online.htseden.co.za · web viewkey word. meaning. analyse. break up into separate parts and...

ENGLISH HL

GRADE 12

REVISION

GRADE 12 EHL REVISION

INDEX

CONTENT PAGE NR

Skill 1: Listening and speakingPrepared speech 3Unprepared speech 5

Skill 2: Reading and viewing Reading for comprehension Activity 1.1: Comprehension test 6Poetry: The garden of love (Seen Poem) 10Activity 1.2: The garden of love (Seen Poem) 13Activity 1.3: (Unseen Poem) 14

Skill 4: Language structures and conventionsActivity 2.1: Using language correctly 16

Answers to activities 18

Templates 26


SKILL 1: LISTENING AND SPEAKING

Content: Prepared/unprepared speech Features and conventions Planning, researching, organising, practising, presenting

PREPARED SPEECH[Source: www.toatmasters.org and www.englishmate.com ]

Preparing for a speech is one of the best ways to ensure you give an effective presentation. Try these tips to help you properly prepare:

Organize your speech in a logical sequence: opening, main points, summary. Practice and rehearse a speech frequently prior to delivering it. Ask friends to be your

audience, or practice in front of a mirror. Be sure to use a timer to help you pace your speech.

Become familiar with the stage or the setting where the speech will take place. Get a sense of the size of the stage, where any steps or obstacles might be, and where to enter and exit.

Visual aids should fit a speech, whether they are funny, serious or technical. The main goal of visual aids is to help the audience understand what is being said, and reinforce the points of a speech in unique and interesting ways.

Whether you're talking to a small group of people or speaking to a large audience, you want to be sure your speech is memorable and enjoyable. Follow these five easy tips to help ensure your speech delivers:

Be prepared. Your audience is giving you their time and consideration, so rehearse enough to be confident you'll leave a good impression.

Start strong. Begin your speech with a powerful opening that will grab your audience's attention, such as a startling fact or statistic, an interesting story or a funny joke.

Be conversational. Avoid reading your speech word for word. Instead, refer to notes or points from an outline to help your speech have a more free-flowing, conversational tone.

Speak with passion. If you're truly invested in what you're saying, you'll be better able to keep your audience's attention.

Be patient. It's easy to get frustrated if you make a mistake. But remember that public speaking is not easy and it takes time to hone your skills. Keep practicing and you will reach your goals.

Extra tips

1. Focus on the Main MessageIf you’ve been asked to give a speech, the first step is to choose a focused message. Even if you’ve been given a theme for your speech such as “inspiration” or “strength,” this is more a general umbrella under which your specific points (and point of view) will fall. Make a short list of five ideas for your speech. It can be helpful to write them in command form. “Strength” a brainstorm of five speech messages could include: “don’t ever give up, “overcome failure,” “build physical strength” and “know your strengths.” If you feel stuck for ideas, a reference to your current political or social context can bring new insight to your theme.


2. Build Three Supporting PointsBy focusing on your central message with supporting evidence, you strengthen it. A stronger message will resonate more with your listeners. To come up with supporting points, ask yourself “why” about the speech message you’ve selected. For example, for “don’t ever give up,” you’d ask, “Why should you never give up?” Make a list of several possible supporting ideas. Read through your finished list, and at the end, cross off the weaker ones that don’t support your main point.

3. Keep your Audience in MindAfter looking into the central message and supporting points for your speech, you can flesh out the rest by considering your audience. Knowing who your audience are and what they are expecting from this encounter can help you pick the right tone to optimal effect.

4. Be a Tactful SpeakerSome speakers choose to generalize complex topics in a speech because they think it’s easier for the audience to understand. It’s actually better to do the opposite. Listeners tend to connect better with concrete examples and personal stories, so embrace detail in your speech. A personal anecdote about why one shouldn’t give up is more effective than just saying not to.Areas where your passion and knowledge overlap are generally the richest. If appropriate to the context, don’t be afraid to tell a joke about the topic. A little self-deprecating humour goes down well with the crowd, one can always give it a shot.

5. Brevity Is The Soul Of The WitSome of the most effective speeches of all times have been brief. Aim for brevity. A goodformula is to speak for less time than you’ve been asked to, as people tend to overestimate the attention span of their audience.

6. Feedback is ImportantAs the speech has to be delivered to an audience, it is important to get feedback from theoretical listeners. Read your speech to someone you trust and ask for some honest feedback. In particular, it can be helpful to ask if anything is confusing or unclear. Your speech will have more impact if the message is engaging.

7. Eye Contact is ImportantDuring your speech, look at your audience while you are speaking. Put the content of your speech, either fully written out or in bullet points, so you are not staring straight down at a piece of paper while you speak. Engaging your audience visually makes you appear secure and confident.

8. Use Appropriate GesturesA well-placed gesture can add humour or aid greater understanding of your speech. For optimal effectiveness, punctuate your speech with gestures when appropriate. If you’re a very nervous public speaker, try just resting your hands against the podium. It will make you feel steadier.

9. Use Props/ visual aidsIf appropriate, bring props to punctuate your speech for your audience. This can be anything useful such as a graph to handout to all attendees or even a personal item to drive home your speech’s content. Props/ visual aids can personalize your speech and add interest or humour. Limit yourself to one or two props/ visual aids maximum per speech.


UNPREPARED SPEECH[Source: Adapted from: Phil Venditti / [email protected], https://www.tes.com/teaching-resource/tips-on- impromptu-speeches-7155954]

TIPS ON UNPREPARED SPEECHES

All good speeches, even short and scantily-prepared ones, derive power and effectiveness through some of the same techniques.

“It’s always fine to tell ‘em what you’re going to tell ‘em, tell ‘em,

and tell ‘em what you told ‘em.”

Here are some techniques which can help you make good impromptu speeches:

Ahead of time, MEMORISE A COUPLE OF QUOTATIONS that you can use in almost any situation.

