YEAR 11 Advanced: Tempe High School

First Module Compulsory Module A: Read to Write

Unit Title: Writers Evoke and ProvokeUnit Focus: Private Lives/Public Personas

Duration: 10 weeks

Focus questions:

1. Why do we need to engage in reading BEFORE we write? How does quality reading support quality writing?

2. What choices do quality writers make? How does style and structure contribute to quality writing?

3. How can we use patterns and conventions from familiar texts to respond to new texts? How do these patterns reinforce complex ideas,

relationships, endeavours and scenarios?

4. How do writers represent their experiences and influence through point of view? How do they shape their ideas within specific contexts

and for specific audiences and purposes?

5. How can we become effective writers and develop our distinctive voice in a range of texts? Why are distinctive voices important?

Outcomes: pages 5-15

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Text/s see next page: Focus on short quality texts – 4 to 6 varied texts selected to meet the needs and interests of the students. Accompanying these texts students will also view/read reviews, essays which present further textual forms which support the texts of study in this module. The texts encompass a range of modes and media.

The text selection represents a range of text types by each composer and how their voice is shaped by the textual type and their proposed audience(s). For the focus of Private Lives/Public Personas the composer’s context is explored with each text giving rise to the notion that distinctive voices are derived from cultural meshing or opposing ideas and channelled through a process of writing and drafting their ideas and concepts. The variance in style, voice and register represents the way each composer evokes and provokes through the mechanics and aesthetic choices in their composing. Both provocation through political voice and the inner reflection of creativity for the individual composer is explored via these texts. *Examine the composer’s context, body of work and published works

Children’s Narratives (Weeks 1-2)Salman RushdieNovel extract (chapter 1): Haroun and the Sea of Stories(1990)

Oscar WildeShort story: The Happy Prince

Dorothy Parker (Week 3-4)Short Story:You Were Perfectly Fine, Telephone CallPoetry: A Well Worn Story,After Spanish Proverb,

Afternoon,August

Sally Potter (Weeks 5-7)Filmic text: Orlando (1992)

John Berger: Ways of Seeing (1972)https://www.youtube.com/watch?v=TvtfJ00fe1E

Film Review of Orlando

Virginia Woolf (Week 8)Novel extract (chapter 4): Orlando (1928)

Jeanette Winterson Critical analysis of OrlandoArt Objects. Essays on Ecstacy and Effrontery (1996)

Essay: Death of a MothDiary entries: 1926-1927

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Postmodernist Photographers (Week 9)Tracy MoffattDigital Photograph: Adventure series (detail) 2004Cindy ShermanDigital Photograph: Untitled #228, (1990)

Solange Knowles:Essay: And Do You Belong? I Do (2016)Video Clip: Don’t Touch My Hair(2016) Lyrics: Don’t Touch My Hair(2016)

Assessment Week:(Week 10)

Preparation towards Short Story Assessment Task Journal work: editing, drafting and peer feedback.

Rationale: Writers Evoke and Provoke (Read to Write)Unit Focus: Private Lives/Public Personas

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Year 11 Common Module – Reading to Write Rubric as Stipulated by NESATransition to Senior English

In this module, students undertake the intensive and close reading of quality texts from a variety of modes and media. In doing so, they further develop the skills and knowledge necessary to appreciate, understand, analyse and evaluate how and why texts convey complex ideas, relationships, endeavours and scenarios. Central to this module is developing student capacity to respond perceptively to texts through their own considered and thoughtful writing and judicious reflection on their skills and knowledge as writers. Students read texts that are engaging thematically, aesthetically, stylistically and/or conceptually to inspire or provoke them to critique skilfully, or to respond imaginatively. Through the study of texts, students develop insights into the world around them, deepen their understanding of themselves and the lives of others and enhance their enjoyment of reading.

The careful selection of critical and creative texts that address the needs and interests of students provides opportunities for them to increase the command of their own written expression, and empower them with the confidence, skills and agility to employ language precisely, appropriately and creatively for a variety of purposes.

