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Sherree Spargo of 23 S00049891

Part A: Teachers knowledge:

1. Novels suitable for stage 3

Swan Song (Colin Thiele, 2002) is a beneficial novel for Stage 3 students as it allows them to develop

their knowledge of realistic genre through the four roles of the reader. This realistic novel captures the

reader as it draws significantly on their reader‟s repertoire in order to make meaning. Students are able to

gain understanding of essential life concepts relating to Responsibility, struggles and change. This novel

has been chosen as a result of its ability to show students that it is possible to overcome struggles in life

and develop ways of dealing with change. The overall theme of responsibility is conveyed as an

important part of life because all individuals are responsible for ensuring a sustainable environment for

future generations.

The Printer’s Devil (Paul Bajoria, 2004) is another interesting novel suitable for Stage 3 students as it

communicates elements of history together with deeper themes and social issues. The mysterious and

suspenseful mood of the novel engages the reader in the investigation of London‟s underworld, urging

them to read on. The novel is a complex historical fiction that conveys the importance of discovery,

justice and friendship through a series of twists and turns. This captivating novel has been chosen to

communicate that discovery is an important part of life and so provides students with a way of

understanding the past and its effect on the present.

2.Compare/ Contrast of the two novels

Literary

Construction

Swan Song Printer‟s Devil

Character - Mitch: Protagonist as young child

approaching end of primary schooling.

Independent. Adventurous.

- Bugle loyal friend. Dependent on each other

and integral to Mitch‟s life.

- Meg: has voice, strong and authoritarian (p.

26, 7). All knowledgeable- an equal w/ Fos

thus strengthens Mitch‟s respect for her (p.

51).

- Fos: Teacher, Ranger at Coorong National

Park, SA.

- Pelicans: full time responsibility, test

Mitch‟s patience, miracle survivors (p. 35).

- Hardy Blight: Antagonist, contributing to

climax.

Minor: Whiskers.

- Mog Winter: protagonist as young orphan

who doesn‟t attend school (age 12).

Extremely independent, lonely, inquisitive

and adventurous. Educated with proper

speech and writing (p.62). References made

throughout about gender, “soft-lookin” (p. 45)

- Lash: loyal companion, dependent on each

other. Mog‟s only friend majority of novel.

- Mr Cramplock: closest thing to father figure

as he took him in. Authority illustrated by

name.

- Nick: first person Mog confides in, “I

think…there‟s a story I ought to tell you” (p.

85). Share similar experiences & appearance.

Mog‟s long lost brother from birth. Become

inseparable.

- Cockburn/Coben: Criminal mastermind, who

contributes to the suspense and plot.

Minor: Bosun, Man from Calcutta, Tassie.

Setting - Coorong National Park

- Realistic/ present time.

- Portrayed thoroughly throughout book (p.

13, 9)

- House, boat, collecting cockles.

- Clerkenwell, London in England shown by

description: horses/carts, social conditions.

- Realistic set in the past.

- Portrayed extensively throughout book (eg

cobbled stones, Costermongers).

- Printing office, pubs, London Docks, streets.

- Map included at front of book.

Plot Mitch resides in an environment shaped by

the natural flora and fauna which is

threatened by Hardy, the local hoon (the

story precedes with series of events eg

responsibility for 3 birds, dune buggies,

petrol station, court and the accident). This

contributes to sub plots regarding the danger

Mitch experiences and his responsibility for

his trusty companions who bail him out.

As an orphan and experienced printer‟s

assistant, Mog Winter and his investigative

nature become entwined in the daily life of the

London underworld. Mog is faced with many

obstacles, twists and turns that form sub plots –

the mysterious man from Calcutta, theft of The

camel, Mog‟s gender and his long lost brother,

Nick.

Theme - Responsibility an important part of life.

- Danger

- Constant willingness to face the dangers of

the unknown.


- Environment

- Cycles = change

- Struggles- obstacles to overcome.

- Generic Patterns: animals and their ability

to be as trustworthy and loyal as a human.

- Discovery of the truth and that discovery is

an important part of life.

- Friendship and loyalty.

- Justice will always be served- be

responsible for your actions because you

can not escape them forever.

- Generic patterns: concept of orphan and

effects of loneliness. Theme conveyed that

reader should be grateful for what they

have.

POV - Mitch‟s point of view

- Shift occurs to Fos (p. 149 - 152), and

Bugle (p. 169).

- Present tense using a Narrator.

- Mog‟s point of view.

- Present tense

- Narrated in first person.

Mood - Picks up pace from chapter 6 when school

starts and again in chapter 8 & 12 with

increased responsibility.

- Suspense, excitement.

- Sense of time: change in seasons, “late

winter and early spring” (p.81) and

schooling, “Before long the last term had

stared” (p.89).

- Suspenseful, mysterious and suspicious

atmosphere, room of Mr Flethick pg 20 -24.

- Dangerous and interesting elements “What

did he do, Mr Cramplock? Did he murder

someone?” (p. 3)

- Sense of time moves the story along- “a

very long time ago” (p.9), “20th May”

(p.147).

Silences - Plenty Full and Plenty Empty: their lack of

voice conveys the idea of Bugle as most

significant bird.

- Man from Calcutta is silenced, adding to the

mysterious element of his character.

Readers

Positioned

Compliant:

- Reader adopts belief that all individuals

are responsible for the environment and

the effects of their actions. Readers are

encouraged to promote a sustainable

environment.

- Considers the environment as everybody‟s

„best friend‟.

See gaps for lack laws/reprimand.

Compliant reader:

- Agrees that all should be bought to

justice and made responsible for their

actions.

- Understands the need for friendship

and loyalty.

- Believes that mystery and intrigue can

draw out the detective in us all.

- HistoryGender: see gaps.

Vocabulary

& Language


Style - More narration than dialogue.