STAND UP SLOWLY AND SCAN THE ROOM. Think of 2-3 main ideas as you stand up. Take a breath before you begin speaking.To start, you can …

REPEAT THE TOPIC as a statement: e.g., “Paper airplanes…”

ASK A QUESTION about the topic: “What do I think about paper airplanes?”

SAY THAT YOU’RE GOING TO DISCUSS THE TOPIC: “I’m going to tell you about paper airplanes.”

DELIVER AN ALL-PURPOSE MEMORISED QUOTATION.

If you have the facilities, WRITE YOUR MAIN POINTS ON THE BOARD to help you and your audience keep them in mind.

Try to INCLUDE AT LEAST ONE PERSONAL STATEMENT, EXAMPLE, OR STORY. This gives you something to “latch onto,” helps establish your personality, bonds you with your audience, and lends vitality to your comments.

If you reach a dead end, USE THE “MAGIC PHRASE”: “For example…”

RECAP YOUR 2-3 MAIN POINTS when you’ve finished with them: “Paper airplanes are fun, easy to make, and educational.”Handy transition words you can use to lead into this recap are “so…” and “therefore.”

SKILL 2: READING AND VIEWING

READING FOR COMPREHENSIONContent: Vocabulary development and language use; sentence structures

NOTE: Refer to the Week 1-2 Booklet for notes on answering a comprehension test.

ACTIVITY 1.1: READING FOR COMPREHENSION[Source: DBE. NSC, November 2017]

Read TEXTS A AND B below and answer the questions set.

TEXT A

CULTURAL APPROPRIATION

1 In sections of the media concerned with representation and social justice, it seems we can barely endure a week without a newsworthy incident about 'cultural appropriation'. While examples of cultural appropriation can be found in just about any cultural facet or artefact1, the true complexity ofcultural appropriation is often not fully appreciated or sufficiently articulated. 5

2 Cultural appropriation involves the use of one culture's elements by a group or individual that does not belong to that culture. However, this definition is lacking because such an interaction may be labelled simply as cultural exchange. And that argument would be difficult to defeat because, firstly,who 'owns' a culture? And secondly, borrowing from one culture and lending 10to another has been the way of the world since human society began, according to recorded history and anthropologists.

3 So what makes cultural exchange different from cultural appropriation? As with most points of cultural contention, the difference is power.In particular, the power of the privileged to borrow and normalise a cultural 15element of another group, while the group whose culture has been appropriated is often demonised and excluded because of that very cultural element.

4 A recent example of cultural appropriation is the wearing of hairstyles associated with global black culture. From cornrows and Senegalese twists 20to knots and dreadlocks, which are all rooted in the African diaspora2 and many of which have been a part of African cultures' heritage for centuries, black hairstyles in the current culture have been deemed 'fashionable' by celebrities. On the face of it, it appears harmless. But in truth, it ignoresthe racial dynamics at work where black women are discredited or 25overlooked for wearing black/African hairdos. This is power. This is cultural appropriation.

5 As a Nigerian, I could easily empathise. A few years ago, the popular English chef, Jamie Oliver, came out with his own recipe for Jollof rice,a West African dish. While West Africans themselves often debate who 30makes the best rice, many all over the diaspora took to the Internet to reject Jamie Oliver's recipe and let him know, thanks, but no thanks. If Jollof is to be the international sensation it ought to be, it will not be Jamie Oliver who makes it so.



6 For those speaking from positions of power, the idea of cultural appropriation 35 may be seen as an affront to their historical liberty to participate in cultures freely – a liberty that has often resulted in everything from cultural annihilation and loss to colonisation. That history occurred the way it did,has set us up for a cultural moment in which exchange between cultures cannot be viewed as simply occurring in a vacuum. This fact is certainly lost 40 on novelist Lionel Shriver, who recently gave one of the most culturally tone-deaf speeches at the Brisbane Festival.

7 Shriver's words were nothing short of uneducated, lacking in empathy, and an intentional misappropriation of the concept. In her address, Shrivercommented, 'I hope that the concept of cultural appropriation is a passing 45 fad,' and went on to wear a sombrero3, while staking out her claim to do so,and discussing how writers of fiction are entitled to imagine the lives of others. Her arguments suggest that awareness and cognisance of cultural appropriation would mean that fiction writers lose this right.

8 Shriver, like so many others, misses the point of cultural appropriation. 50 A sombrero is a cultural artefact of a culture she does not belong to, and without understanding it carefully and approaching it cautiously, she can misuse this artefact to represent or misrepresent a culture. But what Shriverfails to realise is that an entire nation of people is symbolised only by that artefact because of the power of those from privileged cultures to exchange 55 in such a manner.

9 For those who care about culture, cultural appropriation is no passing fad. It is the concept that gives a label to the experience of being from a culture that has been disabused of its power by other cultures who now seek toborrow from it, at no cost, and with no reverence for history. If it's cultural 60 exchange you want, it's up to you to make every effort to learn as much as possible about a people's history and its artefacts. If you participate fully and graciously in another culture, to call it cultural exchange means that you are aware of your distance from and relationship to it. And if you choose to borrow, hopefully you do so in such a way as to revere the culture and its 65 people, and amplify the beauty of that culture, with an honest understandingtoo of its shortcomings but, most importantly, ensuring that members of that culture are seen, heard and appreciated. That's the difference between cultural appropriation – 'borrowing', or even stealing, from another culture –and cultural exchange, a fairer and more reciprocal transaction. 70

[Adapted from www.alternet.org]

GLOSSARY1artefact: made/manufactured thing that represents a culture/symbol2diaspora: scattering of nations3sombrero: wide-brimmed Mexican hat

AND

CULTURAL APPROPRIATION IS THE SAME AS CULTURAL THEFT. THERE IS NOTHING COOL, RESPECTFUL, OR FASHIONABLE ABOUT IT. WECAN MAKE BETTER CHOICES!