Wide reading and reflection provides students with the opportunity to make deeper connections and identify distinctions between texts to enhance their understanding of how knowledge of language patterns, structures and features can be applied to unfamiliar texts. Through imaginative re-creation students deepen their engagement with texts and investigate the role of written language in different modes and how elements for example tone, voice and image contribute to the way that meaning is made. By exploring texts that are connected by form, point of view, genre or theme, students examine how purpose, audience and context shape meaning and influence responses.

Through responding and composing for a range of purposes and audiences students further develop skills in comprehension, analysis, interpretation and evaluation. They investigate how various language forms and features such as structure, tone, imagery and syntax are used for particular effect. They analyse and assess texts using appropriate terminology, register and modality. By reading and writing complex texts they broaden the repertoire of their vocabulary and extend control of spelling, punctuation and grammar to gain further understanding of how their own distinctive voice may be expressed for specific purposes.

Assessment for Assessment as learning Assessment of learning

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learning

Assessment that occurs usually throughout the unit and can often be referred to as ‘formative’- used to inform and clarify teaching and learning as we move forward.

→ Comprehension of reading material through class discussion and brainstorming

→ Marking extended responses throughout the term

→ Sentence Structure Activities- looking at written expression and shaping of student voice

→ Are students picking up similar patterns of reading as they move to new texts?

Assessment where students monitor and assess their own learning by reflective questioning and strategic implementation of solutions.

→ Peer editing of other students’ responses - creative and critical

→ Working as teams to discuss the effectiveness of a writer and their style

→ Responding in journal - critiquing their own work and learning to evaluate their flaws and strategies to respond

Assessment where teachers use evidence of student learning by matching that learning to standards and outcomes - usually end of the unit and referred to as ‘summative’.

FORMAL ASSESSMENT : 40%

Two Parts: 20% each

Part 1: Students deconstruct an unseen passage and consider how the writer ‘evokes and provokes’ through language, structure and style. This will be an in-class examination style assessment. Week 9/10

Part 2: Students compose a short story (900 words) based on the theme/genre they studied in class. They must have at least 6 annotations on their story which explain their choices in particular sections of their narrative. This is a take-home task. Week 9/10

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OutcomesWrite full outcome

Teaching and Learning (activities, skills and content) Evidence of learningHow will we know the students are learning?

9.8 create texts reflecting on their own learning, considering how processes can be adjusted to ensure better learning outcomes

9.9 use constructive, critical feedback from others to improve learning, including their own composing and responding

Students should be told to purchase a journal or they may use the back of their English book as their journal. Teacher could provide students with a booklet of varied texts. These texts will form a complete journal of responses, creative drafts and different text types which they will respond to by the end of the unit. The students will respond to at least 5 of the texts on page 2 in their journal. The teacher should provide a scaffolding response sheet to be placed in their journal.

Week 1 and 2 : Show students that good writing comes from making conscious and explicit language choices

Text 1: Salman Rushdie Novel extract: Haroun and the Sea of Stories(1990)

Students are asked to compose a 6 sentence paragraph description of setting/tone/character which has been evoked from viewing two visual texts as stimulus for their writing.

Following this, students read an extract from Haroun and the Sea of Stories by Salman Rushdie focussing on setting/tone/character. The teacher will need to explain the terminology of language choice and the terms they will be using below. The students compare the stimulus text with the novel extract and compare the elements from each narrative and genre.

Teacher deconstructs this extract for the purposes of drawing attention to: Imagery Syntax - sentence structure and order of words (SVO - subject, verb and object)

Students will extract the notions of the writing process and consider the context of the composer through viewing interviews and extracts.

Demonstrate how the syntax in the first text is utilised by the composer to define style and purpose.

Journal writing allows students to question and impose their own style whilst examining syntax of

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9.91 assess the strengths and weaknesses of their own compositional style and amend compositions as a result of the process of feedback and reflection

Point of View

The students will have an annotated version of the extract which point to the specific elements being discussed or insist that students write it down next to each example as they proceed through the extract.

Students then revisit their earlier paragraph they composed and, using the explicit language choices they looked at in the model stimulus text, they create a better paragraph. They should focus on imagery, sentence structure and deliberate point of view.

