2009 – 2012 HSC English Teaching Program - Wikispacesconnectivity2011.wikispaces.com/file/view/Standard+09+Curious... · Web viewWhy does Christopher feel so ... how the character

Karen Yager NSR Professional Learning and Leadership Coordinator & UNSW

MODULE B: Close Study of Text

The Curious Incident of the Dog in the Night-Time

1


Rubric from Prescriptions

MODULE B: Close Study of Text

Prescriptions Document

This module requires students to engage in detailed analysis of a text. It develops students’ understanding of how the ideas, forms and language of a text interact within the text and may affect those responding to it.

English Stage 6 Syllabus

This module requires students to engage in detailed analysis of a text. It develops students’ understanding of how the ideas, forms and language of a text interact within the text and may affect those responding to it. Each elective in this module involves close study of a single text from a list of prescribed texts.

Students engage with the text to respond imaginatively, affectively and critically. They explore and analyse particular characteristics of the text, considering how these shape meaning. They also consider the ways in which these characteristics establish the text’s distinctive qualities. Composition focuses on meaning shaped in and through the text. These compositions may be realised in a variety of forms and media.

Analysis of rubric for key ideas

As Module B requires you to study closely the novel The Curious Incident of the Dog in The Night Time, you need to ensure that you have a thorough understanding of all aspects of the novel. The rubric suggests the following key ideas, which represent Deep Learning:

Construction: How meaning is shaped and conveyed through the interaction in the novel of:- Ideas: The personal and intellectual connection we have with a novel through the thoughts and conceptual

understanding that are provoked.- Form: The genre and structure of the novel.- Language: The words, images, dialogue and conventions that communicate meaning.

2


Positioning: How a reader is affected by the novel’s textual details and features and positioned to respond Textual Integrity: How the unified characteristics of a text establish its distinctive features

Assessment

Assessment for learning in this unit includes:

1. Paper 2 Section 2 of the HSC English exam for Standard:

A formal response to a set question.

2. One HSC assessment task:

Oral Task:

3. A variety of opportunities for formal and informal classroom assessment, including writing based on the novel and a range of tasks from detailed analysis of the novel using mind maps and group presentations to facilitate the process of responding imaginatively, affectively and critically to The Curious Incident of the Dog in the Night-Time.

Syllabus outcomes

In Paper 1 of the HSC exam for the Standard and Advanced courses the examiners can vary the outcomes that are assessed. In 2007 the HSC exam addressed the following outcomes:

H1, H3, H4, H6, H10, H12

The assessment task in this unit addresses the following outcomes:

Oral Task:

Outcomes to be assessed:

3


1. A student demonstrates understanding of how relationships between composer, responder, text and context shape meaning.4. A student describes and analyses the ways that language forms and features, and structures of texts shape meaning and influence responses.6. A student engages with the details of text in order to respond critically and personally.7. A student selects appropriate language forms and features, and structures of texts to explore and express ideas and values.10. A student analyses and synthesises information and ideas into sustained and logical argument for a range of purposes and audiences.

Rationale for approach used in this teaching program

This module requires you to have a close, detailed knowledge and understanding of the novel and Mark Haddon’s craft. The 2007 Notes from the Marking Centre stated that ‘Better responses demonstrated a deep understanding of an idea or related ideas, drawing on detailed textual knowledge.’ Thus, the unit of work focuses on engaging you personally and deeply with the prescribed text The Curious Incident of the Dog in the Night-Time through a range of activities on all aspects of the novel such as: setting, characterisation, themes, key incidents, the main ideas, the structure and the language of the novel.

The assessment task is an oral task that requires close personal engagement with the novel and the main character Christopher Boone.

4


Week 1: Introduction to Module B and Novel – ‘I better make the plot good. I wanted to make it grip people on the first page and have a big turning point in the middle, as there is, and construct the whole thing like a roller coaster ride’ Mark Haddon.

Syllabus

content

Quality Teaching

Learning and teaching activities

4.1Background knowledge: Connecting prior knowledge to novel

Lesson 1: Roller Coaster Ride on a Good Book

‘I remember a picture from an encyclopedia in my junior science library. It was a medieval woodcut of a man who had climbed a long ladder and found himself touching the sphere on which the stars revolved. He'd removed a panel from the sphere and was staring through the hole into the outer darkness. This is what I now want from a good book. I want to be taken to the very edge. I want a glimpse into that outer darkness’ Mark Haddon. http://www.guardian.co.uk/books/2004/apr/11/booksforchildrenandteenagers.features3

Class Discussion

After viewing the slideshow of images and quotes from the novel and the short film clip from Youtube discuss the following questions:

1. Have the images and words gripped you and made you want to read the novel? Why or why not?

2. What do the quotes from the syllabus rubric and the 2007 Notes from the Marking Centre tell you about what you are expected to do when you study this novel and respond to the question in Paper 2 of the HSC?

3. What genre is this novel? How do you know?4. What is your impression of the narrator Christopher Boone?

5

http://www.guardian.co.uk/books/2004/apr/11/booksforchildrenandteenagers.features3


6.3Narrative: Linking the telling of a good story to the novel

Lesson 2: Establishing Voice and a Gripping Plot

Haddon has established a strong, believable voice for 15-year old Christopher. This unusual voice with its honesty and simplicity captures our interest and adds to the intrigue and mystery in the story. Read the first page and note how his voice has been created through his simple sentences, honest observations, emoticons (symbols used to convey emotional content), relaying of dialogue and seemingly unrelated observations of things such as the Milky Way. He has grabbed our attention by engaging us in the mystery of who killed Wellington the dog next door with his matter of fact observations.

‘To take a life that seemed horribly constrained, to write about it in the kind of book that the hero would read - a murder mystery - and hopefully show that if you viewed this life with sufficient imagination it would seem infinite’ Mark Haddon. http://www.guardian.co.uk/books/2004/apr/11/booksforchildrenandteenagers.features3 Imagine that like Haddon you wanted to construct a novel like a roller coaster ride with the main character as the narrator. Before you start consider the following:

Think of how you would start the novel: Would you begin with an unusual event or a mystery? Think about the length of your sentences and the choice of words such as striking verbs.

