Bible ordinary menTurn out to be angelic messengers,Pronouncing the Lord’s judgments why and when.

I watched the scurry of the small black antsThat sensed the storm. What Mr Pitt had saidI didn’t quite believe, or disbelieve;But still the words had got into my head,

For nothing less seemed worthy of the scene.The darkening imminence hung on and on,Till suddenly, with lightning-stroke and rain,Apocalypse exploded, and was gone.

By nightfall things had their familiar look.But I had seen the world stand in dismayUnder the aspect of another meaningThat rain or time would hardly wash away.

James McAuley (1917–1976)

6

Notified poem

My Country

The love of field and coppice,Of green and shaded lanes,

Of ordered woods and gardensIs running in your veins.

Strong love of grey-blue distanceBrown streams and soft, dim skies —

I know but cannot share it,My love is otherwise.

I love a sunburnt country,A land of sweeping plains,

Of ragged mountain ranges,Of droughts and flooding rains.

I love her far horizons,I love her jewel-sea,

Her beauty and her terror —The wide brown land for me!

The stark white ring-barked forests,All tragic to the moon,

The sapphire-misted mountains,The hot gold hush of noon.

Green tangle of the brushes,Where lithe lianas coil,

And orchids deck the tree topsAnd ferns the warm dark soil.

Core of my heart, my country!Her pitiless blue sky,

When sick at heart, around us,We see the cattle die —

But then the grey clouds gather,And we can bless again

The drumming of an army,The steady, soaking rain.

Core of my heart, my country!Land of the Rainbow Gold,

For flood and fire and famine,She pays us back three-fold.

Over the thirsty paddocks,Watch, after many days,

The filmy veil of greennessThat thickens as we gaze …

An opal-hearted country,A wilful, lavish land —

All you who have not loved her,You will not understand —

Though earth holds many splendours,Wherever I may die,

I know to what brown countryMy homing thoughts will fly.

Dorothea Mackellar (1885–1968)

7

Notified poem

Why we didn’t go away on the long weekend

Let us go away for the weekend he saidout of the city

into the high countryafter all we went to england to see the snowand didn’t — you arrange itrang up trains — waited 6 hours for some oneto say hullo — rang up again to enquire times/

bookings etc. meanwhilegovernments rose/fell there were 2 coups, 1½ rebellions, a revolution — nearly — thepresident died — long live the king.

Knowing we had to get up earlywe stayed up late arguing.

Sleptbeyond the alarm into morning the train went without us full of imagination hebooked a plane.

Rang taxis to takeus to airport — no answer — they (the taxis)

probably defected to russia/china.Above

the city heard the plane singing into the high country and the sound of tourists trudging

into the snow with carso Kosciusko

for you they come walkingAt home with wet feet sludgy

hearts we sat around a radiatorhating each other slowly

Colleen Burke (1943– )

8

Notified poem

There is a Place in Distant Seas

There is a place in distant seasFull of contrarieties:There, beasts have mallards’ bills and legs,Have spurs like cocks, like hens lay eggs.There parrots walk upon the ground,And grass upon the trees is found;On other trees, another wonder!Leaves without upper sides or under.There pears you’ll scarce with hatchet cut;Stones are outside the cherries put;Swans are not white, but black as soot.There neither leaf, nor root, nor fruitWill any Christian palate suit,Unless in desperate need you’d fill yeWith root of fern and stalk of lily.There missiles to far distance sentCome whizzing back from whence they went;There quadrupeds go on two feet,And yet few quadrupeds so fleet;There birds, although they cannot fly,In swiftness with your greyhound vie.With equal wonder you may seeThe foxes fly from tree to tree;And what they value most, so wary,These foxes in their pockets carry.There the voracious ewe-sheep cramsHer paunch with flesh of tender lambs,Instead of beef, and bread, and broth,Men feast on many a roasted moth.The north winds scorch, but when the breeze isFull from the south, why then it freezes;The sun when you to face him turn ye,From right to left performs his journey.Now of what place could such strange talesBe told with truth save New South Wales?

Richard Whately (1787–1863)

9

Notified poem

A Mid-Summer Noon in the Australian Forest

Not a bird disturbs the air,There is quiet everywhere;Over plains and over woodsWhat a mighty stillness broods.