- Descriptions: long descriptions that

provide detail of characters and setting- “He

had an enormous ginger beard that glowed in the

afternoon light as though it was really on fire”

(p. 66). - Figurative language: Simile- “ginger

beard…as though it was really on fire” (p. 66)

and “hurtling towards him like demented metal

hornets” (p.15). Metaphor-“the mirror turned

into ripple glass …‟ (p.10). - Naming: Mr Marshland, Fos, Jimmy Small,

Hardy Blight, Mrs Mary Penn.

- Colloquial Language: shows difference in

social class (hoon compared to

professionals eg Mrs Penn) - “Snoopin‟, ya

little runt?” & “Whatya up to?” (p. 58). - Formal Language: conveys characters

education- “I think I could stand here and

look at it forever” (p.74).

- Questions: shows Mitch‟s thirst for

knowledge and answers- “The grown-ups

have really gone?” (p.33), “How am I going to

hatch it?” (p. 51).

- Minor sentences: “The names stuck” (p.43);

- 1st person narration/ dialogue

- Descriptions: makes reader ask why it is the

way it is, “there were some who‟d think

nothing of murdering a child of twelve in

return for a decent meal” p. 14

- Addresses the reader: “you could certainly

see your face in them” p. 11.

- Naming: Mr Cramplock, Jiggs, Coben, L.N.

FollyFeather.

- Colloquial Language: “I‟ll know „im” p. 12

and “Hexplain yerself” p. 71.

- Formal Language: “Looks like you‟re doing

a good job” p. 17. Social class of sailors and

businessmen evident through dialogue.

- Questions: happens throughout dialogue,

strengthening inquisitive and mysterious

mood- “What was you followin‟ us for?” p.

46. Self-Questioning provides insight into

Mog‟s thoughts- “Who might be lurking

behind the tomb stones” (p.169)

- Minor sentences: “My Bangle” (p.56) and

“It was a poem” (p.103).

Humour: - Used to introduce Mog- “Even though we‟ve


“Mitch was shocked” (p. 89). - Italics: modal words in dialogue to show

certainty/possibility- “But Dad‟s always

saying we ought to know about it” (p.60);

“What would he do?” (p. 110). - Illustrations: the chapter illustrations

repeat throughout the book. When they

repeat they are indicating that those

chapters relate to certain concepts. Eg chpt

1 deals with self reliance, as does chpt five.

got Winter inside” (p.4).

- Terrifying yet amusing scenes created by

actions of young child- “I flung the vile-

smelling shirt over her head and pulled the

corners sharply” (p.194).

- Italics: intonation conveying importance/

scale- “he really had believed he was going

to die” (p.197); “It was certainly the only

really valuable thing” (p.56)

Vocabulary Word sets: - Coorong National Park: birds, wildlife, lagoon,

sandhills, long rollers, ocean beach.

- Weather: seasons, summer, winter, winds,

flood, cold winds, south wind, spring.

- Swan: black body, red beak, whit flight

feathers, long necks, honking (p. 62)

Technical Words: Peninsula, long rollers (p.

9); cockles, flotsam, wink, dinghy, trawler,

buoy, driftwood, moored (p. 12-13); dune

buggies, jalopies, demented, hornets (p. 15).

Special Vocab: Australia, ranger, Coorong

National Park

Word sets: - Streets: Bow Street, Corporation Row („Cut-throat

Lane‟), Cow Cross St, Leadenhall St, City Road.

- Inns/ pubs: The Three Friends, The Lions Main

Inn, The Galleon, The Sun, The Ship‟s cat, The

Crow‟s Nest.

Technical Words: Shillings, handbills (p. 2),

Ale (p. 6), Fleet (p. 8), Connidge (p. 10),

masts, quarterdeck, Fo‟c‟sle (p. 66), riggin (p.

72).

Special Vocab: captain, bosun, East Indies,

Printer‟s Devil, Sun of Calcutta.

Readers

Response


Reader‟s

Repertoire Personal:

- Identify with responsibility & decision

making.

- Experienced caring for an animal.

- Loyalty of friends or companions.

- Independence: having the freedom to do

something on your own.

- Arguing with family members.

- Experienced change in weather.

- Awareness of time: January equates to

school and heat.

Social:

- Going to school and home schooling.

- Visiting parks/zoo.

- Acknowledge the problems tourists cause

when they visit natural environments.

- Assumes ethics: that one will better society

by standing up for what you believe in.

- Grown ups as role models.

Cultural:

- Australian way of life and climate.

- Family relationships

- Aboriginal culture (p.13).

- Family brought together by common

interests.

Literary experience: Intertextuality

- School work (p. 25): programs, essays,

projects and assignment

- Research project: Wetlands and Waterbirds

(p.28).

Personal:

- Identify with chn having nightmares (p.27).

- Knowledge of homelessness, SE groups.

- Increased awareness of gender.

- Possessions/ treasures: feeling when they are

lost/ damaged. Idea of priceless.

- Increases awareness of orphan; having no

family, no one concerned (p.55).

- Journal writing: loneliness- no one to tell

feelings or thoughts.

Social:

- Childhood: experiencing what other chn do.

(p.81- Mog doesn‟t get to do this, his

circumstances require him to be grown up).

- Friends: planning adventures and companions.

- Assumes knowledge of past social conditions

(p.14, 26) and patterns of change.

- Exposed to crime- daily news, television,

movies and real life experience.

Cultural:

- Assumes knowledge of a Printer‟s Devil- past

superstition.

- Assumes knowledge of past; no street lights, no

police force, no proper health care, no sewers or

no formal schooling.

Literary experience: Intertextuality- poem (p.

103), letters (p.165, 285) diary entries (p.166, 62),

wanted posters (p.2). Provides reader with insight

into other texts and enables to compare to present

time.

Gaps - Hardy Blight was never reprimanded for

his destruction as there were difficulties in

doing so (p. 18). This is an ongoing gap.

- Birds are generally unpredictable and

independent of humans therefore there is

an on going gap as to whether Bugle stays

with Mitch or not.

- Challenging gender (boy/girl): ongoing gap as

the reader does not know that Mog is a girl.

- The reasons why a young child would pursue a

dangerous crime ring are never quiet clear as it

results in abuse, injury and possible death. The

reader assumes that something more significant

will result.


