12002 Secondary English LIG
Q u a l i ty
Q u a l i ty
T e a c he r
T e a c he r
P r o gr am
P r o gr am
The quest fantasy
Stage 4, Year 8
Rationale
The notion of the quest is evident in many aspects of students’ lives, inthe films they watch, in the books they read, in the TV programs theyenjoy and in advertising. By studying quest fantasy texts, students learnto recognise how the quest is used to tell a story. Knowledge of theArthurian Legend is the starting point in this unit and provides anhistorical context for their understanding of contemporary quest texts,including those of Hollywood.
2 2002 Secondary English LIG
Q u a l i ty
Q u a l i ty
T e a c he r
T e a c he r
P r o gr am
P r o gr am
In this unit students learn to:
• read widely for pleasure and understanding
• identify structural and language features of fantasy texts and the quest genre
• listen and sequence
• read aloud for a specified audience
• transform a text into another form or medium
• compare written and visual texts
• word process their work for publication
• compose a range of texts: newspaper reports, short stories, poetry, essays, advertisements.
Students learn about:
• point of view
• persuasive language
• quest archetypes (hero, helper, shadow figure, enchantress)
• the quest genre in popular culture texts such as film and advertising
Resources
http://home.att.net/~torregrossa/This site provides a list of recent film, TV, book, journal and magazine resources.
http://www.pittstate.edu/engl/nichols/arthur.htmlThis site has some excellent visuals and information about the Arthurian legend.
http://www.caerleon.net/history/arthur/This site provides accessible information about the legend, how it developed and its place inhistory.
Maher, David, 1999, The Quest in Legends and Literature, St Claire Press, Rozelle. (This is an excellentphotocopiable resource.)
A wide reading list for students is provided in Appendix 3.
32002 Secondary English LIG
Q u a l i ty
Q u a l i ty
T e a c he r
T e a c he r
P r o gr am
P r o gr am
Teach
ing a
nd
learn
ing s
eq
uen
ce
Ou
tco
mes
Co
nte
nt
Learn
ing a
ctiv
itie
sR
eso
urc
es
1.A
stud
ent,
thro
ugh
wid
e an
d cl
ose
stud
y, re
spon
ds to
and
com
pose
s ara
nge
of te
xts f
or u
nder
stan
ding
,in
terp
reta
tion
, cri
tica
l ana
lysi
s and
plea
sure
.
Stud
ents
lear
n to
:
•re
spon
d to
imag
inat
ive
text
sap
prop
riat
e to
thei
r nee
ds
•de
mon
stra
te u
nder
stan
ding
of t
heco
mpl
exit
y of
mea
ning
in te
xts.
Wid
e re
adin
g
Rea
ding
log
Stud
ents
read
wid
ely
from
the
book
box
or f
rom
thei
r ow
n ch
oice
of q
uest
fant
asy
nove
ls.
Stud
ents
reco
rd th
eir n
ight
ly re
adin
g on
the
hom
e re
adin
g pr
ogra
m sh
eet.
App
endi
x 1
Wid
e re
adin
gas
signm
ent
App
endi
x 2
Hom
ere
adin
g sh
eet
App
endi
x 3
Que
stfa
ntas
y w
ide
read
ing
list
App
endi
x 4
Cha
ract
erar
chet
ypes
5.A
stud
ent m
akes
info
rmed
pers
onal
lang
uage
cho
ices
to sh
ape
mea
ning
wit
h cl
arit
y an
dco
here
nce.
Stud
ents
lear
n to
:
•m
ake
oral
pre
sent
atio
ns.
Stud
ents
lear
n ab
out
•th
e w
ays c
erta
in fo
rms,
stru
ctur
esan
d fe
atur
es su
it p
arti
cula
rpu
rpos
es, a
udie
nces
and
situ
atio
ns
•te
chni
ques
for e
ffect
ive
spea
king
in fo
rmal
and
info
rmal
situ
atio
ns
•w
ays t
o en
gage
an
audi
ence
and
sust
ain
thei
r inv
olve
men
t.
Rea
d al
oud
for a
n au
dien
ceSt
uden
ts p
ract
ise
read
ing
alou
d a
pass
age
from
thei
r nov
el, r
ehea
rse
it a
nd p
rese
nt it
to th
e cl
ass.
Stud
ents
wri
te in
thei
r lea
rnin
g lo
g ab
out t
here
hear
sal a
nd re
adin
g pr
oces
s.
See
App
endi
x 1
Wid
ere
adin
g as
signm
ent
4 2002 Secondary English LIG
Q u a l i ty
Q u a l i ty
T e a c he r
T e a c he r
P r o gr am
P r o gr am
Ou
tco
mes
Co
nte
nt
Learn
ing a
ctiv
itie
sR
eso
urc
es
1.A
stud
ent,
thro
ugh
wid
e an
d cl
ose
stud
y, re
spon
ds to
and
com
pose
s ara
nge
of te
xts f
or u
nder
stan
ding
,cr
itic
al a
naly
sis a
nd p
leas
ure.
