2011 Senior External Examination English Paper Two … · 2011 Senior External Examination English Friday 28 ... Media representations of Indigenous people have often be en stereotypical

2011 Senior External Examination

English Friday 28 October 2011

Paper Two Part B — Question book 1:15 pm to 4:25 pm

Time allowed

• Perusal time: 10 minutes

• Working time: 3 hours (Part A and Part B)

Examination materials provided

• Paper Two Part B — Question book

• Paper Two Part B — Response book

Equipment allowed

• QSA-approved equipment

Directions

You may write in this book during perusal time.

Paper Two has two parts:

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

• Part B (blue book): Question 2 — Media: Analytical expository responseQuestion 3 — Poetry: Analytical expository response

Attempt all questions.

All three responses are of equal worth.

Suggested time allocation

• Paper Two Part A: 1 hour

• Paper Two Part B: 2 hours

Assessment

Assessment standards are at the end of this book.

After the examination session

Take this book when you leave.

Planning space

Part B

Question 2 — Media: Analytical expository response

In response to the topic below, write between 500 and 600 words (excluding quotations).

Topic 2 — Media

Genre: Analytical exposition

Roles and relationships: Contributor to a media website

Your task: In the same ways the media article overleaf criticises the media’s representations of Indigenous Australians, construct an analytical expository response that analyses and criticises the ways in which a particular group of people is represented by the media. Focus your response on one of the following:

• teenagers

• refugees

• older people

• immigrants

• men

• women

• politicians.

You should draw on your knowledge of the media as you construct your response to your selected topic.

2011 English — Paper Two Part B — Question book 1

Media article

Media (mis) representations of Indigenous Australians

People practising ancient rituals in the heart of Australia escaping the clutches of modernity,or dole bludging alcoholics who beat their children? There's no middle ground in media representations

of Indigenous Australians, as Erin Stewart explores.

13 December 2010

The Northern Territory Intervention in 2007 was a controversial move by the then Howard government. While some say that the move was helpful and kept children safe, there are also said to be no true benefits of the move and even that it fails to enshrine the human rights of Aboriginal people.

One of the ways in which the intervention has disadvantaged or even damaged Aboriginal communities is the way it changed media reporting on Indigenous people. Media reports began to shift focus during this time to construct an image of these communities as being desperate and crime-filled.

Media representations of Indigenous people have often been stereotypical and simplistic. Reports also often fail to incorporate the voices and opinions of Indigenous people.

In 1994, Jane Dunbar published a study in Australian Journalism Review on how the Mabo land rights case was reported. While newspaper editors described themselves as balanced and fair on the case, Indigenous people did not, believing that most newspapers in Australia were racist and as they targeted white readers, catered all coverage to them.

Frances Peter-Little talks about the idea of “the savage and the noble” and suggests that either one of these stereotypes is used to describe Indigenous Australians, particularly in relation to television reports.

When Indigenous people are represented as “noble”, news features and articles may talk about their connection with the land, describe the concept of “dreamtime” and talk about Aboriginal communities utopias as void of all the superficiality of modernity.

“Savage” is pretty much the opposite: they talk about Indigenous people as though they are somehow behind in development, they talk about children leaving school too early, about disease, about alcohol and crime. Far from being a utopia, the communities are presented as being in crisis.

Television programs in the past that have focused on the “noble Aboriginal” include Walkabout, a show in the 1950s that documented an Indigenous family walking over the continent; World Around Us, which in the 1970s often featured Indigenous guides showing the host around Australia; and the 1980s television series called Bush Tucker Man which documented edible wildlife in Australia and the diets of natives.

In these representations, Indigenous people are shown to be the holders of ancient knowledge and live in almost a different time to the majority of Australians, and certainly within a different context.

Additionally, this stereotype of Indigenous people is pervasive beyond the television. Even our acknowledgement to country (said in the opening of most official ceremonies) idealises the status of Aboriginality: Today we stand in footsteps millennia old. May we acknowledge the traditional owners whose cultures and customs have nurtured, and continue to nurture, this land, since men and women awoke from the great dream. We honour the presence of these ancestors who reside in the imagination of this land and whose irrepressible spirituality flows through all creation.

Meanwhile, the impact of the intervention is that, post-2007, Indigenous communities are almost always described as “savage”.

A simple news headline search reveals the kind of media coverage that was going on about Indigenous people post-Intervention.

Aside from the recent suggested move to recognise Indigenous Australians in the constitution and stories which talk about the failure of the Intervention, stories about how Indigenous women have children earlier than non-Indigenous women and are more likely to smoke during pregnancy, difficulty Indigenous people have finding jobs and being educated as well as stories about disease, alcohol and crime are the norm.

2 2011 English — Paper Two Part B — Question book

Media article (continued)

End of Question 2

Even where other issues, such as the intervention are covered, it's consistently white people giving their opinions on the issue, and not Indigenous Australians themselves. They are muted and continually in the midst of crisis.

The reality of what goes on in remote communities is lost in reports of this nature. Most Australians haven't spent any time in remote communities and do not have the ability to challenge the things they hear and see about Aboriginal people.

While the reality of the communities may well tell a terrible story, Indigenous people are neither savage nor noble. And thus, both stereotypes are absolutely harmful and stand in the way of truth — what problems actually exist in these communities? But what strengths do they have as well?

Based on media reports, the answers are impenetrable.

www.thescavenger.net


Question 3 — Poetry: Analytical expository response

In response to one of the following topics, write approximately 500 words in the form of an analytical expository essay.

Either

Topic 3A — Unseen poem


Roles and relationships: Expert writing for a literary magazine

Your task: Analyse a possible invited reading of Drifters by Bruce Dawe.