Readerly

or

Writerly

Readerly: provides the majority of necessary

information. The author does not make as

many assumptions about reader‟s repertoire.

For example p. 13- lifestyle of Aboriginal

people portrayed; providing definition of

specific Aboriginal activities- Middens.

Writerly: The reader is left in suspense throughout

the novel as they do not discover the answers

immediately. Challenges the reader to make

assumptions, fill in the gaps and tie up the loose

end for themselves, “the end of a book is very

rarely the end of a story” (p. 291).

Discourse Swan Song Printer‟s Devil

Age - Mitch is surrounded by a world of grown ups,

with no young friends due to home schooling.

- Mitch feeling as the „child‟ in the book is

conveyed by his father‟s disbelief and

disappointment in him- “Nobody wanted to

believe him, not even his own father” (p.

131).

- Surrounded by adults and criminals, with no

friends his age for the majority of the book.

- Mog‟s attempt to break away from his

responsibilities and experience his childhood

with other children (p. 81).

- The concept of child: when adults can not

explain the unexplainable they believe the

child dreamt it or invented it (p. 281).

Culture

- Modern day Australian culture, formed by

the relaxation of the natural environment, “I

think I could stand here and look at it

forever” (p. 74).

- The community values on caring for the

fragile environment compared to the

carelessness displayed by tourists & Hardy.

- Despite enormous crime and bad social

conditions, idea of England as superior, more

significant than East Indies. Characters

disregard the East Indies as different and

foreign (p. 29).

- The wealthier businessmen and professionals

compared to the poor, unhealthy sailors.

Gender

- Mother as authoritarian, and to Mitch‟s

surprise, knowledgeable. However never

leaves the home.

- Father as role model and income earner

- Dominance of male characters however voice

is given equally to males and females.

- Male dominance with a twist; protagonist is a

girl.

- Stereotype of women: not allowed to work or

have as many opportunities- easier to be a

male. Thus male as worker with more

opportunities.

Power

status

- Fos as ranger and Hardy as hoon, are the most

influential characters for good and evil.

Hardy had power as he is not reprimanded for

his actions, “the law isn‟t really strict enough

to protect the environment properly” (p. 18).

- Fos leads, with the hierarchy proceeding to

Meg, Mitch, Bugle, Plenty Full and Plenty

Empty.

- Mr Cramplock has power as he provides Mog

with a job, wages and a place to live.

- Good versus evil: Mog as innocent detective,

gaining power through careful planning,

leaving notes to incriminate someone else (p.

109). The criminal ring has physical power and

the ability to kill.

Family

- Mitch comes from a supportive family, where

he is the only child. They are all individuals,

with their own freedoms who come together

to form a functional whole.

- There are additions to the family who more or

less become Mitch‟s own „children‟- the three

birds.

- Orphan who never knew his family, nor the

love and affection that a family offers thus

initially envious of Nick, “You‟ve got a pa, at

least” (p. 87).

- Mr Cramplock and Tassie closest thing to

family.

- Best friend is loyal companion Lash and

eventually his long lost Brother Nick.

History

No such historical elements accept reference to

ancient campfires of aboriginal people (p.13).

- Conveyed through use of description and

language.

- Superstition of a Printer‟s Devil (see appendix

1, p.14): belief that in every print shop was a

special devil that sabotaged work. Printing was

tricky business thus mistakes were unavoidable

and the devil took the blame. Title suits Mog as

he too is blamed for sabotage (p. 279) and

flipping type case (p.94).

- The term devil also suits Mog meaning very

energetic, mischievous, daring or clever

(Writers Services, 2001).


Brief summary to end this section

In both novels the literary construction is shaped by the author‟s use of vocabulary and language. The novels

have been written effectively in order to make the narratives „believable‟ to the reader. The use of colloquial

language and long descriptions in Swan Song constructs realistic characters, familiar and relaxed settings and

a plot based on everyday life situations, all of which fit the conventions of realistic fiction. Similarly, The

Printer’s Devil adopts suitable vocabulary and language that adequately reflects its historical genre. The time

difference distances the reader therefore it was essential to utilise an abundance of stylistic features relating

to technical vocabulary, description, questions and colloquial language. This contributes to setting the scene

and dramatising historical characters, allowing the reader to delve into characters thoughts. This allows the

reader to feel as though they are present at events throughout the story (Lorraine, 2007 wk 3, p.1).

Reader‟s response is a significant aspect in both novels however due to the historical element of The

Printer’s Devil there are more assumptions made regarding reader knowledge. The elements of Swan Song

are more realistic and imaginable for students therefore it is easier to relate to the characters and lifestyle. As

The Printer’s Devil distances the reader it is harder for them to relate based on their present experiences. The

Printer’s Devil requires the reader to gain additional knowledge of printer‟s devil superstition in order to

understand and make meaning. Swan Song is a readerly text as it ties up neatly (Mc Donald, 2005 wk2)

towards the end, proving to be an excellent novel for all students, especially those who need extra support.

On the other hand Printer’s Devil is writerly with a more complicated structure that challenges the reader to

make assumptions, fill in the gaps and acquire additional knowledge.

The protagonists in both novels are young children however have different circumstances due to generation

discourse. The reader is able to identify with Mog and Mitch in different ways such as school, sense of

adventure, effect of responsibility and circumstances of childhood. A comparison of the two novels shows

how perspective of age differs between past and present. Gender similarities are also evident as both have a

dominance of male characters. Swan Song shows an equal balance of female voice, education and opinions

with that of male, although due to historical setting Printer‟s Devil portrays a different perspective of women

as silent and invisible. Family discourse also alerts reader to time differences as Mog (Printers Devil) is

portrayed as an orphan with no family or carer, who is allowed to roam the streets. This reflects the past

culture due to a lack of welfare and health care. In comparison Swan Song represents the present time as

Mitch comes from a stereotypical family life and is able to utilise the many agencies available to him today

including the law and hospitals. Swan Song as realistic fiction portrays the present time and the current

cultural values regarding a sustainable environment, where as Printer’s Devil is historical fiction portraying a

history full of negative social conditions such as no sewage or health care and a culture rampant with crime.

