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10/03/2015 1 Discovery Seminar David Strange TSFX 8 March 2015 Organisation of seminar 9.00am – 9.15am: Introduction 9.15am – 9.30am: What is Discovery? 9.30am – 10.15am: Section 1 10.15am – 10.30am: Recess 10.30am – 11.30am: Section 2 11.30am – 11.45am: Recess 11.45am – 1.00pm: Section 3 How is the English exam structured? AOS Section 1 – 15 marks (Comprehension) Section 2 – 15 marks (Imaginative writing) Section 3 – 15 marks Extended response Plus at least ONE related text MODULES A 20 marks B 20 marks C 20 marks How is a Band 6 best achieved in an exam worth 105 raw marks? By scoring 95 raw marks... AOS Section 1 15/15 marks (Comprehension) Section 2 13/15 marks (Imaginative writing) Section 3 13/15 marks Extended response Plus at least ONE related text MODULES A – 18/20 marks B – 18/20 marks C – 18/20 marks = 95/105 marks (90%) What is Discovery? Notice the capital ‘d’ – as in, the way you will explore discovery in English is not strictly via its dictionary definition or ‘denotation’. Rather, you will explore the syllabus definition of the term ‘Discovery’. So read the syllabus rubric carefully! Read your text through the magnifying glass of the rubric – do not trust a denotation alone

TSFX DISCOVERY SEMINAR 8 MARCH 2015 - Who We Are · Discovery Seminar David Strange TSFX ... way you will explore discovery in English is not strictly via its dictionary ... 2 Area

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DiscoverySeminarDavid StrangeTSFX8 March 2015

Organisation of seminar9.00am – 9.15am: Introduction9.15am – 9.30am: What is Discovery?9.30am – 10.15am: Section 110.15am – 10.30am: Recess10.30am – 11.30am: Section 211.30am – 11.45am: Recess11.45am – 1.00pm: Section 3

How is the English exam structured?

AOSSection 1 – 15 marks(Comprehension)

Section 2 – 15 marks(Imaginative writing)

Section 3 – 15 marksExtended responsePlus at least ONE related text

MODULESA – 20 marks

B – 20 marks

C – 20 marks

How is a Band 6 best achieved in an exam worth 105 raw marks? By scoring 95 raw marks...

AOSSection 1 – 15/15 marks(Comprehension)

Section 2 – 13/15 marks(Imaginative writing)

Section 3 – 13/15 marksExtended responsePlus at least ONE related text

MODULESA – 18/20 marks

B – 18/20 marks

C – 18/20 marks

= 95/105 marks (90%)

What is Discovery?Notice the capital ‘d’ – as in, the way you will explore discovery in English is not strictly via its dictionary definition or ‘denotation’. Rather, you will explore the syllabus definition of the term ‘Discovery’. So read the syllabus rubric carefully!

Read your text through the magnifying glass of the rubric – do not trust a denotation alone

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Area of Study Discovery rubric This Area of Study requires students to explore the ways in which the concept of discovery is represented in and through texts. Discovery can encompass the experience of discovering something for the first time or rediscovering something that has been lost, forgotten or concealed. Discoveries can be sudden and unexpected, or they can emerge from a process of deliberate and careful planning evoked by curiosity, necessity or wonder. Discoveries can be fresh and intensely meaningful in ways that may be emotional, creative, intellectual, physical and spiritual.

Area of Study and texts for the common content of Standard and Advanced courses

The Area of Study must be considered in the context of the relevant description in the syllabus and the course objectives, outcomes and content. In the Area of Study, students explore and examine relationships between language and text, and interrelationships among texts. They examine closely the individual qualities of texts while considering the texts’ relationships to the wider context of the Area of Study. They synthesise ideas to clarify meaning and develop new meanings. They take into account whether aspects such as context, purpose and register, text structures, stylistic features, grammatical features and vocabulary are appropriate to the particular text.

AOS Discovery rubric (cont.)They can also be confronting and provocative. They can

lead us to new worlds and values, stimulate new ideas, and enable us to speculate about future possibilities. Discoveries and discovering can offer new understandings and renewed perceptions of ourselves and others. An individual’s discoveries and their process of discovering can vary according to personal, cultural, historical and social contexts and values. The impact of these discoveries can be far-reaching and transformative for the individual and for broader society. Discoveries may be questioned or challenged when viewed from different perspectives and their worth may be reassessed over time. The ramifications of particular discoveries may differ for individuals and their worlds. By

exploring the concept of discovery, students can understand how texts have the potential to affirm or challenge individuals’ or more widely-held assumptions and beliefs about aspects of human experience and the world.

