Textual Analysis in Area of Study 1 (Reading and Responding) involves the student going over particular text with a magnifying glass - highlighting everything that is unique or interesting - except without the magnifying glass! In a Text Response, you are required to provide a strong contention- as you are commenting on the text presented, focussing on a number of predominant themes, ideas, values, intentions and literary allusions to other texts. A text response essay requires you to critically analyse the text presented, which is done by developing a strong understanding of the ideas, characters and themes developed by the author. Additionally, consider your own interpretation and how others can interpret it as well. What are you rst impressions about the presented text? - What grabs your attention rst? (E.g. Funders almost feature-article like opening of Stasiland, or the mystery surrounding The American in Mohsin Hamids The Reluctant Fundamentalist). - What else grabs your attention? (Here- annotate your copy of the text, noting every thing that is interesting, and how it impacts your interpretation and understanding of the text). - Can you see any juxtapositions, ironies or contradictions? (What goes against each other [Love and death being intertwined, for example], or, what works with each other [E.g. Heathcliffs reincarnation as an educated and prosperous person compliments his enduring love of and with Catherine]) - When reading the text, what moods and tones are you feeling? (Did t Chapter 29 make you feel depressed, yet mournful for Heathcliff? How the text or parts of it make you feel is a key indicator of the authors intent as to how you feel sympathetic or unsympathetic to a particular character) STEP 1 Vocabulary and Structure - Highlight the key words that relate to the themes of the text. (E.g. in Stasiland, themes and vocabulary about duplicity, surveillance and nostalgia) (This makes you more aware of differences in language that you can reference to make your analysis top-band stuff) - Looking at these words, think about how they relate with other key words? (Here, I suggest that you scribble over the page with connectors and brief notes on how they relate with the moods you highlighted in step 1, as well as the things that grabbed your attention) - Do any of the words highlight as symbols, metaphors and symbolism?- things that arent made explicit, but mean more something? Are there any words with double connotations/denitions? (The VCAA study design has a strong emphasis on how the student picks up symbols. Also- words with double meaning can be placed in the text on purpose to create juxtapositions and inspiring literary effect- always have a look out for them!) - ALWAYS look for denitions for words you dont know! (Sometimes, they can mean really important things in the text. If the text is set in older periods, try using older dictionaries for meanings more relevant to the era the text was set and written in) STEP 2 Literary Style, Structures - Are there any patterns in the passage? (Patterns dont need to be formed through vocabulary- they can be present in themes, contextual innuendo and characteristics. Also- patterns dont have to be the same- an example of a complex pattern is one of opposites [E.g. in Wuthering Heights- Heathcliffs distressed state contrasted to Catherines state of peace after death is a pattern in the narrative]) - Does the text act as a window (or symbolise) the whole text? (Often, passages presented in exams are included deliberately to test you on your outside knowledge of the text [E.g. in Stasiland, Herr Kochs recount of the stasi forcing his divorce is a microcosm of Stasi surveillance practices discussed in that text). step 3 continued over STEP 3 Sali Miftari, 2014 Literary Style, Structures - How are sentences and phrases structured? (Sentence structure- particularly sentences of direct speech often provide a strong interpretations of the feelings and moods the author has intended to send across to the reader [E.g. Bronts use of a truncated, short sentence when Heathcliff relinquishes [his] labour of agony, and turned consoled at once: unspeakably consoled positions the reader to develop vexed sympathies for Heathcliff due to his willingness to commit the original sin of committing evil [and break social conventions] and disturb Catherines peace by digging up her grave]). - What is the style of writing? What person narration is it written in? What type of narration is it? (Is it a form of direct speech, narration, dialogue, argument or poetry? Just remember, that whilst a novel [E.g. Stasiland is a non-ction novel, written in rst person narration, making the writing very personal. However, the text is challenged by her subjective viewpoints, thus making her at times an unreliable narrator.]) STEP 3 Points of Views, Positioning and Authorial Intent - How does the text make you react to the characters and their traits? (Characters are central to almost all texts on the VCE English Text list- they exhibit themes, ideas and contrasts. Annotate your thoughts about a character through out the text. This is an integral aspect of high scoring text responses. - Can you identify literary colours, descriptions and other details that intensies the text? (Understanding why an author uses imagery is essential to creating an in- depth understanding