Writ Self Hout

Penrith High School Stage 4 English Writing the Self unit handouts
Handout 1 2 2a 2b 3 Part 3 Part % 3 Part ( *andout 3a *andout + *andout *andout 4 *andout 5 *andout 8 *andout 9 *andout 1: Title Writing stimulus Writing workshop questions Year 8 Self and peer assessment Group participation checklist !ntroduction" who are #ou$ &nit o'er'iew" representing the self )esponding to the unit o'er'iew ssessment outline utobiograph# , social purpose .e/t 1 0.he %roken (olumn1 , 2reda 3ahlo .e/t 2 (hapter 1 Swimming &pstream .e/t 3 .apestr#" !talian li'es o'er fi'e generations (ritical understanding , narrati'e form 6)e7Writing You , Wide )eading ssignment 8# most embarrassing moment (ritical writing workshop questions collecti'e autobiograph#
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Handout 1
Writing stimulus
&se the following , either singl# or in combination > as the stimulus #our own autobiographical writing@ You are also free to de'elop #our own themes and starting points@ You will ha'e opportunities to workshop #our own peers1 writing throughout the unit@
1@ memorable e'ent 2@ n important relationship 3@ n improbable relationship +@ special place -@ 0.he da# !A@1 4@ Self>portrait" describe #ourself at this momentB drawing on #our different senses 5@ lesson learnt 8@ When ! was the boss 9@ fa'ourite possession 1:@ <ealing with fear 11@ *appiness 12@ Sorrow 13@ =mbarrassment 1+@ (onflict 1-@ *armon# 14@ Caughter 15@ Co'e 18@ Dictor# 19@ <efeat 2:@ !n the beginning 21@ ;ear the end 22@ &nderstanding 23@ (onfusion 2+@ <ealing with itA 2-@ <anger 24@ Safet# 25@ Co'e 28@ *ate
29@ (hange@ 3:@ (onstants@ .he une/pected@ 31@ .ruth@ 32@ Cies@ 33@ Eustice@ 3+@ .he unimaginable@ 3-@ 0%ut it1s different for girls1 34@ 0%o#s don1t cr#1 35@ )isk 38@ Safet# 39@ 0.his ! belie'e1 +:@ 0.r# li'ing in m# skin1 +1@ 0Walk in m# shoes1 +2@ 8ind and bod# +3@ )ight and wrong ++@ )esponsibilit# +-@ !nnocence +4@ .he fight +5@ ;e'er again +8@ .riumph +9@ non#mit# -:@ Glor# -1@ 0! wish1 -2@ Fbsession -3@ Fbstacles -+@ 0Who would ha'e thought$1 --@ ;e'er again -4@ 0!f ! had m# time o'er1 -5@ Fn course
Handout 2
Writing workshop questions

Workshop steps: 1@ ='aluate #our partner1s work using <e %ono1s 0Si/ .hinking *ats1 as a wa# to make notesB clarif# issuesB and pro'ide feedback to #our partner 6see below7@ 2@ %ased on what #our 0Si/ .hinking *ats1 e'aluation has re'ealedB and choosing from the list belowB ask #our partner the questions #ou belie'e will best assist him ? her to think about how the# might set about impro'ing their piece of writing@ 1@ 2@ 3@ +@ -@ 4@ 5@ 8@ 9@ pening questions What is this piece about , in a word or two$ Who are #ou writing this piece for$ Wh# are #ou writing this piece$ What did #ou learn from this piece of writing$ What surprised #ou in the draft$ Where is the piece of writing taking #ou$ What are #ou going to do ne/t$ What do #ou like best in the piece of writing$ What questions 6related to writing and ? or #our piece7 do #ou ha'e of me$
Process and de!elopment questions 1@ Where will #ou go from here$ 2@ You1'e made a change toA6identif# change7@ Wh# did #ou do that$ 3@ !1m a bit puGGled b# 6identif# part7@ !s more information needed$ +@ ! would like to know more about that part" it1s important ? interesting@ What can #ou tell me$ -@ *ow did #ou come b# this idea$ 4@ Wh# do #ou feel this piece is good$ 5@ re there an# parts #ou aren1t happ# with$ 8@ *ow ha'e #ou drawn the reader into #our stor#$ "uestions that deal with structure 1@ What were #ou tr#ing to achie'e with #our introduction$ 2@ *ow did #ou come about #our conclusion$ 3@ .ell me the main steps in #our stor#@ +@ <oes this paragraph keep things mo'ing quickl#$ -@ !s this too slow , too much information perhaps$ 4@ t what point do #ou want #our reader hooked$ 5@ *ow ha'e #ou kept #our reader hooked as the stor# proceeds$
#losing the conference

1@ .ell me about the process this piece went through@ 2@ Fn a scale of 1 , 1: how do #ou feel about this piece compared to others #ou ha'e written$ 3@ !n what wa#s has this conference helped #ou$ +@ What suggestions and ideas from this conference will #ou use$
Sources
=rnie .uckerB H(onferencing in the Secondar# (lassroomIB in )@<@ WalsheB P@8archB <@ Eensen 6eds7B Writing and Learning in AustraliaB 8elbourne" F/ford &ni'ersit# press and <ellasta %ooksB 1984@ <onald 8ura#B quoted in %@ 3amlerB Relocating The PersonalB ;orwood" .=B 2::1@
Conferencing: some questions which work in 8argaret Gill 6ed7B Resources 4B ;orwood" .=B 1989@
E!aluating $our writing partner%s work: Si& thinking hats