You should:

• clearly state the identified reading you are going to focus on

• analyse the subject matter of this poem

• analyse aspects of the following in order to explain how they contribute to the invited reading you are discussing:

– foregrounding

– privileging

– gaps

– silences

– poetic devices (imagery, simile, metaphor, personification, mood, tone etc.).

The unseen poem is on page 5.

or

Topic 3B — Notified poems


Roles and relationships: Expert writing for a literary magazine

Your task: Compare any two of the notified poems.

You should:

• clearly identify the focus of your comparison

• analyse aspects of the following in order to explain how they contribute to the invited reading of each poem:

– foregrounding

– privileging

– gaps

– silences

– poetic devices (imagery, simile, metaphor, personification, mood, tone etc.).

The notified poems are on pages 6 to 18.


Unseen poem

Drifters

One day soon he’ll tell her it’s time to start packing,

and the kids will yell “Truly?” and get wildly excited for no reason,

and the brown kelpie pup will start dashing about, tripping everyone up,

and she’ll go out to the vegetable-patch and pick all the green tomatoes from the vines,

and notice how the oldest girl is close to tears because she was happy here,

and how the youngest girl is beaming because she wasn’t.

And the first thing she’ll put on the trailer will be the bottling-set she never unpacked from Grovedale,

and when the loaded ute bumps down the drive past the blackberry-canes with their last shrivelled fruit,

she won’t even ask why they’re leaving this time, or where they’re heading for

— she’ll only remember how, when they came here,

she held out her hands bright with berries,

the first of the season, and said:

“Make a wish, Tom, make a wish.”

Bruce Dawe (1930– )


Notified poem

The Family Man

“Kids make a home,” he said, the family man,

speaking from long experience. That was on Thursday

evening. On Saturday he lay dead

in his own wood shed, having blown away

all qualifications with a trigger’s touch.

Kept his own counsel. It came as a surprise

to the fellows at work, indeed like nothing so much

as a direct snub that he should simply rise

from the table of humdrum cares and dreams and walk

(kindly, no man’s enemy, ready to philosophise)

over the edge of dark and quietly lie

huddled in the bloodied chips and the morning’s kindling,

as though, in the circumstances, this was the proper end.

I liked him. He had the earmarks of a friend,

and it wanted just time, the one thing fearfully dwindling

on Thursday when we talked as people will talk

who are safe from too much knowledge.

The rifle’s eye

is blank for all time to come.

Rumours flower above his absence while I,

who hardly knew him, have learned to miss him some.

Bruce Dawe (1930– )


Notified poem

At Cooloola

The blue crane fishing in Cooloola’s twilight

has fished there longer than our centuries.

He is the certain heir of lake and evening,

and he will wear their colour till he dies,

but I’m a stranger, come of a conquering people.

I cannot share his calm, who watch his lake,

being unloved by all my eyes delight in,

and made uneasy, for an old murder's sake.

Those dark-skinned people who once named Cooloola

knew that no land is lost or won by wars,

for earth is spirit, the invader’s feet will tangle

in nets there and his blood be thinned by fears.

Riding at noon and ninety years ago,

my grandfather was beckoned by a ghost —

a black accoutred warrior armed for fighting,

who sank into bare plain, as now into time past.

White shores of sand, plumed reed and paperbark,

clear heavenly levels frequented by crane and swan —

I know that we are justified only by love,

but oppressed by arrogant guilt, have room for none.

And walking on clean sand among the prints

of bird and animal, I am challenged by a driftwood spear

thrust from the water; and, like my grandfather,

must quiet a heart accused by its own fear.

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Notified poem

A Bush Christening

On the outer Barcoo where the churches are few,

And men of religion are scanty,

On a road never cross’d ‘cept by folk that are lost,

One Michael Magee had a shanty.

Now this Mike was the dad of a ten-year-old lad,

Plump, healthy, and stoutly conditioned;

He was strong as the best, but poor Mike had norest

For the youngster had never been christened,

And his wife used to cry, “If the darlin’ should die

Saint Peter would not recognise him.”

But by luck he survived till a preacher arrived,

Who agreed straightaway to baptise him.

Now the artful young rogue, while they held their collogue,

With his ear to the keyhole was listenin’,

And he muttered in fright while his features turnedwhite,

“What the divil and all is this christenin’?”

He was none of your dolts, he had seen them brand colts,

And it seemed to his small understanding,

If the man in the frock made him one of the flock,

It must mean something very like branding.

So away with a rush he set off for the bush,

While the tears in his eyelids they glistened —

“‘’Tis outrageous,” says he, “to brand youngsters like me,

I’ll be dashed if I’ll stop to be christened!”

Like a young native dog he ran into a log,

And his father with language uncivil,

Never heeding the “praste” cried aloud in hishaste,

“Come out and be christened, you divil!”

But he lay there as snug as a bug in a rug,

And his parents in vain might reprove him,

Till his reverence spoke (he was fond of a jo

“I’ve a notion,” says he, “That’ll move him.”

“Poke a stick up the log, give the spalpeen a

Poke him aisy — don't hurt him or maim him

‘’Tis not long that he’ll stand, I’ve the water ahand,

As he rushes out this end I'll name him.

“Here he comes, and for shame! ye've forgothe name —

Is it Patsy or Michael or Dinnis?”

Here the youngster ran out, and the priest gashout —

“Take your chance, anyhow, wid ‘Maginnis

As the howling young cub ran away to the sc

Where he knew that pursuit would be risky,

The priest, as he fled, flung a flask at his hea

That was labelled “Maginnis’s Whisky!”

And Maginnis Magee has been made a J.P.,

And the one thing he hates more than sin is

To be asked by the folk who have heard of tjoke,

How he came to be christened “Maginnis”!