of the text. An example of how to analyse imagery is this (relevant to Wuthering Heights): [Bront allusion to darkness and night intentionally contrasts with the disturbing nature of Heathcliff. Also, innuendos extending from Lockwoods nightmare in Chapter 3 are accentuated by overtones of darkness and the supernatural permeating through text]). - Who is the primary voice in the text? Do they talk to anyone? Are they presenting a point-of-view, or some sort of agenda? (Some interpreters of literature- me included- view particular characters as the embodiment of the authors points of views and personal agenda. For example, in George Orwells 1984, Winston Smith- as a character- embodies the authors [George Orwell] strong distaste with the world and order of life when he wrote the text in 1948. Did Bront intentionally cast Heathcliff as a dark and disturbed character to allude to her own traits as a dark and depressed person disillusioned with a lonely life?) STEP 4 Literary Techniques, Devices, Symbolism and Motifs - Can you see any metaphors? (Metaphors are intended to exemplify an important aspect of the text by constructing similarities between ideas, themes, characters, thoughts and authorial intentions not only in the passage and the text it comes from, but other texts, moral lessons, philosophy and anything extraneous). - What is the signicance of particular things (E.g. Metaphors, Symbols and Objects) in the text? (Deciding the signicance, and understanding the importance is up to you. It is wholly subjective, therefore, if you can explain something- it will often always stand. The assessment rubric for English suggests that for a score in the 25-30 top band range, you must undertake Complex discussion and critical analysis of the structures, features and conventions used by the author to construct meaning. Signicance is NOT about why something is important- but why it adds to the development of the narrative and your own interpretation of the text). - In Step 4, you identied colours and literary images. Do these images actually mean anything? (Like, could a literary feature have something to do with religion (The three level house in Montana 1948, Larry Watson), or a dagger (Macbeth, Shakespeare) to do with fate [Those were examples of symbolism in other texts]. Finding meaning for these things is not something that the author has written in the text- its up to you to think about things that could potentially link and connect here and there). - If you nd that something is recurring in the text, through your annotations, then that object/notion/phenomenon/idea is known as a motif. (Motifs are like keys- they open the lock to all things strong and important about the text, as well as unlock the stuff you need to highlight in your passage analysis!) - CONTEXT IS AN IMPORTANT PART OF DISCUSSION. Refer to separate page below. STEP 5 Sali Miftari, 2014 Brief example of an analysis of Literary Techniques and Features in a text
For this example, Ive used Anna Funders Stasiland to demonstrate step 5. However, the basic principle of discussing and creating an interpretation is universal to all texts on the VCE English 3/4, and can be harked back upon in a text response.
Klaus leans in and picks up his tin of tobacco. And then she [Comrade Ruth Oelschlgel] said to us, We are to inform you today, that you dont exist anymore. There was silence. One of the band members signalled to roadie to stop setting up. Kuno asked, Does that mean were banned? We didnt say youre banned, Comrade Oelschlgel said. We said you dont exist. Page 189, Chapter 19: Klaus. Stasiland, Anna Funder What do I notice?- Note, things in bold are examples of the analysis expected. Usually, youd scribble over your sheet with this stuff, but well dot point here. - Leans in, use of the rst person narrative, accentuating realness and rawness of this traumatic experience for Klaus and his band members. - she is a pronoun that in the context of the text is ambiguous, and creates a feeling of individuals being subordinate to the state. - you dont exist is an allusion to George Orwells 1984- An antagonist- OBrien (A member of the Thought Police- the Governments surveillance agency) tells Winston Smith (The protagonist, also dissident against the state) that he doesnt exist- just as the antagonist in Stasiland, Comrade Ruth Oelschlgel, tells the protagonist (Klaus), that he doesn't exist. - There are many, many more just in those 60 words- but well stop here. An example analysis paragraph, using some (notice how I havent used all) of the analysis of this snippet of the text. This would be just one part of a full text response on Stasiland.
George Orwells 1984 is perhaps one ofthe most well known pieces of ction abouta dystopian world tainted by oppression, surveillance and bland, anaemic homogeneity- somewhat similar to how Funder portraysHoneckers East Germany (GDR). Funder alludes to OBrien, a character who is loyal to the Ingsoc through reference toComrade Ruth Oelschlgel- the member of the GDR-establishment in charge of reviewing and approving artistic license applications in the GDR. The notion and ordeal of Klaus Renft and his combo exist[ing] anymore is one that Winston Smith- the disillusioned protagonist in Orwells 1984- endures towards the end of the text when OBrien informs Smith that unlike Big Brother, he does not exist.