Select the character you will use to tell the story and the voice that you will give the character. How old is the character, how do they see the world and how do they get on with others? When you create his or her voice read your work aloud to check if the voice sounds authentic and establishes their personality and view of the world.

Write the opening four to five paragraphs of the novel. When it is completed get another person to read it and evaluate whether the story engages them and if the voice of the character is convincing and appealing.

NBMake sure that you are reading the novel!

6



4.1

4.2

Background knowledge: Employing questions on extracts from the novel to ascertain knowledge of analysing text

Metalanguage: Analysing the textual features of the novel using the correct terms

Lesson 3: First Impressions

Read the extracts from the novel on Activity Sheet 1, complete the questions and share your responses with the class. Alternatively attempt the Extension activity.

ExtensionInstead of completing the questions, compose a personal response to the following:

What impression do you have after reading this extract of the character/s, the setting, the theme/s and the language of the novel?

In your response, describe how the textual details and features shaped this impression.

Assessment TaskYou will have one assessment task for Module B:

An oral task with a range of topics to select

The task requires a thorough understanding of how the novel’s textual features and details convey meaning and impact on you as a reader.

1.1

1.2

1.4

6.2

Substantive communication: students to respond to and discuss at length the key concept of contextualisation

Lesson 4: The importance of Context

The son of an architect, Haddon excelled at maths but went on to read English at Oxford, and then became a carer for disabled people in Scotland before becoming a children’s writer and illustrator in London.

Haddon's knowledge of aspergers comes from his work with autistic people as a young man – ‘If you're going to write something dark and funny about disability, you have to feel comfortable with your subject.’ http://www.independent.co.uk/news/media/mark-haddon-first-he-tackled-aspergers-

7

http://www.independent.co.uk/news/media/mark-haddon-first-he-tackled-aspergers-now-the-writer-is-putting-downs-syndrome-in-the-spotlight-with-a-new-drama-463565.html


7.1

10.1Connectedness: Connecting concept of contextualisation with students’ contexts

now-the-writer-is-putting-downs-syndrome-in-the-spotlight-with-a-new-drama-463565.html

‘I am atheist in a very religious mould’ Excelled in Mathematics

Record and then share your responses to the following questions:

How could the following factors influence the way you see the world and respond to others?a. Personal context: Christopher is autistic and his mother is supposedly dead. How

could an individual’s family, age, life experiences, gender, ethnicity, etc shape his or her perspectives, attitudes and values?

b. Geographical location: Christopher lives in the suburbs where most people know each other. Does where you live have an impact on your attitudes and the way you respond to others?

c. Social context: Christopher’s autism means that he cannot read people’s emotions; therefore, his social interaction with others is challenging. List a range of different social contexts and describe the possible consequences of these contexts.

d. Values: What do you value in others and in life? Christopher is angered by people who are not truthful. Identify four values that are evident in the novel such as honesty and integrity.

Homework ResearchVisit the following two websites to read about Haddon’s context and make some brief notes:

Author Profile, http://www.jubileebooks.co.uk/jubilee/magazine/authors/mark_haddon/haddon_profile.asp

Biography and critical discussion of the novel, http://www.contemporarywriters.com/authors/?p=auth3e38026813f8c194e5nnw1cf3087

Activity Sheet 1:

8

http://www.contemporarywriters.com/authors/?p=auth3e38026813f8c194e5nnw1cf3087


http://www.jubileebooks.co.uk/jubilee/magazine/authors/mark_haddon/haddon_profile.asp





Opening of The Curious Incident of the Dog in the Night-Time

Activity Sheet 2a:

9

It was seven minutes after midnight. The dog was lying on the

grass in the middle of the lawn in front of Mrs. Shear’s house. Its

eyes were closed. It looked as if it was running on its side, the

way dogs run when they think they are chasing a cat in a

dream. But the dog was not running or asleep. The dog was

dead. There was a garden fork sticking out of the dog. The

points of the fork must have gone all the way through the dog

and into the ground because the fork had not fallen over. I

decided that the dog was probably killed with the fork because I

could not see any other wounds in the dog and I did not think

you would stick a garden fork into a dog after it had died for

some other reason, like cancer, for example, or a road accident.

But I could not be certain about this.

Simple, short sentences

creating tension. A crime fiction

convention.

Objective descriptions in the

past tense

Disjunction ‘but’ introduces

the mystery and the

dilemma.

Blunt tone conveyed through objective simple

sentence

First person establishes

Christopher as the narrator


Extracts from The Curious Incident of the Dog in the Night-Time

17

The policeman looked at me for a while without speaking. Then he said, 'I am arresting you for assaulting a police officer.'

This made me feel a lot calmer because it is what policeman say on television and in films.

Then he said, 'I strongly advise you to get into the back of the police car because if you try any of that monkey-business again, you little shit, I will seriously lose my rag. Is that understood?'

I walked over to the police car which was parked just outside the gate. He opened the back door and I got inside. He climbed into the driver's seat and made a call on his radio to the policewoman who was still inside the house. He said, 'The little bugger just had a pop at me, Kate. Can you hang on with Mrs S while I drop him off at the station? I'll get Tony to swing by and pick you up.'

And she said, 'Sure. I'll catch you later.'

The policeman said, 'Okey-doke,' and we drove off.

The police car smelt of hot plastic and aftershave and take-away chips.

I watched the sky as we drove towards the town centre. It was a clear night and you could see the Milky Way.

Some people think the Milky Way is a long line of stars, but it isn't. Our galaxy is a huge disc of stars millions of light years across and the solar system is somewhere near the outside edge of the disc.

When you look in direction A, at 90º to the disc, you don't see many stars. But when you look in direction B, you see lots more stars because you are looking into the main body of the galaxy, and because the galaxy is a disc you see a stripe of stars.