Students swap with a peer and read each other’s before and after pieces. The teacher should provide them with a criteria list to support their evaluation of each other’s work.

Journal: How did reading someone else’s writing support the development of your own? What specific language choices did you integrate in your writing? What was the effect you were trying to create?

Read and view the following composer’s views on the writing process:

Salman Rushdie on novel writing: https://www.youtube.com/watch?v=eutYWr53mFE

Salman Rushdie on storytelling: https://www.youtube.com/watch?v=ud5Wu_D2kVE

Stephen King: http://www.openculture.com/2014/03/stephen-kings-top-20-rules-for-writers.html

As you read, ask students to highlight any ideas that resonated with them in one highlighter colour and any words/ideas they did not know in another colour. When the class comes together, each student must provide one idea that resonated and one word/idea they did not know.

Journal: What similarities were there in the advice of these writers? What distinctive advice did they offer from each other? Before you start, create a word bank of words that you may use to strengthen the language choices in

the composer and their own work.

Students’ exploration of word choices impact their variety of terms used in analysis of texts and in their own construction of creative texts. Students developing strength of contextual purpose in their own journal writing.

Students’ examination of the writing process by published writers in their questioning of the private context of the writer (Rushdie) and the chosen text type being a children’s narrative.

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your writing. How does each writer hope to evoke and/or provoke?

Examination of purpose in the public voice to what they are experiencing in their private world(s).

2.8 locate suitable information sources, skimming for general meanings and scanning for specific information, note-taking, summarising, paraphrasing and using graphic organisers to collect and collate information

Week 3 and 4 : Discuss the rubric with students and show how you will aim to drive student learning through a particular genre/theme so that students can see the patterns in reading and writing, especially when they become part of broader categories

Texts 2 & 3 Dorothy Parker Short Story:You Were Perfectly Fine, Telephone Call & Poetry: A Well Worn Story,

Rubric acknowledgement: teacher worksheet based on the rubric where students are given statements and they must find the exact statement in the rubric which links to that statement. This way, students can actively read for meaning rather than just sight words.

Rubric Statement Teacher Created Synonymous Statement / Easy to Understand for Students

Variety of modes and media We need to study short stories as well as other types of texts

Evaluate and appreciate We need to know how to judge texts based on certain criteria

Teacher reads the story with students and pauses where necessary to monitor that they understand words or situations being discussed. Students are asked to make personal connections or connections with the local or global perspectives within the text. Given your biographical

Through discussion of the rubric students interrogate the short story and make synthesis to the works in other genres by the same composer. They show how the personal context can help the audience appreciate the criteria used in the rubric.

Students demonstrate the connections between the published narratives to any connection in the composer’s private world by using the

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3.1 engage

with increasingly complex texts to understand and appreciate the power of language in shaping meaning

4.4 use

language features, including punctuation and syntax, for particular effects in new and different contexts

1.9a develop

creative and informed interpretations of texts supported by close textual analysis

understanding of the composer Dorothy Parker how does the text express her personal context? Give an example of this? Why is this perspective important to our understanding of the text?

Comprehension - individual or peer exercises BUT these must be discussed at class level as well.- Overall, summarise the story in 5 lines. Do this activity with students so they can learn how to

extract the main ideas from the text.- How does this text fit into the characteristics of this genre?- What complex idea was being portrayed? Select THREE conscious language choices that were

made to position you to see the significance of this complex idea?- There is a tonal shift in the narrative? Where does it occur and how do we know that it has

occurred?- What comment does this story make about the way we relate to one another?- What would you have done in this scenario which differs from the choices made by the

characters? Explain your decision.

Journal: Rewrite this narrative but from the point of view of the persona in the poem. Before you start, create a word bank of words that you may use to strengthen the language choices in your writing.

Journal: Prediction exercise - write an alternative ending to the short story giving an annotated reasoning for this.

biographical information of the composer Dorothy Parker.

By rewriting the narrative from the perspective of another character - students will be able to demonstrate how the use of the character can be shaped, defined by the syntax and the stylistic choices of language.

Students demonstrate their personal understanding of the holistic structure of the narrative by key choices in their

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writing of the alternative ending.