A comparison of a realistic and historical fiction forces the reader to acknowledge and identify the

differences in past and present. It is evident that there are many unique features in each book that combine to

meet the conventions of their corresponding genre.

3. Analysis of the grammar/ language.

Swan Song (Thiele, 2002) p. 145 – 148: The Rescue

An idea was forming in his mind that was not so hopeless after all, but it would depend on Bugle to succeed.

Absolutely on Bugle.

He pulled the oar out of the sand, untied his shirt, and cut off a small part of the sleeve with the knife

– a tiny piece no more than ten or twelve centimetres square. Then he turned and ran back into the sandhills

as fast as he could. His sudden movements alarmed Bugle so much that he took off and flew about

uncertainly overhead. Mitch looked up at him, desperately afraid that he had finally given up and decided to

go home.

„Stay, Bugle,‟ Mitch called. „Stay. Stay with me.‟

Mitch ran until he came to the place where Hardy Blight and his offsiders had spent the night around

their campfire. He scratched about urgently, looking for charcoal and the blackened ends of small sticks. It

wasn‟t hard to find them. Within a minute or two he had collected half a dozen and was on his way back to

the boat, panting so hard that he had to stop to regain his breath. Bugle was still confused by Mitch‟s antics

and flew about uncertainly before landing again. Mitch was greatly relieved and rubbed his neck gratefully.


„Good boy,‟ he said. „Good boy, Bugle. You stay.‟

Mitch spread the piece of cloth on the lid of his fishing box and stretched it as tightly as he could

while he wrote on it with his charcoal sticks. S O S he scrawled painstakingly in sooty black, followed by

M I T C H. There was no need for anything else. There wasn‟t space for a longer message anyway. His

mother and father knew where he had gone. If they received the message – and that was the vital question –

they would automatically come looking for him in the right place.

He took the cloth and a bit of fishing line and went over to Bugle. For a minute he patted him and

talked to him gently while he tied the cloth around his neck. He had to be careful. If it was too loose it would

slip off, but if it was too tight it would be in danger of choking the messenger.

He tugged on the corner of the cloth several times to make sure that it was firm, then lifted Bugle

and stood him in his favourite spot on the bow of the boat so that he could use it as a launching platform.

„Go, Bugle‟, he called. „Go home now. Go, go, go.‟

Bugle hesitated. Mitch couldn‟t blame him for thinking that the world had gone mad, but he kept on

urging him to take off. „Home now, Bugle. Go home now. Time for radishes.‟ Bugle didn‟t really know what

he was supposed to do but in the end he was probably fed up with all the nonsense and simply flew off.

The „Rescue Scene‟ is the scene that Mitch and Bugles entire relationship leads to. The events before the

scene show how Mitch is stranded and must use his survival skills to be rescued. A feeling of tension is

created as a result of Mitch being lost and the chances of him being found. Mitch is scared as he is faced with

uncertainty and wanting to going home. Mitch and Bugles relationship is continually formed throughout the

book and comes to a climax during this scene. Based on Bugle‟s ongoing loyalty, Mitch has hope and faith

that Bugle will succeed and deliver the SOS message. This is a significant scene as the reader can see

Mitch‟s reliance on Bugle. This is the first of two occurrences in the book that the dependence is reversed-

Mitch needs Bugle. The reader experiences a feeling of suspense; will he deliver the message, will he

understand Mitch‟s instructions and will Mitch be rescued. The author uses various language and

grammatical features to enhance the overall effect of the scene.

One significant way that meaning is constructed is through cohesion. Word associations are an aspect of

cohesion that provides links within a text. Table 1 presents examples of how this is achieved through the use

of repetition, synonym, antonym, collocation and word sets.

Table 1. Word Associations (Text Level)

Word Associations Examples from the scene

Repetition Bugle x11, Mitch x8, Good boy x2, Go x5, Stay x4.

Synonym Small/tiny, fast/sudden, alarmed/uncertain/ uncertainty/confused, panting/breath,

relieved/grateful, spread/stretched/stretch/tightly/tight/firm, wrote/scrawled,

messenger/Bugle.

Antonym Hopeless/absolutely, flew/landing, confused/relieved, mother/father, gently/careful,

loose/tight.

Collocation Mother and father, cut off, took off, half a dozen, flew about.

Word Sets Shirt: small part of sleeve, tiny piece, piece of cloth, cloth x2, corner of the cloth,

message. Camp fire: charcoal, blackened ends of small sticks, them, half a dozen.

How Meaning is constructed (table 1):

Table 1 shows the significance of words associations on the overall construction of the scene. Meaning is

made through much use of repetition, which is necessary to convey Mitch‟s persuasiveness towards Bugle

and his sense of urgency. The repetition focuses the reader on Mitch‟s faith and dependence on Bugle to

understand and his overall will to be rescued. The synonyms used reinforce Mitch‟s dependence: alarmed/

uncertain/uncertainty/confused and relieved/grateful. They assist is constructing meaning by showing the

reader Mitch‟s sense of urgency and the mood of the scene. Antonyms have been used to contrast the

feelings of success and failure. This constructs meaning as it reinforces the suspense- will the message be

received? By drawing on reader prior knowledge, Thiele‟s use of collocation allows them to predict the

action and participants of the scene. The use of words sets has constructed meaning by providing the reader

with a sense of setting- outdoors. E.g. charcoal, blackened ends of small sticks.


Meaning is also constructed through description to evoke a sense of mood. Table 2 offers evidence of words

used to do this.

