BELONGING Preparing for Paper 1 trials and HSC

BELONGING Preparing for Paper 1 - trials and HSC

Belonging Rubric In their responses and compositions students examine, question, reflect and speculate on the concept of belonging. They explore many elements and types of belonging but overall it boils down to § Representation § Perceptions and context § Interrelationships

Parts of Paper 1

Section A § First part of the paper is short answer. § 40 minutes! § Easy marks – there for the taking. About managing your time and knowing techniques. § You should know the names, definitions and how to identify a broad variety of techniques. § Both visual and literary techniques. § Last question is worth 6 marks (usually) write a mini essay! Intro, body and conclusion.

Ways to approach Paper 1 Part A A lot of students ask how to study for this part of the paper – the key things you can do to prepare are; know your techniques, know your various concepts of belonging and always be on the lookout for how various things you read or watch and how they relate and represent that relation to belonging.

Basic Literary Techniques § § § § § Simile vs. Metaphor Symbols vs. Motifs Alliteration, assonance, rhyme Personification vs. anthropomorphism Onomatopoeia Hyperbole Puns Tone Foreshadowing

Basic Visual Techniques § Relationships through - Positioning – foreground vs. background § Rather than font – talk about typography § Rather than colour – talk about hue and saturation § Vector lines § But always refer everything back to belonging as a concept!

GENERAL COMMENTS § Students must watch for repetition of terms and structure their answers in a coherent way. § Belonging, techniques and similar terms do not have to be capitalised, highlighted or underlined. DO NOT write them in borders. It should be integrated into your answers. § Put quotes in clear quotation marks, and terms or single quoted words in single inverted commas. § Make sure your work is clearly paragraphed. It is a good idea to indent or skip lines to make sure this is clear. Make sure you write in full sentences. § You must always read the question carefully and make sure you address all the requirements. There is no need to put extra techniques when you’re only asked for one and vice versa. § Make sure you know your techniques. Symbolism refers to an object representing some meaning. Also, make sure you can spell your basic techniques – simile is spelt like that, there is no extra i or y. § Get to know where ‘s belongs. § Make sure you answer the question!

Stuff not to do… DO NOT make quotes up. DO NOT use terms like ie. or eg. DO NOT use contractions. DO NOT use slashes / in you work to put in two terms or ideas together, this often showed the student to be unsure about the technique they were writing about. DO NOT be colloquial in your answers even though it is short answer. DO NOT use terms such as ‘figurative language’, ‘illustrative language’, ‘visual imagery’, ‘positive’ or ‘negative connotative language’ as a technique. These are not specific techniques, they are classifications or descriptions of techniques. This was however acceptable when students were able to be specific about the particular technique they were analysing.

Section B § Creative Writing § You should go through the rubric and choose one or two main aspects to address in your creative writing. § Responding to stimulus. § Be creative!

Why creative writing? § Language is a currency. § You are a participant in public discourse. Words have weighted meaning because people have used them. § You have a responsibility to negotiate with readers.

Story vs. Narrative § § § § Difference between story and narrative Story = events Narrative = way it is told eg. Who and when Very important to know the difference and how it impacts on your work. How do you organise this? Narrative typically structured by plot with characters performing actions. Events + links = narrative Relationships between events

Conflict is the essence of fiction. It creates plot. The conflicts we encounter can usually be identified as one of four kinds. Man versus Man § Conflict that pits one person against another. Man versus Nature § A run-in with the forces of nature. On the one hand, it expresses the insignificance of a single human life in the cosmic scheme of things. On the other hand, it tests the limits of a person’s strength and will to live. Man versus Society § The values and customs by which everyone else lives are being challenged. The character may come to an untimely end as a result of his or her own convictions. The character may, on the other hand, bring others around to a sympathetic point of view, or it may be decided that society was right after all. Man versus Self § Internal conflict. Not all conflict involves other people. Sometimes people are their own worst enemies. An internal conflict is a good test of a character’s values. Does he give in to temptation or rise above it? Does he demand the most from himself or settle for something less? Does he even bother to struggle? The internal conflicts of a character and how they are resolved are good clues to the character’s inner strength. However, it must relate to belonging!