'ed hat: emotion *ow do #ou feel about this piece$ What is #our initial reaction$ White hat: information What information do #ou ha'e" e@g@ about #our partnerB the conte/tB the e'ents in the speech etc$ What 6more7 do #ou need to know to help make sense of the piece$ (ellow hat: strengths) good points What do #ou like most about the piece > e@g@ aspects of st#leB descriptionB characterB toneB message$ *lack hat: weaknesses What don1t #ou like 6with e/amples7$ What 0blocks1 are there to #our appreciation and ? or understanding$ +reen hat: creati!it$ Possible responses and interpretations> come up with wa#s of reading the pieceB suggestions about the message@ !s it a cle'erB well written piece$ *lue hat: ,ig picture and choices What are the most significant aspects of the piece for #ou$ *ighlight areas #ou would want to select as e/amples of good writing@
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Handout 2a -ame: ..............//
(ear 0 Self and peer assessment

Instructions Step 1@ .ick the bo/ that best describes how well #ou displa#ed #our personal skills in helping #our group to complete this task@ Step 2@ Present #our personal e'aluation to #our group to confirm@ !f the# agree with #ouB the rest of the group will sign in the space pro'ided@ !f the# do not agreeB #ou must negotiate with them as to the most appropriate description of #our efforts@ Step 1@ *a'ing completed the taskB e'aluate as a group #our effecti'eness in working together in the second table@ =ach member of the group recei'es the same e'aluation in this section@ Step 4@ =ach group member signs in the spaces pro'ided to indicate that the# are in agreement that this is a true and accurate e'aluation of the group effort@ 6.his section will be 'erified b# teacher obser'ation@7 Personal 2er$ 3requentl$ Skills frequentl$ ! displa#ed co>operati'e learning skills in helping m# group to complete this task 6see checklist o'er7 ! put m# best effort into the taskB so that the group would achie'e success JJJJJJJJJJJJJJ JJJJJJJJJJJJJJJ J signed signed 4ostl$ Sometimes -e!er
JJJJJJJJJJJJJJ signed
JJJJJJJJJJJJ signed
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+roup skills 5 knowledge (ompleted task shows understanding of the te/t Group worked effecti'el# and in a supporti'e wa# to complete task efficientl#
E&cellent
Well 6e!eloped
6e!elopin g
7nde!elope d
-ot 6ispla$ed
JJJJJJJJJJJJJJ
JJJJJJJJJJJJJJJ J signed signed
JJJJJJJJJJJJJJ signed
JJJJJJJJJJJJ signed
Handout 2,
+roup participation checklist

As you work with others on the set task, indicate each time you demonstrate the following eha!iours with a " 1 2 3 + - 4 5 8 9 1: Shared m# ideas with others sked questions of others Cistened to answers to questions Fffered ? ga'e directions =/pressed opinions cknowledged and supported the opinions of others =ncouraged others (ompromised when required
Handout 1 Part 8
Writing the self

9ntroduction: who are $ou:
!magine that fi'e different people who know #ou are gathered in the same room@ s the# begin to talk to each other it becomes quickl# ob'ious to all that the onl# thing the# ha'e in commonB not counting the room and the weather outsideB is knowing YF&@ Gi'en that onl# so much can be said about a sparsel# furnished room and a sunn# da#B the con'ersation naturall# turns to this common subKect@ Polite enquiries are made about how each of the indi'iduals who ha'e come together in this room knows #ou@ musing and not>so>amusing anecdotes about things #ou ha'e done o'er the #ears are e/changed@ <ifferent people gi'e 'oice to their opinion of #ouB be it good or bad@ !f #ou could listen in on these con'ersationsB what do #ou imagine #ou would hear$ 8ight #ou be surprised b# some of the things that are said$ Would the 0#ou1 that #our #ounger sister or brother knows be the same 0#ou1 that #our =nglish teacher knows$ Would #our weekend sport coach ha'e the same opinion of #ou as a Year 5 student in #our roll call class$ <oes #our best friend know things about #ou that #our grandmother does not$ Would the things that each of these people has to sa# about #ou accord with what #ou belie'e to be true about #ourself$ !n shortB are #ou the same 0#ou1 to all of these different people$ Fr do #ou go about #our dail# life not as one single 0self1B but as a multiplicit# of 0sel'es1B all housed in the one ph#sical bod#$ ;ow imagine that at the same time as these fi'e people ha'e gathered together to talk about #ouB somewhere in a different room #ou are meeting #ourselfA three timesL .he 0#ou1 of toda# meets the 0#ou1 who was in Year +B then the 0#ou1 who will be doing the *S(B and then the adult 0#ou1 who is 3- #ears old@ <o #ou recognise #ourself each time$ !n what wa#s are #ou different at different stages of #our life$ What ha'e #ou become and was this anticipated b# #our #ounger self$ *a'e #our 'aluesB attitudes and interests remained constantB or ha'e the# changed$ !f the# ha'e changedB what has brought about this change$ 8cti!it$ )eflect in #our Kournal upon some of the questions posed in the abo'e paragraphs@ %e prepared to share #our response with others in the class@ 2inall# imagine that the 0#ou1 from each of these different stages in #our life went awa# and wrote about themself and each of the others@ Would the 3- #ear old 0#ou1 write about the present 0#ou1 in a wa# that the present 0#ou1 would recognise$ re the things that the present 0#ou1 might write about the Year + 0#ou1 likel# to be the same things as the Year + 0#ou1 would write about themself$ !f the answer to these questions is noB which is the real 0#ou1$ fter allB #ou are the same person at all of the different stages of #our lifeB aren1t #ou$ %# now it should be quite ob'ious to #ou that ideas and questions relating to our sense
of who we are and how others percei'e us to be are 'er# complicated@ Fne of the most interesting things about these ideas and questionsB and what makes them worthwhile stud#ing in =nglishB is the fact that the# highlight how our 'er# sense of who we are and how we understand we can 0be1 in this world 6i@e our su,;ecti!it$7 is ine'itabl# shaped b# language and acts of communicationB such as the stories we tell about oursel'es and the stories that others tell about themsel'es@ !n the unit of work #ou are going to consider what this means for writing about #ou and #our life@
Handout 1 Part *
Writing the self

