2014 senior external examination english: paper two · pdf file2014 senior external...
TRANSCRIPT
For all Queensland schools
2014 Senior External Examination
English Monday 27 October 2014
Paper 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
Directions
You 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
Assessment
Paper 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 session
Take 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 exposition
In response to the topic below, write about 500 words (excluding quotations).
Topic — Media
Genre: Analytical exposition
Roles and relationships: In role as a contributor to a media website
Your task: Analyse and evaluate the way a documentary you have studied positions the audience towards its subject matter.
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 exposition
In response to one of the following topics, write about 500 words.
Either
Topic 3A — Unseen poem
Genre: Analytical exposition
Roles and relationships: In role as a contributor writing for a literary magazine
Your task: Identify an invited reading of Homo Suburbiensis by Bruce Dawe and analyse how this 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 and silences.
The unseen poem is on page 3.
or
Topic 3B — Notified poems
Genre: Analytical exposition
Roles and relationships: In role as a contributor writing for a literary magazine
Your task: Analyse how aspects of ‘Australia’ or ‘being Australian’ are foregrounded by comparing 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 and silences.
The notified poems are on pages 4–16.
2
Unseen poem
Homo Suburbiensis
One constant in a world of variables
– a man alone in the evening in his patch of vegetables,
and all the things he takes down with him there
Where the easement runs along the back fence and the air
smells of tomato-vines, and the hoarse rasping tendrils
of pumpkin flourish clumsy whips and their foliage sprawls
Over the compost-box, poising rampant upon
the palings …
He stands there, lost in a green
confusion, smelling the smoke of somebody’s rubbish
Burning, hearing vaguely the clatter of a dish
in a sink that could be his, hearing a dog, a kid,
a far whisper of traffic, and offering up instead
Not much but as much as any man can offer
– time, pain, love, hate, age, war, death, laughter, fever.
Bruce Dawe (1930– )
3
Notified poem
Last of his Tribe
Change is the law. The new must oust the old.
I look at you and am back in the long ago,
Old pinnaroo lonely and lost here,
Last of your clan.
Left only with your memories, you sit
And think of the gay throng, the happy people,
The voices and the laughter
All gone, all gone,
And you remain alone.
I asked and you let me hear
The soft vowelly tongue to be heard now
No more for ever.
For me
You enact old scenes, old ways, you who have used
Boomerang and spear.
You singer of ancient tribal songs,
You leader once in the corroboree,
You twice in fierce tribal fights
With wild enemy blacks from over the river,
All gone, all gone. And I feel
The sudden sting of tears, Willie Mackenzie
In the Salvation Army Home.
Displaced person in your own country,
Lonely in teeming city crowds,
Last of your tribe.
Oodgeroo Noonuccal (1920–1993)
4
Notified poem
Metho Drinker
Under the death of winter’s leaves he lies
who cried to Nothing and the terrible night
to be his home and bread. ‘O take from me
the weight and waterfall of ceaseless Time
that batters down my weakness; the knives of light
whose thrust I cannot turn; the cruelty
of human eyes that dare not touch nor pity.’
Under the worn leaves of the winter city
safe in the house of Nothing now he lies.
His white and burning girl, his woman of fire,
creeps to his heart and sets a candle there
to melt away the flesh that hides the bone,
to eat the nerve that tethers him in Time.
He will lie warm until the bone is bare
and on a dead dark moon he wakes alone.
It was for Death he took her; death is but this
and yet he is uneasy under her kiss
and winces from that acid of her desire.
Judith Wright (1915–2000)
5
Notified poem
At Cooloola
The blue crane fishing in Cooloola’s twilight
has 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 Cooloola
knew that no land is lost or won by wars,
for earth is spirit, the invader’s feet will tangle
in 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 prints
of bird and animal, I am challenged by a driftwood spear
thrust from the water; and, like my grandfather,
must quiet a heart accused by its own fear.
Judith Wright (1915–2000)
6
Notified poem
The Song of Australia
There is a land where summer skies
Are gleaming with a thousand dyes,
Blending in witching harmonies;
And grassy knoll, and forest height,
Is flushing in the rosy light,
And all above is azure bright —
Australia!
