“yes, officer” - hsc standard -...

“Yes, Officer”Poet: Carol Ann Duffy

Speaker: the victim of a violent interrogation by the police or authorities

Character: the character – ‘the police officer’

Nature of the interaction:

“here come the fists and the boots. / I curl in the corner.” – end-stopped / enjambement The introduction of the interaction between the speaker – victim and the officer Coercive, intimidating, abuse of power, the use of violence, terrorising the victim, victim is

violently supressed and submits to the “authorised / official” version of the truth

Outcome of the Interaction:

In this interaction the torturer attempts to get the speaker (victim) to sign a false confession The speaker deserts the truth and agrees / submits to the terror and violence and signs the

false confession – “With my good arm I sign the forgery” – irony. “Without my own language, I am blind man / in the wrong house.” “ uttrering empty vowel” “I did and these, your words, admit it.” Terror, the violence, the coercion, pressure, intimidation robs the victim (the speaker) of his

language / word / the truth

Reason for the outcome(s) for the interaction:

Abuse of the officers which limits the truth and freedom of the victim.

“Reports”Poet: U.A. Fanthorpe

Speaker: the teacher writing student reports

Character: herself – self-reflective, reflections upon her interactions


Teacher is restricted by institutional restrictions that are preventing her from authentic communication which would enable the growth of her students

The institution embodies safety and a fixed mindset that does not enable change “ Has made a sound beginning” - cliché, pun, italics to show the language of educational

institutions which is essentially meaningless “ Satisfactory / Should satisfy them.” – enjambement, italics, cliché, alliteration


It is fake. Her communication is inauthentic and this does not enable the students to change. Her interaction reflects and reinforces the morals and values and ideas that are embodied in the educational institution and does not challenge or change them.

“Unholy trinity, will read / Your scripture backwards.” – biblical allusion, do not question authorised or accepted ways of running education or society

“Remember your high calling” – the teacher through inauthentic / flase / fake / counterfeit interactions can no longer fulfil the hopes and dreams and the true vocation of teaching


because the conservative social context of educational institutions has destroyed the opportunity for interactions to be meaningful

restrictions in the communication of the educational system stultifies (deadens) and kills the opportunity for genuine change

“Not My Best Side”Poet: U.A. Fanthorpe

Speaker: three speakers – Stanza One – “the dragon”, Stanza Two – “the maiden / damsel in distress”; Stanza Three – “the knight in shining armour” – each of the stanza is an “internal monologue”

Character(s): as above as the speakers


Non stereotypical for a fairy tale No thorough communication, no physical interaction – disconnectedness Presents the views of others and themselves – self-centred concerned about their roles in

the “fairytale” - Stanza Three – the “knight in shining armour” is shown to want to uphold his privilege, dominance and power in a patriarchal society

Comments on the social context and the painting – the painting is saying that there has to be assigned roles and that everything must be in balance as in the preoccupation with triangles and that the individuality and desires and hopes of the participants is not hononured by society


Disconnected Not showing perspectives and views Commenting on the coercive and submissive roles within a patriarchal society Stanza Three – “Don’t / you want to carry out the roles / That sociology and myth have

designed for you?” There is no meaningful interaction and so there is no growth or allowance to see different

perspectives


In the poem the three characters do not interact - reflects the allusion to the painting

Inability to read one anothers signals and emotions – and so they are overlooked We are forced into assigned social roles and are punished if we do not conform

“The Stare”Poet: Sujata Bhatt

Speaker: a third person narrator who is observing the interaction – a momentary stare of communion between a baby monkey and human infant

Character(s): a baby monkey and human infant; poet (speaker ) addressing the audience (reader)


a reflection on the interaction between the baby monkey and the human child ‘connection of curiosity and communion’ Understanding of innocence momentary


human / monkey realising both their commonality and communion and yet their individuality and distinction at one moment

“this is some totally other being” The speaker – a way a document the change that she has experienced as a result of

being privileged to this experience / interaction - she realises / desire the same type of communion and interaction

“I would like to slip inside that stare” The speaker also realises that the moment is profound moment of communion / unity /

empath/ closeness / relationship / intimacy


The momentary nature of a stare – it is brief and only because of their innocence and lack of socialisation and conformity to their social contexts that the moment is indeed possible

“Yet to learn fear let alone arrogance” – distortion of the innocent moment of curiosity The reader is shaped by thinking that not all meaningful interactions need language and

that intimacy is necessary and possible, that communion / empathy and true understanding are indeed necessary and possible and promising

“Language is simply / a necessary music / suddenly conntected / to the child’s own heartbeat.”