Even the grasshoppers keepWhere the coolest shadows sleep;Even the busy ants are foundResting in their pebbled mound;Even the locust clingeth nowIn silence to the barky bough:And over hills and over plainsQuiet, vast and slumbrous, reigns.

Only there’s a drowsy hummingFrom yon warm lagoon slow coming:’Tis the dragon-hornet — see!All bedaubed resplendentlyWith yellow on a tawny ground —Each rich spot nor square nor round,But rudely heart-shaped, as it wereThe blurred and hasty impress there,

Of a vermeil-crusted sealDusted o’er with golden meal:Only there’s a droning whereYon bright beetle gleams the air —Gleams it in its droning flightWith a slanting track of light,Till rising in the sunshine higher,Its shards flame out like gems on fire.

Every other thing is still,Save the ever wakeful rill,Whose cool murmur only throwsA cooler comfort round Repose;Or some ripple in the seaOf leafy boughs, where, lazily,Tired Summer, in her forest bowerTurning with the noontide hour,Heaves a slumbrous breath, ere sheOnce more slumbers peacefully.

O ’tis easeful here to lieHidden from Noon’s scorching eye,In this grassy cool recessMusing thus of Quietness.

Charles Harpur (1813–1868)

10

Notified poem

The Mitchells

I am seeing this: two men are sitting on a polethey have dug a hole for and will, after dinner, raiseI think for wires. Water boils in a prune tin.Bees hum their shift in unthinning mists of white

bursaria blossom, under the noon of wattles.The men eat big meat sandwiches out of a styrofoambox with a handle. One is overheard saying:drought that year. Yes. Like trying to farm the road.

The first man, if asked, would say I’m one of the Mitchells.The other would gaze for a while, dried leaves in his palm,and looking up, with pain and subtle amusement,

say I’m one of the Mitchells. Of the pair, one has been richbut never stopped wearing his oil-stained felt hat. Nearly everythingthey say is ritual. Sometimes the scene is an avenue.

Les Murray (1938– )

11

Notified poem

Debbie & Co.

The Council Pool’s chockablockwith Greek kids shouting in Italian.Isn’t it Sunday afternoon?Half the school’s there, screaming,skylarking, and bombing the deep end.Nicky picks up her Nikonand takes it all in, the racketand the glare. Debbie strikes a pose.

In a patch of shade a grubby bratdabbles ice-cream into the cement.Tracey and Chris are missing,mucking about behind the dressing sheds,Nicky guesses. Who cares?Debbie takes a dive. Emerging like aporpoise at the edge of the poolshe finds a ledge, a covered gutter,awash with bubbles and chlorine’s chemical gossip. Debbie yells there,and the rude words echo.The piss-tinted water slaps the tiles.

Debbie dries off, lights a smoke,and gazes at her friends fading outaround the corner of a dull relationshipand disappearing.

Under the democratic sunher future drifts in and out of focus —Tracey, Nicky, Chris, the whole arenasinking into silence. Yet this is almost Paradise: the Coke, the takeaway pizza,a packet of Camels, Nicky’s dark glassesreflecting the way the light glitters onanything wet. Debbie’s tan needstouching up. She lies back and dozeson a terry-towelling print of Donald Duck.She remembers how Brett was such a dreamboat, until he turned intosomebody’s boring husband. Traceyreappears, looking radiant. Nickybrowses through an Adult magazine.Debbie goes to sleep.

John Tranter (1943– )

12

Notified poem

Suburban

Safe behind shady carports, sleeping underthe stars of the commonwealth and nylon gauze …

Asia is far off, its sheer white mountain-peaks, its millionsof hands; and shy bush-creatures in our headlamps

prop and swerve, small grass under the sprinklersdreams itself ten feet tall as bull-ants lumber

between its stems — pushingtowards Sunday morning and the motor-blades …

Safe behind lawns and blondwood doors, in housesof glass. No one throws stones. The moon dredges

a window square. Chrome faucets in the bathroomhold back the tadpole-life that swarm in dams, a Kelvinator

preserves us from hook-worm. But there are days,after drinks at the Marina, when dull headaches

like harbour fog roll in, black cats give offblackness, children writhe out of our grip;

and only the cotton-wool in medicine bottles stands between usand the capsules whose cool metallic colours

lift us to the stars. In sleep we driftbarefoot to the edge of town, pale moondust flares between our toes,

ghosts on a rotary-hoist fly in the wind …under cold white snow-peaks tucked to the chin, we stare

at an empty shoe like Monday …Sunlight arranges itself beyond our hands.