7nit o!er!iew: representing the self
Work in #our group to match the definitions to the words highlighted in the te/t@ (omplete the responding to the o'er'iew acti'it#@ Eacques <erridaB a famous 2rench philosopherB is renowned for ha'ing said that 0there is nothing outside the te&t 1< We can take this to mean that there is nothing which is not te&tual < = in nature@ What does this mean for our understanding of our own su,;ecti!it$ < =$ Cike a con'ersation #ou might ha'e had this morning with a friendB like this piece of writing ! ha'e composed for teaching purposesB like a film or tele'ision program #ou might watch tonightB who and how #ou understand #ourself to e is a product of language choices #ou make and how #ou put these together@ !n this sense #ou 0write1 and 0rewrite1 #ourself e'er#da# that #ou li'e@ =/
Cet1s consider an e/ample@ !magine that a personalit# quiG required me to describe m#self in a sentence@ !f ! respond with the words 0! am sh#1B ! might be thinking of how difficult ! find it to speak to strangers at a social gathering@ What ! am clearl# not thinking about is the fact that ! teach classes of up to 3: students nearl# e'er# da#@ ;ow this does not mean that ! am not sh#B or that othersB such as strangers ! might be introduced to at a part#B will not see me as sh#@ What it does emphasise is that who ! am is much more comple/ than the simple statement 0! am sh#1 would suggest@ What ! can sa# about m#self at an# one time is much too complicatedB e'en contradictor#B to e'er be totall# captured in speech or writing@ 6.his is particularl# the case if ! am answering a
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personalit# quiG which onl# allows me a one sentence answerL7 8# abilit# to describe m#self to m#self or to others is limited b# the words ! can use and how ! can choose to use them@ !n other words who # elie!e # am does not e/ist be#ond who # can say # am@ What needs to be understoodB thenB is how and wh# ! make m# choicesB as well as the different wa#s open to me to put these choices together so that the# make sense@
utobiographical te/tsB like all te/tsB are constructions < =@ .he# are not reflections of the wa# we really are@ .he# can onl# partl# tell the 0truth1B or tell part of a truth which is onl# true for a particular moment in time@ 6!f ! complete m# personalit# quiG before school and then go to teach a class of 3: students or address the whole school at assembl# can ! still sa# ! am sh# during the period of time in which ! am in'ol'ed in these acti'ities$7
.here are limits on what a writer can and will sa# in an autobiographical piece@ 6! might admit to being sh# but there are other things about m#self ! would not want to re'eal to readers@7 !n retelling an e'ent from their lifeB the writer will ine'itabl# be selecti'e@ .he# will choose to highlight certain aspects of what happenedB and to o'erlook , either deliberatel# or otherwise , others@ What might be called the gaps and silences < = in an autobiographical te/t are Kust as re'ealing about the author as what is actuall# written on the page@
*owe'erB such selecti'it# does not occur b# accidentB and there is more to it than a writer Kust wanting to keep some things secret@ .here are discourses <
= operating in societ# which ha'e a strongB sometimes limitingB influence on how we shape our identit$ < =@ .hese act as frames < = , much like window frames , through which we 'iew the world and oursel'es@ Such things as our raceB our religionB our le'el of educationB our genderB our age and our se/ualit# mean we will see some things about oursel'es and the world 'er# clearl# and easil#B but other things ma# be blocked from our 'iew because the# are outside of the frame@
2urtherB the writer of autobiograph# will be aware of how his or her readers will ha'e certain e/pectations about what the# will read@ .his is because autobiograph# is a genre < which means it is defined b# commonl# accepted cultural < = understandings of what is written about and how it is written about@ 2or e/ampleB a reader will not e/pect an autobiograph# to be a second b# second , if such a thing is possible , log of e'er# thought an indi'idual hasB and e'er# action the# undertake@ .here is certain to be an e/pectation that the autobiographical te/t will ha'e a particular shape or structureB and that this will t#picall# take a narrati!e < = form@ .his form also requires that an autobiograph# has been written for a purpose be#ond recording e!erything that happened@ Such an e/pectation will come from a reader1s pre'ious e/periences of autobiograph#@ .his means that if ! were to write about m#selfB what ! will write will be informed not onl# b#
=B
m# own li'ed e/perience but also what # ha!e read of what others ha!e written a out their li!es@ Similarl#B the meaning m# readers will make of what ! ha'e written will also be shaped b# what they ha!e read of what other writers of auto iogra$hy ha!e written a out their li!es@ 8# own life and identit# are in this wa# inseparable from those of other writers and readers@ .he meanings that can be made in and from autobiographical te/ts are in this wa# interte&tual < =@
!n summar#B the writer of autobiograph# works with language and te/tual formB which creates a distance between the character known as 0!1 in the autobiographical te/t and the 0!1 who is writing the te/t@ !n a wa#B writing an autobiograph# is like mo'ing be#ond the place of writing and back through time to redisco!er #ourself@ .his means writing autobiograph# must be seen as an act of representation < = rather than the recording of the 0truth1 or 0realit#1@ s such autobiographical te/ts are best described as a 0'ersion of realit#1@ s is implied in this phraseB there e/ists the possibilit# of other 'ersionsB or a rewriting@ Writing the self is as such potentiall# an act of transformation < =B in which an indi'idual can change their understandings and beliefs about who the# are and how the# can be b# composing different 'ersions of the self and e/perience@
Handout 1
Writing the self
6efinitions 1@ .he techniques which are used and the choices that are made in producing stories@ 2@ specific obKect or action that communicates meaning through language@
3@ %eing connected to or ha'ing associations with other te/ts@ +@ .he sharing of beliefsB 'aluesB knowledgeB customs and lifest#le within a societ# or amongst a group of people@ -@ .he categorising of te/ts according to common aspects of subKect matterB form and language@ 4@ 2orms of language that are related to particular social institutions and wa#s of doing things and being@ .hese pla# a role in forming the attitudesB beha'iours and power relations of those who use them@ 5@ Selecti'e constructions of or te/tual choices about aspects of the world and li'ed e/perienceB which are shaped b# the attitudesB beliefs and 'alues of both the writer and the reader@ 8@ .#pes of 0incompleteness1 in te/tsB where something is not full# spelt out so that the reader might put in place their own knowledge or understandingB or where something is left out so that the reader does not question the 'alues and attitudes con'e#ed in the te/t@ 9@ metaphor to describe the fact that in an# act of interpretation or the making meaningB we are guidedB and e'en constrainedB b# our pre>e/isting knowledge@
1:@ Fur consciousness of our own thoughts and actions@ 11@ *a'ing certain properties 6eg forms and features7 to make communication through language possible@ 12@ .he products of certain rulesB norms and e/pectations@ 13@ Fur beliefs about who we are and our place in the world@ 1+@ .he production of something new and differentB as a result of challenging and questioning what alread# e/ists@
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Handout 1 Part #
Writing the self