AB (“Banjo”) Paterson (1864–1941)


Notified poem

The Poor, Poor Country

Oh ’twas a poor country, in Autumn it was bare,

The only green was the cutting grass and the sheep found little there.

Oh, the thin wheat and the brown oats were never two foot high,

But down in the poor country no pauper was I.

My wealth it was the glow that lives forever in the young,

’Twas on the brown water, in the green leaves it hung.

The blue cranes fed their young all day — how far in a tall tree!

And the poor, poor country made no pauper of me.

I waded out to the swan’s nest — at night I heard them sing,

I stood amazed at the Pelican, and crowned him for a king;

I saw the black duck in the reeds, and the spoonbill on the sky,

And in that poor country no pauper was I.

The mountain-ducks down in the dark made many a hollow sound,

I saw in sleep the Bunyip creep from the waters underground.

I found the plovers’ island home, and they fought right valiantly,

Poor was the country, but it made no pauper of me.

John Shaw Neilson (1872–1942)


Notified poem

Shooting the Dogs

There wasn’t much else we could do

that final day on the farm.

We couldn’t take them with us into town,

no one round the district needed them

and the new people had their own.

It was one of those things.

You sometimes hear of dogs

who know they’re about to be put down

and who look up along the barrel of the rifle

into responsible eyes that never forget

that look and so on,

but our dogs didn’t seem to have a clue.

They only stopped for a short while

to look at the Bedford stacked with furniture

not hay

and then cleared off towards the swamp,

plunging through the thick paspalum

noses up, like speedboats.

They weren’t without their faults.

The young one liked to terrorise the chooks

and eat the eggs.

Whenever he started doing this

we’d let him have an egg full of chilli paste

and then the chooks would get some peace.

The old one’s weakness was rolling in dead sheep.

Sometimes after this he’d sit outside

the kitchen window at dinner time.

The stink would hit us all at once

and we’d grimace like the young dog

discovering what was in the egg.

But basically they were pretty good.

They worked well and added life to the place.

I called them back enthusiastically

and got the old one as he bounded up

and then the young one as he shot off

for his life.

I buried them behind the tool shed.

It was one of the last things I did before

we left.

Each time the gravel slid off the shovel

it sounded like something

trying to hang on by its nails.

Philip Hodgins (1959–1995)


Notified poem

Last of His Tribe

Change is the law. The new must oust the old.

I look at you and am back in the long ago,

Old pinnaroo lonely and lost here,

Last of your clan.

Left only with your memories, you sit

And think of the gay throng, the happy people,

The voices and the laughter

All gone, all gone,

And you remain alone.

I asked and you let me hear

The soft vowelly tongue to be heard now

No more for ever.

For me

You enact old scenes, old ways, you who have used

Boomerang and spear.

You singer of ancient tribal songs,

You leader once in the corroboree,

You twice in fierce tribal fights

With wild enemy blacks from over the river,

All gone, all gone. And I feel

The sudden sting of tears, Willie Mackenzie

In the Salvation Army Home.

Displaced person in your own country,

Lonely in teeming city crowds,

Last of your tribe.

Oodgeroo Noonuccal (1920–1993)


Notified poem

To the others

You once smiled a friendly smile,

Said we were kin to one another,

Thus with guile for a short while

Became to me a brother.

Then you swamped my way of gladness,

Took my children from my side,

Snapped shut the lawbook, oh my sadness

At Yirrkala’s plea denied.

So, I remember Lake George hills,

The thin stick bones of people.

Sudden death and greed that kills,

That gave you church and steeple.

I cry again for Worrarra men,

Gone from kith and kind,

And I wondered when I would find a pen

To probe your freckled mind.

I mourned again for the Murray Tribe,

Gone too without a trace,

I thought of the soldier’s diatribe,

The smile on the Governor’s face.

You murdered me with rope, with gun,

The massacre my enclave,

You buried me deep on McLarty’s run

Flung into a common grave.

You propped me up with Christ, red tape,

Tobacco, grog and fears,

Then disease and lordly rape

Through the brutish years.

Now you primly say you’re justified,

And sing of a nation’s glory,

But I think of a people crucified —

The real Australian story.

Jack Davis (1917–2000)


Notified poem

The Land Itself

Beyond all arguments there is the land itself,

drying out and cracking at the end of summer

like a vast badly-made ceramic, uneven and powdery,

losing its topsoil and its insect-bodied grass seeds

to the wind’s dusty perfumes, that sense of the land,

then soaking up soil-darkening rains and filling out

with the force of renewal at the savoured winter break.

Sheep and cattle are there with their hard split feet.

They loosen topsoils that will wash away or blow away,

punishing the land for being so old and delicate,

and they make walking tracks that run like scars

across the bitten-down paddocks stitched with fences

while the farmers in their cracked and dried-out boots

wait for one good season to make their money green again.

In places where the land has begun to heal itself

there are the younger old cuisines, softer footed,

the emu farms and kangaroo farms, both high-fenced

and nurtured by smart restaurants and tax write-offs.

Further out where the colours are all sun-damaged

and the land is sparse and barely held together

you find the future waiting for its many names.

Company personnel in mobile labs are already there,

taking readings and bouncing lumps of jargon off satellites.

A field geologist sits in an air-conditioned caravan.

She sees in front of her a computer screen of numbers

then through a dust-filtered window the land itself.

She looks back and forth. Something here is unrealised.

It might be an asset. It might be an idea.

Philip Hodgins (1959–1995)


Notified poem

Australia

You big ugly. You too empty. You desert with your nothing nothing nothing. You scorched

suntanned. Old too quickly. Acres of suburbs watching the telly. You bore me. Freckle silly

children. You nothing much. With your big sea. Beach beach beach. I’ve seen enough already.