There is a land where honey flows,
Where laughing corn luxuriant grows,
Land of the myrtle and the rose,
On hill and plain the clust’ring vine,
Is gushing out with purple wine,
And cups are quaffed to thee and thine —
Australia!
There is a land where treasures shine
Deep in the dark unfathom’d mine,
For worshippers at Mammon’s shrine,
Where gold lies hid, and rubies gleam,
And fabled wealth no more doth seem
The idle fancy of a dream —
Australia!
Caroline Carleton (1820–1874)
7
Notified poem
Old Botany Bay
I’m old
Botany Bay;
Stiff in the joints,
Little to say.
I am he
Who paved the way,
That you might walk
At your ease today;
I was the conscript
Sent to hell
To make in the desert
The living well;
I bore the heat,
I blazed the track —
Furrowed and bloody
Upon my back.
I split the rock;
I felled the tree:
The nation was —
Because of me!
Old Botany Bay
Taking the sun
From day to day …
Shame on the mouth
That would deny
The knotted hands
That set us high!
Mary Gilmore (1865–1962)
8
Notified poem
My Country
The love of field and coppice,
Of green and shaded lanes,
Of ordered woods and gardens
Is running in your veins.
Strong love of grey-blue distance
Brown 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 tops
And 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 greenness
That thickens as we gaze …
An opal-hearted country,
A wilful, lavish land —
All of you who have not loved her,
You will not understand —
Though earth holds many splendours,
Wherever I may die,
I know to what brown country
My homing thoughts will fly.
Dorothea Mackellar (1885–1968)
9
Notified poem
Why we didn’t go away on the long weekend
Let us go away for the weekend he said
out of the city
into the high country
after all we went to england to see the snow
and didn’t — you arrange it
rang up trains — waited 6 hours for some one
to say hullo — rang up again to enquire times/
bookings etc. meanwhile
governments rose/fell there were 2 coups, 1½
rebellions, a revolution — nearly — the
president died — long live the king.
Knowing we had to get up early
we stayed up late arguing.
Slept
beyond the alarm into morning the train
went without us full of imagination he
booked a plane.
Rang taxis to take
us 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 cars
o Kosciusko
for you they come walking
At home with wet feet sludgy
hearts we sat around a radiator
hating each other slowly
Colleen Z. Burke (1943– )
10
Notified poem
There is a Place in Distant Seas
There is a place in distant seas
Full 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 scare with hatchet cut;
Stones are outside the cherries put;
Swans are not white, but black as soot.
There neither leaf, nor root, nor fruit
Will any Christian palate suit,
Unless in desperate need you’d fill ye
With root of fern and stalk of lily.
There missiles to far distance sent
Come 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 see
The foxes fly from tree to tree;
And what they value most, so wary,
These foxes in their pockets carry.
There the voracious ewe-sheep crams
Her 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 is
Full 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 tales
Be told with truth save New South Wales? —
Richard Whately (1787–1863)
11
Notified poem
A Mid-Summer Noon in the Australian Forest
Not a bird disturbs the air,
There is quiet everywhere;
Over plains and over woods
What a mighty stillness broods.
Even the grasshoppers keep
Where the coolest shadows sleep;
Even the busy ants are found
Resting in their pebbled mound;
Even the locust clingeth now
In silence to the barky bough:
And over hills and over plains
Quiet, vast and slumbrous, reigns.
Only there’s a drowsy humming
From yon warm lagoon slow coming:
’Tis the dragon-hornet — see!
All bedaubed resplendently
With yellow on a tawny ground —
Each rich spot nor square nor round,
But rudely heart-shaped, as it were
The blurred and hasty impress there,
Of a vermeil-crusted seal
Dusted o’er with golden meal:
Only there’s a droning where
Yon bright beetle gleams the air —
Gleams it in its droning flight
With 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 throws
A cooler comfort round Repose;
Or some ripple in the sea
Of leafy boughs, where, lazily,
Tired Summer, in her forest bower
Turning with the noontide hour,
Heaves a slumbrous breath, ere she
Once more slumbers peacefully.
O ’tis easeful here to lie
Hidden from Noon’s scorching eye,
In this grassy cool recess
Musing thus of Quietness.
Charles Harpur (1813–1868)
12
Notified poem
Australia
A Nation of trees, drab green and desolate grey
In the field uniform of modern wars,
Darkens her hills, those endless, outstretched paws
Of sphinx demolished or stone lion worn away.