10


And then I thought about how, for a long time scientists were puzzled by the fact that the sky is dark at night, even though there are billions of stars in the universe and there must be stars in every direction you look, so that the sky should be full of starlight because there is very little in the way to stop the light reaching earth.

Then they worked out that the universe was expanding, that the stars were all rushing away from one another after the Big Bang, and the further the stars were away from us the faster they were moving, some of them nearly as fast as the speed of light, which was why their light never reached us.

I like this fact. It is something you can work out in your own mind just by looking at the sky above your head at night and thinking without having to ask anyone.

And when the universe has finished exploding all the stars will slow down, like a ball that has been thrown into the air, and they will come to a halt and they will all begin to fall towards the centre of the universe again. And then there will be nothing to stop us seeing all the stars in the world because they will all be moving towards us, gradually faster and faster, and we will know that the world is going to end soon because when we look up into the sky at night there will be no darkness, just the blazing light of billions and billions of stars, all falling.

Except that no one will see this because there will be no people left on the earth to see it. They will probably have become extinct by then. And even if there are people still in existence they will not see it because the light will be so bright and hot that everyone will be burnt to death, even if they live in tunnels.

7

This is a murder mystery novel.

11


Siobhan said that I should write something I would want to read myself. Mostly I read books about science and maths. I do not like proper novels. In proper novels people say things like, 'I am veined with iron, with silver and with streaks of common mud. I cannot contract into the firm fist which those clench who do not depend on stimulus’. What does this mean? I do not know. Nor does Father. Nor do Siobhan or Mr Jeavons. I have asked them.

Siobhan has long blonde hair and wears glasses which are made of green plastic. And Mr Jeavons smells of soap and wears brown shoes that have approximately 60 tiny circular holes in each of them.

But I do like murder mystery novels. So I am writing a murder mystery novel.

In a murder mystery novel someone has to work out who the murderer is and then catch them. It is a puzzle. If it is a good puzzle you can sometimes work out the answer before the end of the book.

Siobhan said that the book should begin with something to grab people's attention. That is why I started with the dog. I also started with the dog because it happened to me and I find it hard to imagine things which did not happen to me.

Siobhan read the first page and said that it was different. She put this word into inverted commas by making the wiggly quotation sign with her first and second fingers. She said that it was usually people who were killed in murder mystery novels. I said that two dogs were killed in The Hound of the Baskervilles, the hound itself and James Mortimer's spaniel, but Siobhan said they weren't the victims of the murder, Sir Charles Baskerville was. She said that this was because readers cared more about people than dogs, so if a person was killed in the book readers would want to carry on reading.

I said that I wanted to write about something real and I knew people who had died but I did not know any people who had been killed, except Edward's father from school, Mr Paulson, and that was a gliding accident, not murder, and I didn't really know him. I also said that I cared about dogs because they were faithful and honest, and some dogs were cleverer and more interesting than some people. Steve, for example, who comes to centre on Thursdays, needs help to eat his food and could not even fetch a stick. Siobhan asked me not to say this to Steve's mother.

Activity Sheet 2b: Questions:

12


1. Describe the dialogue used in this extract. Look at the choice of words, structure of the sentences, the register and the modality. Also consider what is left unsaid by the character/s. What does it tell you about the character/s?

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………….………………………………………….

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………….………………………….

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………….

………………………………………………………………………………………………………………………………………

………..

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………….………………………………………….

………………………………………………………………………………………………………………………………………

13


2. Describe the structure of the sentences in the extract. Do they help create the atmosphere? Why are they so clipped and simple?

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………….………………………………………….

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………….…………………………..

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

……………………………………………………………………………………….………………………………………….….

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

……………………………………………………………………………………………………….……………………………..

………………………………………………………………………………………………………………………………………

14


3. What impression of the character/s and setting is created by the composer’s use language features in the extract such as: first person, colloquial register, technical language, similes, word choice, visual iconography, etc.

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………….………………………………………….

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………….…………………………..

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………….………………………………………….

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………….…………………………..

………………………………………………………………………………………………………………………………………

15


4. Rewrite one of the paragraphs from the extract changing the perspective, the tone and the mood, such as the policeman’s perspective.

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………….………………………………………….

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………….………………………….

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………….………………………………………….

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………….

…………………………...

…………………………………………………………………………………………………………………………………….

16


Week 2: ‘He just has to say, I enjoy Sherlock Holmes stories and I'll try to do something similar to that. It was that. That was the biggest puzzle for the book. When I solved that, I began to see how I could shape the story’ Haddon.

Syllabus

content

Quality Teaching Learning and teaching activities

1.1

1.2

1.4

4.1

4.2

7.1

10.1

Deep knowledge: Exploration of one of the key features of the novel - setting

Metalanguage: Use of language features to describe and analyse the text

Substantive communication: Responding at length to the textual details and features of the novel

Metalanguage: Analysing the textual features

Lesson 1: Close Study of the Novel - Setting

For this Module you are expected in the HSC exam to demonstrate a close, detailed understanding of the novel. To prepare you for this challenge you need to make notes as you read the novel on the main features of the novel. During this lesson we are going to focus on the setting and the language features that create and convey the setting.

SettingHaddon said that ‘Every life is narrow. Our only escape is not to run away, but to learn to love the people we are and the world in which we find ourselves.’ Christopher finds himself in an ordinary town – Swindon, on the railway line between Bristol and the chaotic city of London in 1998. The landscape is dominated by the chalk hills of the Wiltshire Downs to the south and east. Christopher’s favourite detective Sherlock Holmes ate lunch in the town in the short story ‘The Boscombe Valley Mystery’.