Stud
ents
lear
n to
:
•de
mon
stra
te u
nder
stan
ding
of t
heco
mpl
exit
y of
mea
ning
in te
xts.
List
en a
nd se
quen
ceT
he te
ache
r rea
ds a
loud
the
stor
y H
ow A
rthu
rdi
scov
ered
the
trut
h ab
out h
is bi
rth
and
a ki
ngdo
mw
as r
etur
ned
to a
Kin
g (a
ka T
he S
wor
d in
the
Ston
e).
Stud
ents
then
sequ
ence
the
capt
ione
d pi
ctur
es in
thei
r wor
kboo
ks.
How
Art
hur d
iscov
ered
the
trut
h ab
out h
is bi
rth
and
aki
ngdo
m w
as r
etur
ned
to a
king
, in
Mah
er, 1
999,
St
Cla
ire
Pres
s, pp
. 6–1
4.
9.A
stud
ent i
dent
ifies
, con
side
rs a
ndap
prec
iate
s cul
tura
l exp
ress
ion
inte
xts.
Res
earc
hing
the
hist
ory
of th
eA
rthu
rian
lege
ndSt
uden
ts u
se th
e lib
rary
and
the
Inte
rnet
tore
sear
ch th
e A
rthu
rian
lege
nd.
App
endi
x 5
Res
earc
hing
the
Art
huria
n le
gend
1.St
uden
ts le
arn
to:
•co
mpo
se im
agin
ativ
e, fa
ctua
l and
crit
ical
text
s
•m
anip
ulat
e, c
ombi
ne a
ndch
alle
nge
diffe
rent
text
type
s in
orde
r to
com
pose
new
text
s tha
tad
dres
s spe
cific
pur
pose
s,au
dien
ces a
nd si
tuat
ions
.
Stud
ents
lear
n ab
out:
•co
nven
tion
s ass
ocia
ted
wit
h no
n-lit
erar
y te
xts.
Com
posi
ng a
new
spap
erre
port
Wri
te a
new
spap
er re
port
whi
ch a
ppro
pria
tes t
heA
rthu
rian
lege
nd in
to a
con
tem
pora
ry A
ustr
alia
nco
ntex
t.
Stud
ents
use
thei
r pic
ture
sequ
ence
to re
min
dth
em o
f the
stor
y of
Art
hur a
nd w
rite
ane
wsp
aper
repo
rt re
coun
ting
the
mir
acul
ous
even
t as i
f it h
appe
ned
yest
erda
y.
Stud
ents
will
nee
d to
con
side
r the
follo
win
g:
•w
here
the
even
t occ
urre
d
•ho
w to
mai
ntai
n th
e ch
arac
teri
stic
s of
arch
etyp
al q
uest
cha
ract
ers w
ith
“peo
ple”
who
inha
bit t
his n
ew se
ttin
g in
tim
e an
d pl
ace
•th
e la
ngua
ge c
hoic
es th
at n
eed
to b
e m
ade
topr
eser
ve th
e qu
est f
anta
sy e
lem
ents
, tra
nsfo
rmth
e st
ory
into
a c
onte
mpo
rary
sett
ing
and
adhe
re to
the
stru
ctur
al a
nd to
nal f
eatu
res o
f ane
wsp
aper
repo
rt.
App
endi
x 6
New
spap
erre
port
52002 Secondary English LIG
Q u a l i ty
Q u a l i ty
T e a c he r
T e a c he r
P r o gr am
P r o gr am
Ou
tco
mes
Co
nte
nt
Learn
ing a
ctiv
itie
sR
eso
urc
es
4.A
stud
ent u
ses a
nd d
escr
ibes
lang
uage
, for
ms,
stru
ctur
es a
ndfe
atur
es a
ppro
pria
te to
diff
eren
tpu
rpos
es, a
udie
nces
and
situ
atio
ns.
Stud
ents
lear
n to
:
•ad
apt t
exts
for d
iffer
ent p
urpo
ses,
audi
ence
s and
situ
atio
ns.
Stud
ents
shou
ld re
ad a
nd d
iscu
ss h
ow th
e fa
iry
tale
of L
ittle
Red
Rid
ing
Hoo
d ha
s bee
nap
prop
riat
ed in
the
sam
ple
text
pro
vide
d. It
may
be in
tere
stin
g an
d fu
n fo
r stu
dent
s to
wor
k ou
tho
w th
e ir
onic
tone
is c
reat
ed in
the
sam
ple
text
.
1.A
stud
ent,
thro
ugh
wid
e an
d cl
ose
stud
y, re
spon
ds to
and
com
pose
s ara
nge
of te
xts f
or u
nder
stan
ding
,cr
itic
al a
naly
sis a
nd p
leas
ure.
2.A
stud
ent r
espo
nds t
o an
dco
mpo
ses t
exts
in d
iffer
ent
tech
nolo
gies
.
Stud
ents
lear
n to
:
•us
e fe
atur
es o
f ele
ctro
nic
med
ia to
com
pose
a ra
nge
of im
agin
ativ
ete
xts.