Also, Funders allusion to 1984 is accentuated by the use of the pronoun we. In 1984, this same pronoun exemplies the fact that the state (In the case of 1984- Air Strip 1) represents the order of life (reality)- whereas, Smith, due to the fact that he is a dissident, is anunreal object in themakeup of that society- a mere nobody. Funder casts the German Democratic Republic in a likewise sense- in the fact that what the state says, goes. Hence, like many characters, groups and movements that go against the establised order in this state,the Klaus Renft Combo is literally forgotten and erased from the scheme of things in the reality of GDR day-to-day life. Structuring these types of in-text response discussions
1. Make explicit the point you are going to make regarding the discussion you are about to embark on. George Orwells 1984 is perhaps one of the most well known pieces of ction about a dystopian world tainted by oppression, surveillance and bland, anaemic homogeneity- somewhat similar to how Funder portrays Honeckers East Germany (GDR). Notice how Ive highlighted the literary allusion, and constructed the link to the text the response is on? 2. Provide the evidence from the text you are studying, and link to the evidence from the other text. The notion and ordeal of Klaus Renft and his combo exist[ing] anymore is one that Winston Smith- the disillusioned protagonist in Orwells 1984- endures towards the end of the text when OBrien informs Smith that unlike Big Brother, he does not exist. Remember- whilst the evidence from the text should almost always be a quotation, the evidence from the alluded text doesnt 3. Make the link back to your argument in the main body paragraph, and the contention too. Hence, like many characters, groups and movements that go against the establised order in this state, the Klaus Renft Combo is literally forgotten and erased from the scheme of things in the reality of GDR day-to-day life, much like one of the many people that suffered from existential obsolesce in the GDR . (Note: Ive made the assumption that the essay topic is Things were, and have been forgotten in the GDR, and that the argument of the MB is that the regime caused many to become extinct in the regime). Sali Miftari, 2014 Incorporating Social, Political and Historical Context in your Text Response SAC
As evidenced below, a complex discussion of how social, historical and cultural values are embodied in the text is an important in scoring a top-band response in this SAC (Which is worth 30 VCAA Marks in Unit 3 and 50 VCAA marks in Unit 4!). Arguably, the use of the word complex in this descriptor is a little bit of a faux pas, as discussing how these ideals are embedded is rather self- intuitive. So, how do you talk about these textual contexts in a complex, and highly expressive way?
Introduction - In your introduction, it is unwise to explain in detail the contexts. - The extent of highlighting contextual links is by highlighting them briey in your opening remarks. - This sets you up for some great foreshadowing in your text response!
Consider the introduction below, based on a text response to Anna Funders Stasiland.
Main Body Paragraph - It is highly suggested that you do not base a whole main body paragraph on the Social, Political and Historical context. - When discussing these textual contexts in a highly expressive and complex way, it is often to enhance an argument or point made on a literary techniques. - The best way to establish complexity is by embedding it in to your point of discussion. Perhaps, split each type of context into themes, ideas and quotes. - Expressivity is established by linking your discussion of contexts to themes. Anna Funders Stasiland, (2002), provides a condemning exposition into how the deplorable practices of the socialist Stasi affected the lives of ordinary citizens in the former German Democratic Republic (GDR). Funders investigation uncovers the lingering impact of the Iron Curtain (and Berlin Wall) had on reunied Germany, illustrating how its existence symbolised a long lasting trauma that for some, cannot be forgotten. I introduce a key component of the historical context; in this case, the Stasi and its part in history. Here, a simple allusion to a part of the text - Mauer im Kopf - can be done by warming it up when providing a general overview. This is a cultural value. Social, Historical and Political context can also be alluded to when noting how the contexts have inuenced the future. Ive merely highlighted a mere item that is highlighted in the text, and is the basis of discussion in it. This is an example of foreshadowing. Sali Miftari, 2014 Metalanguage and Evidence in a Text Response SAC
