online.htseden.co.za · web view[source: , 2015] use the guidelines provided and write an interview...

GRADE 12 REVISION

ENGLISH HL

GRADE 12

NOTES AND ACTIVITIES

REVISION

GRADE 12 REVISION

INDEX

CONTENT PAGE NR

Skill 1: Listening and speakingDialogue/ Interview 4Activity 1: Write an interview 4

Skill 2: Reading and viewingReading for meaning and understanding 5Activity 2.1: Comprehension test 6Poetry: (Seen Poem) Vultures 10Activity 2.2: Vultures 19Poetry: Unseen Poem 21Activity 2.3: Unseen Poem 22The literary essay 23

Skill 3: Writing and presentingDialogue/ Interview 4Speech 26

Skill 4: Language structures and conventionsSentence structure 27Punctuation 28Parts of speech 29Active and passive voice 29Concord 30Malapropisms 32Tautology and redundancy 32Activity 4.1: Using language correctly 33

Answers to activities Templates

35

GRADE 12 REVISION

SKILL 1: LISTENING AND SPEAKING

Content: Dialogue/ interview Features and conventions Planning, researching, organising and presenting

and

SKILL 3: WRITING AND PRESENTING

Content: Transactional text: Dialogue/ interviewProcess writing: Planning, drafting, revising, editing and presenting

NOTES[Source: DBE, Guideline for teaching and writing essays and transactional texts, 2018][Source: www.steemit.com ]

Interview An interview is a structured dialogue between two people. One person responds to

the questions of the other, and in the process, gives relevant information. The format will be question and answer. The speaker's name, followed by a colon, is written on the left-hand side of the page. As in all dialogues, direct speech is written without inverted commas. In the introduction/ scenario, the interviewer often supplies background information about

the person he/she is interviewing. In the body the interviewer asks relevant questions about a topic and the person

interviewed have to respond to these. Questions and Responses

It is important for the questioner to appear knowledgeable and the questions, therefore, need careful and intelligent preparation.

Questions should be well-structured in order to gain detailed information or opinions from the interviewee.

It is helpful to use the questions as if they were topic sentences, and the responses as if they were the body paragraphs.

Questions may be linked to the previous answer. Questions and answers should appear to be spontaneous. Responses should be substantiated with facts and/or opinions. The tone and language will depend on the relationship between the speakers and the topic

of conversation. Technical words/jargon may be appropriate.

When writing an interview: write the names of the characters on the left side of the page use a colon after the name of the character who is speaking use a new line to indicate each new speaker avoid using long greetings and introductions – respond to the brief in the question advice to characters (or readers) on how to speak or present the action must be given

in brackets before the words are spoken sketch a scenario before you start writing

Rice cake wordsWords that are dull, boring, vague and are often overused.

Salsa wordsWords used to spice up writing.For example: Instead of using the word ‘happy’ you may use ‘cheerful, contented, delighted, ecstatic, elated, glad, Joyful, joyous’

GRADE 12 REVISION

ACTIVITY 1: LISTENING AND SPEAKING and WRITING AND PRESENTING[Source: www.englishwithmahure.blogspot.com, 2015]

Use the guidelines provided and write an INTERVIEW based on the following scenario:

A well- known South African actor/actress, who attended your school, recently landed a role in a block buster movie. You have to interview him/her for the school’s newspaper.

You may use some of the following questions to structure your interview:

How did it happen that you got the role in this movie? What about this role made you feel so strongly about landing the part? What are the challenges of playing different roles? Do you have to learn new skills to portray the characters? Tell our readers. How do you prepare for a character? Do you have to become the character even at the expense of your regular life? Do you believe in spending time at the location? Describe the feeling when your movie became a blockbuster?

It is important to do process writing.Use the following method to revise and edit your INTERVIEW before you submit it for marking.

[Source:www.pinterest.com]

TOTAL ACTIVITY 1: [25]

GRADE 12 REVISION

SKILL 2: READING AND VIEWING

Content: Reading for comprehension

Notes

Seven Winning Tips for English Comprehension[Source: X-Kit Achieve, www.x-kit.co.za]

Read through the following guidelines and exam tips to help you answer the comprehension section of your language paper and you’ll soon see your marks improve!

1. Read and follow the instructions given at the beginning of the exam paper. These are given for your benefit. You can lose valuable marks if you do not follow the instructions exactly.

2. Skim the entire passage quickly to get the gist of what it is about. Then read all the questions carefully and re-read (scan) the passage to find the references to the questions. If you see something that reminds you of a question, mark it by writing the number of that question next to the relevant part of the passage.Now read slowly and carefully, looking for details. This detailed reading will help you to absorb the obvious meaning of the passage, as well as to read between the lines, working out what the writer implies or leaves unsaid.

3. Most comprehension questions follow the order of the passage, so you can find the answers in the same order as that in which the questions appear. Pay attention to line and paragraph references. The paragraphs are numbered on the left (1, 2, 3, etc.) and the lines are numbered on the right (5, 10, 15, etc.).