They call her a young country, but they lie:
She is the last of lands, the emptiest,
A woman beyond her change of life, a breast
Still tender but within the womb is dry.
Without songs, architecture, history:
The emotions and superstitions of younger lands,
Her rivers of water drown among inland sands,
The river of her immense stupidity
Floods her monotonous tribes from Cairns to Perth.
In them at last the ultimate men arrive
Whose boast is not: ‘we live’ but ‘we survive’,
A type who will inhabit the dying earth.
And her five cities, like five teeming sores,
Each drains her: a vast parasite robber-state
Where second-hand Europeans pullulate
Timidly on the edge of alien shores.
Yet there are some like me turn gladly home
From the lush jungle of modern thought, to find
The Arabian desert of the human mind,
Hoping, if still from the deserts the prophets come,
Such savage and scarlet as no green hills dare
Springs in that waste, some spirit which escapes
The learned doubt, the chatter of cultured apes
Which is called civilization over there.
AD Hope (1907–2000)
13
Notified poem
The Past
Let no one say the past is dead.
The past is all about us and within.
Haunted by tribal memories, I know
This little now, this accidental present
Is not the all of me, whose long making
Is so much in the past.
Tonight here in suburbia as I sit
In easy chair before electric heater,
Warmed by the red glow. I fall into dream:
I am away
At the camp fire in the bush, among
My own people, sitting on the ground,
No walls about me,
The stars over me,
The tall surrounding trees that stir in the wind
Making their own music,
Soft cries of the night coming to us, there
Where we are one with all old Nature’s lives
Known and unknown,
In scenes where we belong but have now forsaken.
Deep chair and electric radiator
Are but since yesterday,
But a thousand thousand camp fires in the forest
Are in my blood.
Let none tell me the past is wholly gone.
Now is so small a part of time, so small a part
Of all the race years that have moulded me.
Oodgeroo Noonuccal (1920–1993)
14
Notified poem
Suburban
Safe behind shady carports, sleeping under
the stars of the commonwealth and nylon gauze …
Asia is far-off, its sheer white mountain-peaks, its millions
of hands; and shy bush-creatures in our headlamps
prop and swerve, small grass under the sprinklers
dreams itself ten feet tall as bull-ants lumber
between its stems — pushing
towards Sunday morning and the motor-blades …
Safe behind lawns and blondwood doors, in houses
of glass. No one throws stones. The moon dredges
a window square. Chrome faucets in the bathroom
hold 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 off
blackness, children writhe out of our grip;
and only the cotton-wool in medicine bottles stands between us
and the capsules whose cool metallic colours
lift us to the stars. In sleep we drift
barefoot 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– )
15
Notified poem
End of Question 3
End of Part B
End of Paper Two
Aboriginal Australia
To the others
You once smiled a friendly smile,
Said we were kin to one another,
Thus with guile for a short while
Became to me a brother.
Then you swamped my way of gladness,
Took my children from my side,
Snapped shut the lawbook, oh my sadness
At Yirrkala’s plea denied.
So, I remember Lake George hills,
The thin stick bones of people.
Sudden death and greed that kills,
That gave you church and steeple.
I cry again for Worrarra men,
Gone from kith and kind,
And I wondered when I would find a pen
To probe your freckled mind.
I mourned again for the Murray Tribe,
Gone too without a trace,
I thought of the soldier’s diatribe,
The smile on the Governor’s face.
You murdered me with rope, with gun,
The massacre my enclave,
You buried me deep on McLarty’s run
Flung into a common grave.
You propped me up with Christ, red tape,
Tobacco, grog and fears,
Then disease and lordly rape
Through the brutish years.
Now you primly say you’re justified,
And sing of a nation’s glory,
But I think of a people crucified —
The real Australian story.