1.1. investigate, appreciate and enjoy a wide range of texts and different ways of responding

4.1 transfer knowledge of language and literary devices to engage with unfamiliar textual forms or texts in unfamiliar contexts

1.6 analyse the ways

Week 5 to 7: Discuss how similar complex ideas, relationships, scenarios and endeavours can actual exist in feature films and other visual texts which often have wider audiences than written short stories

Introduction to Feminist Analysis

Text 4 Sally Potter Filmic text: Orlando (1992) Accompanying text: John Berger: Ways of Seeing (1972)https://www.youtube.com/watch?

v=TvtfJ00fe1E

Orlando (feature film) - Endeavour and Scenario Focus

First Viewing:

As well, work on defining the terms ‘endeavour’ (an aspiration or venture) and ‘scenario’(Sequence or development of events). Students need to be on the lookout for what endeavour is focused on? What scenario is being used to explore this specific endeavour by the protagonist?

Think - pair- share: tell students that as they watch they will be looking for textual elements that this text invokes in terms of the central character. How this use of character reflect the private life of composer Virginia Wolf. They need to write down any references they see and/or any

Students demonstrate a working knowledge of how the feminist lens can shape our understanding of a text in their journal writing.

Students demonstrate a consolidation in their understanding of narrative elements and being able to apply them by a focus on the scenario and how the use of this sharpens our

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language features, text structures and stylistic choices represent perspective and influence audiences

1.7 explain how various language features for example figurative, grammatical and multimodal elements create particular effects in texts and use these for specific purpose

1.2 compose personal responses to texts and consider the responses of

differences.

Second Viewing:

Teacher-create cloze sheet: using a review of Orlando- teacher removes key words that aim to build the sophistication of language.

Discussion of Orlando. They must discuss in reference to an evaluation of criteria. Characterisation: how was the idea of character being built through body language, dialogue and

relationships with others? How are these elements shaped by the cultural context? Narrative Structure: in pairs, plot the structure of the film - from aspiration to vulnerability and

how this shapes gender expectations of the plot, characterisation and historical context.

Teacher takes students through types of point of view, characters, settings, themes, stylistic choices, conflicts and narrative structure from the perspective of Feminist analysis. All other units depend on students knowing these terms so students will need to revisit these time and time again.

The following video clip comes complete with a lesson on how to break down the video on John Berger’s exploring the male gaze in art and history from his book Ways of Seeing (1972). https://www.youtube.com/watch?v=TvtfJ00fe1E

Journal: Using some of the terms from Feminist analysis use one scene from the film to discuss the gender expectations facing the character of Orlando.

Journal: Script a (50-200 word) film trailer for Orlando incorporating some of the terms from Feminist analysis.

understanding of the persona.

Confidence identification of narrative elements and deepened by the collaborative activity.

Students demonstrate a greater depth and sophistication of terms and use of synonymous terms in their writing.

Students apply their understanding of the Feminist lens to their analysis of how characterisation, setting and political context provokes major ideas in the narrative plot of the text.

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others

4.5 examine and evaluate the cohesion of syntax and content in familiar and unfamiliar texts

4.6 investigate text structures and language features related to specific genres for different purposes and audiences

1.8 apply and articulate criteria used to evaluate a text or its ideas

3.6 explore the ways text structures, language

- Complex Ideas and Relationships FocusThe Feminist concept of the male gaze to view the way the gender of Orlando has been conveyed.

Week 8 : Concentrating how texts expose public and private concerns of composers whilst following the idea of language patterns in good writing. Focus on how distinctive voice is being shaped by the cultural context and how we use certain types of analysis to understand the text.

Introduction to Feminist Analysis

Introduction to Semiotic Analysis

Text 5 Virginia Wolf Novel chapter extract: Orlando (1928)Accompanying text: Jeanette Winterson : Art Objects. Essays on Ecstasy and Effrontery(1996)

Students demonstrate the use of the appropriate register in writing their film trailer using feminist language and concepts of how the representation of the female and male characters is depicted.