David Malouf (1934– )

13

Notified poem

Hunting Rabbits

The men would often go hunting rabbitsin the countryside around the hostel —with guns and traps and children followingin the sunlight of afternoon paddocks:marvelling in their native tonguesat the scent of eucalypts all around.

We never asked where the guns came fromor what was done with them later:as each rifle’s echo cracked through the hillsand a rabbit would leap as if jerkedon a wire through the air —or, watching hands release a trapthen listening to a neck being broken.

Later, I could never bring myselfto watch the animals being skinnedand cleaned —

excitedlytalking about the ones that escapedand how white tails bobbed among brown tussocks.For days afterwardsour rooms smelt of blood and furas the meat was cooked in potsover a kerosene primus.

But eat I did, and asked for more,as I learnt about the meaning of rationsand the length of queues in dining halls —as well as the names of treesfrom the surrounding hills that always seemed to be flowering with wattles:growing less and less frightened by gunshotsand what the smell of gunpowder meant —quickly learning to walk and keep up with menthat strode through strange hillsas if their migration had still not come to an end.

Peter Skrzynecki (1945– )

14

Notified poem

Past Carin’

Now up and down the siding brown The great black crows are flyin’, And down below the spur, I know, Another ‘milker’s’ dyin’; The crops have withered from the ground, The tank’s clay bed is glarin’, But from my heart no tear nor sound, For I have gone past carin’ —Past worryin’ or carin’, Past feelin' aught or carin'; But from my heart no tear nor sound, For I have gone past carin’.

Through Death and Trouble, turn about, Through hopeless desolation, Through flood and fever, fire and drought, And slavery and starvation; Through childbirth, sickness, hurt, and blight, And nervousness an’ scarin’, Through bein’ left alone at night, I’ve got to be past carin’. Past botherin’ or carin’, Past feelin’ and past carin’; Through city cheats and neighbours’ spite, I’ve come to be past carin’.

Our first child took, in days like these, A cruel week in dyin’, All day upon her father's knees, Or on my poor breast lyin’; The tears we shed — the prayers we said Were awful, wild — despairin’! I’ve pulled three through, and buried two Since then — and I’m past carin’. I’ve grown to be past carin’, Past worryin’ and wearin’I’ve pulled three through and buried two Since then, and I’m past carin’.

‘’Twas ten years first, then came the worst, All for a barren clearin’, I thought, I thought my heart would burst When first my man went shearin’; He’s drovin’ in the great North-west, I don’t know how he's farin’; For I, the one that loved him best, Have grown to be past carin’. I’ve grown to be past carin’, Past waitin’ and past wearin’; The girl that waited long ago, Has lived to be past carin’.

My eyes are dry, I cannot cry, I've got no heart for breakin’, But where it was in days gone by, A dull and empty achin’. My last boy ran away from me —I know my temper’s wearin’ —But now I only wish to be Beyond all signs of carin’. Past wearyin’ or carin’, Past feelin’ and despairin’; And now I only wish to be Beyond all signs of carin’.

Henry Lawson (1867–1922)

15

Notified poem

End of Question 3End of Part B

End of Paper Two

Up the Wall

The kettle’s plainsong rises to a shriek,The saucepan milk is always on the boil,No week-end comes to mark off any weekFrom any other — something’s sure to spoilThe cloudless day. The talk-back oracle’s suaveSpiel, like the horizon, closes in,Palming a hidden menace, children carvethe mind up with the scalpels of their din.

She says, ‘They nearly drove me up the wall!’She says, ‘I could have screamed, and then the phone — !’She says, ‘There’s no-one round here I can callIf something should go wrong. I’m so alone!’

‘It’s a quiet neighbourhood,’ he tells his friends.‘Too quiet, almost!’ They laugh. The matter ends.