4. Look at the mark allocation for each question, which gives you an idea of how long your answer should be.

5. Copy the examiner’s number system exactly, for example, 1.1.1, 1.1.2, etc. and write neatly. The examiner cannot give you marks if she cannot read your answer.

6. Read the questions carefully. When reading the questions, take note of these additional tips. Highlight or underline the task words to be certain of what you are being asked to do, for

example: identify, name, state, list. Highlight or underline the question words, which tell you what information to look for

in the text, for example: who, where, what, why, when, how. Use your own words if the question asks for them. Do not quote from the text if you

are asked to answer in your own words. When answering open-ended questions, make sure you write ‘yes’ or ‘no’ before you

give reasons. Do not answer a ‘true or false’ question with ‘yes’ or ‘no’ – you may only write ‘true’ or

‘false’. When you are asked to quote evidence from the passage, make sure you use

the exact words – if you copy incorrectly, your answer will be wrong.

GRADE 12 REVISION

7. And lastly, read through your answer to ensure it makes sense.

GRADE 12 REVISION

ACTIVITY 2.1 : READING FOR MEANING AND UNDERSTANDING[Source: DBE, NSC February/March 2016]

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

TEXT A

1

PIRACY AND THE FUTURE OF THE FILM INDUSTRY

The movie industry excels in selling dreams. But since the dawn of the digital revolution, there is one narrative they've consistently and conspicuously failed to sell: that piracy is theft and consumers who indulge ought to feel guilty about it.

2 Film piracy is no longer a hot topic: it has been around long enough to cool 5 down a little. That has not, however, prevented it from continuing to cause alot of problems for the film industry. There's a perception that it's a victimless crime – but it's not. Dodgy DVDs and, increasingly, illegal downloads, cost the film industry massive amounts of revenue every year. This loss of revenue willobviously cause serious financial problems for the studios and is certainly 10 contributing to their current downfall. The value of a film made available online, reduces the value of that film around the world. Reduction of revenuehas also resulted in studios' making fewer adventurous choices – think of the prequels, sequels and remakes hitting the screen.

3 The movie industry is not without clout, however, and it is responding to this 15 threat with both hard legal measures and by raising awareness of the consequences of piracy.

4 Piracy, in particular Internet piracy, can be assumed to be growing. Even if it is not, it is a significantly large enough problem at the moment for somethingto be done about it. Piracy needs to stop, or at least be controlled to prevent it 20 from completely undermining the film industry. The question is why Internetfilm piracy has become so popular.

5 Obviously the prospect of getting a product for free is enough enticement for some. Others see it as the beginning of the end of capitalist materialism.These reasons do not account, I think, for the huge numbers of otherwise 25 'respectable' people who engage in this practice. The anonymity of sitting behind a computer together with a large number of other people who are alsodoing it is certainly a factor that encourages piracy. More significant is the increase in technology that has allowed it to become so simple.

6 Behind all this, I feel, is an increasing disengagement from the cinema as 30 more entertainment is to be found in front of the computer. Fewer peopleneed to leave their computers to be entertained. Why should they leave their computers to see a new film? Disgruntlement with Hollywood, poor films and the ever-increasing cost of seeing them, both at the cinema and on DVD,might also encourage people to download films illegally. 35

GRADE 12 REVISION

7 It has been argued that people are using downloaded films as a test of brand value i.e. that people will go to the cinema to see another film by the same director or will watch a DVD of a film they have downloaded. This is certainly a much more economically efficient way for consumers to find the films theywant to own or pay to experience in the cinema. The music industry has also 40 been massively affected by online piracy. Some studies argue that piratedtracks encourage people to buy a song legally. However, some will see this as mere wishful thinking, arguing that people will never go back to paying when they don't need to.

8 With so many reasons to pirate films (the first and foremost of which will 45 always be that it is free), it is no wonder that so many people are doing it. The Internet has become a powerful tool and platform and because it is open andfree, everyone in the pirating community has been able to steal a lead on the film industry. The studios and distribution companies are, however,developing new models to allow them entry into this marketplace. 50

9 The Internet has also been embraced as a distribution tool by the independent film-making community. Downloading a film is cheap and simple and obviates the need for DVD-burning and postage. It allows easy access to a global audience and makes marketing and interaction with audiences a veryfluid, networked affair that can be very effective for the independent film. 55

10 What will be interesting to see is how content is managed on the Internet. Studio films will of course have no problem being downloaded, but independent films will probably remain slightly hidden. I imagine that there will be content providers dedicated to smaller and independent films, and Internetword of mouth will be used to promote them. Theatrical release will be less 60common for independent films, but people will still be willing to pay for the cinematic experience of the bigger, more effects-driven studio productions. Film will become a much more home-based experience. Piracy will fade away because it will become simpler and easier, as well as less guilt-inducing, towatch the latest releases through the legitimate system. 65

[Adapted from www.ezinearticles.com and www.theguardian.com]

AND

2

4

GRADE 12 REVISION

TEXT B

QUESTIONS TEXT A[Source: www.brucesallan.com]

State, in your own words, what the writer conveys about the 'digital revolution'in paragraph 1. (2)

Explain the significance of the claim, 'There's a perception that it's a victimlesscrime' (lines 7–8). (2)

Refer to lines 8–14: 'Dodgy DVDs and ... hitting the screen.'