Students demonstrate their understanding of the feminist perspective in how texts provoke major ideas whilst convert ideas are implicit in our understanding of context.

Students demonstrate a decoding of how compelling images provoke major ideas in a text.

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features and stylistic choices are used in different types of texts

Discuss the context of these short stories and consider why they may have been written this way. How did the context shape them?

Analyse each story for characterisation, conflict, narrative structure and point of view Students consider the notion of ‘voice’ in writing as a thorough class discussion. Different extracts

from poems or diary entries from Virginia Wolf will be used to contrast the public and private voice of the composer.

8.1 identify cultural assumptions in their own texts and in their responses to the texts of others8.5 analyse and discuss the ways ideas, voices and opinions are represented

After reading the chapter extract of Orlando and the critical essay by Jeanette Winterson’s Art Objects. Essays on Ecstasy and Effrontery , students are to summarise the main points around the idea of why people write and respond critically to texts. What complex ideas and scenarios are they attempting to express? What are the implications of writing about these ideas and identify the audience for each text?

Students use their understanding of the composers context to see how one text (Orlando the film) has been adapted with all the narrative elements from the novel to synthesise characterisation, context and stylistic choices by both composers.

Students use the narrative elements from the novel to understand the syntax, structure of the text and the use of characterisation,

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Syntax and Sentence Structure: Introduce students to sentence structure in an explicit fashion. Use this text to teach students simple, compound, complex and compound-complex sentences.

Explain the importance of variation in sentence structure Ask students to work in pairs to identify the variation in sentence structure on certain pages. How

does sentence structure create powerful images and build characterisation?

Journal: After this, they are to write a paragraph on whether the writer has used variation in sentence structure to be effective or whether there are other aspects of the text that make the writing powerful. As they reflect on this in their paragraphs, they must be conscious of varying their sentence structure.

Tell students that they will be continuing to assess and compare sentence structure in the writing of Virginia Wolf, Dorothy Parker and Salman Rusdie.

5.8 select, interpret and draw conclusions about information and ideas in texts

5.9 use evaluative language, including emotive language and modality for particular purposes and effects.

5.91 make connections between information and ideas and synthesise these in a range of critical and creative texts

5.92 compose critical and creative texts that explore increasingly complex ideas

context and stylistic choices in their own writing.

In their paragraph students demonstrate stylistic choices to craft their own composition.

Students compare some of the stylistic choices employed by various composers – Rushdie, Woolf and Parker to provoke ideas in their works.

Students show an understanding of purpose and audience when they read literary analysis of texts known to them.

1.3 identify and

Week 9: Utilising a postmodernist perspective on reading texts, whilst interrogating the elements of narrative in diverse multi-media texts. Students concentrating on shaping their own voices in a narrative text with salient ideas in the texts viewed and read in this module.

Students show an understanding of purpose and audience

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describe the contexts of composing and responding, for example personal, social, historical, cultural and workplace contexts, and consider how these contexts impact on meaning

1.4 recognise the effects of their own contexts on their composing and responding

Introduction to Postmodernist Analysis

Postmodernist Photographers (Week 9)Tracy MoffattDigital Photograph: Adventure series (detail) 2004Cindy ShermanDigital Photograph: Untitled #228, (1990)

Accompanying texts: Solange Knowles:Essay: And Do You Belong? I Do (2016)Video Clip: Don’t Touch My Hair(2016) Lyrics: Don’t Touch My Hair(2016)

Introduction to Postmodernism: Teacher needs to engage student in a brainstorming/thought-shower session on what they already know about Postmodernist techniques they may already experience in reading or viewing texts.

Teacher takes students through types of point of view, characters, settings, themes, stylistic choices, conflicts and narrative structure from the perspective of Postmodernist analysis. All other units depend on students knowing these terms so students will need to revisit these time and time again.

The following video clip comes complete with a lesson on how to break down the video on John Berger’s exploring the male gaze in art and history from his book Ways of Seeing (1972). https://www.youtube.com/watch?v=TvtfJ00fe1E

Journal: Write a scenario for a Postmodernist image which interrogates the theme of gender from a contemporary or historical perspective. Paying attention to the setting, persona and conflict.

when they view visual and multi-modal texts appreciating that popular culture demands the audience to understand conventions of the narrative employed.