You dumb dirty city with bar stools. You’re ugly. You silly shoppingtown. You copy. You too far

everywhere. You laugh at me. When I came this woman gave me a box of biscuits. You try to

be friendly but you’re not very friendly. You never ask me to your house. You insult me. You

don’t know how to be with me. Road road tree tree. I came from crowded and many. I came

from rich. You have nothing to offer. You’re poor and spread thin. You big. So what. I’m small.

It’s what’s in. You silent on Sunday. Nobody on your streets. You dead at night. You go to

sleep too early. You don’t excite me. You scare me with your hopeless. Asleep when you walk.

Too hot to think. You big awful. You don’t match me. You burnt out. You too big sky. You make

me a dot in the nowhere. You laugh with your big healthy. You want everyone to be the same.

You‘re dumb. You do like anybody else. You engaged Doreen. You big cow. You average

average. Cold day at school playing around at lunchtime. Running around for nothing. You

never accept me. For your own. You always ask me where I’m from. You always ask me. You

tell me I look strange. Different. You don’t adopt me. You laugh at the way I speak. You think

you’re better than me. You don’t like me. You don’t have any interest in another country. Idiot

centre of your own self. You think the rest of the world walks around without shoes or electric

light. You don’t go anywhere. You stay at home. You like one another. You go crazy on

Saturday night. You get drunk. You don’t like me and you don’t like women. You put your arm

around men in bars. You’re rough. I can’t speak to you. You burly burly. You’re just silly to me.

You big man. Poor with all your money. You ugly furniture. You ugly house. Relaxed in your

summer stupor. All year. Never fully awake. Dull at school. Wait for other people to tell you

what to do. Follow the leader. Can’t imagine. Work horse. Thick legs. You go to work in the

morning. You shiver on a tram.

Ania Walwicz (1951– )


Notified poem

Bird in the classroom

The students drowsed and drowned

In the teacher’s ponderous monotone —

Limp bodies looping in the wordy heat,

Melted and run together, desks and flesh as one,

Swooning and swimming in a sea of drone.

Each one asleep, swayed and vaguely drifted

With lidding eyes and lolling, weighted heads,

Was caught on heavy waves and dimly lifted,

Sunk slowly, ears ringing, in the syrup of his sound,

Or borne from the room on a heaving wilderness of beds.

And then, on a sudden, a bird’s cool voice

Punched out song. Crisp and spare

On the startled air,

Beak-beamed

or idly tossed,

Each note gleamed

Like a bead of frost.

A bird’s cool voice from a neighbour tree

With five clear calls — mere grains of sound

Rare and neat

Repeated twice …

But they sprang the heat

Like drops of ice.

Ears cocked, before the comment ran

Fading and chuckling where a wattle stirred,

The students wondered how they could have heard

Such dreary monotones from man,

Such wisdom from a bird.

Colin Thiele (1920–2006)


Notified poem

Terra nullius

An empty land, a vacant land, unpeopled, uninhabited;

No fox, no sparrow, goat or horse, uncamelled and unrabbitted!

And then the white man came and stayed, and lived their meagre history,

Not recognising those before, whose origin is mystery.

The aboriginal, the black, was not considered one of us,

And so the land was thus declared unpeopled — “Terra Nullius”.

The aboriginal is lost when they are dispossessed of land;

For their existence, heart and soul, is bound in rock and earth and sand.

Two centuries on, their Dreaming fades, their fire of hope now but a spark;

But then a judgment handed down revives the flame and sheds the dark.

For court of law has now proclaimed that “Terra Nullius” is wrong;

The aboriginal has rights to where he’s dwelt for ages long:

“To use, possess and occupy, to once again enjoy the land,”

From which for twenty decades long he has been so unjustly banned.

Philip Rush (1939– )


Notified poem

Beach burial

Softly and humbly to the Gulf of Arabs

The convoy of dead sailors come;

At night they sway and wander in the waters far under,

But morning rolls them in the foam.

Between the sob and clubbing of the gunfire

Someone, it seems, has time for this,

To pluck them from the shallows and bury them in burrows

And tread the sand upon their nakedness;

And each cross, the driven stake of tidewood,

Bears the last signature of men,

Written with such perplexity, with such bewildered pity,

The words choke as they begin —

“Unknown seaman” — the ghostly pencil

Wavers and fades, the purple drips,

The breath of the wet season has washed their inscriptions

As blue as drowned men’s lips.

Dead seamen, gone in search of the same landfall,

Whether as enemies they fought,

Or fought with us or neither; the sand joins them together,

Enlisted on the other front.

El Alamein.

Kenneth Slessor (1901–1971)


Notified poem

End of Question 3

End of Part B

End of Paper Two

In the park

She sits in the park. Her clothes are out of date.

Two children whine and bicker, tug her skirt.

A third draws aimless patterns in the dirt.

In the Park

Someone she loved once passes by — too late

to feign indifference to that casual nod.

“How nice,” et cetera. “Time holds great surprises.”

From his neat head unquestionably rises

a small balloon … “but for the grace of God …”

They stand a while in flickering light, rehearsing

the children’s names and birthdays. “It’s so sweet

to hear their chatter, watch them grow and thrive,”

she says to his departing smile. Then, nursing

the youngest child, sits staring at her feet.

To the wind she says, “They have eaten me alive.”