Find one description of the setting of Swindon and one of London, and complete the following questions: See Resource Sheet 2

1. How does Christopher respond to Swindon and London? In your response refer to the language features and details that convey the settings. You could refer to:

a. Poetic devices: metaphors, similes, alliteration, sibilants, assonance, onomatopoeia, personification, etc

b. Contrastc. Word choice: lyrical, emotive, informative, etc,

17


of the novel using the correct terms

d. Syntax: simple, compound, complex and fractured or truncated sentences2. Why does Christopher feel so confused and lost in London?3. What is the significance of the setting in the novel? 4. In week 1 you wrote the opening of a story, now create a setting for your story.

Carefully select the imagery and language features and think about how the character you selected to be the narrator of your story moves in this setting. Are they comfortable or uneasy in this setting? Write two to three paragraphs.

SWINDON6.4 Deep

knowledge: Focus on key aspects of the novel

Metalanguage:

Lessons 2 - 3: Close Study of the Novel – Key Incidents

The key incidents in a novel direct the story, reveal sequentially more about the characters and spark our interest and shape our response to the novel and the characters. Your task is to create a time-line of key incidents in the novel as you read it in a word document or power point and then choose three key incidents that you consider to be significant and hyperlink through to an explanation of why you selected these incidents - include key

18


Analysing the textual features of the novel using the correct terms

quotes.

Your explanation could include: How this incident conveys a character’s personality, values, relationships with

others and/or attitude to life and people. How the incident advances the story and/or adds to the mystery. How you personally respond to the incident.

4.1

4.2

6.4

Deep knowledge: Focus on key aspects of the novel

Metalanguage: Analysing the textual features of the novel using the correct terms

Lesson 4: Structure, Form and Genre

‘Prime numbers are useful for writing codes and in America they are classed as Military Material and if you find one over 100 digits long you would have to tell the CIA and they buy it off you for $10,000’ Christopher p. 12.

Structure

The novel has an unusual structure and form such as: all of the chapters are prime numbers – Christopher’s favourite numbers, the odd page numbers, the use of emoticons, orthography and graphics to represent Christopher’s view of the world and his choice of an unconventional narrator.

Genre

The crime fiction genre is evident; however, this genre has been subverted by having an autistic, Mathematics savant 15-year old boy as the detective. Crime fiction conventions such as: the puzzle, mystery, red herrings, suspect, clues and the isolated detective who is flawed are all present. The references to Sherlock Holmes and the curious incident of the dog (this occurred in the story ‘Sliver Blaze’) amplify this connection.

Activities

Complete Activity Sheet 3.

19


Activity Sheet 3

1. Complete the following table providing examples from the novel:

Structure, Form and Genre

Feature Example from the Novel Effect

Emoticons (Symbols used to convey

emotional content)

Orthography (Using capitals, italics, bold,

etc for key words that express emotions or feelings)

Mysteries

20


Red Herrings(Clues or incidents that are

used to mislead the reader and suspect someone or something

else)

Clues

2. Why has Haddon used the crime fiction genre and created such an unusual detective?

21


Week 3: ‘Use your imagination, and you'll see that even the most narrow, humdrum lives are infinite in scope if you examine them with enough care’ Haddon.

Syllabus content

Quality Teaching Learning and teaching activities1.4

4.1

4.2

6.3

6.4

7.1

10.1

Substantive communication: Classroom discussion focused on characterisation and narrative voice

Deep knowledge: Focus on two key aspects of the novel

Problematic knowledge: Consideration of different perspectives

Metalanguage: Analysing the textual features of the novel

Lessons 1 - 2: Close Study of the Text – Characterisation & Narrative Voice

‘Here is a narrator who seems to be hugely ill-equipped for writing a book he can't understand metaphor, he can't understand other people's emotions, he misses the bigger picture and yet it makes him incredibly well suited to narrating a book. He never explains too much. He never tries to persuade the reader to feel about things this way or that way; he just kind of paints this picture and says, "Make of it what you will." Which is a kind of writing that many writers are searching for all the time” Haddon.

Class Discussion

Record your responses to the following questions and then share them with the class:

1. Do you agree with Haddon that Christopher makes an ideal narrator? Present three reasons to support your opinion.

2. Christopher has a ‘quiet dignity, the nobility of someone unable to process the evasive shifts and contradictory movements of human interaction in what most of us deem the ‘real’ world’ Mark Haddon. Discuss how Christopher responds to three people in the novel.

3. Describe Christopher’s narrative voice and how you personally respond to it. Refer to:

a. The attention to detail in the telling.b. His use of emotive and at times angry words.

22


using the correct terms

c. The imagery that is used to describe how he would rather be alone.d. The use of simple sentences.e. Repetition at the beginning of sentences such as ‘Then..’4. How do you feel about Christopher’s parents? Account for their actions

towards their son such as the father lying to him and hitting him and the mother leaving him.

5. Read the following quote by Christopher and then discuss what it tells you about him and how it makes you feel about him? ‘because I'd be surrounded by lots of the things I like, which are machines and computers and outer space. And I would be able to look out of a little window in the spacecraft and know that there was no one else near me for thousands and thousands of miles’.’

Activity 1

Complete the table on Characterisation on Activity Sheet 4.

Activity 2

You will be placed in team of two and your team’s task is to persuade the class that the character you have been allocated from the novel is the most appealing and engaging in the novel. You have 15 minutes to brainstorm some ideas and find at least three quotes from the novel to support your argument. You then have 2 minutes to persuade the class.

1.4

4.1

4.2

Deep knowledge: Focus on two key aspects of the novel

Higher-order

Lessons 3 - 4: Ideas

‘It's about how little separates us from those we turn away from in the street. It's about how badly we communicate with one another. It's about accepting that every life is narrow and that our only escape from this is not to run away (to another country, another relationship, a slimmer, more confident self) but to learn to love the people we are and the world in which we find ourselves’ Mark Haddon.