Metalanguage Using appropriate metalanguage - metalanguage being a form of language or set of terms used for the description or analysis of another language - is an important part of high scoring text responses. Often, the use of metalanguage is the di#erence between a 24/30 (second band) or 25/30 (top band). Consider the list of terms below commonly used in text responses to describe texts and their language Types of Metalanguage Character Protagonist, Antagonist, False protagonist, Secondary character, Supporting character, Major character or Minor character Genre Adventure, Comic, Crime, Epistolary, Fantasy, Historical, Horror, Mystery, Philosophical, Political, Romance, Satire or Thriller Form Non-ction, Novel, Novella, Plays, Poetry or Short stories Language Form Prose, Iambic pentameter, Blank verse or Free verse Narrative Mode First person view, Second person view, Third person view, Third person objective, Third person subjective, Third person omnipresent, Third person limited, Alternating narrative view, Stream-of-consciousness, Linear narrative or Nonlinear narrative Narrative Tense Past, Present or Future Plot Anti-climax, Climax, Conict, Denouement, Dialogue, Exposition, Subplot, Trope-clich or Turning point Setting Culture, Historical, Geographical, Social, Dystopia or Utopia Metalanguage for Literary Techniques Active voice, Allegory, Alliteration, Allusion, Ambivalence, Ambiguity, Antithesis, Antonyms, Bildungsroman, Characterisation, Cliffhanger, Colloquialism, Complex sentence, Compound sentence, Connotation, Context, Contextual framework, Denouement, Diachronic, Dialect, Dialogue, Elision, Epigraph, Epilogue, Epiphany, Euphemism, Flash back, Flash forward, Foreshadowing, Formal, Hyperbole, Idiom, Imagery, Informal, Irony, Juxtaposition, Metaphor, Meter, Mood, Morphemes, Motif, Neologism, Onomatopoeia, Oxymoron, Paradox, Parody, Passive voice, Personication, Positioning, Prex, Prologue, Rhetoric, Rhythm, Simile, Simple sentence, Slang, Soliloquy, Stereotype, Symbols, Synonyms, Tone, Tragedy or Vernacular Sali Miftari, 2014
Evidence and Quotations Often, this is the most difcult part of the text response. Generally speaking, students force themselves to use quotes that they have remembered, but dont really t in. I bring this down to the fact that students often try and remember whole practice essays, which in turn makes quotations that dont t bleeding obvious. Consider the following the tips below: - Always warm up quotes by surrounding them in a few words to contextualise how your evidence will prove your points. GOOD: Funder observes that one could see anyone coming from her apartment in Leipzig. BAD: Funder is in her apartment. One could see anyone coming. Then Miriam.. - CREATE A QUOTATION BANK FROM THE MINUTE YOU START READING. This is imperative to your preparation. In doing this, dont just copy the quote down, rather, right some notes on the signicance of it. Consider the example of a quote bank below. Practice Paragraph highlighting considered selection and use of textual evidence, and use of appropriate metalanguage
By denying the truth and its e#ects, Stasiland reveals that while the past cannot be perpetually erased, it can be managed into the future. As a piece of literary journalism, Funder strives to interact with characters from both sides of the regime, however authorial bias is displayed in her discussion with Karl-Eduard Von Schnitzler. Through the uninviting tone employed in the dialogue, Von Schnitzler- a self proclaimed leading gure of the GDR is instantaneously portrayed as a nasty person who vehemently denies the extent of the regimes brutality. Von Schnitzlers belief that he is be-lov-ed by everyone directly exposes the ignorance he has about his place in the new German society, therefore appearing unfettered about his past. Furthermore, Von Schnitzlers unburdened appearance is challenged as Funder notices that the name at the doorbell to his apartment is not his, rather, his wifes. Prior to beginning the interview withSudel-ede (Filthy Ed), the absence of his name at the door can be interpreted as an acknowledgement of Von Schnitzlers fear of retribution for contributing to the trauma experienced by citizens, thus implying that his conscience in the present and future has indeed been a#ected by the actions of his past. Additionally, Funders interview with Klaus Renft- a victim of Orwellian-like structure in East German society- demonstrates his dependency on alcohol to numb the a#ects of traumatic ordeals from his own past. Whilst Funder notes that Klaus memory of not existing anymore has somewhat withdrawn into the background, hisalcohol cushioned landings allude to the idea that the past has in fact dened his present and future to the extent that his alcohol-dependency is the cathartic vehicle used to nullify his pain. Funders interaction with the contrasting characters Klaus and Karl-Eduard Von Schnitzler demonstrates that whilst present and future is greatly shaped by the past, the process of rehabilitation can occur by implementing coping mechanisms- be it through outright denial or forced ignorance- that slowly causes one to withdraw and move on into the future. Quotation is warmed up by noting the context of who said it Quotation is used to both enhance my point, as well as make a reference to the historical context AND literary allusion (to Orwells 1984) Use of Metalanguage is highlighted in green Sali Miftari, 2014 The Study Design Broken Down: Area of Study One, Reading and Responding
People often nd the study design a little confusing. This is a shame, as teachers usually refer you to the study design when you want to know what is going on. Therefore, Ive broken it up. In the white cells youll nd what VCAA prescribes in the document. In the grey cells, there is a simple explanation of what this means, and therefore, what you will be expected to do in the SAC.