The interaction is necessarily unique and unrepeatable as the child and the monkey will be conformed to social contexts, norms and ways of being which will disable interaction

Poem: “Head of English”

Poet: Carol Ann Duffy

Speaker: Head of English, authoritarian teacher who has a very fixed mindset about the nature of teaching English and is threatened by the challenge that the interaction with the poet to her control over her students and their ideas

Addressee / Character(s): “girls’ – students in an all girls school is suggested. “real live poet” – cynical and mocking tone the “Head of Teacher” addresses the poet with in the poem,

Nature of Interaction: he Head of Teacher introduced the “real live poet” to the class and is rather cynical and mocking in tone about the nature and worth of ‘his’? work as “a real live poet with a published book … perhaps we’re going to witness verse hot of the press.” She constantly interrupts and the focus of the interaction is on her power, position and status.

This interaction involves a one-sided broken interaction. The interaction is between The Head of English and; the poet and students. The interaction becomes one-sided as the Head of English holds dominance.

Outcome of the Interaction: This interaction actually shuts down and limits any meaningful communication or interaction between the girls and the poet because the Head of English devalues and shuts it down. In fact the poet is silenced, the students are silenced. Their voices are not heard in the poem. The “Head of English” reinforces conventional non-dialectic (discussion) approaches to education in which the teacher is the “expert”. The students are seen as vessels to be filled with nothing to offer the interaction. Ideally, an interaction requires mutual respect so that the poet and the students are active participants in the interaction, coming to the interaction with qualities, ideas that they can contribute. IN effect, the outcome is that traditional, hierarchical ideas of education are reinforced and genuine dialogue is stopped and thus so is education and change for the students.

Because of the imbalanced as the students are unable to be nurtured and grow. There is nothing beneficial that the teacher gains. The poet is unable to express his thoughts and have an impact on the students and also the teacher.

Reasons for the Outcome – the Head of English is fixed minded and not open to change: We don’t / want the winds of change about the place. / Take notes, but don’t writ reams.” She wants to fit the poets visit into existing paradigms rather than allowing the girls to see nen b1w perspectives and thus be transformed by the interaction with the poet. So in the poem the girls and the poet’s interaction is shut down and authentic change is restricted.

The reason because of this is because there is no balance within the interaction. Pace and the dictatorship tone indicates that the teacher has overriding dominance and control over the situation

“Yes, Officer” Stanza One

The accused speaking under duress (pressure) Techniques – use of first person – makes it personal and immediacy; in media res – the

action starts in the middle of the story which is a common trope (convention) of the dramatic monologue, complexity of characterisaion; alliteration – beyond the bridge; the speaker aware of subtle features and details; not concerned with answer the question with specific details – but the audience does not know the question

“the quality of light” – a sensitive caring man “about the time of day” is vague and invites the audience into the mystery to try and engage

with the puzzle; Noticing – shape readers perception of who the accused might be Caesura – last line Implying that the accused is innocent, nothing unusual happening How do we know this is a man who is under duress? Pauses, use of submissive words like

“sir”; agreeing with everything the Officer (perpetrator) is saying; trying to be acquiescent (submissive and compliant) to avoid causing further trouble

Stanza Two The speaker (accused) is still being questioned Truncated opening statement – telling us what he has seen Characterisation of the speaker – educated – “I knew the words for them/ and their

collective noun. Skein of geese.” Distancing himself by using the word “Perhaps” or he is becoming confused and unsure due

to the rough violent treatment “This cell is further away from anywhere I have been. Perhaps.” – so this not only referring

to physical distance although it could be in that he has been kidnapped??? But it means also he is a foreigner and alien to violence.