23


6.3

6.4

7.1

10.1

thinking: Synthesising the aspects of the novel to arrive at an understanding of its key ideas

Substantive communication: Deep and extensive discussion on the key ideas of the text


Class Discussion and Mind Maps

One of the most important aspects of your close study of a novel is that you understand and can discuss in an extended response the key ideas. We will be brainstorming a range of key ideas and analyzing why these ideas are important and how we know that they are key ideas in the novel. These are just some examples of the ideas in the novel:

The importance of honest open communication, acceptance and trust in relationships

The difficulties of raising a child with a disability How being different can isolate you in society The importance of order and stability in our lives The complexity of human emotions, motives, actions and relationships Humanity’s fascination with mystery and puzzles

Activity 1

Complete the table provided on Activity Sheet 5 by referring to the following aspects:

a. The four key ideasb. A description of how these ideas are conveyed in the novel by the incidents

and actions that occurc. A description of how the character/s and their actions and/or attitudes and/or

relationships contribute to these key ideasd. One or more quotes that reflect these ideas

24




e. Your personal response to the key ideas

Activity Sheet 4

Complete the following table using details and quotes from the novel:

CharacterActions/Attitude/

Values Characterisation(Textual features

Personal Response to the

Key Quotes from the Novel

25


Relationship with others

and details that help to construct and convey the

character)Character

ChristopherBoone

Ed Boone

26


27


Judy Boone

Siobhan

28


Mrs Shears

29


Activity Sheet 5

Select four key ideas and complete the following table:

30


Key Ideas Incidents/Actions that reflect this

idea

Characters related to this idea and

how they are related

Key Quotes from the Novel

Personal Response to the

Ideas

31


32


Weeks 4 - 5: Digging Deeper: ‘And I would be able to look out of a little window in the spacecraft and know that there was no one else near me for thousands and thousands of miles’ Christopher.

Syllabus content

Quality Teaching Learning and teaching activities1.1

1.2

Deep knowledge: Focus on the significant aspect of composing an

Lessons 1-8: Close Study of the Text

Group Work:

33


1.4

4.1

4.2

6.3

6.4

7.1

10.1

integrated response using a thesis or a line of argument

Higher-order thinking: Synthesising aspects of the novel into a response

Deep understanding: Demonstration of deep understanding of key aspects of the novel

Substantive communication: Responding at length to an aspect of the novel

To continue the close study of the novel you will be working with a team of three on one of the following tasks:

The local radio station will be broadcasting a 3 minute interview with the author of the novel you are studying. Your team can compose the transcript for the interview or actually record the interview. The interview must include references to the author’s context, and the novel’s key issues and why they are relevant to today’s society.

After the radio interview with the author, the presenter invites listeners to comment on the novel and present their personal perspective of the novel. The team can compose the transcript for the responses or record the responses. At least two of the callers must have alternative perspective of the novel. The segment should be no longer than 3 minutes.

When you visit Amazon or any other site that sells and includes reviews of novels, there are usually several short reviews by different people. Your team has to provide at least three short reviews. One of the reviewers must present a different perspective of the novel.

Research one of the key ideas or themes in the novel and present a report or a poster or a pamphlet on this issue. Include evidence of research and any articles the team found that are connected to this issue. E.g. In 2004, a Ballina mother killed her son because she could no longer cope with his autism. This is relevant to the issue of parents coping with children with autism in the novel The Curious Incident of the Dog in the Night-time.

Select a character and/or a key incident or idea from the novel and

34


Problematic knowledge: Consideration of different perspectives

as a team compose a visual representation that includes images and quotes from the novel. You could create a poster, a diorama, a model, a Power Point presentation, etc.

Imagine that three of the minor characters have been invited to present their perspective of what happened in the novel or of a key incident that occurred in the novel. Each member of the team is to represent the characters in a written response of 250 words.

Select an extract from the novel that would interest people in reading the novel, and record it on tape adding sound effects and appropriate voices. The extract should be no more than 5 minutes long. In a 200 word report justify the team’s choice of sounds and voices, and explain why this extract would invite interest in the novel.

You will have five lessons to work as a team preparing the task and three lessons to present the task to the rest of the class.

Week 6: ‘If you enjoy math and you write novels, it's very rare that you'll get a chance to put your math into a novel. I leapt at the chance’ Mark Haddon.

Syllabus content

Quality Teaching Learning and teaching activities1.3 Narrative:

Composing an Lessons 1-2: Responding Imaginatively to the Novel

35


1.5

4.3

6.3

7.2

10.3

imaginative response to the novel

Substantive communication: Composing an extended imaginative response to the novel

One of the Module’s requirements is that you respond imaginatively to the novel. Select one of the following tasks and compose an imaginative response:

A journal entry by Ed Boone that records his response to his mistreatment of Christopher: hitting Christopher and lying to him.

An interior monologue by Judy Boone contemplating her relationship with Christopher and her reasons for leaving her child.

Read Christopher’s descriptions of the Milky Way and his reasons for wanting to be an astronaut. Compose your own description of a place you would like to be using a similar style to Haddon.

Compose a short newspaper article or a brief television news item based on a key incident in the text.

Free choice negotiated with the teacher.

Key Points:

Focus on the craft of writing: paragraphing, sentence structure, language features and punctuation.

Re-read the relevant sections of the novel to ensure that your imaginative text captures the intent and key ideas.

6.3

7.1

10.2

10.3

Deep understanding: Focus on the development of a thesis

Higher-order

Lessons 3 - 4: Developing a Line of Argument or Thesis

In Paper 2 Section II of your HSC examination you are required to compose an extended response to a set question that requires you to respond to your prescribed text – The Curious Incident of the Dog in the Night-Time. Your responses should be defined by your own thesis or line of argument connected to the question and your personal understanding of the novel.

36


thinking: Developing a conceptual approach to the novel by creating a thesis

Background knowledge: Connection to prior knowledge of expositions and discussion essays

Your extended response is integrated through your thesis or line of argument and the way that you use the novel’s textual details to support, challenge and develop your response to the set question.

In the next two lessons we will be exploring the theses or lines of argument that you could develop in response to your novel.