AOS Discovery rubric (cont.)Through composing and responding to a wide range of texts, students may make discoveries about people, relationships, societies, places and events and generate new ideas. By synthesising perspectives, students may deepen their understanding of the concept of discovery. Students consider the ways composers may invite them to experience discovery through their texts and explore how the process of discovering is represented using a variety of language modes, forms and features. In their responses and compositions, students examine, question, and reflect and speculate on: • their own experiences of discovery • the experience of discovery in and through their engagement with texts • assumptions underlying various representations of the concept of discovery • how the concept of discovery is conveyed through the representations of people, relationships, societies, places, events and ideas that they encounter in the prescribed text and other related texts of their own choosing • how the composer’s choice of language modes, forms, features and structure shapes representations of discovery and discovering • the ways in which exploring the concept of discovery may broaden and deepen their understanding of themselves and their world.

The 2015 HSC will have a particular focus on at least one of the key aspects of the rubric plus a committee-phrase which cannot be predicted“Sudden and unexpected”“Deliberate and planned”“Assumptions underlying various representations

of the concept of discovery”“They can stimulate new ideas”“Discovering can offer new understandings and

renewed perceptions of ourselves and others”“Discoveries about people, relationships,

societies, places and events”

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Section 1

Success in Section 1 is vitally important in order to achieve a Band 6 result. It is a free kick...

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Exam MethodSection 1

You must read for (10) ten minutes without touching a pen. Use this time well. Attempt to read all four Section 1 texts closely after first reading the focus of the Discovery questions in Sections 1, 2 and 3. This will guide your response.

Section 2

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Success in Section 2 relies upon how well you employ literary techniques to shape your story around the stimulus. It is a matter of trust.

Literary techniquesThe markers will judge you on whether you have actively attempted to employ literary techniques. You cannot just tell a story.These techniques include (but are not confined to): symbolic setting, motif, extended metaphor, symbolism, foreshadowing, irony, intelligent references to the historical context, a unique voice…

Extended metaphor, motif, symbolism (it doesn’t actually matter if you can identify these triplets by their correct name, but make sure at least one of them is in the pram)

Avoid cliché Classic errors

Ignoring the rubric Furiously writing your template without

considering any aspect of the stimulus Forgetting the plot

(complication/resolution) Writing an historical narrative which is

boring Writing too much (only 800-900 words is

necessary)

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Symbolic setting (internal landscape as a feature of characterisation) Symbolic setting

Symbolic setting Symbolic setting

Extended metaphorGroove under pressure,and find a rhythm in your writingAs the old, disappointed hippies said in the 1980’s (whose one-time, long-haired friends were now wearing Nike runners, buying Macs and investing on the stock-market):

“Simplify man!”Slow down…slow your writing almost to a standstill in the opening scene. Focus on minutiae – focus on extreme detail for its symbolic and foreshadowing effect.

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Cryptic dialogue (as opposed to expository dialogue)The best dialogue is sparse. It is genuine (well-researched), it is cryptic and it always adds to the characterisation. It doesn’t tell the story.Consider the example of a character who is planning a dramatic event later in the story and his reaction to an open window. How would you use dialogue to act as a foreshadowing device?

Plot

Something has to happen. Your character has to experience an event which threatens to undo them or transform them. This event is known as ‘the complication’.It offers the character an opportunity to change. This change is known as ‘the character arc’.The event cannot be too trivial and it cannot be ridiculously extreme (your character has to save the world). The event ideally allows your character to express an emotional range.

The twist

Avoid it, unless you are a brilliant writer.

The very notion of a ‘twist’ suggests that you have avoided foreshadowing techniques. It suggests that your narrative lacks ‘textual integrity’. How can this help you? I have occasionally seen it work though.

BackstoryThe backstory of your character is very important, even if you do not include it.

Non-sequential narrativeThe narrative is not linear. It happens in time-shifts. A very effective technique if you can manage it. It suits stories about memory and the unreliability of ‘personality’.

Dual and tri-narrativesStories might be about more than one character. However, they need to tie together by the end. Use a different pen and colour if you cannot make the voices distinct. Tri-narratives are a little ‘old hat’and 2007. Think Justin Timberlake and Gwen Stefani. Old hat.

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Obey the stimulus!Whatever you do, obey the stimulus. It is the discriminator for examiners. The stimulus is not designed to trick you, but to allow you to show your skills under pressure.