Bruce Dawe (1930– )

16

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ses t

hat

impe

de un

derst

andin

g

•sus

tainin

g con

trol o

f pa

ragr

aphin

g and

a wi

de

rang

e of p

unctu

ation

•sus

tainin

g con

trol o

f pa

ragr

aphin

g and

a wi

de

rang

e of p

unctu

ation

•con

trollin

g par

agra

phing

and

punc

tuatio

n, su

ch as

co

mmas

, apo

strop

hes,

capit

als an

d full

stop

s

•usin

g par

agra

phing

and

punc

tuatio

n acc

urate

ly in

place

s, bu

t with

freq

uent

lapse

s

•usin

g som

e pun

ctuati

on,

thoug

h not

para

grap

hing

•con

trollin

g con

venti

onal

spell

ing.

•con

trollin

g con

venti

onal

spell

ing, w

ith oc

casio

nal

lapse

s.

•usin

g con

venti

onal

spell

ing, in

the

main

.•u

sing c

onve

ntion

al sp

elling

, wi

th fre

quen

t laps

es.

•usin

g som

e con

venti

onal

spell

ing, b

ut lap

ses i

mped

e un

derst

andin

g.

18

(con

tinue

d)

Crite

rion

AB

CD

EKn

owled

ge an

d ap

plica

tion

of th

e co

nstru

cted

ness

of

text

s

The c

andi

date

has

dem

onst

rate

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owled

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way

s in

which

text

s are

selec

tively

cons

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y:•t

horo

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exam

ining

how

disco

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s in t

exts

shap

e and

ar

e sha

ped b

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guag

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•exa

minin

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disc

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s in

texts

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e and

are s

hape

d by

lang

uage

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es

•exp

lainin

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disc

ourse

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texts

shap

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uage

choic

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•ide

ntifyi

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me w

ays

langu

age c

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s are

shap

ed

by di

scou

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•eva

luatin

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cultu

ral

assu

mptio

ns, v

alues

, beli

efs

and a

ttitud

es un

derp

in tex

ts

•exa

minin

g how

cultu

ral

assu

mptio

ns, v

alues

, beli

efs

and a

ttitud

es un

derp

in tex

ts

•ide

ntifyi

ng an

d exp

lainin

g ho

w cu

ltura

l ass

umpti

ons,

value

s, be

liefs

and a

ttitud

es

unde

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texts

•ide

ntifyi

ng so

me of

the w

ays

cultu

ral a

ssum

ption

s, va

lues,

belie

fs an

d attit

udes

unde

rpin

texts

•som

etime

s ide

ntifyi

ng so

me

attitu

des a

nd be

liefs

in tex

ts

•mak

ing su

btle a

nd co

mplex

dis

tincti

ons w

hen e

valua

ting

repr

esen

tation

s of c

once

pts

and o

f the r

elatio

nship

s and

ide

ntitie

s of in

dividu

als,

grou

ps, ti

mes a

nd pl

aces

•mak

ing fin

e dist

inctio

ns w

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evalu

ating

repr

esen

tation

s of

conc

epts

and o

f the

relat

ionsh

ips an

d ide

ntitie

s of

indivi

duals

, gro

ups,

times

and

place

s

•mak

ing br

oad d

istinc

tions

wh

en id

entify

ing an

d ex

plaini

ng re

pres

entat

ions o

f co

ncep

ts an

d of th

e re

lation

ships

and i

denti

ties o

f ind

ividu

als, g

roup

s, tim

es an

d pla

ces

•mak

ing ge

nera

l dist

inctio

ns

when

iden

tifying

re

pres

entat

ions o

f con

cepts

an

d of th

e rela

tions

hips a

nd

identi

ties o

f indiv

iduals

, gr

oups

, time

s and

plac

es

•mak

ing ve

ry ge

nera

l dis

tincti

ons w

hen i

denti

fying

re

pres

entat

ions o

f con

cepts

an

d of th

e rela

tions

hips a

nd

identi

ties o

f indiv

iduals

, gr

oups

, time

s and

plac

es.

•tho

roug

hly an

alysin

g how

re

ader

s/view

ers a

re in

vited

to

take u

p a po

sition

in re

lation

to

the te

xt an

d dem

onstr

ating

wi

th su

btlety

and c

omple

xity

the po

sition

they

adop

t as a

re

ader

/view

er.

•ana

lysing

how

read

ers/

viewe

rs ar

e inv

ited t

o tak

e up

a pos

ition i

n rela

tion t

o tex

ts an

d clea

rly de

mons

tratin

g the

po

sition

they

adop

t as a

re

ader

/view

er.