Thesis or Line of Argument

A thesis or line of argument should reflect your perspective and understanding of the novel and its key ideas. It will be used to shape and direct your extended response and will be supported and/or challenged by the textual details and features that you use from the novel.

In the past you would have been required to compose an exposition – an argument that presented your point of view on a topic. You had to employ topic sentences that furthered your line of argument and were supported by your main points and examples. The other type of text that you would have written would have been a discussion essay that also presented a line of argument, but included a consideration of both sides of the argument before arriving at a conclusion.

The integrated response can take a variety of forms such as a speech or a formal essay but the response must still develop and sustain a thesis or line of argument like the exposition and discussion essay. Topic sentences that introduce the main idea of a paragraph/s are still significant features of the structure of the synthesis response. They are a signal or a signpost to the reader that your response is cohesive, logical and that your line of argument is sustained.

Brainstorming Lines of Arguments Together

37


As a class develop a range of lines of argument that could be used in response to the following questions:

Imagine that you have been asked to justify why the prescribed text The Curious Incident of the Dog in the Night-Time should remain on the 2009-12 Prescribed Text list despite Haddon’s use of expletives.

One of the main ideas of the prescribed text The Curious Incident of the Dog in the Night-Time is that honesty is important in relationships. Do you agree?

In what ways does the author draw you into the world of the novel? (2006 HSC Question)

Identify a key episode in your prescribed text. Analyse the ways in which this key episode reflects both the ideas and characteristics of the text as a whole. (2005 HSC Question)

Developing and Sustaining a Thesis

Select two of the questions and create two mind maps that include a number of points or ideas that further the lines of arguments developed. This could be done as a class with one of the lines of argument provided and then independently with one of your own. The mind map links to the thesis should be textual details from the novel such as: key incidents, character’s actions, setting references, key quotes, etc.

Week 7: Deepening the Knowledge: ‘My book has a very simple surface, but there are layers of irony and paradox all the way through it’ Haddon.

38


Syllabus

content


1.1

1.4

4.1

4.2

6.3

6.4

7.1

10.2

10.3

Substantive communication: Composing an extended response focused on the novel

Higher-order thinking: Developing and sustaining a thesis

Deep understanding: Close study of the novel and its key aspects

Lessons 1 - 3: Composing an Extended Response

Now that you have worked on developing a thesis or line of argument and to further deepen your understanding of your novel you will be responding to the following question in two lessons. One lesson will be spent planning and developing a thesis and finding key quotes and the novel’s textual details and features you need to respond critically and effectively to the question. The second lesson will be spent composing the response, and the third lesson will be spent refining and editing the response with the help of a peer.

Question “When we read novels we encounter interesting characters who invite our empathy and understanding.”

Select a character from your novel, and discuss why you found this character interesting or uninteresting.

In your response, refer to:- The character’s personality, attitudes, actions and relationships with others- What the character experienced in the novel- Key issue/s raised by the character- The language features used to represent this character- What the dialogue used by the character revealed- Your personal response to the character and how it is influenced by your context

Ensure that you include:- Textual details such as quotes and references to the novel

(See Resource Sheet 1)

39


1.1

1.4

4.1

4.2

4.3

6.3

6.4

7.1

10.2

Deep knowledge: Focus on the key aspects of a good response

Background knowledge: Connecting feedback from the Marking Centre to what has been taught in class and developed by the students

Lesson 4: Feedback from the Marking Centre

Read the feedback from the 2007 Marking Centre and apply what it tells you about the qualities of good scripts to your essay. Use the key comments to make any further changes or refinements to your response.

Better responses demonstrated a deep understanding of an idea or related ideas, drawing on detailed textual knowledge. They were thorough, fluently expressed and well structured.

Better responses also reflected a personal perspective. This may have been expressed explicitly in the first person or in the more academic impersonal style where the sense of personal response may have been implicit.

Selectivity was the key to success. Candidates who were able to select appropriate textual evidence – and explain why – were the most successful. The type of evidence chosen varied from scene, to quote, to incident. Weaker responses tended to rely on retell and assertion rather than argument.

Stronger responses used the metalanguage appropriate to their text type. Weaker responses reflected an inability to move beyond retelling and were unable to move beyond identification of terms and simple examples.

Candidates who clearly understood the purpose of their texts were able to demonstrate conceptual understanding and respond personally.

Many responses limited themselves to the beginning of the text and consequently did not show the development of an idea throughout the novel.

Resource Sheet 1: Suggested Approach to the Question

40


“When we read novels we encounter interesting characters who invite our empathy and understanding.”

Select a character from your novel, and discuss why you found this character interesting or uninteresting.

In your response, refer to:- The character’s personality, attitudes, actions and relationships with others- What the character experienced in the novel- Key issue/s raised by the character- The language features used to represent this character- What the dialogue used by the character revealed- Your personal response to the character.

Suggested Scaffold: (This is just a suggestion and does not have to be used.)

Paragraph 1: Introduce the character and briefly outline why you found this character interesting or uninteresting. Introduce your line of argument or thesis. E.g. “I could not imagine how difficult it would be to cope with a disability like autism and the loss of my mother; yet Mark Haddon in his novel The Curious Incident of the Dog in the Night-time sensitively and authentically enabled me to experience what this would be like through his interesting character Christopher. The first person narrative transported me into Christopher’s world and enabled me to experience how he perceived the world and the people in it. The humour and the pathos, and the crime fiction genre ensured that I was thoroughly engaged in this moving novel and its intriguing character.”

Paragraph 2 - 3: Describe the character and how Haddon managed to create such an interesting character – continuing your thesis: appearance, age, personality and your initial reaction to the character. (Mention the influence of your context.) Refer to the language features used to represent the character and convey meaning such as: dialogue, first person narrative, stream of consciousness, imagery, etc. Use quotes from the novel.

Paragraph 4 - 5: Describe the character’s relationship with other characters, and your response to these other characters and their relationship with the character you are discussing. Further your thesis by stating how the exploration and

41


representation of these relationships ensured that Christopher was an interesting character. Refer to language features used to represent these relationships and include quotes from the novel.