By applying the Postmodernist lens students analyse point of view, character, setting and conflict in the narrative structure to provoke major ideas from the composer’s private world.

Students show an understanding of purpose and audience when they read literary analysis of visual and multi-modal texts in their journal writing. Reflecting on the salient ideas provoked from a cultural and gender perspective.

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1.5 analyse how texts are created in and for a variety of contexts, audiences and purposes

Journal: Students compose a reflective essay on how writers’ distinctive voices are shaped through two of the texts studied in this unit. Students can draw upon the critical analytical texts covered in this module. The texts used in this week are from different modes and media and position their audiences in different ways to written texts.

Journal: Write a short story fragment (2-3 pages) based on the persona of Solange Knowles or a character in the photographs

Prior to writing, the students brainstorm theses for this question and what structure they would follow. Allow for the students to use the six traits of writing procedure and draft as many times as they need to. Teachers should mark this essay but may allow for peer editing prior to the teacher marking. Students may fix up essay based on peer comments before they hand it in to the teacher.

3.95 create cohesion in texts by strengthening the internal structure of paragraphs through the use of examples, quotations and substantiation of claims

9.3 assess their own strengths and needs as learners and apply strategies to ensure their ongoing improvement

9.4 support the learning of others by objectively assessing their strengths and needs as learners and offering constructive feedback as appropriate

By utilising Postmodernist techniques and purpose students write a scenario, demonstrating how the audience understands political perceptive using authentic elements of character, setting and conflict to provoke the notions of gender or racial stereotypes.

3.8 refine vocabulary

Week 10: Students drafting and redrafting their creative writing

Journal: Students may choose a style of one particular writer they saw in this unit and compose a

Students craft their own narratives demonstrating their intent of style

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choices to discriminate between shades of meaning, with deliberate attention to the effect on audiences

3.9 analyse and assess the interplay between imaginative, persuasive and interpretive techniques

narrative of 900 words. They are to consider characterisation, setting, point of view, imagery, syntax and figurative language

they discussed in the unit. Students can create character profiles prior to starting to develop a sense of the character that will be

used to explore their point of view about some aspect of their lives.

Students must show evidence of drafting in their journals prior to assessment - teacher needs to check this. Student should submit this journal to their class teacher as part of assessment criteria.

Extension: Student present a multi-modal - Short Story Pitch (PowerPoint). Script (200 words approximately) and images which focus on two focus points of this module:

1.Narrative Elements2.Feminist or Postmodernist perspective in how they write about the character,

setting, cultural context and positioning the audience.

Students are given time in class to draft their work and seek feedback from peers and teacher

6. 8 describe and explain the connections between texts including the ways in which particular texts are influenced by other texts

6.9 experiment with composing imaginative texts that make thematic or stylistic connections with other texts or refer to other texts for particular purposes

through their language choices and use of imagery:

Journal writing with a 900 word narrative.Students work will show evidence of shaping language to fit the narrative using characterisation, setting and conflict to provoke compelling ideas which might come from the texts of study in this module.

Extension task where students will use a multi0-modal approach to demonstrate a sharp awareness of the text type, language register and their audience.

2.9a use and assess strategies for planning,

Students continue to draft their narrative and have small group and whole class discussions.

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drafting, editing and revising, correcting for errors, refining ideas and ensuring consistent and appropriate style

2.9b use different processes and technologies, individually and in groups, to generate, investigate, clarify, organise, refine and present information and ideas

If the teacher notices that students are all making similar mistakes, they may need to stop and consider a mini-lesson on that particular area for development.

3. 92 understand and explain how language forms, features and structures are effectively integrated in a range of quality literature and other texts

3.93 use stylistic features to craft and communicate points of view

3.94 use language forms, features and structures to shape meaning, influence responses and achieve particular effects

Adjustments and/or modifications individual teachers made- registers

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Reflection and Evaluation:

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Dorothy Parker

Private Lives / Public Personas

Salman Rushdie

Tracy Moffat – Postmodernist Photography

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