•ide

ntifyi

ng an

d exp

lainin

g wa

ys re

ader

s/view

ers h

ave

been

invit

ed to

take

up a

posit

ion in

relat

ion to

texts

an

d bro

adly

demo

nstra

ting

the po

sition

they

adop

t as a

re

ader

/view

er.

•rec

ognis

ing an

d des

cribin

g so

me w

ays r

eade

rs/vie

wers

have

been

invit

ed to

take

up a

posit

ion in

relat

ion to

texts

.

19

Que

stio

n 3

— P

oetr

y: A

naly

tical

exp

ositi

on

Crite

rion

AB

CD

EKn

owled

ge an

d co

ntro

l of t

exts

in

their

cont

exts

The c

andi

date

has

dem

onst

rate

d kn

owled

ge th

at m

eani

ngs i

n te

xts a

re sh

aped

by p

urpo

se, c

ultu

ral c

onte

xt an

d so

cial s

ituat

ion

by:

•exp

loitin

g the

patte

rns a

nd

conv

entio

ns of

the s

pecif

ied

genr

e to a

chiev

e cult

ural

purp

oses

•emp

loying

the p

atter

ns an

d co

nven

tions

of th

e spe

cified

ge

nre t

o ach

ieve c

ultur

al pu

rpos

es

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he m

ain, e

mploy

ing th

e pa

ttern

s and

conv

entio

ns of

the

spec

ified g

enre

to ac

hieve

pa

rticula

r cult

ural

purp

oses

•une

venly

using

the p

atter

ns

and c

onve

ntion

s of th

e sp

ecifie

d gen

re to

achie

ve

cultu

ral p

urpo

ses

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asion

ally u

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ome

conv

entio

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pecif

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genr

e to a

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e som

e pu

rpos

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•sele

cting

and s

ynthe

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su

bstan

tial, r

eleva

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bject

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suall

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idera

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relev

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ubjec

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er

•sele

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suffic

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r•s

electi

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me re

levan

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bject

matte

r•s

electi

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me su

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matte

r tha

t rela

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the t

ask

•inte

rpre

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nd in

ferrin

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m inf

orma

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ideas

, arg

umen

ts an

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n gre

at de

pth

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umen

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th

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matio

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as, a

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s

•inte

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plaini

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some

infor

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as an

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nce

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portin

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ions w

ith

relev

ant a

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ent a

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nce

•sup

portin

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ions w

ith a

little

argu

ment

and e

viden

ce•s

tating

opini

ons

•exp

loitin

g the

way

s in w

hich

the w

riter’s

role

and

relat

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ips w

ith re

ader

s are

aff

ected

by po

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distan

ce

and a

ffect.

•esta

blish

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e write

r’s ro

le an

d con

trollin

g the

way

s re

lation

ships

with

read

ers a

re

influe

nced

by po

wer, d

istan

ce

and a

ffect.

•esta

blish

ing th

e write

r’s ro

le an

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tainin

g the

way

s re

lation

ships

with

read

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re

influe

nced

by po

wer, d

istan

ce

and a

ffect.

•gen

erall

y esta

blish

ing th

e wr

iter’s

role

and s

ometi

mes

maint

aining

the w

ays

relat

ionsh

ips w

ith re

ader

s are

inf

luenc

ed by

powe

r or

distan

ce or

affec

t.

•ide

ntifyi

ng th

e write

r’s ro

le an

d mak

ing so

me us

e of

relat

ionsh

ips w

ith re

ader

s.

20

(con

tinue

d)

Crite

rion

AB

CD

EKn

owled

ge an

d co

ntro

l of t

extu

al fe

atur

es

The c

andi

date

has

dem

onst

rate

d kn

owled

ge o

f app

ropr

iaten

ess o

f tex

tual

feat

ures

for p

urpo

se, g

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and

regi

ster

by:

•exp

loitin

g the

sequ

encin

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or

ganis

ation

of su

bject

matte

r in

stage

s

•seq

uenc

ing an

d org

anisi

ng

subje

ct ma

tter lo

gicall

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stage

s

•in t

he m

ain, s

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and

orga

nising

subje

ct ma

tter in

sta

ges

•occ

asion

ally s

eque

ncing

and

orga

nising

subje

ct ma

tter in

sta

ges

•mak

ing di

scer

ning u

se of

co

hesiv

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to em

phas

ise

ideas

and c

onne

ct pa

rts of

tex

ts

•con

trollin

g the

use o

f co

hesiv

e ties

to co

nnec

t ide

as an

d par

ts of

texts

•usu

ally l

inking

idea

s with

co

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e ties

•m

aking

laps

es in

linkin

g ide

as

with

cohe

sive t

ies•l

inking

some

idea

s with

co

njunc

tions

•exp

loitin

g an e

xtens

ive ra

nge

of ap

t voc

abula

ry•s

electi

ng, w

ith oc

casio

nal

lapse

s, a w

ide ra

nge o

f su

itable

voca

bular

y

•usin

g suit

able

voca

bular

y•u

sing b

asic

voca

bular

y•u

sing a

narro

w ra

nge o

f bas

ic vo

cabu

lary

•com

bining

a wi

de ra

nge o

f cla

use a

nd se

ntenc

e str

uctur

es fo

r spe

cific

effec

ts,

while

susta

ining

gram

matic

al ac

cura

cy

•con

trollin

g a w

ide ra

nge o

f cla

use a

nd se

ntenc

e str

uctur

es, w

hile g

ener

ally

maint

aining

gram

matic

al ac

cura

cy

•usin

g a ra

nge o

f clau

se an

d se

ntenc

e stru

cture

s with

oc

casio

nal la

pses

in

gram

matic

al ac

cura

cy

•usin

g clau

se an

d sen

tence

str

uctur

es ac

cura

tely i

n pla

ces,

but w

ith fr

eque

nt gr

amma

tical

lapse

s in

subje

ct–ve

rb ag

reem

ent,

conti

nuity

of te

nses

and

pron

oun r

efere

nces

•usin

g a na

rrow

rang

e of

claus

e and

sente

nce

struc

tures

with

freq

uent

gram

matic

al lap

ses t

hat

impe

de un

derst

andin

g

•sus

tainin

g con

trol o

f pa

ragr

aphin

g and

a wi

de

rang

e of p

unctu

ation

•sus

tainin

g con

trol o

f pa

ragr

aphin

g and

a wi

de

rang

e of p

unctu

ation

•con

trollin

g par

agra

phing

and

punc

tuatio

n, su

ch as

co

mmas

, apo

strop

hes,

capit

als an

d full

stop

s

•usin

g par

agra

phing

and

punc

tuatio

n acc

urate

ly in

place

s, bu

t with

freq

uent

lapse

s

•usin

g som

e pun

ctuati

on,

thoug

h not

para

grap

hing

•con

trollin

g con

venti

onal

spell

ing.

•con

trollin

g con

venti

onal

spell

ing, w

ith oc

casio

nal

lapse

s.

•usin

g con

venti

onal

spell

ing, in

the

main

.•u

sing c

onve

ntion

al sp

elling

, wi

th fre

quen

t laps

es.

•usin

g som

e con

venti

onal

spell

ing, b

ut lap

ses i

mped

e un

derst

andin

g.

21

(con

tinue

d)