'esponding to the unit o!er!iew
<iscuss the following statements about the unit o'er'iew 6Part %7 with a partner@ <ecide which of the statements the author of the o'er'iew would agree withB and which of the statements the author of the o'er'iew would disagree with@ Tick > ? the appropriate ,o& and ,e prepared to gi!e reasons for $our response when reporting ,ack to the class/ 8gree 6isagree
1@ utobiograph# requires that the truth be told or written 2@ .here is no such thing as a singleB unique self 3@ We can 0remake1 oursel'es b# finding different wa#s to speak and write about our thoughts and e/periences +@ .he writer of an autobiograph# and the person that he or she is writing about are one and the same -@ ='er# autobiograph# is a unique and original te/t 4@ Fur knowledge and understanding of oursel'es is connected to what we ha'e read and heard other people write and sa# about their li'es 5@ We are free to understand oursel'esB our e/periencesB and our li'es in an# wa# that we want 8@ We are free to write about oursel'esB our e/periencesB and our li'es in an# wa# that we want 9@ !t is pointless tr#ing to understand the forces that shape our sense of who we are 1:@ Stud#ing utobiograph# is an important part of the =nglish curriculum 3ollow up acti!it$ !n appro/imatel# 2: , 2- linesB write an e/planation of what #ou belie'e we will want #ou to know and understand about utobiograph# b# the end of this =nglish unit@
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Handout 1a 8ssessment outline