Gwen Harwood (1920–1995)


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tiatin

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inio

ns

with

wel

l-bal

ance

d an

d re

leva

nt a

rgum

ent a

nd

evid

ence

•sub

stan

tiatin

g op

inio

ns

with

rele

vant

arg

umen

t and

ev

iden

ce

•sup

porti

ng o

pini

ons

with

re

leva

nt a

rgum

ent a

nd

evid

ence

•sup

porti

ng o

pini

ons

with

a

little

arg

umen

t and

ev

iden

ce

•sta

ting

opin

ions

•exp

loiti

ng th

e w

ays

in

whi

ch th

e w

riter

’s ro

le a

nd

rela

tions

hips

with

read

ers

are

affe

cted

by

pow

er,

dist

ance

and

affe

ct

•est

ablis

hing

the

writ

er’s

ro

le a

nd c

ontro

lling

the

way

s re

latio

nshi

ps w

ith

read

ers

are

influ

ence

d by

po

wer

, dis

tanc

e an

d af

fect

•est

ablis

hing

the

writ

er’s

ro

le a

nd m

aint

aini

ng th

e w

ays

rela

tions

hips

with

re

ader

s ar

e in

fluen

ced

by

pow

er, d

ista

nce

and

affe

ct

•gen

eral

ly e

stab

lishi

ng th

e w

riter

’s ro

le a

nd

som

etim

es m

aint

aini

ng th

e w

ays

rela

tions

hips

with

re

ader

s ar

e in

fluen

ced

by

pow

er o

r dis

tanc

e or

affe

ct

•ide

ntify

ing

the

writ

er’s

role

an

d m

akin

g so

me

use

of

rela

tions

hips

with

read

ers

•exp

loiti

ng m

ode

and

med

ium

to e

ffect

.•e

xplo

iting

mod

e an

d m

ediu

m.

•usu

ally

mak

ing

effe

ctiv

e us

e of

mod

e an

d m

ediu

m.

•mak

ing

som

e us

e of

mod

e an

d m

ediu

m w

ith

occa

sion

al e

ffect

iven

ess.

•som

e us

e of

mod

e an

d m

ediu

m.


Qu

esti

on

2 —

Med

ia (

con

tin

ued

)

Crit

erio

nA

BC

DE

Kno

wle

dge

and

cont

rol o

f tex

tual

fe

atur

es

The

cand

idat

e ha

s de

mon

stra

ted

know

ledg

e of

app

ropr

iate

ness

of t

extu

al fe

atur

es fo

r pur

pose

, gen

re, a

nd re

gist

er b

y:

•exp

loiti

ng th

e se

quen

cing

an

d or

gani

satio

n of

sub

ject

m

atte

r in

stag

es

•seq

uenc

ing

and

orga

nisi

ng

subj

ect m

atte

r log

ical

ly in

st

ages

•in

the

mai

n, s

eque

ncin

g an

d or

gani

sing

sub

ject

m

atte

r in

stag

es

•occ

asio

nally

seq

uenc

ing

and

orga

nisi

ng s

ubje

ct

mat

ter i

n st

ages

•mak

ing

disc

erni

ng u

se o

f co

hesi

ve ti

es to

em

phas

ise

idea

s an

d co

nnec

t par

ts o

f te

xts

•con

trollin

g th

e us

e of

co

hesi

ve ti

es to

con

nect

id

eas

and

parts

of t

exts

•usu

ally

link

ing

idea

s w

ith

cohe

sive

ties

•m

akin

g la

pses

in li

nkin

g id

eas

with

coh

esiv

e tie

s•l

inki

ng s

ome

idea

s w

ith

conj

unct

ions

•exp

loiti

ng a

n ex

tens

ive

rang

e of

apt

voc

abul

ary

•sel

ectin

g, w

ith o

ccas

iona

l la

pses

, a w

ide

rang

e of

su

itabl

e vo

cabu

lary

•usi

ng s

uita

ble

voca

bula

ry•u

sing

bas

ic v

ocab

ular

y•u

sing

a n

arro

w ra

nge

of

basi

c vo

cabu

lary

•com

bini

ng a

wid

e ra

nge

of

clau

se a

nd s

ente

nce

stru

ctur

es fo

r spe

cific

ef

fect

s, w

hile

sus

tain

ing

gram

mat

ical

acc

urac

y

•con

trollin

g a

wid

e ra

nge

of

clau

se a

nd s

ente

nce

stru

ctur

es, w

hile

gen

eral

ly

mai

ntai

ning

gra

mm

atic

al

accu

racy

•usi

ng a

rang

e of

cla

use

and

sent

ence

stru

ctur

es

with

occ

asio

nal l

apse

s in

gr

amm

atic

al a

ccur

acy

•usi

ng c

laus

e an

d se

nten

ce

stru

ctur

es a

ccur

atel

y in

pl

aces

, but

with

freq

uent

gr

amm

atic

al la

pses

in

subj

ect–

verb

agr

eem

ent,

cont

inui

ty o

f ten

ses

and

pron

oun

refe

renc

es

•usi

ng a

nar

row

rang

e of

cl

ause

and

sen

tenc

e st

ruct

ures

with

freq

uent

gr

amm

atic

al la

pses

that

im

pede

und

erst

andi

ng

•sus

tain

ing

cont

rol o

f pa

ragr

aphi

ng a

nd a

wid

e ra

nge

of p

unct

uatio

n

•sus

tain

ing

cont

rol o

f pa

ragr

aphi

ng a

nd a

wid

e ra

nge

of p

unct

uatio

n

•con

trollin

g pa

ragr

aphi

ng

and

punc

tuat

ion,

suc

h as

co

mm

as, a

post

roph

es,

capi

tals

and

full

stop

s

•usi

ng p

arag

raph

ing

and

punc

tuat

ion

accu

rate

ly in

pl

aces

, but

with

freq

uent

la

pses

•usi

ng s

ome

punc

tuat

ion,

th

ough

not

par

agra

phin

g

•con

trollin

g co

nven

tiona

l sp

ellin

g.•c

ontro

lling

conv

entio

nal

spel

ling,

with

occ

asio

nal

laps

es.

•usi

ng c

onve

ntio

nal

spel

ling,

in th

e m

ain.