Table 2. Description

Creates visual images Creates tactile images Creates sound images

- Cut off a small part of the sleeve

with the knife

- Twelve centimetres square

- Panting so hard

- Chocking the messenger

- Pulled the oar out of the sand

- Scratched about urgently

- Collected half a dozen

- Stretched it as tightly as he could

- Tugged on the corner of the cloth

- „Stay. Stay with me.‟

- Scratched

- Panting

- Breath

- Talked to him gently

Creates mental images Creates movement images

- Desperately afraid

- Bugle was still confused

- Greatly relieved

- Ran back into the sandhills

- Flew about

- Looked up

- Decided to go home

- Around the campfire

- Back to the boat

- Go home now


In table 2 the description evokes a mood of fear and uncertainty through 5 different groups of images. The

visual images evoke a sense of drama- chocking the messenger and panting so hard. The reader hears the

anxious sounds of scratching and panting which reinforces the mood and Mitch‟s desire to go home. In

contrast talking to him gently and greatly relieved indicates a sense of hope and success. These images are

reinforced in the movement images which occur throughout the scene to imply home is best: decided to go

home, Go home now. Intertwined through the text are the mental images that frame the thoughts and feelings

of the characters. Overall the description gives a vivid picture of Mitch‟s fear and uncertainty and his

ingenious rescue plan.

A third important way meaning is constructed is through types of group level in the text. Table 3 offers

examples of how nouns, adjectives, verbs and adverbs are used to add further detail to create an interesting

text.

Table 3. Group Level (see appendix 2, p.15 for colour coded analysis

Groups Examples

Nouns Bugle, oar, sand, shirt & sleeve, knife, Mitch.

Adjectives Small, tiny, square (factual). Ten, twelve (quantity). Fast (opinion). Tight, loose (comparison).

His, they (possessive).

Verbs Flew, landing, rubbed, spread, ran.

Adverbs Absolutely, uncertainly, desperately, urgently, simply.


Table 3 constructs meaning through the grammatical features that are utilised to reinforce the newly found

dependence of Mitch upon Bugle. The repetition of proper nouns, Bugle, informs the reader of the main

character in the scene- Bugle; “It would depend of Bugle to succeed. Absolutely Bugle”. The use of verbs

and adverbs strengthens the sense of drama, making the scene more interesting: Fast indicating urgency

whilst adverbs construct the feeling: desperation and uncertainty. As a final point the use of group level

grammar has constructed a scene that represents how the reader makes meaning throughout the entire novel.


Another significant way that meaning is constructed is through sentence level. Table 4 presents some

examples of sentence level that refine what the text is talking about and produces a more cohesive text.

Table 4. Sentence Level (see appendix, p.16 for colour coded analysis)

Sentence type Example

Simple “Absolutely on Bugle”; “There was no need for anything else”. Total = 7

Compound “Mitch was greatly relieved and rubbed his neck gratefully”. Total = 6

Complex “His sudden movements alarmed Bugle so much that he took off and flew about

uncertainly overhead”. Total = 3

Compound/complex “An idea was forming in his mind that was not so hopeless after all, but it would

depend on Bugle to succeed”. Total = 11

Quoting “Go home now. Go, go, go”; “Good boy, Bugle. You stay”. Total = 4

Reporting “Good boy, he said”; “Go Bugle‟, he called”. Total = 2


An analysis of sentence structure in table 4 shows that there is a dominance of narration in this scene.

Meaning is constructed by the significant use of compound/ complex sentences which convey the

relationship between what Mitch says and what he thinks, e.g. “An idea was forming in his mind that was not

so hopeless after all, but it would depend on Bugle to succeed”. This illustrates Mitch‟s confidence in his

idea, as well as his doubts in certain aspects. In comparison there is minor use of simple, compound and

complex sentences within the scene. The minor use of quoting and reporting reflects the characters of the

scene- bugle with no such voice. The use of quoting incorporates commands which reinforce the notion of

Mitch‟s dependence. The lack of quoting and reporting in dialogue is significant as it constructs the idea of

urgency – no time to stop and talk. Overall Thiele has effectively utilised sentence structure to narrate this

significant scene and convey the general mood.

Part B: Text user practice

Introduction: Swan Song has been chosen in order to plan and construct a series of six English lessons for

year 5 students (Ss) in stage 3. The teaching and learning activities are based on relevant reading outcomes

that the Ss are working towards achieving by the end of stage 3. In weeks leading up to the lessons, the class

has read Swan Song using shared and independent reading. The class has discussed elements of the novel

relating to text participant and have created an on going concept map to record the elements. Ss have

previously dealt with genre through the use a variety of other texts (realistic fiction, historical fiction and

fantasy) and are therefore are aware of the conventions of realistic fiction.

Stage: Three.

Year: Five.

Lessons: Six.

Lesson Time Outcomes Indicators Teaching/ Learning experiences Resources ONE: Focus- Text Participant.

Appro. 40-50 min

RS3.6 Uses a

comprehensive

range of skills

and strategies

appropriate to the

type of text being

read.

- Attempts

several strategies

when reading

difficult texts.

- Uses several

strategies for

finding information

in texts.

- Summarises key

information.

PLOT SUMMARY -Ss have prior knowledge about plot summary and have been exposed to summarising. T has previously demonstrated & modelled plot summary. -T & Ss recap main themes of Swan Song, including what the book was about and the chapters that have significant elements of plot. -T displays a significant chapter, Ss read. T demonstrates summary of one plot point. -T & Ss do one example TOGETHER. -Give Ss copy of significant chapters relating to plot. -Ss read the scene and discuss what it is about.

-Class

copies of

Swan Song.

- Copies of

significant

chapters.

-Paper,

pencils.

-K-6 English

Syllabus.


-Ss work in pairs to summarise main points: chapters 1,2,6,8,9,11,13,17,20 & 25. - Ss create an illustration to reflect their favourite events. -T & Ss share their illustrations and discuss on why they thought it was a significant point.

TWO Focus- Text participant & text user.

Appro. 40-50 min

RS3.6 Uses a

comprehensive

range of skills

and strategies

appropriate to the

type of text being

read.

- Attempts several

strategies when

reading difficult

texts.

- Understands and

uses various text

layouts to access

information.

CHARACTER ANALYSIS/DESCRIPTION -T & Ss review the text: character, setting, plot, main themes. T records answers on poster. -T displays a photograph of a person Ss

know (eg school teacher). T & Ss brainstorm

significant things about that person.