Know your characters, know know their voice! You need to practise writing your

character’s voice in stream-of-consciousness pieces of ten minutes or more. Find its rhythms, its patterns, its idiosyncratic words, its flow…

Write a brief backstory for your character which chronicles their childhood, their nightmares, their saddest moments, their secret desires.

Know your marker This task required students to use one image to compose an imaginative piece of

writing that explored the complex nature of belonging. Stronger Responses: Submitted a sustained narrative that developed ideas in a detailed manner. Wrote with flair and insight, displaying a developed control of description, word

choice and figurative imagery. Made few grammatical errors that would have reduced the clarity of their writing. Made few spelling/ punctuation errors. Integrated the stimulus in a meaningful, sophisticated manner. Employed an effective motif/symbol throughout their narrative. Weaker Responses: Composed a narrative that was brief, lacked development of ideas and characters

and / or was convoluted. Wrote a narrative or attempted to adapt a pre-prepared narrative without

incorporating the stimulus in an insightful manner. Wrote with incongruity and / or awkwardness and / or simplicity, displaying mixed

control of description, dialogue, word choice and figurative imagery. Made some / numerous grammatical errors that have reduced the clarity of their

writing. Created conventional and / or clichéd and / or formulaic insights.

Section 3

Success in Section 3 relies upon how well you argue the key focus of the question and present a conceptual argument about your core and related text.

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What is a concept? How is it different from a theme?An example of a thematic argument about your text

connected to Discovery:“Robert Gray’s poetry is about the way that people

discover themselves.”

An example of a conceptual argument about your text connected to Discovery:

“Robert Gray’s poetry explores the way that people discover their innate capacity to survive in the midst of a natural crisis. His poetry examines the human will for revelatory self-discovery in nature.”

http://www.informationexchange.com.au/robert-gray-poetry-hsc-english-discovery/

Arrive to the party prepared and observe its formalities

Author, Title, Year of Publication

Shakespeare’s ‘Hamlet’ (1601)

OR

William Shakespeare’s Hamlet (1601)

NOT

Shakespeer’s Hamlet written in the Elizabethan era

Exam MethodPart 1

Sacrifice three minutes to write down an essay plan – how does the question link to the rubric? How does your template essay link to the key phrases of the question?

Exam MethodPart 2

Write your essay in clear and flowing handwriting. Avoid crossing out words and separate your ideas so that your paragraphs are no longer than two sentences each.

Know your essay ‘voice’ You need to practise your writing so that it

is a free and flowing style which ‘tells a story’.

Practise writing stream-of-consciousness pieces of ten minutes or more. Find its rhythms, its patterns, its idiosyncratic words, its flow…

Believe in yourself. Confidence is everything.

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Related text/sOMG!!!!!!How many related texts?What type of related text/s?My teacher said 70/30 but my tutor said 60/40 and I

heard a rumour it was 80/20. Help me!!!!Are the related text/s meant to be integrated?And do you have to include techniques in your

related texts discussion?How do you include related texts in your thesis?Can a related text be another prescribed English or

Drama text? My teacher said no way!Will it definitely only be one text? Or at least one

text?What are the related texts to avoid?

How to write a related text• Aim for a 60/40 split between your core and

related text (however, if you are asked to write about TWO related texts, aim for a 40/30/30 split).

• Select a related text which is conceptually linkedto your core text (not linked via subject matter alone).

• Attempt to include your related text in the thesis, and then every other paragraph of your essay.

• Ideally, select a related text which concurs or agrees with the concept of discovery in your core text.

• Avoid simplistic texts – remember that this aspect of the essay is the marker’s ‘discriminator’ (that is, are you an A range student?) – and always write about the ‘high end’ techniques of your related text (such as mise-en-scene, semiotics, prosody, intertextuality, character arc, extended metaphor, etc).

Analyse your own drafts

“Change leads to new beginnings.” Discuss in relation to Freedom Writers and ONE related text. New beginnings occur when a person accepts the opportunity to change, and a personal sacrifice is made. This idea is explored in the 2007 film ‘Freedom Writers’ directed by Lagravanese, and the 1988 film ‘Rain Man’ directed by Barry Levinson. In both of these films the characters are able to produce new beginnings by recognising the opportunity for personal and social change, and by making a personal sacrifice. In the Film ‘Freedom Writers’ new beginnings occur when the protagonist Eva realises the opportunity for change. This is portrayed in the court scene, where Eva is able to create a new beginning through social and personal change. In this scene Eva is faced with the realization that what she had accepted as normality can be changed. Eva’s courageous act of isolating herself from her gang ‘family’ is also due to her recognition of the power of justice and freedom. During Eva’s