TEXT B

QUESTIONS: TEXT A

Adapted from www.awakeningthehorsewordpress.com

State, in your own words, the point the writer is making in paragraph 1. (2)

Provide an outline of the argument presented by the writer in paragraph 2. (2)

Refer to paragraph 3.

Explain the role that power plays in cultural appropriation. (2)

Refer to paragraph 4.

How do celebrities influence the perception of cultural appropriation? (2)

Suggest why the writer includes the aside, 'thanks, but no thanks' (line 32). (3)

How does the language used in paragraph 6 indicate the writer's attitude to'cultural appropriation'? (3)

Critically comment on Shriver's hope that 'cultural appropriation is a passingfad' (lines 45–46). (3)

Is the writer justified in saying, 'If you participate fully and graciously in another culture, to call it cultural exchange means that you are aware of your distance from and relationship to it' (lines 62–64)?

Substantiate your answer by making close reference to paragraph 9. (3)


QUESTIONS: TEXT B

Complete the statement below. Choose the answer and write only the letter (A–D) next to the question number (1.9) in the ANSWER BOOK.

The overall tone of TEXT B is …

A flippant.B matter-of-fact. C dismayed.D resentful. (1)

How does the image support the headline 'RESPECT OR THEFT?'? (2)

'MAKES REAL INDIGENOUS PEOPLE INVISIBLE'

Discuss the impact this statement is intended to have on the reader. (3)

QUESTION: TEXTS A AND B

Both TEXT A and TEXT B present a subjective view regarding 'cultural appropriation'.

Do you agree with this statement? Justify your response with close referenceto TEXT A and TEXT B. (4)

TOTAL ACTIVITY 1.1: 30

9101112

And I saw it was filled with graves,And tomb-stones where flowers should be:And Priests in black gowns, were walking their rounds, And binding with briars, my joys & desires.

5678

And the gates of this Chapel were shut, And Thou shalt not. writ over the door; So I turn'd to the Garden of Love,That so many sweet flowers bore.

1234

The Garden of Love - William Blake

I went to the Garden of Love, And saw what I never had seen: A Chapel was built in the midst,Where I used to play on the green.

GRADE 12 EHL REVISION Page


Content: Poetry (Seen poem)[Source: C. Buss, Queenstown GHS, Grade 12 Study Guide 2019, EHL/EFAL FET Teachers, Facebook]

About the Poet William Blake (28 November 1757 – 12 August 1827) was an English poet, painter, and

printmaker. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in

the history of the poetry and visual arts of the Romantic Age. His poetry is amongst the most lyrical and prophetic in the English tradition. Blake was a non-conformist and a radical who was concerned with many of the social

injustices of the day, as well as being profoundly spiritual. Both aspects are reflected in his works.

About the poem The speaker describes revisiting a place he remembers from his childhood, only to find that is

has been taken over by a chapel. He is prevented from entering, so he attempts to explore the surrounding garden instead. Here he finds that the place which used to be full of ‘sweet flowers’ (line 8) has been filled with graves and tombstones instead. In addition, patrolling priests, in their dark robes, prevent him from experiencing or reliving his ‘joys and desires’ (line 12).

"The Garden of Love" was published as part of his collection, Songs of Experience. The poem was written to express Blake's beliefs on the naturalness of sexuality and how organised religion, particularly the orthodox Christian church of Blake's time with their preaching and rules, cause the repression of our natural desires.

This was an extremely brave statement to make in his time, with a very direct attack on the orthodox Anglican church with mention of a "Chapel" and "priests".

Blake's indignation at his subject matter is evident from the second line as he is talking about seeing "what I had never seen". It is interesting that he says he has "never" seen it when he


must have grown up all his life being very aware of the Church's attitude towards sexuality. It can then perhaps be inferred that he is speaking from the point of view of innocence who has just entered the world of experience and is in a state of shock and sadness at how his previous freedoms have been literally blocked and squashed by the Church. "A chapel was built in the midst/ Where I used to play on the green".

The "green" has special significance also as it mirrors the contrary poem in innocence "The Echoing Green" hence the reading of the "green" to represent previous, innocent freedom, as well as the more obvious "play".

The poem consists of three equal stanzas. The first stanza tells us of the speaker’s discovery. The second stanza reveals the speaker’s feelings about the building but expresses hope

for consolation to be found in the garden. The third stanza describes the speaker’s disappointment that this, too, has undergone

drastic change. The first two stanzas of the poem are written in a loose anapaestic trimeter and rhyme abcb.

The third stanza begins in the same way, but the last two lines of this stanza make a sharp break with the form of the preceding stanzas. These concluding lines are written in tetrameter rather than trimeter, and they fail to maintain the abcb rhyme scheme. Instead the lines rhyme internally (gowns/rounds and briars/desires). These abrupt changes in versification serve to dramatise the changes that have taken place in this "Garden of Love."

"The Garden of Love" is a deceptively simple three-stanza poem made up of quatrains. The first two quatrains follow Blake's typical ABCB rhyme scheme, with the final stanza breaking the rhyme to ABCD. The lack of rhyme in the last stanza, which also contains the longest lines, serves to emphasise the death and decay that have overtaken a place that once used to hold such life and beauty for the speaker.

Following the specific examples of flowers representing types of love, this poem paints a broader picture of flowers in a garden as the joys and desires of youth.

When the speaker returns to the Garden of Love, he finds a chapel built there with the words, “Thou shalt not,” written overhead. The implication is that organised religion is intentionally forbidding people from enjoying their natural desires and pleasures.

The speaker also finds the garden given over to the graves of his pleasures while a black-clad priest binds his “joys and desires” in thorns. This not-so-subtle critique shows Blake’s frustration at a religious system that would deny men the pleasures of nature and their own instinctive desires.