Paragraph 6 - 7: Discuss what happens to the character by referring to one or more key incidents in the novel. Include how you felt about what happened and how the character acted. Further your thesis by stating how the representation of these incidents added to your interest in the character. (Your context could be referred to here.) Include quotes from the novel and refer to the language features.

Paragraph 8 - 9: Discuss the key ideas or themes raised by the character and your personal response to these issues or themes. Further your thesis by discussing how the presentation of these key ideas ensured that the character had depth and appeal.

Paragraph 10: Conclude by giving your personal response to the character by the end of the novel. Refer to your thesis and how you personally found the character interesting and why.

Variations:- You may argue that the main character was not interesting and did not invite empathy. Ensure that you are able to

support this argument.

Weeks 9 -10: Refining your understanding: ‘Knew there was a story; once you find a dog with a fork through it, you know there's a story there’ Haddon.

42


Syllabus

content


1.1

1.4

4.1

4.2

6.3

6.4

7.1

10.2

10.3

Deep understanding: Focus on the key aspects of effective speeches

Background knowledge: Connecting prior knowledge of effective speeches to demands of speaking task

Lesson 1: Effective Delivery of an Speaking Task

Remember that your assessment task is a speaking task so you need to focus on:

Stance Body language: facial expressions, gestures and eye contact Intonation Pitch and pace Enunciation Emphasis

Engage your audience! This does not happen when you READ your notes. If you need to refer to notes put a few key points on palm cards.

Impromptu Speaking

To practice these aspects of effective speaking tasks you will be allocated a topic related top the novel. You have to speak for one minute on one of the following topics.

The mystery in the novel Christopher’s love of prime numbers Siobhan’s care and support for Christopher His father’s lie about his mother Christopher’s mother’s boyfriend Mrs Shears’ relationship with Christopher’s father How Christopher got to London without getting lost

43


Why Christopher wants to be in space Christopher’s career choice Christopher’s relationship with Siobhan The death of Wellington The policeman’s reaction to Christopher at the start of the novel The fight between Christopher and his father Christopher’s disability

1.1

1.4

4.1

4.2

4.3

6.3

6.4

7.1

10.2

10.3

Substantive communication: Composing an extended response to the novel

Higher-order thinking: Composing an extended response that is coherently linked by a clear thesis

Lessons 2 – 4: Preparation for Assessment Task and Revision

Spend time refining your assessment task and seeking clarification and advice from your teacher.

To revise your work and prepare for the Trial and HSC exam complete the following tasks:

Exercises

1. Create a mind map and then compose the opening paragraph to the following questions focusing on presenting a strong line of argument or thesis:

‘The opening of a novel is very important as it must capture the interest of the reader and set the scene for what is to follow.’

Discuss the opening of The Curious Incident of the Dog in the Night-Time and its importance.

Distinctive ideas are at the heart of every novel. In your view, what is a distinctive idea explored in The Curious Incident of the Dog in the Night-Time? Explain how this idea is developed throughout the novel. (HSC 2007 question)

44


2. Select one of the tasks and compose the complete extended response.

3. Compose an original imaginative task based on an aspect of the novel. You could refine or develop one of the earlier tasks we did in class.

1.1

1.4

4.1

4.2

4.3

6.3

6.4

7.1

10.2

10.3

Substantive communication: Delivery of a speech on the key aspects of the novel

Deep understanding: Speaking at length and in-depth on the character of Christopher and the textual details and features that represented him

Lessons 5-8: Delivery of Speaking Tasks

Assessment tasks to be delivered this week. All written copies of notes or entire speech to be submitted at the start of week 10.

45


Resource 2: TEXTUAL FEATURES

The following are just some of the language features that you could consider when you are analysing a text:

Form – purpose, and features of a text influence the construction of a text and will suggest its structure

Level of Usage of Language – slang, colloquial, informal or formal

Person: 1st (I or we), 2nd (you) or 3rd (he, she or they)

Word Choice or Diction – emotive, forceful, factual, descriptive, blunt, graphic, disturbing, informative, etc eg. The writer’s use of forceful verbs such as ‘insist’ and ‘demand’ can be very persuasive

Tone – conveys how the attitude of a writer, how s/he feels – angry, concerned, sad, objective, emotional, etc. (Refer to feeling words) The tone will influence the choice of words

Syntax - Sentence structure - short, simple sentences or truncated (fractured) sentences create tension, haste or urgency; compound or complex sentences are slower and often feature in a formal text

Symbolism –adds layers of meaning can have a powerful impact

Icons- a single person, object or image that represents complex ideas and feelings

Repetition- of words or syntax (order of words) for emphasis and persuasion

Contrast – paradox, antithesis, oxymoron, juxtaposition, etc

Humour – incongruity, parody, satire, exaggeration, irony, puns, etc.

Gaps and Silences – what is not said; whose voice is not heard and whose voice dominates?

46


Alliteration: repetition of the consonants at the start of words in a sentence or phrase

Consonance: repetition of the consonants throughout a sentence of phrase

Disjunction: A conjunction such as ‘but’ or ‘yet’ that dramatically interrupts the rhythm of a sentence

Ellipsis: a dramatic pause (…). It can create tension or even suggest that there are some words that cannot be spoken.

Emotive Language: words that stir the reader’s emotions

Exclamation: exclamatory sentence ending in an exclamation mark to convey high emotion

Fractured or Truncated Sentences: incomplete sentences that increase tension or urgency or reflect the way people speak to each other

Imagery: vivid pictures are created by words. The reader can be transported to another place and time or visualise a character clearly

Imperative Voice: forceful use of the verb at the start of a sentence or phrase

Juxtaposition: layering images/scenes to have a dramatic impact

Linear: sequential – in order

Metaphor: a comparison between two objects when one becomes the other. It adds further layers of meaning about the object being compared.