Things to consider in creative writing. NARRATIVE VOICE § Difference between first and third person is not difference in point of view but a difference in narrative voice. § Why would we employ a first person narrator? § Epistolary fiction – letters or diary ‘instalments’. First person typically related in retrospect. § First person present text? RULES OF ATTRACTION § Tense is really an attraction. § Is action reflected upon or unfolding? § First person – exploit/capture their voice. From their P. O. V. § Adopt speech patterns and voice, especially if you’re going to switch your first person narration. Every line is an indication of character. Tells us what they think is important. § Many people write using autobiographical authenticity. (i. e. a character who they almost could be or were) § This is a very strong natural assumption. It is not a bad thing - but you have to avoid cliché.

Narrative Voice Continued FIRST PERSON CAN BE § Main § Peripheral § Multiple SECOND PERSON (As opposed to first and third) § “You get home late” § Directives § Substitute for first. § There must be a good reason because it gets old rather quickly and limits sentence structure. THIRD PERSON § Can be objective or subjective.

Narrative Structure NARRATING DISTANCE § Subsequent – temporal gap between events § Prior – theoretical § Simultaneous – present tense § Interpolated – Happens in gaps between when things happens – shifting – like diary entires. § Time lapses § Tangents – part of character

HOW DO WE MAKE CHARACTERS REAL? § Act out of character. § Appeal of characters. § Snippets of description – think about what level of description is needed per character.

DESCRIPTION OF PLACE § Shooting on location. ie. difference between mentioning a place, or describing it. § However, the more you describe the more it slows down narrative. § How much do you need? § What mood do you want to evoke? § One line that catches the atmosphere, can be more effective.

ACTION! § § § § § ‘SHOW BUT DON’T TELL’ – What is the value of this advice? War against cliché. If your writing sound familiar, it’s a cliché. When your piece sounds like other pieces, doesn’t mean it’s polished. How do we make words fresh? Dead metaphors, do not accept these. What is the point of using these descriptive metaphors? Be more concrete with description. “Anger” – abstract noun – undefined. Don’t use these. Flesh out scenes – constant accumulation of details.

SPEECH DIRECT DISCOURSE/REPORTED SPEECH § “I’m going to be late for my bloody meeting!” she said. § If dialogue is good you won’t need to define. INDIRECT DISCOURSE § She told the taxi driver she was going to be late for her meeting. § Unimportant information. FREE INDIRECT DISCOURSE § She sat forward impatiently. She was going to be late for her bloody meeting. He laughed and continued to dawdle under forty. Idiot. § Most sophisticated. Hybrid of narrator and character speech. Simply a shift – no quotation marks.

IRONY § The maintenance of irony in indirect discourse is difficult. Jane Austen does it well. § You need to learn to intrude but keep and ironic distance. § You can do it through the events in your text as well. Irony is the contrast between what is expected or what appears to be and what actually is. Verbal Irony § The contrast between what is said and what is actually meant. Irony of Situation § This refers to a happening that is the opposite of what is expected or intended. Dramatic Irony § This occurs when the audience or reader knows more than the characters know.

A quick tangent into genre for extension students… § Whatever you do - invert your genre! § Play with expectations, conventions and character. § Know your character voice well. § Mark your text with many references to genre.

Section C § Extended response. Normally an essay. § You should have this prepared, but it needs to be flexible. § Responding to the question. § Balance your essay. § Your essay is about belonging, not your set text!

Text types! WHAT MAKES A POEM? § It is strange – this type of writing has a tiny audience but many people write it. § There are many outdated clichés which people think poetry needs. § Poets are focussed on technique – such a condensed form. Wordsworth had to adhere to strict rules. § The tension comes from syntactic meaning. Line breaks are crucial to poetry. Used to be arranged to a meter but you could have a departure from metrical rhythmicity. The meter told you how to read it. Now how you structure it, because it doesn’t have that meter tells you how to read it.