He sees religion as an arm of modern society in general, with its demand that human beings reject their created selves to conform to a more mechanistic and materialistic world.

The poet uses simple diction. This captures the natural expression of the speaker’s experience. The use of innuendo is apparent as the speaker does not express his anger, disappointment or outrage explicitly, but implies it in the phrase ‘where flowers should be’ (line10) and ‘binding with briars’ his ‘joys and desires’ (line 12).

The alliteration in “binding with briars” is an allusion to the crucifixion. Briars are prickly vines which remind us of the crown of thorns used to torture Jesus. Laws imposed on society are cruel, restrictive and painful. The repetition of “And” emphasises how Blake notices on unpleasant change after another.


Imagery and symbolism

The garden of loveThe dominant image evokes two gardens in the Old Testament. Firstly, it evokes the Garden of Eden before the Fall of humankind. When Adam and Eve were in the garden, they were able to love without shame and self-consciousness. It was a place, therefore, of innocent, uninhibited sexual expression. The state of the garden discovered by the speaker is therefore akin to Eden after the Fall, when sexuality is surrounded by shame, repression and prohibitions.

The Chapel Represents Christianity and the Church. The poet felt that organised religion had become

repressive, seeking to control people. Over the door the words ‘Thou shalt not.’ emphasise the Church’s concerns with forbidding things. Graves and tombstones have replaced flowers – the Church only focuses on sin and death. Beauty and life have been destroyed. “Priests in black gowns” – enforcers of the Church laws. They patrol the garden like prison warders, they control people’s natural desires and impulses.

The greenThis has three, inter-linked aspects:

The colour green is associated with life, growth, fertility and spring. It stands in stark contrast to the priests in their black gowns. (Black – associated with death and sin.)

Village greens were places of play and freedom. They represented innocence and the importance of play, and therefore of imagination, in human life.

Village greens were not owned by anyone, so represented freedom from the rule or demands of an authority figure. Here it has been taken over by repressiveness.

Prison Blake's opposition to the repression of desires as advocated by conventional Christianity

meant that the Chapel seems an image of prison: It is bounded by ‘gates' which are ‘shut' It is a place where people are not free to act (‘Thou shalt not') It is associated with the loss of life (‘graves') Its priests wear uniforms (they are all ‘in black') and patrol the grounds like warders They confine any initiative toward freedom (‘binding ... desires'), in a potentially painful

way (using ‘briars').

Themes

The distortion of Christian belief about the future lifeBlake attacks the approach of some forms of contemporary Christianity which encouraged the denial of sexuality and other powers in the present, in the hope of future reward and bliss. He felt that this led to permanent failure to attain human fulfilment.

The effects of ‘fallenness' on repression of sexuality and other emotionsBlake believed that inhibitions lie primarily within the mind, rather than in external factors. Society makes its fears, guilt and shame into rules and laws which are then enshrined in social institutions such as the authority of parents, the Church and the State or Monarchy.


ACTIVITY 1.2: POETRY (Seen Poem)[Source: C. Buss, Queenstown GHS, Grade 12 Study Guide 2019, EHL/EFAL FET Teachers, Facebook]

Contextual questions

1.2.1 Describe the setting of this poem. (2)

1.2.2 Account for the speaker’s tone in the poem. (2)

1.2.3 How do we know that the speaker had positive memories of the place the poem describes? (2)

1.2.4 Why is ‘Garden of Love’ written in capital letters? (2)

1.2.5 Explain the irony of the Chapel’s position in the middle of the Garden of Love. (2)

1.2.6 Explain the significance of ‘And the gates to his Chapel were shut,’ (line 5). (2)

1.2.7 Describe the effect of ‘Thou shalt not.’ (line 6) in relation to the poem. (3)

1.2.8 Comment of the poet’s use of punctuation in line 6. (2)

1.2.9 What has replaced the flowers in the ‘Garden of Love’? Discuss the implication of this. (3)

1.2.10 What is the poet’s intention with this poem? (2)

1.2.11 Identify and explain the synecdoche in lines 5 and 11. (2)

1.2.12 What is significant about the Priests walking in ‘rounds’ (line 11). (2)

1.2.13 Explain the effectiveness of the description of the priests ‘binding with briars’ (line 12). (2)

1.2.14 Explain the effectiveness of the repetition of the word ‘and’ throughout the poem. (2)

1.2.15 Explain the irony of the title of the poem in relation to its contents. (3)

1.2.16 In your opinion, where is ‘The Garden of Love’? Is it a real place or a metaphorical state of being? Explain your answer. Quote in support of your answer. (3)

1.2.17 Provide your opinion of the poet’s tone of criticism towards priests and the church of his time. (3)

[ [40]



Content: Poetry (Unseen poem)[Source: Adapted from: EDCO, Educational Company of Ireland, Study Guidelines Poetry]

Unseen PoetryIt is impossible to say what type of poem might come up in the unseen section. The poem may be a short lyric or a longer narrative poem; it may even be the words of a song.

Above all else, you must read the poem several times. It will probably be very unfamiliar to you, so to engage with the poem at all, you need to get a feel for what is being said or suggested in the poem. You would definitely benefit from a second and even a third reading. Remember, the quality of your answer will depend upon the quality of your reading of the poem, so spend a few minutes reading carefully and attentively.

1. First reading – Read the poem slowly and carefully. Aim to get some sense of what the poem is about. Don’t worry if you can’t understand every line or every word of the poem.

2. Second reading – Now re-read the poem. Try to read it ‘aloud’ in your mind and try to ‘hear’ the tone of the speaker’s voice. On the second reading you should also listen out for any rhyme patterns that begin to emerge.

3. Third reading – Now you’re in a better position to think about the way the poet writes his/her poetry. Areas you may need to focus on include:

Think about the structure of the poem. Has the poet used quatrains? Is the poem written in a recognisable form, such as a sonnet or ballad?