Modality: the force the words are delivered at. High modality is forceful and low modality is gentle.

Non-Linear: non-sequential narrative

47


Onomatopoeia: a word that echoes the sound it represents. The reader can hear what is happening in the scene.

Personification: giving human characteristics to a non-human. Inanimate objects take on a life of their own.

Perspective: a way of looking at individuals, issues, events, texts, facts and so on.

Plosive Consonants: using harsh sounds in a sentence or phrase

Representation: how a composer conveys meaning through textual features and details

Setting: location of a story – internal and external

Sibilants: repetition of the consonant ‘s’ – can make a line sound melodious and sweet or cold and icy

Simile: when two objects are compared using ‘like’ or ‘as’

Tense: present tense – set in the present. Past tense – set in the past. Future tense – the events are predicted.

Theme: message or moral of a story. Themes make us ponder the big issues in life.

48


Standard Module B: Assessment Task 1

Weighting: Speaking – 15%

Outcomes to be assessed:

1. A student demonstrates understanding of how relationships between composer, responder, text and context shape meaning.4. A student describes and analyses the ways that language forms and features, and structures of texts shape meaning and influence responses.6. A student engages with the details of text in order to respond critically and personally.7. A student selects appropriate language forms and features, and structures of texts to explore and express ideas and values.10. A student analyses and synthesises information and ideas into sustained and logical argument for a range of purposes and audiences.

Nature of the Task

Imagine that you are Mark Haddon delivering a presentation at the Sydney Writers’ Festival about his representation of Christopher. He discusses:

Christopher’s disability, role as a detective, behaviour, actions, relationships and values How he used language features and form to represent Christopher One or two key incidents in the novel and why they are significant in terms of his representation of Christopher His one context and what he was trying to achieve.

Duration of Speech: 3 - 4 minutes

49


Expectations You will be assessed on how well you:

Closely engage with the textual details of the novel using quotes and direct references to the novel Describe and analyse the language features, form and structure of the novel Demonstrate understanding of a text’s distinctive qualities and how these shape meaning Organise, develop and express ideas using language appropriate to audience, purpose and form - DO NOT READ

THE SPEECH – make eye contact, and be expressive.

Purpose

The purpose of this assessment task is to:

Further develop your understanding of the importance of closely engaging with the details of a text Prepare you for the challenging demands of the HSC exam

50


Module B: Standard English Close Study of TextMARKING GUIDELINES

Criteria Marks Demonstrates an insightful and well developed understanding of the textual features and ideas of

the novel supported by close textual analysis Composes and delivers a skilful speech using language appropriate to audience, purpose and form Describes and analyses skillfully the language features, form and structure of the novel Demonstrates insightful understanding of a text’s distinctive qualities and how these shape meaning 15 - 13 Demonstrates a thoughtful understanding of the textual features and ideas of the novel supported by

close textual analysis Composes and delivers an effective speech using language appropriate to audience, purpose and

form Describes and analyses effectively the language features, form and structure of the novel Demonstrates thoughtful understanding of a text’s distinctive qualities and how these shape

meaning

12 - 10

Demonstrates a sound understanding of the textual features and ideas of the novel supported by close textual analysis

Composes and delivers a sound speech using language appropriate to audience, purpose and form Describes and analyses soundly the language features, form and structure of the novel Demonstrates sound understanding of a text’s distinctive qualities and how these shape meaning 9 - 7 Demonstrates a limited understanding of the textual features and ideas of the novel supported by

limited textual analysis Composes and delivers a limited speech using language appropriate to audience, purpose and form Describes in a limited fashion the language features, form and structure of the novel Demonstrates limited understanding of a text’s distinctive qualities and how these shape meaning 6 - 4 Demonstrates elementary understanding of some of the textual features and ideas of the novel

supported by some or no textual analysis Composes and delivers an elementary speech using simple language Some or no reference to language forms and features, and structures of texts 3 - 0

51


Resources

Author Profile, http://www.jubileebooks.co.uk/jubilee/magazine/authors/mark_haddon/haddon_profile.asp

Biography and critical discussion of the novel, http://www.contemporarywriters.com/authors/?p=auth3e38026813f8c194e5nnw1cf3087

E Book version of the Novel, http://www.scribd.com/doc/263258/the-curious-incident-of-the-dog-in-the-night-time Interview with Haddon, http://www.powells.com/biblio?show=HARDCOVER:USED:9780385512107:8.95&page=authorqa#page

Interview with Haddon, http://www.powells.com/authors/haddon.html

Interview with Mark Haddon, http://www.guardian.co.uk/books/2004/apr/11/booksforchildrenandteenagers.features3

Mark Haddon’s Site, http://www.markhaddon.com/

Study Guide, http://thebestnotes.com/booknotes/Curious_Incident_Dog_Night_Time_Haddon/Curious_Incident_Study_Guide01.html

Wikipedia, http://en.wikipedia.org/wiki/The_Curious_Incident_of_the_Dog_in_the_Night-time

52

http://en.wikipedia.org/wiki/The_Curious_Incident_of_the_Dog_in_the_Night-time

http://thebestnotes.com/booknotes/Curious_Incident_Dog_Night_Time_Haddon/Curious_Incident_Study_Guide01.html

http://thebestnotes.com/booknotes/Curious_Incident_Dog_Night_Time_Haddon/Curious_Incident_Study_Guide01.html

http://www.markhaddon.com/


http://www.powells.com/authors/haddon.html

http://www.powells.com/biblio?show=HARDCOVER:USED:9780385512107:8.95&page=authorqa#page

http://www.powells.com/biblio?show=HARDCOVER:USED:9780385512107:8.95&page=authorqa#page

http://www.scribd.com/doc/263258/the-curious-incident-of-the-dog-in-the-night-time




Documents

2009 – 2012 HSC English Teaching Program - Wikispacesconnectivity2011.wikispaces.com/file/view/Standard+09+Curious... · Web viewWhy does Christopher feel so ... how the character