Stud
ents
lear
n ab
out:
•ap
prop
riat
e te
chno
logy
, sof
twar
ean
d fu
ncti
ons f
or p
arti
cula
r tas
ks.
Tran
sfor
min
g a
text
Wor
d pr
oces
sing
(a)
Stud
ents
look
at t
he p
ictu
re o
f “St
Geo
rge
and
the
Dra
gon”
. Dis
cuss
in g
roup
s or a
s acl
ass w
hat t
hey
thin
k ha
s hap
pene
d to
bri
ngab
out t
he e
vent
show
n in
the
pain
ting
.
(b)
Aft
er re
visi
ng th
e pu
rpos
e an
d st
ruct
ure
ofna
rrat
ive
text
s, st
uden
ts w
rite
thei
r ow
nve
rsio
n of
“St
Geo
rge
and
the
Dra
gon”
.
(c)
Proc
ess w
riti
ng. W
ork
thro
ugh
the
draf
ting
,re
visi
ng, e
diti
ng p
roce
ss, u
sing
Mic
roso
ftW
ord.
(d)
Stud
ents
pub
lish
thei
r sto
ry u
sing
the
pres
crib
ed fo
rmat
:
•12
poi
nt T
imes
New
Rom
an o
r Ari
al
•lin
e sp
acin
g of
1.5
•st
anda
rd p
age
set-
up (
min
imum
2 c
mm
argi
ns)
•do
uble
spac
ing
betw
een
para
grap
hs
•sa
ved
to a
n ap
prop
riat
ely
nam
ed fi
le in
thei
r per
sona
l fol
der o
n th
e sc
hool
’sin
tran
et o
r to
disc
.
See
web
site
http
://w
ww.
uq.n
et.a
u/ia
cobu
s/uc
cello
/st
_geo
rge1
.htm
l
6 2002 Secondary English LIG
Q u a l i ty
Q u a l i ty
T e a c he r
T e a c he r
P r o gr am
P r o gr am
Ou
tco
mes
Co
nte
nt
Learn
ing a
ctiv
itie
sR
eso
urc
es
7.A
stud
ent t
hink
s cri
tica
lly a
bout
info
rmat
ion,
idea
s, an
d ar
gum
ents
to re
spon
d to
and
com
pose
text
s.
Stud
ents
lear
n to
:
•ac
cess
info
rmat
ion,
idea
s and
argu
men
ts in
text
s and
iden
tify
the
way
s inf
orm
atio
n, id
eas a
ndar
gum
ents
are
arr
ange
d an
d re
late
d
•fo
cus o
n an
d ev
alua
te p
arti
cula
ras
pect
s of t
exts
incl
udin
g st
oryl
ine,
pers
pect
ive
and
cult
ural
posi
tion
ing.
11. A
stud
ent u
ses a
nd a
sses
ses
indi
vidu
al a
nd c
olla
bora
tive
skill
sfo
r lea
rnin
g.
Stud
ents
lear
n to
•ar
ticu
late
and
dis
cuss
the
plea
sure
san
d di
fficu
ltie
s, su
cces
ses a
ndch
alle
nges
exp
erie
nced
in th
eir
wri
ting
.
Cri
tica
l lit
erac
ySt
uden
ts re
ad th
e po
em N
ot M
y B
est S
ide
and
look
aga
in a
t the
pai
ntin
g in
“St
Geo
rge
and
the
Dra
gon”
. The
y di
scus
s wha
t the
y th
ink
of e
ach
ofth
e th
ree
char
acte
rs a
nd w
hy e
ach
feel
sdi
ffere
ntly
abo
ut th
e si
tuat
ion.
Usi
ng th
e sa
me
styl
e as
the
poet
, stu
dent
s wri
teth
e fo
urth
stan
za o
f the
poe
m fr
om th
e po
int o
fvi
ew o
f the
hor
se.
Lear
ning
log:
“T
he p
oet’s
stru
ggle
”
Stud
ents
mig
ht fi
nd th
ese
sent
ence
star
ters
help
ful:
•T
he e
asie
st p
art o
f writ
ing
the
extr
a st
anza
was
…
•T
he m
ost f
un b
it I
wro
te w
as…
•T
he h
arde
st th
ing
abou
t writ
ing
the
stan
za w
as…
•I
lear
nt …
abo
ut h
ow p
oets
writ
e po
ems.
Not
My
Bes
t Sid
e by
UA
Fant
horp
e, a
vaila
ble
from
:ht
tp://
ww
w.cs
.rice
.edu
/~
ssiy
er/m
inst
rels
/poe
ms/
438.
htm
l
or D
oubl
e V
ision
(19
90)
by B
ento
n, M
icha
el a
ndPe
ter B
ento
n. H
odde
ran
d St
ough
ton
(PIP
)
or P
ostc
ards
from
Pla
net
Ear
th (
1990
), P
aul
Ric
hard
son
and
Ken
Wat
son
(ed.
), O
xfor
dU
nive
rsit
y Pr
ess,
Mel
bour
ne.