Task 1 Working co>operati'el# with others" participation in writing conferences You will participate in se'eral writing conferences throughout the unit and #ou are required to assess #our peers1 as well as #our own in'ol'ement@ See handouts 2a and 2b@ utcomes assessed student" 2@ uses a range of processes for responding to and composing te/ts 4@ draws on e/perienceB information and ideas to imaginati'el# and interpreti'el# respond to and compose te/ts 11@ usesB reflects on and assesses indi'idual and collaborati'e skills for learning@
Task 2 8onologue as 2reda 3ahlo *andout -B .e/t 1 , #ou e/plored 2rida 3ahlo1s self>portrait The %roken Column and the wa#s that three different biographical te/ts ha'e shaped the painting@ .he follow>up acti'it# for assessment is" .he paintingB The %roken Column has been described as a quest for self>identit#@ Write a monologue as 3ahlo in which she reflects on the discourses which ha'e shaped her sense of who she is@ <raw on #our understanding of the poemB as well as the notes #ou ha'e made about 3ahlo1s life and this art work@ utcomes assessed student" 1@ responds to and composes te/ts for understandingB interpretationB critical anal#sis and pleasure +@ uses and describes language forms and featuresB and structures of te/ts appropriate to different purposesB audiences and conte/ts -@ makes informed language choices to shape meaning with accurac#B clarit# and coherence 5@ thinks criticall# and interpreti'el# about informationB ideas and arguments to respond to and compose te/ts@
Task 1 utobiographical pieceB transformed piece and reflection statement@ .his is the end product of #our own autobiograph# writing and the writing workshops #ou ha'e participated in@ )ewriting the self" critical e'aluation of own writing critical writing workshop transformed te/t@ &se critical writing workshop questionsB anal#se and e'aluate #our own autobiographical writing and how it represents #ou@ &se this understanding to transform #our te/t to rewrite #ourself and #our te/t@ Submit %F.* 'ersions with a 2-: word commentar# on the changes #ou ha'e madeB highlighting how #our sense of self has been 6re7presented@ utcomes assessed student" 1@ responds to and composes te/ts for understandingB interpretationB critical anal#sis and pleasure 5@ thinks criticall# and interpreti'el# about informationB ideas and arguments to respond to and compose te/ts 8@ makes connections between and among te/ts 9@ demonstrates understanding that te/ts e/press 'iews of their broadening world and their relationships within it 1:@ identifiesB considers and appreciates cultural e/pression in te/ts@
Task 4 Fral presentation" wide reading 0What discourses ha'e been most significant in shaping the 0self1 about which #ou ha'e read$1 Prepare #our response and present it orall# to a group within the class@ Submit #our reading log to #our teacher for assessment@ You will need to negotiate the assessment criteria with the teacher@ utcomes assessed student" 1@ responds to and composes te/ts for understandingB interpretationB critical anal#sis and pleasure -@ makes informed language choices to shape meaning with accurac#B clarit# and coherence 4@ draws on e/perienceB information and ideas to imaginati'el# and interpreti'el# respond to and compose te/ts 5@ thinks criticall# and interpreti'el# about informationB ideas and arguments to respond to and compose te/ts 1:@ identifiesB considers and appreciates cultural e/pression in te/ts@
Task @ =ssa#" anal#sis of own autobiographical writing )epresenting the self" Students write a critical response 6-:: , 5-: words7 to their own autobiographical writing@ &iscuss how $articular discourses ha!e sha$ed the re$resentation of the self in your own auto iogra$hical writing" utcomes assessed student" 1@ responds to and composes te/ts for understandingB interpretationB critical anal#sis and pleasure +@ uses and describes language forms and featuresB and structures of te/ts appropriate to different purposesB audiences and conte/ts -@ makes informed language choices to shape meaning with accurac#B clarit# and coherence 5@ thinks criticall# and interpreti'el# about informationB ideas and arguments to respond to and compose te/ts 1:@ identifiesB considers and appreciates cultural e/pression in te/ts@
Handout 4
8uto,iograph$ A social purpose

ke# element of how an# te/t makes meaning is the wa# in which the reason or reasons wh# it has been composed shape its language and form@ .he author of a te/t will make conscious decisions and choices with regards to language and form with a 'iew to being able to most effecti'el# communicate with an intended audience@ .his need to communicate effecti'el# suggests that writers will generall# ha'e an im$lied reader in mind as the# write@
Tasks
Working with a partnerB write a te/t which e/plains to a no'ice cook how to boil the 0perfect1 egg@ s #ou work togetherB keep a record of the decisions #ou make regarding the language #ou use in #our te/t and the form that it takes@ %e prepared to share #our decisions with the class@
;ow consider which of the following social purposes best describes each of the listed te/ts@ You might find that a te/t or te/ts might ha'e more than one purpose@ 1@ Work with #our partner to complete Ta,le 8 6o'er7B placing a cross in the rele'ant bo/ and pro'iding a supporting e/planation for #our decisions@ 2@ (an #ou add an# purposes to those listed$ 6blank columns ha'e been pro'ided@7 3@ !dentif# the implied reader for each te/tB supporting #our response b# close reference to the language and form of the te/t@ 6 Ta,le *7 The te&ts are: 'n ecoming: an aids diary 6e/tract7 The Choosing 6this poem is a'ailable at Mhttp"??www@deusne/us@de?english?literature?=nglishCiterature@phpNPoemO The %roken Column 6self portrait7 (y most em arrassing moment 6recount > Handout 07@
Table A 1 2 3 + - 4 5 8 9 1 : 'n ecoming 6e/tract7 0the choosing1 0the broken column1 (y most em arrassin g moment 3e#" 1@ .o teach 2@ .o entertain 3@ .o arri'e at self>understanding +@ .o make mone# -@ .o record for posterit# 6ie for future time or generations7 4@ .o criticise societ# or make a political point 5@ .o tell a stor# 8@ .o capture a uni'ersalB human truth 9@ .o enable others to benefit from one1s wisdom and e/perience 1:@ .o connect with others 11@ add #our own 12@ add #our own Ta,le * .e/t 'n ecoming: an A#&) diary 6e/tract7 The Choosing The %roken Column (y most em arrassing moment <escription of implied reader Supporting e'idence ? e/planation 1 1 12 =/planation
Handout @
Te&t 1
BThe *roken #olumn% A 3reda Cahlo
6image a'ailable at" Mhttp"??www@hammondgaller#@co@uk?'iewJpic@php3$ pidP+++QaidP3-O or Mhttp"??www@Kspr@btinternet@co@uk?&ni'ersit#?Stockton?Practical2?3ahlo@htmO7 M http"??www@fbuch@com?fridab#@htmO7@ 1@ !nitial response" Kournal st#le writing@ *ow has 2reda 3ahlo represented herself in 0.he %roken (olumn1 619++7$ 6<escribe the 2reda 3ahlo #ou see in the painting@7 2@ 8atri/ reading and note making acti'it#@ Students work in groups of three@ =ach student has a 6short7 biograph# of 3ahlo 6suggested sources listed below7@ .he# make notes about the discourses shaping the painting b# completing the matri/@ 4atri& questions !n what wa#6s7 is the painting informed b#" Te&t 1
Mhttp"??www@fbuch@co m?fridab#@htmO
Te&t 2
Mhttp"??members@aol@ com?fridanet?fridabio@ htmO
Te&t 1
Mhttp"??www@artchi'e@ com?artchi'e?3?kahlo @htmlO
sense of alienation from societ#$ *er social class$ *er gender$ *er relationships with men$ 3ahlo1s ph#sical pain$ 2eminist ideas$ particular sense or understanding of her bod#$ )eligious iconograph#$
3ahlo1s knowledge and understanding of art mo'ements and forms$ *er nationalit#$ *er sense of place 6geograph#7$
3ollow up .his painting has been described as a quest for self>identit#@ Write a monologue as 3ahlo in which she reflects on the discourses which ha'e shaped her sense of who she is@ <raw on #our understanding of the poemB as well as the notes #ou ha'e made about 3ahlo1s life and this art work@
Te&t 2
#hapter 1 Swimming Upstream