-T & Ss discuss how characteristics could be

categorised. E.g. Appearance, hobbies, likes/

dislikes family and other factors.

- Ss assist T to demonstrate how to

categorise the characteristics of the

photographed person using a Character map.

T records relevant headings/ template on

butcher’s paper (see appendix, p. 17 for Ss

template). (S3 Ss are given the opportunity to

display information any way they like; this

prevents them from being limited. However

worksheet provided for lower ability Ss.)

-T & Ss complete the example of the

character map.

-T & Ss state main characters.

-In groups Ss complete a character on the

significant characters in Swan Song. 2

groups doing each of the characters Mitch,

Meg, Fos, Hardy Blight and Bugle. T provides

Ss with a copy of reference to characters

throughout book).

-T & Ss share character maps: one S is voted

reporter and is responsible to share group

findings with the class.

-Butcher’s

paper

-Markers.

-worksheet

for character

map if

required.

-Reference

of

characters

throughout

book.

THREE Focus- Text participant.

50 min RS3.7 Critically

analyses

techniques used

by writers to create

certain effects, to

use language

creatively, to

position the reader

in various ways

and to construct

different

interpretations of

experience.

- Recognises

reader response

expected by the

author.

- Recognises that

people with

special interests

and expectations

are the target

audience for

particular texts

and that design

and advertising

as well as content

reflect this.

-Reports on

different

interpretations of

READERS REPERTOIRE -T & Ss discuss events of novel including environment, people eg. School, parks, relationships. -T asks Ss who can relate to this and whether they have experienced it. -T displays photocopy of chapter 1 and demonstrates an example of how we, as readers, can relate. E.g. pg 6- “Room 4 with Old Swamp”. Discuss with Ss ways I relate by sharing my experiences of cruel comments. -T & Ss do an example together. -T demonstrates how these can be categorised under headings of Personal, social and cultural experience. Explain to Ss that these are assumptions the author makes of the reader. -T & Ss do an example for each category (see assignment p. 3). -Ss complete questions on reader’s

-Photocopy

chpt 1.

-Class

copies of

Swan song.

- Paper to

record.


a text after a

group discussion

or interviewing.

repertoire. This is completed in jigsaw groups of 5 or 6 Ss. Questions: What does the author assume you know? (Personal, social, cultural) and What other texts does Swan Song remind you of? (Stories, images). -Ss are given 10min to work in initial groups and a further 5 min to share other ideas with different group members. -As a class T & Ss share different examples, showing that we bring an abundance of experience.

FOUR Focus- Text analyst.

50 min RS3.7 Critically

analyses

techniques used

by writers to create

certain effects, to

use language

creatively, to

position the reader

in various ways

and to construct

different

interpretations of

experience.

-Discusses how

information on a

local issue or

newsworthy event is

presented in articles

from a magazine or

newspaper, in

television news

broadcasts or on

the Internet

-Recognises that

people with special

interests and

expectations are

the target audience

for particular texts

and that design and

advertising as well

as content reflect

this.

ENVIRONMENTAL FACTORS -T displays excerpt from Swan Song p.17-18: damage of dune buggies. -T & Ss discuss: effects, feelings, how they would respond. Identify current real life events that reflect environmental concerns in Swan Song (eg Tourism, Drought). -Ss participate with T to list environmental effects, comparison to real life and the effect on society/ environment. -TOGETHER T & Ss compare this to Swan Song. -T & Ss draw conclusions: books can imitate life issues, purpose of conveying messages and that texts are powerful. -T displays an example article (see appendix 5, p.18). -In pairs Ss complete a mini research task (using internet, magazines, and newspapers). Ss collect 2-3 current articles that relate to environmental issues similar to those in the book -Ss make a collage/ poster of the issues and how they affect us. What ways do they relate to Swan Song? -Ss share their research poster with class.

newspapers,

magazines.

-internet

access.

- Current

articles on

environ.

-paper,

pens.

-Swan Song

-Cardboard.

-Glue,

Scissors.

FIVE Focus- Code Breaker

40 -45 min

RS3.8 Identifies the

text structure of a

wider range of

more complex text

types and

discusses how the

characteristic

grammatical

features work to

influence readers’

and viewers’

understanding of

texts.

- Identifies how

noun groups are

a useful resource

for condensing

information about

people, places,

things and ideas.

- Identifies

technical nouns in

texts and

discusses their

effect.

IDENTIFYING TECHNICAL LANGUAGE -Ss have prior knowledge of how to write poems/ short stories. During initial reading of book, T & Ss have discussed meaning of harder words. -T introduces technical language: words throughout a book that are specific to a topic. -Ss participate with T to demonstrate an example using a topic Ss are already familiar with. E.g. Cricket: stumps, wickets, overs, fielding and captain. -T & Ss discuss how this use of technical words is similar to Swan Song. -T displays scene p. 15 (see appendix 6, p. 19 for excerpt) and Ss get a copy. -T & Ss discuss: What is a topic that anyone can think they can see? -TOGETHER on overhead T highlights S responses for technical language. E.g. words associated with ocean/water – buoy, driftwood. - Ss are given dictionaries to assist them with harder words. -T displays a different scene p. 12-13 (see appendix 7, p. 20 for excerpt). Ss given copy.

-Swan Song

excerpt of p.

12-13 and p.

15.

-Overhead

projector

-copy of

excerpt on

transparency.

-Class

dictionary set.


- Ss work in pairs to find technical words in scene p. 15- dune buggies, jalopies, moored. -Ss work independently using technical words identified on p.15 to write their own poem or short story. This allows T to assess Ss correct use of the terminology, structure and identification. -T & Ss share by reading their poems/ stories.

SIX Focus- Code breaker

45- 50 min

RS3.8 Identifies the

text structure of a

wider range of

more complex text

types and

discusses how the

characteristic

grammatical

features work to

influence readers’

and viewers’

understanding of

texts.

- Identifies

descriptive

language in texts

and discusses the

effect.

-Identifies types of

images created in

a text such as

visual, tactile.