4.A
stud
ent u
ses a
nd d
escr
ibes
lang
uage
, for
ms,
stru
ctur
es a
ndfe
atur
es a
ppro
pria
te to
diff
eren
tpu
rpos
es, a
udie
nces
and
situ
atio
ns.
Usi
ng a
n un
ders
tand
ing
of th
equ
est g
enre
and
arc
hety
pal
char
acte
rs to
cre
ate
anad
vert
isem
ent
Aft
er c
ompl
etin
g th
e ac
tivi
ties
on
adve
rtis
ing
(App
endi
x 4)
, stu
dent
s des
ign
thei
r ow
nad
vert
isem
ent f
or a
n “A
rthu
r pro
duct
”. T
head
vert
isem
ent m
ust i
ncor
pora
te th
e qu
est g
enre
and
dem
onst
rate
an
unde
rsta
ndin
g of
cha
ract
er.
Stud
ents
nee
d to
mak
e su
re th
e pr
oduc
t is
cons
iste
nt w
ith
the
arch
etyp
al fe
atur
es o
f the
char
acte
r tha
t pro
mot
es it
. The
adv
erti
sem
ent
shou
ld b
e ac
com
pani
ed b
y an
exp
lana
tion
of i
tsfe
atur
es.
App
endi
x 7
Ana
lysin
g an
adve
rtise
men
t
App
endi
x 7a
Cre
ate
your
own
adve
rtise
men
t
72002 Secondary English LIG
Q u a l i ty
Q u a l i ty
T e a c he r
T e a c he r
P r o gr am
P r o gr am
Ou
tco
mes
Co
nte
nt
Learn
ing a
ctiv
itie
sR
eso
urc
es
4.A
stud
ent u
ses a
nd d
escr
ibes
lang
uage
, for
ms,
stru
ctur
es a
ndfe
atur
es a
ppro
pria
te to
diff
eren
tpu
rpos
es, a
udie
nces
and
situ
atio
ns.
Rea
ding
mul
ti-m
odal
text
sR
ead
the
pict
ure
book
s and
wor
k on
the
acti
viti
es in
pai
rs.
App
endi
ces 8
a to
8d
Pict
ure
book
s:M
erlin
and
the
Dra
gons
Sir
Gaw
ain
and
the
Gre
enK
nigh
tK
ing
Art
hur a
nd th
eK
nigh
ts o
f the
Rou
nd T
able
Sir
Gaw
ain
and
the
Loat
hly
Lady
1.A
stud
ent,
thro
ugh
wid
e an
d cl
ose
stud
y, re
spon
ds to
and
com
pose
s ara
nge
of te
xts f
or u
nder
stan
ding
,cr
itic
al a
naly
sis a
nd p
leas
ure.
Sum
min
g up
•In
gro
ups o
r as a
who
le c
lass
, bra
inst
orm
the
char
acte
rist
ics o
f the
que
st fa
ntas
y ge
nre.
•C
reat
e a
clas
s def
init
ion
for q
uest
fant
asy.
•G
roup
s or p
airs
cre
ate
visu
al re
pres
enta
tion
sof
the
ques
t fan
tasy
usi
ng d
raw
ings
, wor
ds,
pict
ures
from
mag
azin
es e
tc. R
epre
sent
atio
nsm
ust i
nclu
de a
s man
y of
the
feat
ures
of t
hege
nre
as p
ossi
ble.
•D
ispl
ay re
pres
enta
tion
s on
the
clas
sroo
m w
all
afte
r gro
ups h
ave
pres
ente
d an
d ex
plai
ned
them
to th
e cl
ass.
Teac
her r
esou
rce:
App
endi
x 9
Feat
ures
of
the
ques
t fan
tasy
4.A
stud
ent u
ses a
nd d
escr
ibes
lang
uage
, for
ms,
stru
ctur
es a
ndfe
atur
es a
ppro
pria
te to
diff
eren
tpu
rpos
es, a
udie
nces
and
situ
atio
ns.
Tool
s of f
ilm p
rodu
ctio
n(a
)R
evis
e th
e to
ols o
f film
pro
duct
ion
used
tocr
eate
mea
ning
in fi
lm te
xts b
ybr
ains
torm
ing
and
addi
ng in
form
atio
nw
here
nec
essa
ry: c
hara
cter
s, se
t des
ign,
loca
tion
, sou
nd, c
amer
a, sc
ript
, edi
ting
etc
.(b
)Sh
ow th
e op
enin
g sc
enes
of t
he c
hose
n fil
mse
vera
l tim
es. I
n gr
oups
stud
ents
ana
lyse
how
the
tool
s of p
rodu
ctio
n ar
e us
ed to
crea
te m
eani
ng, e
spec
ially
moo
d,at
mos
pher
e, a
sens
e of
fant
asy
etc.
Gro
ups
can
wor
k us
ing
all t
ools
of p
rodu
ctio
n, o
rdi
ffere
nt g
roup
s can
focu
s on
diffe
rent
tool
sth
en fe
ed b
ack
to th
e cl
ass.