Jack Davis (1917–2000)
16
Ass
essm
ent
stan
dar
ds
der
ived
fro
m t
he
En
gli
sh S
enio
r E
xter
nal
Syl
lab
us
2004
Qu
esti
on
2 —
Med
ia:
An
alyt
ical
exp
osi
tio
n
Crit
erio
nA
BC
DE
Kno
wle
dge
and
cont
rol o
f tex
ts in
th
eir c
onte
xts
The
cand
idat
e ha
s de
mon
stra
ted
know
ledg
e th
at m
eani
ngs
in te
xts
are
shap
ed b
y pu
rpos
e, c
ultu
ral c
onte
xt a
nd s
ocia
l situ
atio
n 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
•in t
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
•occ
asion
ally u
sing s
ome
conv
entio
ns of
the s
pecif
ied
genr
e to a
chiev
e som
e pu
rpos
es
•sele
cting
and s
ynthe
sising
su
bstan
tial, r
eleva
nt su
bject
matte
r
•sele
cting
and u
suall
y sy
nthes
ising
cons
idera
ble
relev
ant s
ubjec
t matt
er
•sele
cting
suffic
ient r
eleva
nt su
bject
matte
r•s
electi
ng so
me re
levan
t su
bject
matte
r•s
electi
ng so
me su
bject
matte
r tha
t rela
tes to
the t
ask
•inte
rpre
ting a
nd in
ferrin
g fro
m inf
orma
tion,
ideas
, arg
umen
ts an
d ima
ges i
n gre
at de
pth
•inte
rpre
ting a
nd in
ferrin
g fro
m inf
orma
tion,
ideas
, arg
umen
ts an
d ima
ges i
n dep
th
•inte
rpre
ting a
nd ex
plaini
ng
infor
matio
n, ide
as, a
rgum
ents
and i
mage
s
•inte
rpre
ting a
nd ex
plaini
ng
some
infor
matio
n, ide
as an
d im
ages
•sub
stanti
ating
opini
ons w
ith
well-b
alanc
ed an
d rele
vant
argu
ment
and e
viden
ce
•sub
stanti
ating
opini
ons w
ith
relev
ant a
rgum
ent a
nd
evide
nce
•sup
portin
g opin
ions w
ith
relev
ant a
rgum
ent a
nd
evide
nce
•sup
portin
g opin
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
ionsh
ips w
ith re
ader
s are
aff
ected
by po
wer,
distan
ce
and a
ffect.
•esta
blish
ing th
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
d main
tainin
g the
way
s re
lation
ships
with
read
ers a
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.
17
Qu
esti
on
2 —
Med
ia (
con
tin
ued
)
Crit
erio
nA
BC
DE
Kno
wle
dge
and
cont
rol o
f tex
tual
fe
atur
es
The
cand
idat
e ha
s de
mon
stra
ted
know
ledg
e of
app
ropr
iate
ness
of t
extu
al fe
atur
es fo
r pur
pose
, gen
re, a
nd re
gist
er b
y:
•exp
loitin
g the
sequ
encin
g and
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
y in
stage
s
•in t
he m
ain, s
eque
ncing
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
e ties
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
hesiv
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.
18
Qu
esti
on
2 —
Med
ia (
con
tin
ued
)
Crit
erio
nA
BC
DE
Kno
wle
dge
and
appl
icat
ion
of th
e co
nstr
ucte
dnes
s of
te
xts
The
cand
idat
e ha
s de
mon
stra
ted
know
ledg
e of
the
way
s in
whi
ch te
xts
are
sele
ctiv
ely
cons
truc
ted
and
read
by:
•tho
roug
hly ex
amini
ng ho
w dis
cour
ses i
n tex
ts sh
ape a
nd
are s
hape
d by l
angu
age
choic
es
•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/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
s/he
adop
ts 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
s/he
adop
ts 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
s/he
adop
ts 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
Qu
esti
on
3 —
Po
etry
: A
nal
ytic
al e
xpo
siti
on
Crit
erio
nA
BC
DE
Kno
wle
dge
and
cont
rol o
f tex
ts in
th
eir c
onte
xts
The
cand
idat
e ha
s de
mon
stra
ted
know
ledg
e th
at m
eani
ngs
in te
xts
are
shap
ed b
y pu
rpos
e, c
ultu
ral c
onte
xt a
nd s
ocia
l situ
atio
n 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
•in t
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
•occ
asion
ally u
sing s
ome
conv
entio