An essay is a quick game of chess – make the right moves

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What are the characteristics of a good essay? A complex argument Argues the question’s key phrase Clear language A passionate ‘voice’ Appropriate evidence (textual citations or

quotations) Insightful discussion of techniques Highly articulate writing

AVOIDPretentious writing… “The present post-modern paradigm imbues The Tempest with a Brechtian sense of multi-layered irony and literary subterfuge; what is perceived as ordinary ennui morphs into a chaotic précisreminiscent of Derrida’s differance. Prospero languishes in a lascivious reverie and excoriates his usurpers in aubergine melancholy. Alonso is counter-wise obtuse in his obsequious piety at the sight of his ornate monarchy in disarray.”

Common sense: If the writing detracts from the meaning of your argument – then the writing is working against you.

Three different essay styles available to the Year 12 English student

The Ideal EssayThe Strategic EssayThe Cynical Essay

The Ideal EssayEssays of approximately six or seven pages’ length which directly address the key terms of the examination question, demonstrate a strong authorial voice and personal response, and characterised by near-perfect spelling, punctuation and syntax (sentence-construction). * Such a response is often built around a less than formulaic essay structure (i.e. the thesis may be located half-way into the first page, each topic sentence might not relate directly to the thesis statement, and the essay’s opening paragraph may address a broad context and elements of the rubric not specifically cited in the question). * These essays are tour de force expositions characterised by a high level of conceptual sophistication, unforced originality, and most crucially, a high-level analysis of the composers’ techniques (which features in practically every longer sentence of the essay). * Such essays place a strong conceptual focus on the related text, which is ‘woven’ through the paragraphs rather than presented as a stand-alone paragraph.

The Strategic Essay* Essays of approximately seven to eight pages’ length which only indirectly address the key terms of the examination question, inserting these key terms at various stages of the essay, and usually in the topic sentences of well-constructed, highly-edited and much-practised template essays. * In other respects, this style of essay is largely similar to the first (aforementioned ‘ideal’) style, in that top students may demonstrate their best ‘personal response’ to each set of texts. If mid-ranking students are not capable of producing a ‘personal response’, their teachers will provide an appropriate and sophisticated idea and concept. * The prose itself is characterised by near-perfect spelling, punctuation and syntax (sentence-construction). * This response is built around a highly structured and formulaic style (i.e. the thesis appears in the first or second paragraph, each topic sentence relates directly to the thesis statement, and the opening paragraph addresses a broad context and elements of the rubric not necessarily asked in the question). * These essays are slightly ‘flatter’ in style than the Ideal essay, yet still maintain a high level of conceptual sophistication and some originality. * Most crucially, they contain a high-level analysis of the composers’ techniques (which features in practically every longer sentence of the essay).

The Cynical Essay* Essays of approximately eight to nine pages’ length which rarely address the key terms of the examination question, only inserting these key terms at the introduction and conclusion of the essay (‘topping and tailing’). * These essays are rigidly constructed and ‘well-rehearsed’. * Such essays are ‘taught’ to the class at the beginning of the term and their construction is given priority over the teaching and learning of the text and syllabus rubric itself. The teacher of such a class will often begin the unit with the template essay of a previous Band 6 student and direct their new class to transcribe its content onto their laptops. Thus the final essays are often the result of plagiarism. * The teacher does not trust the ‘personal response’ of the student and directs that any original ideas be filtered through a committee of experienced HSC teachers. * The prose itself is characterised by imperfect spelling, punctuation and syntax (sentence-construction). * Rather than encourage clear spelling and a purposeful use of punctuation, teachers advise students to write as quickly as they can and to not fear illegibility. After all, the essay is a ‘safe’ length of eight or nine pages and weighted in up to 55 techniques and academic theory (i.e. the marker will be afraid to award it less than an A-range score for fear of an appeal). * This essay is built around a highly structured and formulaic style (i.e. the thesis is prepared beforehand and does not necessarily relate to the exam question, and the opening paragraph addresses elements of the rubric not asked in the question with multi-syllabic and obscure vocabulary).

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How many words?Approximately 850-950 words will cut it. You don’t need to write a book.

900

Literacy – is it important?Well… yes it is. Spelling and punctuation which affects meaning can cost you crucial marks.

The aim of a good writer is to contribute to the flow of traffic Avoid a traffic jam

The lover’s kiss – write a beautiful final sentence each paragraph