App
endi
x 10
Too
ls of
film
prod
uctio
n
Any
que
st fi
lm, f
orex
ampl
e:St
ar W
ars
Lara
Cro
ft To
mb
Rai
der
Lord
of t
he R
ings
Har
ry P
otte
rIn
dian
a Jo
nes f
ilms
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Ou
tco
mes
Co
nte
nt
Learn
ing a
ctiv
itie
sR
eso
urc
es
4.A
stud
ent u
ses a
nd d
escr
ibes
lang
uage
, for
ms,
stru
ctur
es a
ndfe
atur
es a
ppro
pria
te to
diff
eren
tpu
rpos
es, a
udie
nces
and
situ
atio
ns.
Vie
win
g an
d re
spon
ding
to fi
lmW
atch
the
film
.
Use
the
grid
to id
enti
fy th
e to
ols o
f pro
duct
ion
and
elem
ents
of t
he q
uest
gen
re (
rem
ind
stud
ents
of t
hesu
mm
ing-
up a
ctiv
ity
for e
lem
ents
of t
he q
uest
gen
re).
Stud
ents
wri
te a
n es
say
resp
onse
to th
e qu
esti
on:
Des
crib
e ho
w th
e to
ols
of p
rodu
ctio
n ar
e us
ed in
this
film
tocr
eate
a q
uest
sto
ry.
App
endi
x 11
How
do th
e to
ols
of fi
lmpr
oduc
tion
crea
te a
ques
t fan
tasy
?
9.A
stud
ent i
dent
ifies
, con
side
rs a
ndap
prec
iate
s cul
tura
l exp
ress
ion
inte
xts.
10.A
stud
ent m
akes
con
nect
ions
betw
een
and
amon
g te
xts.
Dis
cuss
ion,
refle
ctio
n a
ndle
arni
ng lo
gD
iscu
ssio
n po
ints
:
•W
hat e
lem
ents
of t
he A
rthu
r le
gend
are
evi
dent
in th
ete
xts
expl
ored
thro
ugho
ut th
e un
it (p
artic
ular
ly th
e w
ide
read
ing
nove
ls an
d th
e fil
m)?
Why
is th
is?
•W
hy d
o st
uden
ts th
ink
the
hero
is u
sual
ly m
ale
and
the
evil
ench
antr
ess f
emal
e in
man
y qu
est f
anta
syst
orie
s? C
an st
uden
ts th
ink
of a
ny q
uest
text
s whe
reth
ese
role
s are
diff
eren
t?
•W
ho d
o pe
ople
like
que
st fa
ntas
y no
vels
and
film
s?St
uden
ts sh
ould
con
side
r the
succ
ess o
f suc
h no
vels
and
film
s as H
arry
Pot
ter,
Lor
d of
the
Rin
gs, t
he q
uest
fant
asy
char
acte
rist
ics o
f man
y ad
ult a
nd c
hild
ren’
sbo
oks.
The
y sh
ould
als
o co
nsid
er su
ch fe
atur
es a
s:se
ttin
g in
stra
nge
or d
ista
nt w
orld
s, th
e he
ro w
ho is
ofte
n an
unl
ikel
y ca
ndid
ate,
mag
ical
eve
nts a
ndcr
eatu
res e
tc.
•H
ow d
oes
our
know
ledg
e of
que
st fa
ntas
y in
fluen
ce th
ew
ay w
e re
ad a
nd v
iew
thes
e te
xts?
Wha
t hap
pens
whe
nou
r ex
pect
atio
ns a
re n
ot m
et?
Why
are
we
not b
ored
by
know
ing
the
kind
s of
thin
gs th
at w
ill h
appe
n ne
xt in
the
stor
y? W
hy d
o w
e w
ant t
o ke
ep w
atch
ing
and
read
ing
ifw
e kn
ow th
e he
ro w
ill s
ucce
ed in
the
end?
Stud
ents
wri
te a
bout
thei
r exp
erie
nces
of t
he q
uest
fant
asy
genr
e in
thei
r lea
rnin
g lo
gs.
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Appendix 1Wide reading assignment
During this unit of work you will read as many quest fantasy novels and picture books as you can fromthe book box provided. You can also choose your own quest fantasy books from the library. Thencomplete the activities listed below.
Reading
Read widely from the fantasy box or from your own choice of fantasy novels.
A wide reading list is provided.
Record your reading each night on your home reading sheet.
Responding activities
Complete the activities below at home. Your teacher will tell you when each item needs to becompleted.
1. Present to the class a dramatic reading of your favourite part of one of the novels you read.
• Practise reading the passage aloud.
• Rehearse in front of a mirror, a friend or a family member.
• Present your reading to the class (your teacher will tell you when).
• You might like to use a prop or costume for your reading.
• Write in your learning log about the rehearsal and reading process. Indicate what was difficultor easy, what was fun and what you found unpleasant about the experience.
2. Archetypes in the quest genre
Draft these pieces of writing in your workbooks then revise, edit and publish them on A4 paper tohand in to your teacher for assessment.
(a) After your teacher has taught you about archetypes, brainstorm together the characteristics of“The Hero”. Write an explanation of how the hero in your favourite fantasy novel conformsto or differs from these characteristics. Use quotations and examples from the novel to supportyour points.