•usi

ng c

onve

ntio

nal

spel

ling,

with

freq

uent

la

pses

.

•usi

ng s

ome

conv

entio

nal

spel

ling,

but

laps

es im

pede

un

ders

tand

ing.


Qu

esti

on

2 —

Med

ia (

con

tin

ued

)

Crit

erio

nA

BC

DE

Kno

wle

dge

and

appl

icat

ion

of th

e co

nstr

ucte

dnes

s of

te

xts

The

cand

idat

e ha

s de

mon

stra

ted

know

ledg

e of

the

way

s in

whi

ch te

xts

are

sele

ctiv

ely

cons

truc

ted

and

read

by:

•tho

roug

hly

exam

inin

g ho

w

disc

ours

es in

text

s sh

ape

and

are

shap

ed b

y la

ngua

ge c

hoic

es

•exa

min

ing

how

dis

cour

ses

in te

xts

shap

e an

d ar

e sh

aped

by

lang

uage

ch

oice

s

•exp

lain

ing

how

dis

cour

ses

in te

xts

shap

e an

d ar

e sh

aped

by

lang

uage

ch

oice

s

•ide

ntify

ing

som

e w

ays

lang

uage

cho

ices

are

sh

aped

by

disc

ours

es

•eva

luat

ing

how

cul

tura

l as

sum

ptio

ns, v

alue

s,

belie

fs a

nd a

ttitu

des

unde

rpin

text

s

•exa

min

ing

how

cul

tura

l as

sum

ptio

ns, v

alue

s,

belie

fs a

nd a

ttitu

des

unde

rpin

text

s

•ide

ntify

ing

and

expl

aini

ng

how

cul

tura

l ass

umpt

ions

, va

lues

, bel

iefs

and

at

titud

es u

nder

pin

text

s

•ide

ntify

ing

som

e of

the

way

s cu

ltura

l ass

umpt

ions

, va

lues

, bel

iefs

and

at

titud

es u

nder

pin

text

s

•som

etim

es id

entif

ying

so

me

attit

udes

and

bel

iefs

in

text

s

•mak

ing

subt

le a

nd co

mpl

ex

dist

inct

ions

whe

n ev

alua

ting

repr

esen

tatio

ns

of c

once

pts

and

of th

e re

latio

nshi

ps a

nd id

entit

ies

of in

divi

dual

s, g

roup

s,

times

and

pla

ces.

•mak

ing

fine

dist

inct

ions

w

hen

eval

uatin

g re

pres

enta

tions

of

conc

epts

and

of t

he

rela

tions

hips

and

iden

titie

s of

indi

vidu

als,

gro

ups,

tim

es a

nd p

lace

s.

•mak

ing

broa

d di

stin

ctio

ns

whe

n id

entif

ying

and

ex

plai

ning

repr

esen

tatio

ns

of c

once

pts

and

of th

e re

latio

nshi

ps a

nd id

entit

ies

of in

divi

dual

s, g

roup

s,

times

and

pla

ces.

•mak

ing

gene

ral d

istin

ctio

ns

whe

n id

entif

ying

re

pres

enta

tions

of

conc

epts

and

of t

he

rela

tions

hips

and

iden

titie

s of

indi

vidu

als,

gro

ups,

tim

es a

nd p

lace

s.

•mak

ing

very

gen

eral

di

stin

ctio

ns w

hen

iden

tifyi

ng re

pres

enta

tions

of

con

cept

s an

d of

the

rela

tions

hips

and

iden

titie

s of

indi

vidu

als,

gro

ups,

tim

es a

nd p

lace

s.


Qu

esti

on

3 —

Po

etry

: A

nal

ytic

al e

xpo

sito

ry r

esp

on

se

Crit

erio

nA

BC

DE

Kno

wle

dge

and

cont

rol o

f tex

ts in

th

eir c

onte

xts

The

cand

idat

e ha

s de

mon

stra

ted

know

ledg

e th

at m

eani

ngs

in te

xts

are

shap

ed b

y pu

rpos

e, c

ultu

ral c

onte

xt a

nd s

ocia

l situ

atio

n by

:

•exp

loiti

ng th

e pa

ttern

s an

d co

nven

tions

of t

he

spec

ified

gen

re to

ach

ieve

cu

ltura

l pur

pose

s

•em

ploy

ing

the

patte

rns

and

conv

entio

ns o

f the

sp

ecifi

ed g

enre

to a

chie

ve

cultu

ral p

urpo

ses

•in

the

mai

n, e

mpl

oyin

g th

e pa

ttern

s an

d co

nven

tions

of

the

spec

ified

gen

re to

ac

hiev

e pa

rticu

lar c

ultu

ral

purp

oses

•une

venl

y us

ing

the

patte

rns

and

conv

entio

ns

of th

e sp

ecifi

ed g

enre

to

achi

eve

cultu

ral p

urpo

ses

•occ

asio

nally

usi

ng s

ome

conv

entio

ns o

f the

sp

ecifi

ed g

enre

to a

chie

ve

som

e pu

rpos

es

•sel

ectin

g an

d sy

nthe

sisi

ng

subs

tant

ial,

rele

vant

su

bjec

t mat

ter

•sel

ectin

g an

d us

ually

sy

nthe

sisi

ng c

onsi

dera

ble

rele

vant

sub

ject

mat

ter

•sel

ectin

g su

ffici

ent r

elev

ant

subj

ect m

atte

r•s

elec

ting

som

e re

leva

nt

subj

ect m

atte

r•s

elec

ting

som

e su

bjec

t m

atte

r tha

t rel

ates

to th

e ta

sk

•int

erpr

etin

g an

d in

ferri

ng

from

info

rmat

ion,

idea

s,

argu

men

ts a

nd im

ages

in

grea

t dep

th

•int

erpr

etin

g an

d in

ferri

ng

from

info

rmat

ion,

idea

s,

argu

men

ts a

nd im

ages

in

dept

h

•int

erpr

etin

g an

d ex

plai

ning

in

form

atio

n, id

eas,

ar

gum

ents

and

imag

es

•int

erpr

etin

g an

d ex

plai

ning

so

me

info

rmat

ion,

idea

s an

d im

ages

•sub

stan

tiatin

g op

inio

ns

with

wel

l-bal

ance

d an

d re

leva

nt a

rgum

ent a

nd

evid

ence

•sub

stan

tiatin

g op

inio

ns

with

rele

vant

arg

umen

t and

ev

iden

ce

•sup

porti

ng o

pini

ons

with

re

leva

nt a

rgum

ent a

nd

evid

ence

•sup

porti

ng o

pini

ons

with

a

little

arg

umen

t and

ev

iden

ce

•sta

ting

opin

ions

•exp

loiti

ng th

e w

ays

in

whi

ch th

e w

riter

’s ro

le a

nd

rela

tions

hips

with

read

ers

are

affe

cted

by

pow

er,

dist

ance

and

affe

ct

•est

ablis

hing

the

writ

er’s

ro

le a

nd c

ontro

lling

the

way

s re

latio

nshi

ps w

ith

read

ers

are

influ

ence

d by

po

wer

, dis

tanc

e an

d af

fect

•est

ablis

hing

the

writ

er’s

ro

le a

nd m

aint

aini

ng th

e w

ays

rela

tions

hips

with

re

ader

s ar

e in

fluen

ced

by

pow

er, d

ista

nce

and

affe

ct

•gen

eral

ly e

stab

lishi

ng th

e w

riter

’s ro

le a

nd

som

etim

es m

aint

aini

ng th

e w

ays

rela

tions

hips

with

re

ader

s ar

e in

fluen

ced

by

pow

er o

r dis

tanc

e or

affe

ct

•ide

ntify

ing

the

writ

er’s

role

an

d m

akin

g so

me

use

of

rela

tions

hips

with

read

ers

•exp

loiti

ng m

ode

and

med

ium

to e

ffect

.•e

xplo

iting

mod

e an

d m

ediu

m.

•usu

ally

mak

ing

effe

ctiv

e us

e of

mod

e an

d m

ediu

m.

•mak

ing

som

e us

e of

mod

e an

d m

ediu

m w

ith

occa

sion

al e

ffect

iven

ess.

•som

e us

e of

mod

e an

d m

ediu

m.


Qu

esti

on

3 —

Po

etry

(co

nti

nu

ed)

Crit

erio

nA

BC

DE

Kno

wle

dge

and

cont

rol o

f tex

tual

fe

atur

es

The

cand

idat

e ha

s de

mon

stra

ted

know

ledg

e of

app

ropr

iate

ness

of t

extu

al fe

atur

es fo

r pur

pose

, gen

re, a

nd re

gist

er b

y:

•exp

loiti

ng th

e se

quen

cing

an

d or

gani

satio

n of

sub

ject

m

atte

r in

stag

es

•seq

uenc

ing

and

orga

nisi

ng

subj

ect m

atte

r log

ical

ly in

st

ages

•in

the

mai

n, s

eque

ncin

g an

d or

gani

sing

sub

ject

m

atte

r in

stag

es

•occ

asio

nally

seq

uenc

ing

and

orga

nisi

ng s

ubje

ct

mat

ter i

n st

ages

•mak

ing

disc

erni

ng u

se o

f co

hesi

ve ti

es to

em

phas

ise

idea

s an

d co

nnec

t par

ts o

f te

xts

•con

trollin

g th

e us

e of

co

hesi

ve ti

es to

con

nect

id

eas

and

parts

of t

exts

•usu

ally

link

ing

idea

s w

ith

cohe

sive

ties

•m

akin

g la

pses

in li

nkin

g id

eas

with

coh

esiv

e tie

s•l

inki

ng s

ome

idea

s w

ith

conj

unct

ions

•exp

loiti

ng a

n ex

tens

ive

rang

e of

apt

voc

abul

ary

•sel

ectin

g, w

ith o

ccas

iona

l la

pses

, a w

ide

rang

e of

su

itabl

e vo

cabu

lary

•usi

ng s

uita

ble

voca

bula

ry•u

sing

bas

ic v

ocab

ular

y•u

sing

a n

arro

w ra

nge

of

basi

c vo

cabu

lary

•com

bini

ng a

wid

e ra

nge

of

clau

se a

nd s

ente

nce

stru

ctur

es fo

r spe

cific

ef

fect

s, w

hile

sus

tain

ing

gram

mat

ical

acc

urac

y

•con

trollin

g a

wid

e ra

nge

of

clau

se a

nd s

ente

nce

stru

ctur

es, w

hile

gen

eral

ly

mai

ntai

ning

gra

mm

atic

al

accu

racy

•usi

ng a

rang

e of

cla

use

and

sent

ence

stru

ctur

es

with

occ

asio

nal l

apse

s in

gr

amm

atic

al a

ccur

acy

•usi

ng c

laus

e an

d se

nten

ce

stru

ctur

es a

ccur

atel

y in

pl

aces

, but

with

freq

uent

gr

amm

atic

al la

pses

in

subj

ect–

verb

agr

eem

ent,

cont

inui

ty o

f ten

ses

and

pron

oun

refe

renc

es

•usi

ng a

nar

row

rang

e of

cl

ause

and

sen

tenc

e st

ruct

ures

with

freq

uent

gr

amm

atic

al la

pses

that

im

pede

und

erst

andi

ng

•sus

tain

ing

cont

rol o

f pa

ragr

aphi

ng a

nd a

wid

e ra

nge

of p

unct

uatio

n

•sus

tain

ing

cont

rol o

f pa

ragr

aphi

ng a

nd a

wid

e ra

nge

of p

unct

uatio

n

•con

trollin

g pa

ragr

aphi

ng

and

punc

tuat

ion,

suc

h as

co

mm

as, a

post

roph

es,

capi

tals

and

full

stop

s

•usi

ng p

arag

raph

ing

and

punc

tuat

ion

accu

rate

ly in

pl

aces

, but

with

freq

uent

la

pses

•usi

ng s

ome

punc

tuat

ion,

th

ough

not

par

agra

phin

g

•con

trollin

g co

nven

tiona

l sp

ellin

g.•c

ontro

lling

conv

entio

nal

spel

ling,

with

occ

asio

nal

laps

es.