Stanza Three “I was in love”. Shift in time and questions being asked and the recount of what happened. Emphasising – confronting, hurt and in pain “For God’s sake don’t” – startling and confronting the audience with the implied violence

that is being inflicted on him Interaction is violent and forced to give an account Taste imagery – “Fear is the first taste of blood in a dry mouth” – referring to the effects of

the violence, the speaker is injured. Metaphorical – both psychological and physical violence – interaction – unequal power in the relationship the speaker is powerless – when power in an relationship is abused – the victim becomes powerless to speak truth???; entrapment

Truncated sentences – showing fear and hesitation from the fear and violence The speaker is in extreme fear and anxiety – truncated sentences Becoming weakened and becomes more submissive and compliant – “I have no alibi. Yes, I

used to have a beard.” Emphasis the emotional and psychological pain of the man and shows the nature of abusive

use of power in relationships

Stanza Four “No, No.” the speaker is pleading, repetition of the “no” emphasises the pleading desperate

nature of the speakers fear Internal rhyme – “the less I have to say. … dressed in grey.” – internal textual cohesion Caesura – “the more you ask / the less I have to say.” – emphasising the sense that the

prisoner is lost and is unable to reason with his assailant this is combined with the paradoxical parallelism and enjambement of the line.

“dressed in grey” / “towpath” – imagery which become cinematic – reader is engaged in the flashback

“ Please.” – desperate cry. Pleading begging for mercy which is completely absent. Lack of power of the speaker.

Stanza Five “Without my own language … uttering empty vowels” – this depiction refers to the

interaction becoming meaningless and distorted as it become a lie; the words are empty because they are truthless and the speaker can no longer speak the truth or his own story.

Imagery – “Here come the fists, the boots.” – immediate connection with audience as they then have to engage with the violence of the situation – thus the audience is interacting with the violence and the speaker

“I am a blind man / in the wrong house.” – the man is now changed by this interaction, he is no longer truth, different and “deranged” by pain and violence and no longer able to maintain his identity in the face of the torture – metaphorical of the psychological trauma that the man has encountered

Alliteration – “curl / corner” – creates the image of the total submission / vulnerability of the man and is symbolic of his powerlessness – again highlighting the trauma of the interaction shows the psychological pain – metaphorically silences

Vulnerability of the man and his dehumanisation by the abuse of power and violence

Stanza Six Stop the violence and the torture he has to take on their version of events and it is a forgery

– to survive he has to lie. It is only by lying and using “your words” that the pain can cease Complete and utter submission, this man is destroyed My language has been stolen by your power and violence and I no longer can speak the

truth or my identity and thus because I have to speak your language I am defeated and powerless

Pitiful creature without identity, power, autonomy he has to sign a “forgery” with his “good arm”.

Audience / “the reader” has been placed in the cell by Duffy and in a sense has made the reader the prisoner, we have suffered the verbal and physical violence that forces this innocent individual to submit / acquiesce (comply / yield / submit) – to the corruption of power

UA Fanthorpe - Not My Best SideYou need to contribute annotations for AT LEAST eight different aspects of the poem. You need to put your initials next to your contributions.

Feature of the Poem

Example from Poem

Effect of Language or poetic feature

How does it relate to “exploring interactions?

Subversive and incorporation of Uccello’s painting

“poor chap he had this obsession it triangles, so he left two of my front feet” - TN

“Why, I said to myself, should my conqueror / Be so ostentatiously beardless, and ride / A horse with a deformed neck and square hoofs?” I.I

the dragon is mocking the artist, by saying the artist had an obsession with triangles.SBR

Highlights through humour the appropriation of Uccello’s painting and the unrealistic manner in which it was painted. I.I

in the painting we see that girl and the knight are both holding on to the dragon, this shows a strange and unique version of a love triangle. SBR

Demonstrates the lack of interaction and understanding between the two time periods - the traditional and the modern, and the way they contradict. I.I

Reference to the legend of St George and the Dragon

“Don’t you want to carry out the roles that sociology and myth have designed for you?” ES

“Don’t you want to carry out the roles that sociology….” NC

Links the poem directly to the social context and the myth.ES

gives us an understanding of the direct link to the social context. NC

Explores the interactions between the dragon and the artist. Challenging the stereotypical and mythical ideas that the dragon is monstrous and beastly- JK

Demonstrates the interaction the Knight and the Mistress and challenges the roles of society in that time frame. NC