(b) Select one other archetype from “The Helper”, “The Enchantress” or “The ShadowCharacter” and explain how the corresponding character in your favourite fantasy novelconforms or differs from this archetype. Use quotations to support your points.
Outcomes assessed
1. A student, through wide reading and close study, responds to and composes a range of texts forunderstanding, interpretation, critical analysis and pleasure.
5. A student makes informed personal language choices to shape meaning with clarity andcoherence.
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Date Title and author of book Startpage no.
Finishpage no.
Appendix 2Home reading sheet
Name: .......................................................................................... Class: ...............................................
Parent’s signature
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Appendix 3Wide reading list: The quest fantasy
Carmody, Isobel, 1993, Obernewtyn, Penguin Books Australia Ltd, RingwoodThe Obernewtyn Chronicles: Obernewtyn; The Forseekers; Ashling
Cooper, Susan, 1994, The Dark is Rising Sequence, Penguin Books Australia Ltd, RingwoodThe Dark is Rising Sequence: Over Sea, Under Stone; The Dark is Rising; Greenwitch; The GreyKing; Silver on the Tree
Kelleher, Victor, 1983, Master of the Grove, Penguin Books Australia Ltd, Ringwood
L’Engle, Madeleine, 1967, A Wrinkle in Time, Puffin Modern Classics, Penguin Books Australia Ltd,Ringwood
Le Guin, Ursula, 1971, A wizard of Earthsea, Penguin Books Ltd, LondonThe Earthsea Quartet: A wizard of Earthsea; The tombs of Atuan; the farthest shore; Tehanu
Rodder, Emily, 1997, Rowan of Rin, Omnibus Books, Norwood
Rowlings, J. K., Harry Potter and the Philosopher’s Stone, Bloombury Publishing PLC, LondonHarry Potter series: Harry Potter and the prisoner of Azhaban; Harry Potter and the Goblet of Fire
Tolkein, J. R. R., 1993, The Hobbit, Harper Collins, London
Tolkein, J. R. R., The Lord of the Rings, Harper Collins, LondonThe Lord of the Rings; The fellowship of the ring; The two towers; The return of the King
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Appendix 4Character archetypes
(adapted from Maher, 1999, St Claire Press)
The hero:
• usually an orphan who is raised by a wise hermit who teaches him the qualities of the hero
• embarks on a quest, rescues the romantic heroine, and overcomes obstacles on the way by usingthe knowledge the hermit has taught him.
The hermit or helper:
• usually a wise old man who lives alone in an isolated place
• guides the hero with knowledge and advice
• usually looks after a special object which will ultimately belong to the hero and which helps thehero in his quest.
The shadow:
• represents the hero’s potential for evil or the hero’s innermost fear
• is the part of the hero’s character that the hero must overcome in order to succeed in his quest andensure that good prevails.
The enchantress:
• a woman who tempts the hero with her beauty in order to bring about his downfall
• the hero is blind to the danger of her magic charms.
The dream girl:
• usually a beautiful woman (princess) who inspires the hero to great things
• out of reach of the hero, incarcerated in a tower or hidden away
• passive
• freed from her prison (or horrible circumstances) by the hero and subsequently they usually marry.
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Appendix 5Researching the Arthurian legend
Use books from the library and the Internet to find out about the legend of King Arthur.
Make brief notes from resources that you find useful. Make sure you list all the resources (including website addresses) that you use in your research.
Here are some questions to help you get started.
1. When was King Arthur’s reign?
2. Of what country was he king? What language was spoken in that country?
3. What were some of the features of daily life in King Arthur’s time? For example:
• What sort of clothes did ordinary people wear?
• What sort of clothes did King Arthur and other people at court wear?
• What did people do for entertainment?
• How did people communicate, since there were no telephones, television, radio, internet,newspapers and other forms of communication that we rely on?
• What sorts of crimes and punishments were common?
4. Can you find any evidence that the characters in the King Arthur stories really existed? Look forSir Lancelot, Lady Guinevere, Sir Galahad, Merlin, others.
5. Was Camelot a real place? What can you find out about it?
Here are some web sites to help you start. Make sure you look at other sources as well.
http://www.pittstate.edu/engl/nichols/arthur.htmlhttp://www.caerleon.net/history/arthur/
Present your findings on a single A3 page. Include pictures (which you might download from theInternet), brief summaries using your own words (no bits copied straight from books or the Internet), anddiagrams and maps, where appropriate.
Display your findings on the classroom wall for ready reference throughout the unit.
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Appendix 6Newspaper report
Structure Language features
Headline
By-line (reporter’sname)
Briefly: Who?, what?,where?, when?
Background information,how this situation cameabout
Quoted statement from aperson involved (themother)
Further details of eventsleading up to the siege
Quoted eyewitness(police) comment
Further dramatic,newsworthy details aboutthe event
Quoted comment fromthe victim
Follow-up, concludingcomment
Hood held hostageby Guinivere Grim
Red Riding-Hood, eleven-year-old daughter of thewell known sporting icon, Alexander Hood, was lucky toescape the clutches of alleged serial rapist, Francis Wolf, aftera long siege at Menai ended yesterday. Ms Hood is currentlyrecovering in Westmead Children’s hospital.