b# nthon# 2ingletonB 8elbourne" .e/t PublishingB 2::3@ 1@ 'anking acti!it$ , what are the most influential forces shaping nthon# 2ingleton1s sense of himself$ Place the following in rank order 6most to least influential7@ re there other forces that #ou would add to the list$ %e prepared to support #our answers@ geograph# famil# sport class sibling ri'alr# masculinit# economics politics time 2/ +aps and silences a@ Gaps" Where does 2ingleton pass o'er particular e'ents or issues in the chapterB allowing the reader to draw their own conclusions using their own life e/perience or common sense$ !dentif# what conclusions about the wa# the world works 2ingleton appears to take for granted that readers will share with him@ b@ Silences" What does nthon# 2ingleton appear to ignore or e/clude in this chapter of his autobiograph#$ (an #ou suggest reasons wh# he might not want readers to question these aspects of his te/t$ 1/ 2oice What adKecti'es or phrases would #ou use to describe the wa# that 2ingleton represents himself to the reader$ Support each of #our responses b# e/plaining how this has been achie'ed through the language he uses in the te/t or the structure of the chapter@
Te&t 1 Tapestry: 9talian li!es o!er fi!e generations b# 8aria Pallotta>(hiarolli B )andom *ouse" S#dne#B 1999@ pp 21: , 219 Fn the e'idence of this passageB would the author agree with the following statements$ %e prepared to support #our response@ !t is more honest to write about #our own life in the third person .here is no 6one7 selfR we are 6multiple7 sel'es Fur cultural backgrounds are the single most important influence on who we are .here are common patterns in people1s li'es .he first responsibilit# in life is to connect with others Fur parents are not responsible for what we become Writing about #our life is about making meaning of who #ou are Sharing #our life and #our understandings of who #ou are with others enables them to make sense of their li'es Cife is about loss Gender is an obstacle to be o'ercome Self understanding should come before an# attempt to understand others 2/ +aps and silences a@ Gaps" Where does Pallotta ,(hiarolli pass o'er particular e'ents or issues in the chapterB allowing the reader to draw their own conclusions using their own life e/perience or common sense$ !dentif# what conclusions about the wa# the world works Pallotta>(hiarolli appears to take for granted that readers will share with her@ b@ Silences" What does Pallotta>(hiarolli appear to ignore or e/clude in this chapter of her autobiograph#$ (an #ou suggest reasons wh# she might not want readers to question these aspects of her te/t$ 1/ 2oice: what adKecti'es or phrases would #ou use to describe the wa# that Pallotta> (hiarolli represents herself to the reader$ Support each of #our responses b# e/plaining how this has been achie'ed through the language she uses in the te/t F) the structure of the chapter@
;SW <epartment of =ducation and .raining ;o'ember 2::+ Page 2+ of 32 (urriculum 3>12 <irectorate http"??www@curriculumsupport@education@nsw@go'@au
;SW <epartment of =ducation and .raining ;o'ember 2::+ Page 2- of 32 (urriculum 3>12 <irectorate http"??www@curriculumsupport@education@nsw@go'@au
Handout D
#ritical understanding A narrati!e form

*ighlight how the author of the autobiographical piece #ou ha'e read has been selecti'eB and therefore partialB in representing themsel'es b# demonstrating how the piece has been shaped to fit the structure of a narrati'e@ 8ake notes 6e@g@ quotes from the piece7 to show each of the narrati'e stages in the te/t@
rientation
#omplication
E!aluation
'esolution
3ollow up: how does the form of the piece shape" a@ the representation of the self in the piece$ b@ #our response to the represented self$
Handout E
>'e?Writing (ou A Wide 'eading 8ssignment