VCAA Study Design: http://www.vcaa.vic.edu.au/Documents/vce/english/English-ESL-SD-2007.pdf KEY KNOWLEDGE That is, what do I need to know in this study? 1 What it says: An understanding of the ideas, characters and themes constructed by the author and presented in the selected text. What it means: That you know about the key points in the text- the things that make a text a text. 2 What it says: The structures, features and conventions used by authors to construct meaning in a range of literary texts. What it means: That you understand what the author does in writing their text, and how they use different literary techniques to construct their narrative. 3 What it says: Methods of analysing complex texts and the social, historical and/or cultural values embodied in texts. What it means: That you develop a deep understanding of the inuences in a text. 4 What it says: The ways in which the same text is open to different interpretations by different readers. What it means: How other readers can interpret and develop an understanding of their text. They dont have to always be the same! 5 What it says: Strategies and techniques for constructing a supported analysis of a text, including a knowledge of the metalanguage appropriate to the analysis and to the text type. What it means: Knowing how to write a well-structured and complex text response essay, or oral (depending on what your school chooses to do). 6 What it says: The conventions of spelling, punctuation and syntax of Standard Australian English. What it means: That you know basic grammar and spelling rules that you have learned from Prep. Once you have done this: You should be able to analyse, either orally or in writing, how a selected text constructs meaning, conveys ideas and values, and is open to a range of interpretations. Sali Miftari, 2014
The Assessment Criteria: Area of Study One, Reading and Responding
Remember: - In all Unit 3/4 disciplines - including English 3/4 - in order for you to get a Satisfactory, you need to score a minimum of 30%. This means that in the SAC for this Area of Study (AOS1), you need to score a minimum of 9 out of 30. - This area of study is worth 30% of Unit 3, and 50% of Unit 4. All SAC marks make 50% of your study score, therefore, AOS1 for both U3 and U4 makes up 40% of your SAC score. Outcome 1 Analyse, either orally or in writing, how a selected text constructs meaning, conveys ideas and values, and is open to a range of interpretations. MARK RANGE DESCRIPTOR: typical performance in each range 2530 marks First (Top) Band Thorough and insightful understanding of the ideas, characters and themes constructed and presented in the text. Complex discussion and critical analysis of the structures, features and conventions used by the author to construct meaning. Complex analysis of the ways in which social, historical and/or cultural values are embodied in the text. Construction of a sophisticated interpretation which demonstrates an understanding of ways in which the text is open to different interpretations by different readers. Considered selection and use of significant textual evidence and highly appropriate use of relevant metalanguage to support analysis. Highly expressive, fluent and coherent writing or, in an oral response, the skilful use of highly appropriate oral language conventions to engage an audience. 1924 marks Second Band Thorough knowledge of the ideas, characters and themes constructed and presented in the text. Well-developed discussion and sound analysis of the structures, features and conventions used by the author to construct meaning. Identification and exploration of the ways in which social, historical and/or cultural values are embodied in the text. Construction of a well-developed interpretation, demonstrating knowledge of ways in which the text is open to different interpretations by different readers. Careful selection and use of suitable textual evidence and appropriate use of relevant metalanguage to support analysis. Expressive, fluent and coherent writing or, in an oral response, an ability to use appropriate oral language conventions to engage an audience. 1318 marks Third (Middle) Band Knowledge of the ideas, characters and themes constructed and presented in the text. Discussion and some analysis of the structures, features and conventions used by the author to construct meaning. Identification of the ways in which social, historical and/or cultural values are embodied in the text. Construction of a general interpretation and some identification of ways in which the text is open to different interpretations by different readers. Suitable use of textual evidence and appropriate use of some relevant metalanguage to support analysis. Generally expressive, fluent and coherent writing or, in an oral response, an ability to use some appropriate oral language conventions to engage an audience. 712 marks Fourth Band Some knowledge of the ideas, characters and themes constructed and presented in the text. Generalised discussion of the structures, features and conventions used by the author to construct meaning. Identification of a way in which social, historical and/or cultural values are embodied in the text. Some evidence of an ability to construct a general response to the text and identify a possible interpretation. Some use of textual evidence and use of some relevant metalanguage to support analysis. Clear expression of ideas in writing or, in an oral response, variable ability to use oral language conventions to engage an audience. 16 marks Fifth Band Limited knowledge of the ideas, characters and themes constructed and presented in the text. Little, if any, identification of the structures or features or conventions used by the author to construct meaning. Little, if any, identification of a way in which social, historical and/or cultural values are embodied in the text. Little evidence of ability to construct a general response to the text or to identify an interpretation. Minimal use of textual evidence or relevant metalanguage. Simple expression of ideas in writing or, in an oral response, limited use of oral language conventions to engage an audience.