Text types - Poetry § § What is free verse? Poetry based on visual rather than oral/aural tradition. § § There is no common form. Form is dictated by what you are trying to do. Line break holds the most burden/weight as a word. You must ask when creating line breaks What would be rhythmic effect to the reader? What would be semantic effect to the reader? And how does this affect the meaning of the poem? Enjambment – occurs when line finishes but sentence continues onto next line. Particularly when there is a break in stanza. Enjambments allowed greater freedom and is crucial to free verse, because it allows you to break up a sentence. Caesura – syntactic or metrical break within lines often using punctuation to § § § do it. How does it contribute to flow?

Text types - poetry § Poetry is not just a form different to prose. § Poets seem to concentrate on the moment. § You see something, then with a moment of inspiration you end up pondering on the idea and writing the poem. § § § § MODES OF POETRY Scenic mode – imagistic or narrative, capturing a moment in time. Reflective mode – confessional, expressive, sincere, epiphanious, – the effect of the moment on the author, moment of experience. Declarative mode – rhetorical or aphoristic Exploratory mode – associative, tangential, self-reflexive postmodern What happens and the idea unfolds through the language Writing chasing the inspiration

Text types - film! § Talk about meaning - consider context, themes, metaphor and intent in regards to this. § Basic elements - characterisation, plot and POV. § Mise-en-scene - Everything going on within the frame outside of editing and sound. Set, acting style, costumes, lighting… § Cinematography - tone, film speed, camera angles, tracking, panning, tilt shots, angle, field of focus, frame and composition. § Editing - pace, montage, jump cut, freeze frame, cut away, sequence, montage. § Genre § Sound - diagetic and non-diagetic, voice over, sound track. § Talk about key scenes.

Coming up with your thesis § You must make sure you explore at least some significant aspect of the way in which any text you use to illustrate some aspect of belonging makes its point. Again note that we need to consider when, where and why a text came into being: in other words, CONTEXT. § Consider also how texts may shape what we understand about belonging.

Types of questions There are three main types of HSC questions in English. They are: 1) How has your understanding been improved… You answer this type of question by writing interesting and challenging responses. This is the most straight forward type of question. 2) To what extent… To answer this question, you need to establish a “burden of proof” This means that you need to tell the marker that you are a number of points vital to achieving this extent. For example, if the essay question was: “Discussing the texts you have studied this year, show to what extent is a sense of belonging is essential to personal growth. ” You would answer somewhere along the lines of, “In order to achieve personal growth, three factors need to be achieved. They are, the need for a catalyst, supporting characters and past experiences. In the novel…" 3) Is this true… In the body of the essay, compare and contrast perspectives to create a seemingly sophisticated response to persuade the markers to give you a higher mark. But you must come to a conclusion in the end.

Essay Questions § “I'm trying to make a case for those people who don't have a sense of belonging that they should have, that there is something really worthwhile in having a sense of belonging, and recasting and looking at our modern history. ” Billy Bragg Discuss how much one’s sense of belonging is based in their sense of history. § You have been asked to participate in a debate which will be aired to next year's HSC cohort. The topic is; Relationships between individuals not a group as a whole, form the essential sense of belonging. Argue either the affirmative or negative using the texts you have studied as evidence. Discuss whether an individual’s sense of belonging is transitory over time. § "It is the potential, not the actions of the individual that allows them to belong to a group. ” Discuss, with reference to the texts you have studied, this statement.

A few theses § § § One’s sense of belonging is the feeling of ease within their surroundings, brought about by a sense of history present in the connections made with people, places, groups or society. A person’s sense of belonging is shaped by their past personal experiences. People often try to reject past experiences until they experience an epiphany, after which they embrace their erstwhile history forming both their identity and fully-developed sense of belonging. The need to feel connected with those around us and to the wider world is an integral part of human nature, with acceptance shaping our sense of self. Belonging is a paradoxical element to the human existence, as one cannot have it without experiencing exclusion of some kind. Many texts explore this relationship with their audience, calling for a variety of responses depending on context. A sense of belonging allows one to achieve notions of identity and purpose, which are important goals in an individual's life.