The hero%s ;ourne$ F'er the last two decades the concept of the hero%s ;ourne$ has become a 'er# influential approach to understanding the cultural power of narrati'e@ .he theor# is based on the idea that the fair# tales and m#ths of different cultures show that humans appear to naturall# respond 'er# positi'el# to particular stor# lines in'ol'ing questsB tests 6whether ph#sicalB mentalB or emotional7B self>sacrifices and transformations@ (ollecti'el#B these structural elements of stories ha'e been called the Hero%s Fourne$@ 8cti!ities Part 8/ Some writers work with the idea that the *ero1s Eourne# has twel'e basic stages@ .he twel'e stages are described below@ (an these stages be found in the autobiograph# that #ou ha'e chosen to read$ )ead through the twel'e stages and then complete the acti'it# that follows@
1@ 2@ 3@ +@
-@ 4@
5@
8@ 9@
1:@ 11@
12@
The ordinar$ world" in order that the hero ma# be taken into a new worldB he or she is first shown in a familiarB ordinar# world@ The call to ad!enture" the hero is presented with a problem or challengeB which will take them out of the comfort and securit# of their ordinar# world@ 'efusal of the call" faced with the callB the hero e/periences fear and e/presses reluctance@ 4eeting with the mentor" the hero1s relationship with a wise man or woman helps them o'ercome their reluctance to meet the challenge@ .he mentor is the source of ad'ice and guidance@ #rossing the first threshold" the hero full# commits to the ad'entureB going forward to the first stage of danger@ Tests) allies) and enemies" once across the first thresholdB the hero begins to learn the rules of the special world and to form new alliances as the# encounter new tests and challenges@ 8pproach to the inmost ca!e " the hero finall# arri'es at the edge of a dangerous place where the obKect of the quest is hidden@ *ere the hero will ha'e to prepare and plan their strateg# to outwit the 'illain1s guards@ rdeal" the hero directl# confronts their greatest fear@ !n battle the# are brought to the 'er# brink of defeat and stare death in the face@ 'eward: ha'ing come through the supreme ordealB the hero is rewarded either tangibl# 6e@g@B mone#B landB the hand of the princess in marriage7B with greater knowledge and understandingB or with both@ The road ,ack" the hero must still cross back into the ordinar# world@ 2urther trials and tribulations await him?her@ 'esurrection: facing another ordealB the odds will be e'en greater for the hero@ .he# will endure and return to the ordinar# world with new knowledge and understanding@ 'eturn with the eli&ir" the hero returns with a special eli/irB treasure or lesson from
be#ond the threshold@ (omplete a table that summarises the autobiograph# that #ou ha'e chosen@ Stage in Hero%s Fourne$ 1@ .he Frdinar# World Stage in the stor$
3ollow up: Write an e/planation 6appro/ 1 page7 of how the autobiograph# #ou ha'e read might be understood as a cultural constructB shaped to fit a familiar te/tual pattern@ Part */ 8nother wa$ to understand narrati!e te&ts is to see them as ,eing structured around fi!e stages/ These are: 1@ a state of equilibrium at the start 2@ a disruption of the equilibrium b# some action 3@ a recognition that there has been a disruption +@ an attempt to repair the disruption -@ a reinstatement of the equilibrium state of equili,rium means that an# potentiall# opposing forces are being held in checkB or in balance@ Fnce this state of balance is disrupted b# an e'entB a chain of cause and effect is set in placeB with one e'ent leading to another@ 2inall#B a second but different equilibrium resultsB restoring a sense of status quo@ 8ap the twel'e stages of the *ero1s Eourne# against this fi'e>stage model@ Which stages of the *ero1s Eourne# seem to fit within which stages of the fi'e stage model$
Write a fi'e>sentence plot summar# of an autobiograph# #ou ha'e read 6in #our wide reading7, in which each sentence conforms to the rele'ant stage in the fi'e>stage structure outlined abo'e@ 8ssessment task 46see handout 3a7 Wide reading" oral presentation to a small group" 0What discourses ha'e been most significant in shaping the 0self1 about which #ou ha'e read$1 4arking #riteria: *ou will e assessed on how well you: demonstrate critical understanding of narrati'e theor# and the structure of the autobiograph# #ou ha'e read e/plain the wa#s in which the specific structures of te/ts are used to shape meaning identif# and consider the cultural shaping of autobiograph# te/ts@
Handout 0
4$ most em,arrassing moment

!t was the da# of the %algowlah %o#sS *igh School Swimming (arni'al@ ! had been at *igh School for three weeks and this was a chance for me to be successful in the first big sporting e'ent of the #ear@ ! also had the chanceB ! thought to m#selfB to impress some girls because the carni'al was a combined one with 8ackellar Girls1 *igh School@ .here ! wasB standing on the starting block before the start of the 12 Years %o#sS -: 8etres 2reest#le 2inal@ ! was feeling ner'ous as ! waited for the starterSs gun but ! also felt quite confident@ ! had swum quite well in the morningB winning m# heat@ ! didnSt think ! was the fastest swimmer in Year 5 but ! thought ! might get a place@ %angL .he gun went off@ ! had been concentrating hard and got a quick start@ ! felt like ! was fl#ing through the air as ! do'e off@ s ! stretched m# arms out and tucked m# head downB read# to break the surface of the cr#stal>clearB cool blue water ! thought ! could hear the cheer of the crowd@ fter breaking the surface of the waterB ! headed quickl# up towards the surface@ ! wanted to come up swimming hard and fast@ quick glance from side to side showed me m# start was goodB as ! was up with the leaders@ ! took one strokeB then another@ !t must ha'e been on about m# fourth stroke that ! knew something was wrong@ ! could feel something dragging around m# ankles and m# bottom was feeling a bit of a breeGe blowing across it@ TFhB noLT m# brain screamed@ T8# Speedos ha'e fallen offLT YesB it was true@ ! swam the rest of the race with m# white bottom up in the air and a face as red as a beetroot because of the embarrassment ! was feeling@ ! still came thirdB good enough to get me into the rela# team for the district carni'al@ %ut that didnSt matter to me as ! listened to the sound ofS the crowdB including a lot of girlsB laughing at me as ! walked back to m# towel at the end of the race@ ! Kust thanked hea'en that m# Speedos had become stuck around m# anklesB so that ! could pull them up before ! climbed out of the pool@
Handout G
#ritical writing workshop questions