Look closely at the language. Is the language simple or complex? Is the language concrete or abstract, informative or emotive? Does the poet use slang? Does he/she use conversational language or is it much more formal? Does the poet use imagery? Can you see similes or metaphors? What is the impact of such imagery?

Is the mood of the poem cold or warm? Is the poem one of bitterness, regret, gratitude, thanks or forgiveness? What words and images give you that feeling? Are there any colours in the poem? Is the setting bright or dark?

Do the sounds in the poem help to create a particular mood or atmosphere? Does the poet use alliteration, assonance or onomatopoeia? Any rhyme patterns?

Overall, you want to arrive at a clearer sense of what the poet’s intention is in writing the poem. What is the poet’s attitude towards the subject? Does the poet attempt to persuade the reader to adopt a similar viewpoint? Is the poem persuasive? Was there anything in the poem that surprised you or angered you or even shocked you?

Close readings will also give you a stronger like or dislike of the poem. In questions where your personal assessment of the poem is expected, you’ll be well prepared for giving a genuine response and be able to support your ideas with relevant reference to and quotation from the poem.

Each time you read the poem, underline and annotate images/phrases/lines from the poem that could be linked with the key words in the question. Or you could use a highlighter to mark areas of the poem that will be most useful to you in your response.

20

I've watched the multitudes rub shoulders And I've wondered what they doWith the loneliness beyond;I've seen throngs of people Disappear into little holes of restingAnd I've pondered what might be happening With the loneliness beyond.

15Like sheep herded into a kraal They crowd numbered coaches Hopeful of a safe landing.

10

I've seen hearts palpitating Behind a single maskless face Tired from the hurrying of a city Spirits maimed by commands.I've heard the clicks of tonguesLaughter rising above the grouse of mouths That never restFrom grinding complaints.

5

THE LONELINESS BEYOND – Sipho SepamlaLike raindrops patteringThey come singly and in pairs Then as a torrent the rush of feet Shuffles onto platformsDragging the last strains of energy.


ACTIVITY 1.3: POETRY (Unseen Poem)[Source: DBE, NSC, February-March 2015]

Read the poem and answer the questions.

Explain what the words, 'pattering' (line 1) and 'torrent' (line 3) convey aboutthe movement of the people. (2)

What is suggested by the description of the face as 'a single maskless face'(line 7)? (2)

Refer to lines 17–19: 'I've watched the multitudes … the loneliness beyond'.

Explain how the irony in these lines makes a comment about modern society. (3)

Refer to line 21: 'Disappear into little holes of resting'.

Critically discuss how the image in this line reinforces the mood of the poem. (3)[10]


SKILL 3: WRITING AND PRESENTING

Content: Speech / dialogue/ interview

Note: Completed in week 1-6

SKILL 4: LANGUAGE STRUCTURES AND CONVENTIONS

Refer to the notes in the Week 1-2 Booklet.

ACTIVITY 2.1: USING LANGUAGE CORRECTLY[Source: DBE, NSC November 2017]

Read the text which contains some deliberate errors, and answer the set questions.

THE EXPERIENCE OF BOREDOM

1 American researchers just published what they're calling 'the most all- inclusive, comprehensive empirical account of the experience of boredom' ever conducted.

2 They've solved the mystery of what causes boredom: people feel bored, they concluded, when they're doing boring things! Which is a less boring finding 5 than it seems, since it puts paid to one of the favourite admonishments of teachers and parents: 'There are no boring things, only boring people.' (Or, asGK Chesterton said, 'There is no uninteresting subject; the only thing that can exist is an uninterested person.') But of course there are boring things. Thinkof completing your tax return, learning PowerPoint and attending safety 10 seminars that involves dull interactions.

3 Boredom feels more intolerable, these days, because there's so much stimulation to be had. Your forbears were prisoners of mundane tasks; they wrote with pens and they did addition. In contrast, we're free to choose more exciting lives with excess to real-time feedback on social media. No wonder, 15 then, that more meaningful things – reading books, communicating with people you love – start to feel boring. Consider stepping away from time- sucking digital addiction: it will make the rest of your life more interesting.

[Adapted from www.theguardian.com]

Correct the error of tense in line 1. (1)

Remove the tautology in lines 1–3. (1)

Differentiate between the use of the colon in line 4 and line 7. (2)

'…the only thing that can exist is an uninterested person' (lines 8–9).

Explain how the change in prefix, from un- (in 'uninterested') to dis- (in 'disinterested'), changes the meaning of the sentence. (2)


'Think of completing your tax return, learning PowerPoint and attending safety seminars that involves dull interactions' (lines 9–11).

Identify the part of speech of the underlined word. (1)

Correct the grammatical error in this sentence. (1)

Correct the malapropism in paragraph 3. (1)

Replace 'it' in line 18 with an appropriate noun/noun phrase. (1)[10]


ANSWERS TO ACTIVITIES

ACTIVITY 1.1: READING FOR COMPREHENSION[Source: DBE. NSC, November 2017]

INSTRUCTIONS TO MARKERSMarking the comprehension:

Because the focus is on understanding, incorrect spelling and language errors in longer responses should not be penalised unless such errors change the meaning/understanding. (Errors must still be indicated.)

If a candidate uses words from a language other than the one being examined, disregard those words, and if the answer still makes sense, do not penalise. However, if a word from another language is used in a text and required in an answer, this will be acceptable.

For open-ended questions, no marks should be awarded for YES/NO or I AGREE/ I DISAGREE. The reason/substantiation/motivation is what should be considered.

No marks should be awarded for TRUE/FALSE or FACT/OPINION. The reason/substantiation/motivation is what should be considered.

When one-word answers are required and the candidate gives a whole sentence, mark correct provided that the correct word is underlined/highlighted.

When two/three facts/points are required and a range is given, mark only the first two/three.