ns of
the s
pecif
ied
genr
e to a
chiev
e som
e pu
rpos
es
•sele
cting
and s
ynthe
sising
su
bstan
tial, r
eleva
nt su
bject
matte
r
•sele
cting
and u
suall
y sy
nthes
ising
cons
idera
ble
relev
ant s
ubjec
t matt
er
•sele
cting
suffic
ient r
eleva
nt su
bject
matte
r•s
electi
ng so
me re
levan
t su
bject
matte
r•s
electi
ng so
me su
bject
matte
r tha
t rela
tes to
the t
ask
•inte
rpre
ting a
nd in
ferrin
g fro
m inf
orma
tion,
ideas
, arg
umen
ts an
d ima
ges i
n gre
at de
pth
•inte
rpre
ting a
nd in
ferrin
g fro
m inf
orma
tion,
ideas
, arg
umen
ts an
d ima
ges i
n dep
th
•inte
rpre
ting a
nd ex
plaini
ng
infor
matio
n, ide
as, a
rgum
ents
and i
mage
s
•inte
rpre
ting a
nd ex
plaini
ng
some
infor
matio
n, ide
as an
d im
ages
•sub
stanti
ating
opini
ons w
ith
well-b
alanc
ed an
d rele
vant
argu
ment
and e
viden
ce
•sub
stanti
ating
opini
ons w
ith
relev
ant a
rgum
ent a
nd
evide
nce
•sup
portin
g opin
ions w
ith
relev
ant a
rgum
ent a
nd
evide
nce
•sup
portin
g opin
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
ionsh
ips w
ith re
ader
s are
aff
ected
by po
wer,
distan
ce
and a
ffect.
•esta
blish
ing th
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
d main
tainin
g the
way
s re
lation
ships
with
read
ers a
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
Qu
esti
on
3 —
Po
etry
(co
nti
nu
ed)
Crit
erio
nA
BC
DE
Kno
wle
dge
and
cont
rol o
f tex
tual
fe
atur
es
The
cand
idat
e ha
s de
mon
stra
ted
know
ledg
e of
app
ropr
iate
ness
of t
extu
al fe
atur
es fo
r pur
pose
, gen
re, a
nd re
gist
er b
y:
•exp
loitin
g the
sequ
encin
g and
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
y in
stage
s
•in t
he m
ain, s
eque
ncing
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
e ties
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
hesiv
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
Qu
esti
on
3 —
Po
etry
(co
nti
nu
ed)
Crit
erio
nA
BC
DE
Kno
wle
dge
and
appl
icat
ion
of th
e co
nstr
ucte
dnes
s of
te
xts
The
cand
idat
e ha
s de
mon
stra
ted
know
ledg
e of
the
way
s in
whi
ch te
xts
are
sele
ctiv
ely
cons
truc
ted
and
read
by:
•tho
roug
hly ex
amini
ng ho
w dis
cour
ses i
n tex
ts sh
ape a
nd
are s
hape
d by l
angu
age
choic
es
•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
Dawe, Bruce, ‘Homo Suburbiensis’; Noonuccal, Oodgeroo, ‘Last of his Tribe’; and Wright, Judith, ‘Metho Drinker’ and ‘At Cooloola’, in J Tranter and P Mead (eds), 1991, The Penguin Book of Modern Australian Poetry, Penguin Books Australia, Melbourne.
Carleton, Caroline, ‘The Song of Australia’, in M Cook (ed), 2007, Our Country: Classic Australian Poetry (from the Colonial Ballads to Paterson & Lawson), Little Hills Press Pty Ltd, Sydney.
Gilmore, Mary, ‘Old Botany Bay’; Mackellar, Dorothea, ‘My Country’; and Burke, Colleen Z, ‘Why we didn’t go away on the long weekend’, in S Hampton and K Llewellyn (eds), 1986, The Penguin Book of Australian Women Poets, Penguin Books Australia, Melbourne.
Whately, Richard, ‘There is a Place in Distant Seas’; Harpur, Charles, ‘A Mid-Summer Noon in the Australian Forest’; and Hope, AD, ‘Australia’, in J Kinsella (ed), 2009, The Penguin Anthology of Australian Poetry, Penguin Group Australia, Melbourne.
Noonuccal, Oodgeroo, ‘The Past’; Malouf, David, ‘Suburban’; and Davis, Jack, ‘Aboriginal Australia’, in P McFarlane and L Temple (eds), 1996, Blue light, clear atoms: Poetry for senior students, Macmillan Education Australia Pty Ltd, Melbourne.
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