Workshop steps: 1@ ='aluate #our partner1s work using <e %ono1s Si/ .hinking *ats as a wa# to make notesB clarif# issuesB and pro'ide feedback to #our partner 6see below7@ 2@ %ased on what #our Si/ .hinking *ats e'aluation has re'ealedB and choosing from the list belowB ask #our partner the questions #ou belie'e will best assist him ? her to think about the forces shaping their representation of the self@ 6<o ;F. attempt to ask all questions@ %e selecti'e@7 pening questions 1@ What do #ou find to be powerful in #our writing$ !dentif# a particular e/ample 6eg a lineB an imageB a metaphorB a representation of a person7 that #ou were 'er# happ# with$ 2@ a@ *ow would #ou e/plain the appeal of this e/ample to #ou$ <oes this suggest #ou are 'aluing certain aspects of #our writing o'er others$ b@ !f soB what are 'aluing$ What are #ou not 'aluing$ 3@ What did #ou want to achie'e with this writing$ Wh# did #ou want to achie'e this$ +@ <escribe the 0#ou1 represented in this piece of writing@ Process and de!elopment questions 9@ What discourses ha'e shaped #our piece$ Were #ou aware of their influence as #ou were writing$ 1:@ What is omitted from #our piece$ Who or what is absent$ 11@ What is hinted at or suggested but not full# spelt out$ 12@ What contradictions might there be in #our piece$ 13@ What s#mbols or e/amples of figurati'e language are used in #our piece$ What are the# meant to suggest about #ou$ 1+@ !s there an#thing that #ou ha'e hidden or kept from the reader$ "uestions that deal with structure 8@ !s #our piece a narrati'e$ 9@ !n what wa#s has the structure of #our piece shaped the language that #ou use$ 1:@ What role do #ou pla# in #our narrati'e$ re #ou the hero$ 11@ *ow does the structure of #our piece position the reader$ 12@ <id #ou intend #our piece to ha'e a 0message1 or a moral$
#losing the conference -@ (an #ou imagine other wa#s to represent the 0#ou1 in this piece$ 4@ *ow would #our piece change if #ou foregrounded 6emphasised and put at the centre of #our stor#7 an aspect that #ou ha'e marginalised or ignored$ 5@ !f #ou transformed #our piece of writingB how might #our 6present7 subKecti'it# be affected$ 8@ (an #ou see an# 'alue in rewriting the self represented in #our piece$ 9@ What ha'e #ou gained from this conference$ 1:@ What action will #ou take as a result of this conference$ Sources .hese questions draw on and e/tend those suggested b# %arbara 3amler in Rewriting the Personal"
E!aluating $our writing partner%s work: Si& Thinking Hats 'ed Hat: Emotion
*ow did the author position #ou to respond to this piece$ What other reading positions are a'ailable to #ou$
White Hat: 9nformation

What information 6e'entsB thoughtsB feelingsB personalities7 is foregrounded in the piece$ What information is marginalised or passed o'er$
(ellow Hat: Strengths) +ood points

What did #ou find powerful about the writing$ *ow did this affect #ou$
*lack Hat: Weaknesses

What do #ou find problematic about the writing" gaps$ silences$ contradictions$
+reen Hat: #reati!it$

Possible responses and interpretations> come up with different wa#s of reading the pieceB comments about the message 6if there is one7@
*lue hat: *ig picture and choices H transformations

What other wa#s might the author ha'e chosen to represent the self in this piece$
Handout 1I 8 collecti!e auto,iograph$ Students form groups and work as teams to transform their te/ts into another form and present to an outside audience@ 1@Students anal#se their own writing to identif# how the# ha'e represented their self@ 2@Students should consider what discourses the# ha'e used and e/plore the possibilities of representing their new understandings in a different wa#@ 2or e/ample the# could create a multi media displa# in the drama room" this might include static displa#sB role pla#sB postersB PowerPoint or 'ideo presentationsB dramatic readingsB or an# other form of representation students choose@ 3@Students1 displa#s could de'elop themes related to how the# ha'e 6re7written their sel'es@ .hemes could include the 0gendered1 selfB geograph#B sportB famil#B educationB or an# other aspects of their li'es that the# see as influencing who the# are@ +@.he class to assume responsibilit# to decide who their audience will be and de'elop a plan and timeline to work to this broad goal@ -@=ach group would need to allocate roles and responsibilitiesB determine resources a'ailableB what assistance the# might needB consider who their audience is and work within these parameters to mount their 0e'ent1@ 4@Students construct timetables and work plansB assigning performance indicatorsB to demonstrate that the# can manage the process of the de'elopment and completion of this proKect within the time frame allowed b# the teacher@ .hese plans will outline who is doing what each =nglish lesson as well as the home preparation that indi'idual students will be required to undertake between lessons@

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Penrith High School Stage 4 English Writing the Self unit handouts

Writing workshop questions

#losing the conference

E!aluating $our writing partner%s work: Si& thinking hats

Handout 2a -ame: ..............//

(ear 0 Self and peer assessment

JJJJJJJJJJJJJJJ J signed signed

+roup participation checklist

Writing the self

Writing the self

Writing the self

Writing the self

Handout 1a 8ssessment outline

8uto,iograph$ A social purpose

BThe *roken #olumn% A 3reda Cahlo

#hapter 1 Swimming Upstream

#ritical understanding A narrati!e form

>'e?Writing (ou A Wide 'eading 8ssignment

4$ most em,arrassing moment

#ritical writing workshop questions

White Hat: 9nformation

(ellow Hat: Strengths) +ood points

*lack Hat: Weaknesses

+reen Hat: #reati!it$

*lue hat: *ig picture and choices H transformations

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lue hat: ig picture and choices H transformations