Accept dialectal variations.

For multiple-choice questions, accept BOTH the letter corresponding to the correct answer AND/OR the answer written out in full.

Cultural appropriation is a popular topic in the media./It is a complex issue./It is not fully discussed./It is not understood.

[Award 2 marks for any ONE point.][Award 1 mark for ‘lifting’.] (2)

The writer distinguishes between cultural appropriation and cultural exchange./Cultural appropriation is the unauthorised use of elements of another culture, whereas cultural exchange refers to the borrowing of elements from another culture./Cultural appropriation is equivalent to stealing, whereas cultural exchange is borrowing./There are no clear boundaries between cultural appropriation and cultural exchange.

[Award 2 marks for any ONE point.][Award 1 mark for ‘lifting’.] (2)


The wealthy/powerful take control of cultural elements./The marginalised/more vulnerable are powerless to oppose the exploitation.

[Award 2 marks for any ONE point.] (2)

Celebrities make cultural appropriation acceptable and fashionable./Their popularity allows them to shape perceptions that are not acceptable.

[Award 2 marks for any ONE point.] (2)

The writer is dismissive of/sarcastic toward/politely rejects foreign chefs appropriating African dishes and presenting them as their own. The West Africans jealously guard their recipes and it should be their right to make them internationally popular. A foreign chef should not be appropriating their dishes.

(3)[Award 3 marks for THREE distinct ideas or TWO ideas well-discussed.]

The writer uses strong, assertive expressions ('cultural annihilation' and 'loss to colonisation') to display his criticism/rejection of the practice. He acknowledges the importance of culture ('cultures cannot be viewed as simply occurring in a vacuum') and accuses Shriver of being culturally insensitive ('This fact is certainly lost on novelist Lionel Shriver'). He is also derisive of people like her, whom he describes as 'culturally tone-deaf'.

[Award 1 mark for 'attitude' and 2 marks for a well-developed discussion.][Credit reference to the repetition of ‘liberty’ and the irony therein.] (3)

Shriver refutes the seriousness of the concept of cultural appropriation and defends cultural insensitivity. She is unaware of the impact of cultural appropriation and appears oblivious of the disrespect imposed on cultural groups.

[Consider cogent alternative responses of Shriver's view.] (3)YES

The writer is promoting mutual respect between cultures. Keeping a 'distance from and relationship to it' implies your ability to revere/admire a culture without transgressing established boundaries.

OR

NO

The person borrowing from the culture could 'amplify the beauty' of that culture by promoting awareness of it. The concept of culture is fluid and is constantly evolving. One cannot keep one's distance from it. All cultures should be embraced. There should be no clearly defined boundaries between cultures.[Credit valid alternative responses.][Consider mixed responses on merit.] (3)

D – resentful (1)

By wearing a headdress of another culture, the girl is trivialising a significant artefact/disrespecting a culture, or showing her admiration for the culture. (2)


This statement alerts the reader to/creates awareness of the damage caused by cultural appropriation. The indigenous people become insignificant ('invisible') when their artefacts are exploited. It is ironic that it is the artefacts, and not the people, that are celebrated.

[Credit relevant alternative responses.] (3)

YES

Both texts are highly subjective in their condemnation of cultural appropriation.

Throughout Text A, the writer equates cultural appropriation with theft. He provides anecdotal evidence of people in positions of power exploiting cultures for personal gain. The writer uses emotive terms with a negative bias such as 'demonised and excluded', 'cultural annihilation' and 'no reverence for history'. He concludes his article by urging the reader to acknowledge and respect the cultures of others.

In Text B, the writer outlines the consequences/results of stealing someone's cultural identity, e.g. 'TRIVIALIZES & ERASES HISTORY'. Although the headline poses a potentially balanced view, the details reflect the idea of 'THEFT'. In the writer's view, 'THERE IS NOTHING COOL, RESPECTFUL, OR FASHIONABLE ABOUT IT.'

ORNO

[A 'NO' response is unlikely. However, mark each response on its merits.] [Credit alternative responses.][Award 4 marks only if reference is made to both texts.] (4)

TOTAL ACTIVITY 1.1: 30


ACTIVITY 1.2: POETRY (Seen Poem)[Source: C. Buss, Queenstown GHS, Grade 12 Study Guide 2019, EHL/EFAL FET Teachers, Facebook]

Contextual questions Contextual questions

As Blake was English, you can assume that this Church and its graveyard are inan English village. (2)

The tone is despondent/unhappy/dejected because the speaker hopes to embrace his beautiful childhood memories once again and instead is dismayed at the changes he encounters. He is perturbed about the fact that he no longer has the freedom to explore his playground. His despondency at the church

(organised religion) is made clear in the poem. (2)

‘Where I used to play’ and ‘That so many sweet flowers bore’ – this proves that the speaker’s memories are pleasant ones.Why is ‘Garden of Love’ written in capital letters? (2) Emphasis – this used to be a place of love and acceptance

and freedom. Allusion to Garden of Eden. (2)

Emphasis – this used to be a place of love and acceptance and freedom. Allusionto Garden of Eden. (2)

The reader would expect the doors of the Chapel to stand open (because a Chapel is a place of worship and the central tenet of Christianity is love for God, others and self). But these doors are shut, indicating a forbidding/unfriendly/unwelcoming attitude.