Crite

rion

AB

CD

EKn

owled

ge an

d ap

plica

tion

of th

e co

nstru

cted

ness

of

text

s

The c

andi

date

has

dem

onst

rate

d kn

owled

ge o

f the

way

s in

which

text

s are

selec

tively

cons

truct

ed an

d re

ad b

y:•t

horo

ughly

exam

ining

how

disco

urse

s in t

exts

shap

e and

ar

e sha

ped b

y lan

guag

e ch

oices

•exa

minin

g how

disc

ourse

s in

texts

shap

e and

are s

hape

d by

lang

uage

choic

es

•exp

lainin

g how

disc

ourse

s in

texts

shap

e and

are s

hape

d by

lang

uage

choic

es

•ide

ntifyi

ng so

me w

ays

langu

age c

hoice

s are

shap

ed

by di

scou

rses

•eva

luatin

g how

cultu

ral

assu

mptio

ns, v

alues

, beli

efs

and a

ttitud

es un

derp

in tex

ts

•exa

minin

g how

cultu

ral

assu

mptio

ns, v

alues

, beli

efs

and a

ttitud

es un

derp

in tex

ts

•ide

ntifyi

ng an

d exp

lainin

g ho

w cu

ltura

l ass

umpti

ons,

value

s, be

liefs

and a

ttitud

es

unde

rpin

texts

•ide

ntifyi

ng so

me of

the w

ays

cultu

ral a

ssum

ption

s, va

lues,

belie

fs an

d attit

udes

unde

rpin

texts

•som

etime

s ide

ntifyi

ng so

me

attitu

des a

nd be

liefs

in tex

ts

•mak

ing su

btle a

nd co

mplex

dis

tincti

ons w

hen e

valua

ting

repr

esen

tation

s of c

once

pts

and o

f the r

elatio

nship

s and

ide

ntitie

s of in

dividu

als,

grou

ps, ti

mes a

nd pl

aces

•mak

ing fin

e dist

inctio

ns w

hen

evalu

ating

repr

esen

tation

s of

conc

epts

and o

f the

relat

ionsh

ips an

d ide

ntitie

s of

indivi

duals

, gro

ups,

times

and

place

s

•mak

ing br

oad d

istinc

tions

wh

en id

entify

ing an

d ex

plaini

ng re

pres

entat

ions o

f co

ncep

ts an

d of th

e re

lation

ships

and i

denti

ties o

f ind

ividu

als, g

roup

s, tim

es an

d pla

ces

•mak

ing ge

nera

l dist

inctio

ns

when

iden

tifying

re

pres

entat

ions o

f con

cepts

an

d of th

e rela

tions

hips a

nd

identi

ties o

f indiv

iduals

, gr

oups

, time

s and

plac

es

•mak

ing ve

ry ge

nera

l dis

tincti

ons w

hen i

denti

fying

re

pres

entat

ions o

f con

cepts

an

d of th

e rela

tions

hips a

nd

identi

ties o

f indiv

iduals

, gr

oups

, time

s and

plac

es.

•tho

roug

hly an

alysin

g how

re

ader

s are

invit

ed to

take

up

posit

ions i

n rela

tion t

o tex

ts.

•ana

lysing

how

read

ers a

re

invite

d to t

ake u

p pos

itions

in

relat

ion to

texts

.

•ide

ntifyi

ng an

d exp

lainin

g wa

ys re

ader

s hav

e bee

n inv

ited t

o tak

e up p

ositio

ns in

re

lation

to te

xts.

•rec

ognis

ing an

d des

cribin

g so

me w

ays r

eade

rs ha

ve

been

invit

ed to

take

up

posit

ions i

n rela

tion t

o tex

ts.

22

Acknowledgments

John Blight ‘Down from the Country’, Judith Wright ‘At Cooloola’, Kenneth Slessor ‘William Street’, James McAuley ‘One Tuesday in Summer’, Les Murray ‘The Mitchells’, John Tranter ‘Debbie & Co.’ and Peter Skrzynecki ‘Hunting Rabbits’, in Tranter, J & Mead, P 1991 (eds), The Penguin Book of Modern Australian Poetry, Penguin, Melbourne.

Dorothea Mackellar ‘My Country’ and Colleen Burke ‘Why We Didn’t Go Away on the Long Weekend’, in Hampton, S & Llewellyn, K 1986, The Penguin Book of Australian Women Poets, Penguin, Melbourne.

David Malouf ‘Suburban’, in McFarlane, P & Temple, L 1996 (eds), Blue Light, Clear Atoms: Poetry for senior students, Macmillan Education, Melbourne.

Richard Whately ‘There is a Place in Distant Seas’ and Charles Harpur ‘A Mid-Summer Noon in the Australian Forest’, in Kinsella, J 2009 (ed), The Penguin Anthology of Australian Poetry, Penguin, Melbourne.

Henry Lawson ‘Past Carin’ ’, in Cook, M 2007 (ed), Our Country: Classic Australian poetry (from the colonial ballads to Paterson & Lawson), Little Hills Press, Sydney.

Bruce Dawe ‘Up the Wall’, in Dawe, B 1978, Sometimes Gladness, Longman Cheshire, Melbourne.

Every reasonable effort has been made to contact owners of copyright material. We would be pleased to hear from any copyright owner who has been omitted or incorrectly acknowledged.

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