According to her mother, Ms Hood was sent on anerrand to deliver a small food hamper to her infirmgrandmother who lives across the park from the Hoods’ Menaimansion. Ms Hood set out at approximately 2.00 pm onMonday afternoon. Mrs Hood said that she told her daughterto stay on the footpath that goes directly through the parkand not to stop or talk to strangers. The park is usually wellpeopled with locals who use it for a variety of recreationalpurposes.
“I wasn’t worried when she hadn’t returned by 5.00pm,” said Mrs Hood. “Red loves her grandmother and, likeall eleven-year-olds, often loses track of the time.”
However, when Red had not returned by 6.00 pm,and her repeated telephone calls to her mother-in-law’s homewent unanswered, Mrs Hood contacted Menai police. Whenpolice arrived at the home of Mrs Hood senior they were metwith locked doors and windows and the voice of Mr Wolf,who threatened to kill both his hostages if police did not meethis demands of $10,000 and a free ride to the airport.
“He seemed crazed from the moment he first openedhis mouth,” stated a police spokesperson. “He was pacing upand down in front of the windows. He obviously had a weaponof some sort which we were unable to identify from thedistance he insisted we remain from the house. Our firstconcern was for the safety of his two victims, so we wentalong with everything he said.”
The police SWAT team was brought in, as well as a policenegotiator. According to eye witnesses, the police negotiatorset about trying to discover the source of Wolf’s rage in anattempt to stall his violent intentions, while SWAT personnelentered the rear of the house and rescued Ms Hood and hergrandmother.
When questioned by police Ms Hood said, “I think he gotangry because me and granny laughed at him when he saidhe was going to rape us. He looked so stupid, with his bigteeth and hairy face. I sort of felt sorry for him because hewas so ugly.”
Mr Wolf is in police custody awaiting trial. Ms Hood saysshe will continue to walk through the park, and stop to smellthe flowers when she feels like it.
Catchy headline usingalliteration (h)
• Contemporaryconcepts (signifyingappropriation)
Hyphenated nameSporting iconLegal jargon: alleged• Alliteration:
Menai mansion• Objective tone:
according to,approximately
• Formal tone:well peopled,recreation purposes
• Emotive languageused to increasedrama and generatenegative audienceresponse to Wolf:threatened,hostages, crazed,safety, victims
• Gravity of thesituation emphasisedthrough:SWAT, policenegotiator
• Innocence of Redemphasised by quotingher simple, everydaylanguage:got angry, stupid, bigteeth, sort of
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Appendix 7Analysing an advertisement
Choose an advertisement from a magazine or TV. The ad can be put on an overhead transparency(coloured if possible for best effect or taped and played several times for the class.
Have students consider the following through discussion in small groups or as a whole class, and makenotes in their workbooks:
1. General
• What is the product being advertised?
• Who is the target audience? How do you know this?
2. Visual features
• What desirable image(s) are associated with the product?
• What emotions do these images play upon?
• Are symbols used? Explain.
• What visuals dominate the picture? Consider characters, objects, colour.
• What other objects or images are in the picture? Why are they there?
3. Language
• What emotive words are used?
• What effect do these words have on the audience?
• How are these words linked to the product?
• Is there a jingle or slogan? What is its effect on you?
4. The quest
• What characters are used in the advertisement?
• Can you recognise any character archetypes from the quest fantasy?
• Is the idea of a quest, where the “hero” has to seek out an object, used in the advertisement?
5. Summing up
• Is there a single, clear message in the ad, or a key idea? What is it?
• If the quest is used in the advertisement, how has the hero benefited from achieving the objectof the quest? How realistic is this in relation to real life?
Note:
When shooting a TV commercial, the main product shot or shot of actor with product is referred to as“the hero shot”.
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Appendix 7aCreate your own advertisement
Design your own advertisement for an “Arthur product”.
The advertisement must incorporate the quest genre and demonstrate an understanding of character. Forexample, the product might be Arthur’s Amazing Aftershave or Merlin’s Magic Mirror.
You need to make sure the product is consistent with the archetypal features of the character whopromotes it.
The hero of your advertisement must benefit from succeeding in his or her quest.
Use a full A4 page for your advertisement.
Use colour and emotive language to persuade people to buy your product.
On the back of your advertisement, write a brief explanation of:
• who your target audience is
• what the appeal (quest object) is
• how the use of features of the quest genre will help sell your product.
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Appendix 8aPicture books
King Arthur and the Knights of the Round Table
Read the comic book, then work in pairs to answer these questions.
1. Re-read (aloud) the “King Arthur” story from the beginning of the unit. You began this unit withyour teacher reading the story to you. Now you have read the comic book version. Talk about thefollowing questions and write a summary of your ideas in your workbook:
• What are the advantages of reading the story in comic book format?
• What are the advantages of having the story read aloud to you?