DESCRIPTION TO CREATE MOOD -T displays a significant scene from Swan Song p.165-167 (see appendix 8, p. 21). Ss are given copy. -T & Ss discuss description and how it is contributes to the mood- overall feeling of the book. -T demonstrates that mood may be categorised under images such as visual, tactile and mental. T & Ss discuss meaning of these words. -TOGETHER T & Ss do an example on butcher’s paper (see appendix for layout of S description worksheet). - T displays another significant excerpt p. 145-148 (see appendix 9, p. 22). Ss get copy. T & Ss read TOGETHER. - Ss do an example of a description table using p. 145-148. Ss use worksheet provided (see appendix 10, p. 23). -T & Ss share by answering questions: How do you think the character felt at this point? What forms your opinion? Describe the mood/ feeling portrayed in the scene? E.g. afraid, suspense, uncertainty

-excerpt

from Swan

Song p.165-

167.

-excerpt

from Swan

Song p.145-

148.

-Description

worksheet.

Butcher’s

paper.

-Markers.


BIBLIOGRAPHY

Bajoria, P. (2004). The Printer’sDevil. UK: Simon and Schuster

Board of Studies NSW. (1998). English K-6 Syllabus. Sydney: Author.

Davis, C. (2007, April 10) Salt too much for fish: anglers. Retrieved 13 April, 2007, from Village

Voice website:

http://www.villagevoice.com.au/article/20070410/NWS03/704100309/0/search/Salt+too+much+for

+fish++anglers

Deriwianka, B. (1998). A Grammar Companion: For Primary Teachers. Newtown: Peta

Mc Donald, L. (2005). Lecture notes: Week 2.. ACU Strathfield.

Mc Donald, L. (2007). Lecture notes: Weeks 3. ACU Strathfield.

Thiele, C. (2002). Swan Song. Melbourne: Lothian Bos.

Writers Magazine. (2007). The Printers Devil. Retrieved 13April, 2007, from Writers Magazine

website: http://www.writersservices.com/mag/pos/poster_printers_devil.htm

http://www.villagevoice.com.au/article/20070410/NWS03/704100309/0/search/Salt+too+much+for+fish++anglers

http://www.villagevoice.com.au/article/20070410/NWS03/704100309/0/search/Salt+too+much+for+fish++anglers

http://www.writersservices.com/mag/pos/poster_printers_devil.htm


Appendix one

The Printer's Devil

Whose fault?

There was a convenient belief among printers

that there was a special devil in every print-

shop.

Need someone to blame?

At night, or when the printer was not watching, this pesky

demon would iuvert letters, mizspell a word or perhaps remove

an entire or even a complete line.

In the days of movable type, every letter had to be

picked and placed by hand. Thin spacers, know as

leading, were added to line everything up.

Mistakes were inevitable, and the printer's devil took

the blame.

According to the OED, devil can also mean 'a

mischievously energetic, clever or self-willed

person' and is also a term for junior legal counsel in England.

Taken From: http://www.writersservices.com/mag/pos/poster_printers_devil.htm

This printer's devil perches outside a shop in Stonegate, York, England.

http://www.writersservices.com/mag/pos/poster_printers_devil.htm


Appendix 2

Group Level: colour coded analysis.


Appendix 3

Sentence level: colour coded analysis.


Appendix 4

CHARACTER ANALYSIS AND DESCRIPTION WORKSHEET


APPENDIX 5

ENVIRONMENTAL FACTORS: CURRENT ARTICLE

Salt too much for fish: anglers

Source: Southern Courier

Author: Cara Davis

Posted: Tue 10 Apr, 2007

Labor's proposed desalination plant at Kurnell would have an adverse impact on marine life and recreational fishing in and around Botany Bay, local fishermen have warned.

The major concern was that the concentrated salty waste would be transported from the plant into the ocean via outlet diffuser structures, about 300 metres offshore.

Sydney Water's environmental assessment concluded that the outlet was "unlikely" to have a significant impact on fishing activities but indicated that the increased salinity and temperature of the water around the outlet could affect reef-dwelling organisms.

Larger fish, which would be able to avoid the higher salinity near the discharge point, were less likely to be affected, the report said.

The assessment confirmed there would be no direct discharge to ecologically sensitive areas within Botany Bay, as the outlet would be located three kilometres south of the heads.

But Stan Konstantaras, from the Australian National Sportfishing Association, said the concentrated salt water would affect a much larger area.

"Sydney Water is saying it [salty brine] will disperse within 75-100 metres of the outlet, but I just think the fact that the pipe will be shooting water out means it will really impact on fish stocks," Mr Konstantaras said.

"We want it [the outlet pipe] moved further, about 500 metres out to sea, nothing more ¿ yet we are finding that Sydney Water is not too keen to consider our input."

Mr Konstantaras said extensive consultation had been conducted by Sydney Water as to the location of the pipeline used to transport the desalinated water across Botany Bay to Sydney's mains, but the location of the outlet was "not negotiable".

Ross Hunter, co-owner of Ross Hunter's Game Fishing Charters, said the outlet should not be located directly over a reef, as proposed, because it was a popular fishing spot.

"If the Government insists on putting this outfall there, I can't see how they would expect not to compensate those who use the area, especially commercial guys, the recreational charter fishing boats," Mr Hunter said.

A spokesman for the Total Environment Centre, which campaigns on a range of environmental issues, said disposal of the salty solution posed major challenges. "That level of salinity is toxic to many organisms, and the other problem that can occur is that marine organisms can actually be trapped in the intake," he said.

But a spokesman for Sydney Water said the outlet diffusers would be sized to ensure sufficient energy to rapidly disperse the seawater concentrate produced as a result of the reverse-osmosis process. A monitoring program would be undertaken to identify any short- or long-term impacts the discharge had on seawater quality or marine life, he said.

The spokesman said it was not expected that the pipeline on the floor of the bay (which transports the desalinated water to Erskineville) or the outlet in the Tasman Sea would have any impact on recreational fishing.

Amateur and professional fishers alike are concerned about the impact of desalination works on Botany Bay. Photos: Andrew Lee

.