(2)

It is significant because the speaker sees the ‘shut gates’ as a contrast to the freedom he enjoyed as a child when he roamed freely in this garden. The implication is that this is no longer an open and friendly place to visit but is now

subject to the imposition of rules/organised religion. (2)

Restrictions – negative – dogmatic and judgemental. It enforces the poet’sopposition and anger at the Chapel in the Garden of Love. (3)

The words ‘Thou’ is written in a capital letter and ‘Thou shalt not.’ is followed by a full stop in the middle of the line. It implies an idea of negativity. It is a command and the full stop creates a finality to the command. Although the metre is not interrupted, this irregular punctuation forces the reader to pay attention to what the sign forbids them doing. In the first place it wants to emphasise that the Chapel, instead of welcoming people, keeps the people out and immediately confronts them with a list of rules. The reader can visualise the sign with the rules and subconsciously fills in all the other ‘thou shalt nots’ found in the Bible. It

enforces the poet’s opposition and anger at the Chapel in the Garden of Love. (2)

Gravestones/graves. The sweet flowers (innocence, freedom, joy) have been replaced by death/dogma. Organised religion has taken away the individual’s

freedom and joy. (3)


Disapproval! The speaker disapproves of the development that has taken place. Adding to his dismay at the radical change to a favourite childhood meeting place is the hostile nature of the church and its graveyard. This is at odds with what one expects from a church as this one does not welcome visitors and seem repressive, strict and joyless. Perhaps the poet intends this as a general observation of the effect of organised religion and the power it has to clamp down

on pleasure. (2)

Chapel represents organised religion. Priests represent all of those who oppressothers in the name of religion. (2)

Never-ending. Blake does not see an end to the repression. They patrol, likewardens. (2)

The alliteration of the phrase ‘binding with briars’ draws our attention. The image of the priests in ‘black gowns’ (line 11) who seem too intent on repressing all joy and employ restrictive measures as they close off all paths with barriers of thorns is effective. Any initiative towards freedom is confined in a painful way

– briars are a thorny type of bush that can ensnare and ‘hold on’ to whatever getsstuck inside it. (2)

Like the list of ‘rules’ in the Bible (‘thou shalt nots’) this poem progresses like a list of rules does. The repetition of ‘And’ in the poem highlights the building up of the

poet’s tension and anger. (2)

The Biblical Garden of Love was a place of love and acceptance and joy. This poem, however, criticises the church/organised religion and makes it clear that

THIS garden is not one of love and joy. (3)

It could possibly be seen as the Garden of Eden – where Adam and Eve separated themselves from God, by sin. It could also refer to the innocence of childhood before it is lost to adulthood. Real and metaphorical. When you are young you do not see the repression and as you grow older, society and institutions (like the church) shape your life and force you to repress natural

pleasures and freedom. (3)

Opinion – The poet is justified in criticising the church for the man-made restrictions it places on man’s natural and instinctive freedom. OR The codes of behaviour the church preaches are needed in society for moral and orderly

behaviour that safeguards the individual. (3)[40]

RUBRIC FOR THE MARKING OF THE POETRY ESSAY

Criteria Exceptional

8-10

Skilful6-7

Moderate4-5

Elementary2-3

Inadequate0-1

CONTENT

Interpretation of topic. Depth of argument, justification and grasp of text.

7 MARKS

-In-depth interpretation of topic-Range of striking arguments; extensively supported from poem-Excellent understanding of genre and poem

- Shows understanding and has interpreted topic well.- Fairly detailed

response-Sound arguments given, but not all of them as well motivated as they could be.-Understanding of genre and poem.

- Fair interpretation of topic

- Some good points in support of topic- Some arguments supported, but evidence is not always convincing.-Basic understanding of genre and poem

- Unsatisfactory interpretation of topic.- Hardly any points in support of topic.- Inadequate understanding of genre and poem.

-No understanding of the topic-No reference to the poem-Learner has not come to grips with genre and poem.

STRUCTURE ANDLANGUAGE

Structure, logical flow and presentation. Language, tone and style used in the essay

-Coherent structure-Arguments well-structured and clearly developed.-Language, tone and style mature, impressive, correct-Virtually error-free grammar, spelling and punctuation

-Clear structure andlogical flow of argument-Flow of argument can be followed-Language, tone & style largely correct

-Some evidence ofstructure- Essay lacks a well- structured flow of logic and coherence.- Language errors minor; tone and style mostlyappropriate

- Structure showsfaulty planning- Arguments not logically arranged- Language errors evident- Inappropriate tone &style

- Poorly structured-Serious language errors and incorrect style

3 MARKSMARK RANGE 8-10 6-7 4-5 2-3 0-1



ACTIVITY 1.3: POETRY (Unseen Poem)[Source: DBE, NSC, February-March 2015]

The word, 'pattering' suggests individuals arriving at random. It also conveys the haste with which they are moving. This gradual arrival of people culminates in a 'torrent' which implies a rush/an overwhelming number of

people. (2)

The masses are so emotionally pulverised by their circumstances that they are too tired to disguise their true feelings. Their raw emotions are evident.The words suggest a lack of individuality because the people experience thesame sense of hopelessness/exhaustion/despair. (2)

It is ironic that, even though many people are crowded together, the speaker sees their loneliness. This suggests that being part of a crowd does not bring comfort/is not reassuring/does not guarantee an escape from loneliness.Even in the midst of a crowd, people still experience a sense of separation/alienation and aloneness since they are surrounded by strangers. (3)

The mood is oppressive/bleak/lonely/despairing. People retreat into 'holes' like animals seeking security/comfort. Their places of rest are dark and gloomy; hence there is no promise of revival. They only 'rest' in their 'holes', therefore their homes give only temporary respite from what is the main focus of their lives: work. Describing their homes as 'little holes' intensifies the claustrophobic aspect of the mood. Their isolation and vulnerability are emphasised. The image successfully reinforces the bleak mood of the poem.