•usi

ng c

onve

ntio

nal

spel

ling,

in th

e m

ain.

•usi

ng c

onve

ntio

nal

spel

ling,

with

freq

uent

la

pses

.

•usi

ng s

ome

conv

entio

nal

spel

ling,

but

laps

es im

pede

un

ders

tand

ing.


Qu

esti

on

3 —

Po

etry

(co

nti

nu

ed)

Crit

erio

nA

BC

DE

Kno

wle

dge

and

appl

icat

ion

of th

e co

nstr

ucte

dnes

s of

te

xts

The

cand

idat

e ha

s de

mon

stra

ted

know

ledg

e of

the

way

s in

whi

ch te

xts

are

sele

ctiv

ely

cons

truc

ted

and

read

by:

•tho

roug

hly

exam

inin

g ho

w

disc

ours

es in

text

s sh

ape

and

are

shap

ed b

y la

ngua

ge c

hoic

es

•exa

min

ing

how

dis

cour

ses

in te

xts

shap

e an

d ar

e sh

aped

by

lang

uage

ch

oice

s

•exp

lain

ing

how

dis

cour

ses

in te

xts

shap

e an

d ar

e sh

aped

by

lang

uage

ch

oice

s

•ide

ntify

ing

som

e w

ays

lang

uage

cho

ices

are

sh

aped

by

disc

ours

es

•eva

luat

ing

how

cul

tura

l as

sum

ptio

ns, v

alue

s,

belie

fs a

nd a

ttitu

des

unde

rpin

text

s

•exa

min

ing

how

cul

tura

l as

sum

ptio

ns, v

alue

s,

belie

fs a

nd a

ttitu

des

unde

rpin

text

s

•ide

ntify

ing

and

expl

aini

ng

how

cul

tura

l ass

umpt

ions

, va

lues

, bel

iefs

and

at

titud

es u

nder

pin

text

s

•ide

ntify

ing

som

e of

the

way

s cu

ltura

l ass

umpt

ions

, va

lues

, bel

iefs

and

at

titud

es u

nder

pin

text

s

•som

etim

es id

entif

ying

so

me

attit

udes

and

bel

iefs

in

text

s

•mak

ing

subt

le a

nd co

mpl

ex

dist

inct

ions

whe

n ev

alua

ting

repr

esen

tatio

ns

of c

once

pts

and

of th

e re

latio

nshi

ps a

nd id

entit

ies

of in

divi

dual

s, g

roup

s,

times

and

pla

ces.

•mak

ing

fine

dist

inct

ions

w

hen

eval

uatin

g re

pres

enta

tions

of

conc

epts

and

of t

he

rela

tions

hips

and

iden

titie

s of

indi

vidu

als,

gro

ups,

tim

es a

nd p

lace

s.

•mak

ing

broa

d di

stin

ctio

ns

whe

n id

entif

ying

and

ex

plai

ning

repr

esen

tatio

ns

of c

once

pts

and

of th

e re

latio

nshi

ps a

nd id

entit

ies

of in

divi

dual

s, g

roup

s,

times

and

pla

ces.

•mak

ing

gene

ral d

istin

ctio

ns

whe

n id

entif

ying

re

pres

enta

tions

of

conc

epts

and

of t

he

rela

tions

hips

and

iden

titie

s of

indi

vidu

als,

gro

ups,

tim

es a

nd p

lace

s.

•mak

ing

very

gen

eral

di

stin

ctio

ns w

hen

iden

tifyi

ng re

pres

enta

tions

of

con

cept

s an

d of

the

rela

tions

hips

and

iden

titie

s of

indi

vidu

als,

gro

ups,

tim

es a

nd p

lace

s.


Acknowledgments

The Scavenger, www.thescavenger.net.

Dawe, Bruce, “Drifters”, “The Family Man”; Wright, Judith, “At Cooloola”; Hodgins, Philip, “Shooting the Dogs”; Noonuccal, Oodgeroo, “Last of his Tribe”, in J Tranter and P Mead (eds), 1991, The Penguin Book of Modern Australian Poetry, Penguin Books, Melbourne.

Paterson, AB (“Banjo”), “A Bush Christening”; Neilson, John Shaw, “The Poor, Poor Country”, in M Cook (ed), 2007, Our Country: Classic Australian Poetry (from the Colonial Ballads to Paterson & Lawson), Little Hills Press Pty Ltd, Sydney.

Davis, Jack, “Aboriginal Australia”; Hodgins, Philip, “The Land Itself”; Walwicz, Ania, “Australia”, in P Goldsworthy (ed), 2008, True Blue? On being Australian, Allen and Unwin, Sydney.

Thiele, Colin, “Bird in the classroom”; Rush, Philip, “Terra nullius”; Slessor, Kenneth, “Beach burial”; Harwood, Gwen, “In the park”, in E Hamilton and R Farr, 2006, Poetry Unlocked: An Anthology Arranged in Themes, Farr Books, Brisbane.

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