Taken from: http://www.villagevoice.com.au/article/20070410/NWS03/704100309/0/search/Salt+too+much+for+fish++anglers

http://www.villagevoice.com.au/Southern-Courier


Appendix 6

IDENTIFYING TECHNICAL LANGUAGE: EXCERPT ONE(annotated)

Swan Song (Thiele, 2002) p. 15:

One day at low tide, when he had just finished collecting a bag of cockles on the beach,

Mitch heard the roar of far-off engines. He looked up quickly and was able to see two dark

specks in the distance – dune buggies or four-wheel-drive jalopies with hyped-up motors –

hurtling towards him like demented metal hornets.


Appendix 7

IDENTIFYING TECHNICAL LANGUAGE: EXCERPT TWO

Swan Song (Thiele, 2002) p. 12 – 13:

A sudden storm can sink your boat in a second. Always put up markers when you go over to

the beach. The walk across the sandhills may only be a kilometre or two but you can get lost

there all the same. And never go into the sea on your own. Never ever, not even in water up

to your knees. There are rips and surges, and huge rollers thundering in without warning.

They‟re so strong that they could sweep an elephant away. You‟d just be a bit of flotsam,

drowned in a wink. So always watch what you‟re doing. Careful. Careful. Careful. That‟s

your motto.‟

Once, when he did loose his way for a while he was glad that his father had drummed

such safety lessons into him because he was able to find the markers he had driven into the

sand and follow them back to the dinghy where he had left it moored by the shore.

There was always interesting things to explore on the ocean beach, or unlikely surprises

to stumble on – driftwood washed up along the high tide mark, a fisherman‟s coloured buoy,

a sodden wicker basket half buried in the sand, pieces of rope, a craypot, beautiful shells, and

even an oar that must have been washed overboard from a trawler in a storm.


Appendix 8

DESCRIPTION TO CREATE MOOD: excerpt one


Then he heard it – an engine in the distance, revving hard and coming through the sandhills.

A dune buggy! The tone of the engine told Mitch what it was doing – easing off when the

buggy plunged down into a hollow at one minute and rising to a howl as it crawled up a steep

slop at the next. It seemed to be coming straight towards them. Before long it was no more

than a hundred metres away. Mitch stood up hastily and turned to face it. Bugle gave a final

honk of alarm and took off, flying in a wide arc over the water.

The dune buggy suddenly rose up against the skyline on the crest of the high dune above

Mitch. For an instant he glimpsed the driver, a big man with a black beard – Hardy Blight

without a doubt. All kinds of fears surged about in his mind. Was Hardy coming back to see

if someone had mended the dinghy? Had he seen Mitch crossing the Coorong a few minutes

earlier and come to take revenge for the rumours about Wheelie‟s oil? Did he plan to vent his

anger on Mitch simply because he was the ranger‟s kid?

For a second or two the buggy ploughed along the top of the sandhill with its engine

roaring. No-one ever knew what caused the terrible catastrophe in the next few seconds.

Perhaps Hardy Blight had caught sight of Mitch with a shock and lost control, for the buggy

veered without warning. As it did so the downward side of the crest gave way in a sandy

avalanche, the offside wheels dropped sharply and the buggy titled. Mitch had a split-second

picture of the driver wrenching the steering wheel, trying to slew his way back onto level

sand again. It simply made things worse. The buggy was already teetering at an angle and the

sudden wrench did the rest. In an instant it rolled over, somersaulting faster and faster down

the face of the samdhill towards the Coorong below.


Appendix 9

DESCRIPTION TO CREATE MOOD: excerpt two


An idea was forming in his mind that was not so hopeless after all, but it would depend on

Bugle to succeed. Absolutely on Bugle.

He pulled the oar out of the sand, untied his shirt, and cut off a small part of the sleeve

with the knife – a tiny piece no more than ten or twelve centimetres square. Then he turned

and ran back into the sandhills as fast as he could. His sudden movements alarmed Bugle so

much that he took off and flew about uncertainly overhead. Mitch looked up at him,

desperately afraid that he had finally given up and decided to go home.

„Stay, Bugle,‟ Mitch called. „Stay. Stay with me.‟

Mitch ran until he came to the place where Hardy Blight and his offsiders had spent

the night around their campfire. He scratched about urgently, looking for charcoal and the

blackened ends of small sticks. It wasn‟t hard to find them. Within a minute or two he had

collected half a dozen and was on his way back to the boat, panting so hard that he had to

stop to regain his breath. Bugle was still confused by Mitch‟s antics and flew about

uncertainly before landing again. Mitch was greatly relieved and rubbed his neck gratefully.

„Good boy,‟ he said. „Good boy, Bugle. You stay.‟

Mitch spread the piece of cloth on the lid of his fishing box and stretched it as tightly

as he could while he wrote on it with his charcoal sticks. S O S he scrawled painstakingly in

sooty black, followed by M I T C H. There was no need for anything else. There wasn‟t

space for a longer message anyway. His mother and father knew where he had gone. If they

received the message – and that was the vital question – they would automatically come

looking for him in the right place.

He took the cloth and a bit of fishing line and went over to Bugle. For a minute he

patted him and talked to him gently while he tied the cloth around his neck. He had to be

careful. If it was too loose it would slip off, but if it was too tight it would be in danger of

choking the messenger.

He tugged on the corner of the cloth several times to make sure that it was firm, then

lifted Bugle and stood him in his favourite spot on the bow of the boat so that he could use it

as a launching platform. „Go, Bugle‟, he called. „Go home now. Go, go, go.‟

Bugle hesitated. Mitch couldn‟t blame him for thinking that the world had gone mad,

but he kept on urging him to take off. „Home now, Bugle. Go home now. Time for radishes.‟

Bugle didn‟t really know what he was supposed to do but in the end he was probably fed up

with all the nonsense and simply flew off.


Appendix 10

DESCRIPTION TO CREATE MOOD WORKSHEET

VISUAL IMAGES

TACTILE IMAGES

MENTAL IMAGES

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