2. Read the “Excalibur” story, then make your own sentences using these words. Check in adictionary if you are not sure of their meanings:
• prosperous
• arrogant
• adversary
• bemoaned
• mystical
• clothed
• aloft
• scabbard.
3. Use each of the following words in a sentence, first as a noun, then as a verb:
• treasure
• worry
• batter
• strike
• fight
• challenge.
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Appendix 8bMerlin and the Dragons
Read the book first, then work in pairs to write full sentence answers to these questions:
1. What does the illustration of Arthur’s dream suggest to you? The faces are smiling, but are theyfriendly? What features of their faces suggest something unpleasant?
2. What effect does the firelight behind Merlin and Arthur have on the picture?
3. Merlin tells Arthur a story within a story. Why might this be a good technique for a writer to use?
4. What characteristics do the two boys, Arthur and Emrys, have? Which features come from thewords and which come from the pictures?
5. How does the first picture of Vortigen and his men convey the fact that they are powerful andthreatening? Look at colour, content and the angle and point of view the picture makes thereader take.
6. How has the artist made the pictures of the dragons look powerful? Look for the same elementsyou discussed in the previous question.
7. We are suddenly returned to the present of Merlin and Arthur. What important information doesMerlin reveal to Arthur at this point?
8. Is there a clue that Merlin’s story of Emrys was about himself? What is it?
9. Do you think that the ending of both Merlin and Arthur sleeping peacefully is a good one foryoung children? Explain your answer.
10. What lessons may be learnt from Merlin and the Dragons?
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Appendix 8cSir Gawain and the Green Knight
Read the book first, then work in pairs to answer the questions.
1. How do the border decorations add to the atmosphere of the story? What is suggested by theirdesign?
2. What do you think the “code of chivalry” might be? Read carefully pages 28–29 to help youdecide.
3. Write your own modern code of chivalry for a 21st century teenager. Decorate it with appropriateborders and illustrations.
4. What lesson might be learnt from Sir Gawain and the Green Knight?
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Appendix 8dSir Gawain and the Loathly Lady
Read the book, then work in pairs to answer the questions.
1. Re-read page 13. Draw your interpretation of the loathly lady.
2. Make up a riddle about what men really want. Write a paragraph about why you think you havethe correct answer.
3. What do you think the moral message of this story is? Do you agree with it?
4. Write a short discussion (including arguments for and against) about the need for good mannersand chivalrous behaviour. Should we still value these things?
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Appendix 9Features of the fantasy quest
(Teacher resource sheet)
(Adapted from Glasson, 1995, p. 55)
Setting:
• This is usually an enclosed world, for example a secret forest, a planet, an invented world.
• Invented worlds are often quite exotic and mystical.
Plot and structure:
• There is calm, upheaval, calm; then stability is restored.
• The plot centres around the hero’s quest for something (usually a symbolic object) that is essentialfor the restoration of calm and the overcoming of evil.
• The hero encounters a variety of obstacles during his or her quest, each of which he or she mustconfront and overcome in order to eventually succeed.
• The hero learns from each of these conflicts.
Characters:
• The story uses a range of archetypal characters but must include a hero and a villain with whomthe hero is in conflict.
• A major change occurs in the hero, usually in the form of learning some favourable quality liketrust or patience, which occurs as a result of the experience of the hero’s quest.
• The hero (usually male, especially in traditional stories) is often in conflict with himself. He mustovercome his inner fears, his character flaw, or the dark side of his nature, in order to succeed inhis quest and undergo change for the better.
Themes or values:
• Traditional values are fought for and restored.
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Appendix 10Tools of film production
(adapted from The Tools of Production, © Faraway Films, 2002 and Jane Mills, English Teachers’Workshop, AFTRS & ETA, 1999)
Script Characters Sound Camera Design Editing
Three actstructure
Believableplot (even forfantasy films)
Actors:
• Do werecognisethem?
• Are theysuitable fortheir role?
Performance:
• movement
• expression
• voice.
Sound FX
Dialogue
Music
Use of voice-over
Use of silence
Ambientsound
A range ofangles
Pan
Track
Dolly
Distance:close-up toextreme longshot, used tocreate differenteffects
Wide shots
Sets
Costume
Lighting:different fordifferenteffects
Make-up
Props
Detail tocreate theworld of thefilm
Colour
Sequencing
Transitions:fade-out,dissolve, cut toblack, jump-cut etc.
Pace
Flashbacks
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Ap
pen
dix
11
How
do
th
e t
oo
ls o
f p
rod
uct
ion
cre
ate
a q
uest
fan
tasy
?Q
uest
ele
men
tC
hara
cter
Aci
tng
Co
stu
me
Set
desi
gn
Ligh
tin
gC
olo
ur
Pro
ps
Sou
nd
Mu
sic
FX
Scri
pt
Dia
logu
eP
lot
Loca
tio
nT
ime
Pla
ce
Cam
era
an
gle
sLe
ngth
of
sho
ts, p
an,
do
lly,
tra
ck
Ed
itin
gP
ace
Scen
ep
lace
men
t