[Award full marks only if the candidate includes critical evaluation.] (3)[10]


ACTIVITY 2.1: USING LANGUAGE CORRECTLY[Source: DBE, NSC November 2017]

published – have/have published/have just published (1)

The (most) all-inclusive OR The (most) comprehensive (1)

The colon in line 4 indicates that an explanation will follow/additional information. (1)

The colon in line 7 introduces a quotation/direct speech. (1) (2)

Uninterested: having no interest/negative attitude (1) Disinterested: unbiased/neutral (1)

[Credit candidates if the response is contextually correct.] (2)

Adjective (1)

involves – involve (1)

excess – access (1)

Stepping away/This change/Change/A shift in focus/This step

[Consider valid alternative responses.] (1)

[10]


TEMPLATES

POETRY ANALYSIS SUMMARY

TITLE: POET:

TITLE:Effectiveness /Reference to word choice

STRUCTUREForm / rhyme scheme

POETIC DEVICES / FIGURES OF SPEECHType/ line reference /effectiveness

STANZA ANALYSISState main idea each stanza without reference to text


DICTION (WORD CHOICE)Line reference/Effectiveness

MOODReference to diction /effectiveness

TONELine/ diction reference

THEME (Main and sub-themes) Line reference / diction

POET’S INTENTIONLine reference.


POETRY REVISION[Source: Jerome Buchler, EHL/EFAL FET Teachers, Facebook

Complete the graphic organizer to highlight contrasts and similarities in the clustered poems.

Cluster 1 Vultures African Elegy First day after the war

Cluster 2 Remember Somewhere I never travelled Funeral Blues

Cluster 3 African Thunderstorm Zulu Girl Hard Frost

Cluster 4 Motho ke Motho Felix Randal Garden of Love

Aspects Poem Poem Poem

Tone

Diction used to support the tone

Message (Sense)

Intention

Form

Sound Devices

Figures of Speech

Structure

Diction


PLANNING A LITERARY ESSAY: NOVEL/DRAMA/POETRY

INSTRUCTION WORD/S : (What is expected of me?)

CLUE WORDS: (Topics per paragraph cluster)

Paragraph 2.CLUSTER 1

Paragraph 8.

Paragraph 9.

CLUSTER 3

Paragraph 3.

THESIS STATEMENT

Paragraph 1.

Cluster 1:

Cluster 2:

Cluster 3:

Paragraph 4.

Paragraph 5.CLUSTER 2 CONCLUSION

Paragraph 10.

WRAP UP SENTENCE

Check if PEEL method was used to ensure continuity between paragraphs and clusters.

Paragraph 6.

Paragraph 7.


CREATIVE WRITING PLANNING TOOL

TOPIC:

GENERAL IDEAS

SPECIFIC EXAMPLES


INSTRUCTION WORDS

Key word Meaninganalyse Break up into separate parts and discuss, examine, interpret, explore and

investigate each part. Say how each part is important. Explain how the parts are linked or related.

apply Use in practical way. When you apply you show in a practical way what yourunderstanding is. Use your knowledge and understanding of the topic to make it relevant to a situation, issue or problem.

assess Judge or estimate the nature, quality or value of something. Make a valuejudgement that you justify by giving reasons.

calculate You need to get to an answer by using numbers. You will add, subtract, multiply or divide numbers to reach an answer.

comment Give your opinion on, explain or criticise. Make a judgement based upon theevidence.

compare Look at two or more things. Identify similarities and differences. See how they are the same, and how they are different. Focus more on similarities than differences.

complete Add the missing information.consider Think about and give your opinion.contrast Focus on the differences between two or more things. Show them in opposition to

each other.create Put together ideas or parts to develop an original idea; engage in creative

thinking; offer a novel or new suggestion or item.criticise You need to make judgements to show your own ideas and evaluation.critically analyse

Show approval or disapproval, or find mistakes or faults, and merits or good aspects; give reasons.

define You need to give the exact meaning of the term or words. Definitions are short and exact. This is not a discussion.

describe Give an account of something where you recall what you have learned or state what you observed.

determine Find out the facts. For example, determine how many learners in Grade 11 dophysical exercise more than four times a week.

discuss Write about something; compare a number of possible views about an issue or problem. Debate, consider, and argue the issues. Include comparisons and contrasts, look at pros and cons. Say what you think about the topic. Give a full answer in sentences, not just a list in point form. Always give a conclusion.

do you think

Give your OWN opinions about an issue or problem. Pay attention to the reason you give and arguments you offer; you will not be given marks just for an opinion. Provide well-reasoned or logical reasons for your opinions, based on facts.

enumerate This is the same as list. Give a number of points.evaluate Give your own opinion and /or the opinions of others. Give evidence to support

your evaluation. Give an indication of the amount, quality or value of something.Compare a number of possible views about an issue or problem. Make judgements based on facts.


examine Carefully look at something and in detail so you can comment on it. Break down an issue or problem into smaller parts to understand it. Then explain what you have learned.

Explain Give details, describe, make clear, make it understandable. Make something plain or simplify. Describe in detail so that it can be understood. Always give examples when you are asked to explain.

give You supply, provide, present, or offer information.

Identify Recognise and name someone or something; to say who or what they are.illustrate Give realistic examples. Explain very clearly. You can use examples and

comparisons.interpret Show your understanding of the topic, comment on it, give examples. Describe

relationships, explain the meaning.in your opinion

This asks you what you think about something or feel about something. Forexample, in your opinion do the youth do enough to celebrate Youth Day on the 16th of June?

list Give a short list of the points. State in the shortest way. Be brief. Do not discuss or write an essay. Usually you write items one below the other in a list.

match Find things that go together; find things that are similar or connected to eachother.

measure Find the size, quantity, etc. of something. Judge the importance, value or effect ofsomething.

mention Write about something without explaining. There should be no detail; keep it brief.

name Similar to mention; give a brief answer without long explanations.outline Summarise, describe main ideas and core points, concepts or events. Give an

overview.prove Give the facts to support the issue.state Explain exactly and clearly as it is.suggest Give possible reasons or ideas. These must be believable; they do not

necessarily have to be proven to work.summarise Give a very short and brief account. Include a short conclusion. Do not give

unnecessary details.

online.htseden.co.za · web viewkey word. meaning. analyse. break up into separate parts and...

Documents