Caricature of the dragon

“But I should have liked a little more blood To show they

The Dragon becomes a whining, egotistic figure, who is condescending

Creating this figure of the dragon stresses the different perspectives in interaction, as it confronts a

were taking me seriously.” (S1.l18-19) - TF

“Why i said to myself, should my conqueror be so ostentatiously beardless…” - TN

“But afterwards/ I was sorry for the bad publicity.” G.I

and vain. - TF

Suggests that the dragon is conceited - TN

The dragon is more concerned about his image then anything else.SBR

This shows the dragon cares so much about his social status and that the dragons reputation has been damaged. G.I

different views on the scene. It creates a visual understanding of the dragons outlook on the situation and makes us to consider others reactions to interactions. - TF

There is no real interaction coming from the dragon, he only cares about his image. G.I

Caricature of the maiden

“He was So nicely physical… to be Honest I didn’t much fancy him.” (S1.L5,11) - TF

“Its hard for a girl to be sure if / she wants to be rescued” GI

“ I mean, I quite/ Took to the dragon. Its nice to be / Liked, if you know what I mean.” I.I

“Why should my victim be so/ Unattractive as to be inedible,” - CD

The maidan becomes an impure, sexually driven and conceited young lady who contrasts her stereotypical maiden counterpart. - TF

Shows that the girl has a mind of her own. GI

Shows she is younger with colloquial vocabulary and lacks the dragons mythic quality. I.I

Shows the dragon focuses on his own appearance and doesn’t appreciate other. The maiden has her own thoughts and perception of herself – CD

Our views of others and their view us can be changed/distorted through interactions as our/their views become apparent. - TF

The maiden is not interacting as society expects her to. GI

Demonstrates the way in which the maiden breaks out of the conventional expectations of interaction. I.I

Society’s stereotype of “fair maiden” being rescued, is not matched by artists representation. - CD

Caricature of the knight

“You can’t Do better than me at the moment.” (S3.l7-8) -TF

“What, in any case, does it matter what / You want? You’re in my way.” G.I

“So ostentatiously beardless” - CD

The knight is presented as an egotistical, opinionated and insolent man. Which creates childish views of the man and he seems more like a child. - TF

Shows he doesn’t care about the tradition way of saving the maiden, but rather being ‘up to date’ with the latest technologies. G.I

Shows him to be young or unmanly - CD

It again puts emphasis on the changing ideas and ideals of the views of the character and better highlights the interactions. -TF

It challenges the traditional, romantic picture. G.I

Not expected by society to be a gallant rescuer - CD

use of monologue

“It’s nice to to be Liked, if you know what I mean.” (S2.l3-4) -TF

“I have diplomas in Dragon Management and Virgin Reclamation” - CD

Creates story and context to therefore go by. -TF

Knight thinks of himself as being strong and having power over dragon and the maiden. - CD

Puts emphasis on the mental interaction we have with ourselves. While indicating the different perspectives of shown in this interaction. - TF

Following society’s expectations and demands of studies, getting a job and getting it done. - CD

tone - conversational and sardonic

“I don’t mind dying ritually, since I always rise again, but I should have liked a little bit more blood to show they were taking me seriously”- JK

“You can’t / Do better than me at the moment”

The sarcastic undertone to the dragons monologue suggests the feeling of being symbolically slain.- JK

Highlights his narcissistic and boastful attitude. I.I

Knight is a follower and is confused by dragon’s and

Emphasising the characters egotistical behaviour. Overall, highlighting how the character interacts with others and perceives himself .- JK

Shows the way in which the knight is so focused on himself, that he prevents the potential for any authentic interaction. I.I

I.I

“Don’t you want to carry out the roles/ That sociology and myth have designed for you?” - CD

maiden’s apparent unwillingness to comply. - CD

Society has expectations of people and their roles, which are upset when people refuse to comply - CD

parody The parody of “The roles that sociology and myth had made for them” that the knight would ride up and save the girl, and she would fall madly in love with him. NS

“And why should she have me literally / On a string?” G.I

the parody is that instead of the clique run of the mill story about a night saving a princess from a monstrous dragons, instead they've turned it on its head and gave all the characters a personality for example the princess is in love with the dragon instead of the knight, this is random

links the poem to the mythical context of the story

Highlights the unrealistic way in which the painter has depicted the scene. G.I

gives some colour to the story and makes to change to a would be cliche storyline. CC

Its explores/parodies the idea that the knight saves the lady and she is grateful.