Essay Structure § Intro Thesis - then link thesis to question -then introduce texts. § Paragraph 1 1) Topic sentence. 2) How the text #1 relates to the topic sentence 3) Quote/technique/example 4) Explanation of how the quote addresses steps 1) and 2) § Sub Paragraph 1 1) Similarly, text #2 does this and that (relating to the topic sentence from step 1 above) 2) Give quote/technique/example 3) Explanation of how the quote addresses step 1) 4) Relate stuff in text #2 to text #1 (synthesis) § § Paragraph 2 Repeat steps above, and same for subsequent paragraphs Conclusion DON"T RETELL THE STORY!!!! § When thinking about how texts relate to the topic sentence, rather than heading in the direction of agrees or disagrees, think about what they say - what new knowledge have you garnered from the text in terms of understanding Belonging and how it relates to one's personal history.

Beautiful Paragraphing When you are asked to represent the notions of belonging - or not belonging - you need to first be able to identify the relevant language forms, features and structures that convey meanings about belonging, and provide specific examples from your text. Next, explain the meaning being conveyed about belonging and how it is being conveyed, using specific examples from the text. Discuss why you believe the composer used these particular language forms, features of structures and how YOU have been positioned to respond to belonging. Finally, evaluate the effectiveness of specific examples.

Transition Signals § Transition signals are connecting words or phrases that act like bridges between parts of your writing. They link your sentences and paragraphs together smoothly so that there are no abrupt jumps or breaks between ideas.

To indicate time To indicate sequence or to order information • immediately • thereafter § first, second etc. • formerly § followed by • finally § at this point • prior to § next, last, finally • previously § previously, subsequently § after that To logically divide an idea § initially • first, next, finally § and then • firstly, secondly, thirdly • initially, subsequently, ultimately § next, before, after § concurrently To compare § simultaneously • similarly § meanwhile • by comparison To introduce an example • similar to § in this case • whereas § for example § for instance To contrast § on this occasion • in contrast § to illustrate • on the other hand • however § to demonstrate • on the contrary § this can be seen • unlike § when/where. . . • differing from § take the case of • despite To summarise or conclude • in summary • in conclusion • in brief • as a result • on the whole • summing up • as shown • ultimately • therefore • consequently • thus • in other words • to conclude • to summarise • finally

Modality § § The term ‘modality’ describes a range of grammatical resources used to express probability or obligation. Generally, obligation is used in speech, especially when wanting to get things done such as ‘You should keep your room tidy. ’ In writing, modality of probability is used to indicate the degree or qualification of a writer’s position in relation to absolute truth or fact, in order to manipulate a reader’s perspective; for example, ‘It may be necessary to punish those who disobey the rules. ’ Modality is expressed through various grammatical devices: Modal adverbs express the writer’s judgement regarding the ‘truth’ of a proposition. They typically appear just before or just after the finite element. They can, however, appear at the start of the proposition. The following list of modal adverbs classifies them according to their typical use.

Modal adverbs Probability/obligation certainly surely, probably, perhaps, maybe, possibly, definitely, positively Usuality always, often, usually, regularly, typically, occasionally, seldom, rarely, ever, never, once Presumption evidently, apparently, presumably, clearly, no doubt, obviously, of course, personally, honestly Inclination gladly, willingly, readily Time yet, still, already, once, soon, just Degree quite, almost, nearly, totally, entirely, utterly, completely, literally, absolutely, scarcely, hardly, on the whole, provisionally Intensity just, simply, ever, only, really, actually, seriously

Creative Writing § § 1. “Faded images of the past stared back at her. ” Use this line to write a narrative which explores ideas of belonging or not belonging. § 2. “Music written in the common key is everywhere, however those who note and score beyond the expected remain in our minds for longer periods of times. ” Use this metaphor to explore the nature of not belonging in narrative form. §

Supplementary texts Novel § The Ringmasters’ Daughter – Jostien Gaarder § Mosquito Coast – Paul Theroux § The Secret River – Kate Grenville § Snow Falling on Cedars – David Gutterson § The Boy In The Striped Pyjamas –John Boyne § The Buddha of Suburbia Non-Fiction § The Diary of Anne Frank – Anne Frank § The Freedom Writers Films § Grave of the Fireflies § Somersault § Cast Away § Blast From The Past § The Story of Bubble Boy Documentaries § Murderball § Born Into Brothels § Tales from a Suitcase (television series) Picture Books § The Arrival § The Paperbag Princess

Thank you § For more help, these notes, and other resources access synecdoche. wetpaint. com