The interaction between the maiden and the dragon is weak. G.I

it shows how the relationship between each character is very different in that they have very different view of each other. CC

and changes the story completely. CC

sarcasm “So why be difficult? Don’t you want to be killed and or rescued in the most contemporary way? - DO

To mock the social construct - TN

Highlighting the lack of interaction between the characters? - TN

feminist perspectives

“It’s hard for a girl to be sure if She wants to be rescued”- Pho“So when this boy turned up wearing machinery, on a really dangerous horse, to be honest, I didn’t much fancy him” - TN“He was So nicely physical, with his claws And lovely green skin, and that sexy tail, And the way he looked at me, He made me feel he was all ready to eat me.”-TS

“Still, what could I do?/ The dragon got himself beaten by the boy,/ And a girl’s got to think of her future.” - CD

Showing that maybe she doesn't like being stereotyped as a damsel in distress- PWShowing that she doesn’t need a man and she is independant to make choices who who she likes - TN

Showing that she is more interested in a mythical beast than a pathetic man.-TS

The maiden is torn between the dragon and society. Struggling to find a balance of her emotions and future needs. - CD

this shows the different perspectives in interaction can be missinterpided - PW

The maiden is pressured to accept society’s expectations - CD

use of metaphor - dragon as “monster”

(...after all what are two feet To a monster?) S1. 7-8 - EB

It’s a clique view of the fairy tail, and creates a stereotype. - EB

The misunderstanding of stereotypes - this interaction failed.- EB

complex sentences in Stanza One

why, I said to myself, should my conqueror be so ostentatiously beardless’ as well as riding a horse with a deformed neck and square hoofs? ES

It shows the dragons disappointment. ES

Shows that communications need to have an emotional response to situations. ES

Dragon’s portrayal

“The artist didn't give me a chance to / Pose properly”- PW“Not my best side, I’m afraid” -DO“Poor chap, he had this obsession with Triangles, so he left off two of my Feet.”-TS

It shows the dragon is portrayed as self centered and more concerned about his look - PW

The portrayal of the dragon indicates how Uccello has transformed the conventionally beastly dragon into a whining, egotistical figure. -JKReveals who he is likely to be as a protagonist in the rest of the poem and indicates a potential difference in conventional social roles - DO

Stereotypes of the maiden / damsel

It’s hard for a girl to be sure if she wants to be rescued. I mean I quite took to the dragon.ES

Characterises her as having a mind of her own opposite to that of the stereotypical maiden who needs the knight to save her.ES

It shows us that what someone looks or appears to be like may not always be the case. ES

Use of colloquial

“I didn’t much fancy him. I

Conversational dialogue, connects

To have a successful interaction you have to

language in Stanza Two

mean,.....”.- S2, 12 EB

the audience with the poet (narrator) - EB

have a genuine connection with the person. - EB

Metaphorical meaning of the legend

“”Don’t you want to want to carry out the roles that sociology and myth have designed for you?” - DO

Highlights meaning and purpose of poem - DO

Showing failed interactions between the protagonists. - DO

Aggressive, arrogant and narcissistic of Stanza Three

“I have diplomas in Dragon Management and Virgin Reclamation. My horse is the latest model... Still on the secret list” S3 1-7 MR

Characterises the knight of being uptight and one how hew follows the most contemporary way.

It shows that the expected isn’t always what it turns out to be.

Diction in Stanza Three

“Automatic transmission and built-in / Obsolescence.” I.I

The diction displays modern aspects of today’s society being put into an alternative context by referring to advanced technologies that would not be commonly associated with the era. I.I

The the knight communicates in an ‘out of place’ distorted manner, contradicting the social norms of interaction of the time. I.I

Agreement with archetype of the knight

“What, in any case, does it matter what you want? You’re in my way” - TN

Reinforcing the interactions that should happen between the knight and dragon. Which are expected. -TN

Subversion of archetype of the knight

“You are endangering job prospects…” -DO“I have diplomas in Dragon Management and Virgin

Questioning expected interactions between protagonists and highlighting lack of expected socially constructed interaction - DO

Reclamation.”-TS

“yes, officer” - hsc standard -...

Documents