Suggest a reason for studios' opting for 'fewer adventurous choices' (line 13). (2)

Discuss the implications of the use of inverted commas around 'respectable'(line 26). (2)

Comment on the effects of the diction used in paragraph 3. (3)

In your view, is the statement, 'Disgruntlement with Hollywood ... downloadfilms illegally' (line 33–35), self-contradictory? Substantiate your response. (3)

Discuss the appropriateness of the use of 'steal a lead on' (line 48–49). (3)

Considering Text A as a whole, do you agree with the writer's concluding sentence: 'Piracy will fade away because it will become simpler and easier, as well as less guilt-inducing, to watch the latest releases through the legitimate

system' (lines 64–65)? Justify your response. (3)

GRADE 12 REVISION Page

QUESTIONS: TEXT B

Account for the boy's body language in frame 2. (2)

Comment on the role of the mother in the cartoon. (2)

Critically evaluate the boy's response, 'THAT'S PIRACY!' (3)

QUESTION: TEXTS A AND B

Does Text B support the writer's argument in Paragraph 5 of Text A?Substantiate your view. (3)

TOTAL ACTIVITY 2: 30



Content: Poetry (Seen poem)

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VULTURES - Chinua AchebeIn the greynessand drizzle of one despondent dawn unstirred by harbingers of sunbreak a vulture perching high on brokenbone of a dead tree nestled close to his mate his smoothbashed-in head, a pebble on a stem rooted ina dump of grossfeathers, inclined affectionately to hers. Yesterday they picked the eyes of a swollencorpse in a water-logged trench and ate the things in its bowel. Fullgorged they chose their roost keeping the hollowed remnant in easy range of cold telescopic eyes …

Strange indeed how love in other ways so particularwill pick a cornerin that charnel-housetidy it and coil up there, perhaps even fall asleep – her face turned to the wall!… Thus the Commandant at Belsen Camp going home forthe day with fumes of human roast clinging rebelliously to his hairy nostrils will stopat the wayside sweet-shop and pick up some chocolate for his tender offspring waiting at home for Daddy’s return …

Praise bounteousprovidence if you will that grants even an ogre a tiny glow-worm tenderness encapsulated in icy caverns of a cruel heart or else despairfor in the very germ of that kindred love is lodged the perpetuity of evil.


Notes[Source: Grace Sophia Kruger, May 2017, EHL/EFAL FET Teachers, Facebook]

Summary The poem begins with a description of the vultures that makes them seem repulsive

and gory. However, they also show affection, which only makes their behaviour more revolting. The second section of the poem describes the Commandant of Belsen, which was a

Nazi concentration camp where thousands of Jewish people were murdered and their bodies burned during World War II. As with the vultures, the Commandant’s love for his family makes his evil deeds in being responsible for thousands of deaths seem even worse.

The description of the vultures is in the past tense, while the Belsen Commandant is described in the present tense. This seems to suggest that evil is always present. The use of ‘perpetuity’ (line 50) reinforces this idea.

Of course there is a huge difference between the behaviour of the vultures and that of the Nazis. The vultures perform a vital ecological service, and act on instinct. The humans, who have the ability to make moral decisions, are where the real evil resides.

The poem appears to offer us two different conclusions. This leaves the reader with a sense of both hope and despair.

The vultures, described in such a disparaging; grim fashion could be construed as a metaphor for the people responsible for the atrocities in Belsen and in particular the Commandant. It is the longest part of the poem and it is not a coincidence.

The first stanza is a metaphor for the Commandant’s predominant personality traits and this is why it dominates so much of the poem’s content. The third stanza, the scene with his child, represents a far smaller portion of the poem and this is a metaphor for his spark of humanity. The form of this poem is very clever as it creates a grim image, creates a glimmer of hope in the second and third Stanza and then ends on a dour note emphasising the futility of the situation.

A dawn that starts grey and despondent can only be a pessimistic, hopeless one, no? There is no relenting, no signal that a brighter day is coming as there is no sunrise.

A vulture awaits, a bird of prey, ready to swoop down on a victim, and again this somewhat apocalyptic scene is added to with the vulture being perched in a dead tree. There is a little softness in it being ‘snuggled’ with its mate, but then that is striking against the ‘bashed-in head’– is this ‘vulture’ dead? It seems an odd juxtaposition here – a pebble, which is lifeless,

on a stem and rooted within feathers – all living features. It is representative of how a vulture looks but there is still a contrast. It is like a stone cold mind intent on finding its prey within a living, breathing body. It’s an odd comparison.

The vulture is made of stone in its heart – it has no feeling since yesterday they picked a corpse clean and then sat purveying the surroundings awaiting the next kill in the trenches – let’s face it, there will be fresh meat soon if they are on a battlefield.

Yes, it is strange, a moment of love between these two ‘vulture’s if that is what they really are, in the charnel-house –the description here is very, very cold. Since a charnel-house is place for human skeletal remains to be left, these trenches must hold many a skeleton.


Have they unearthed them for food? Probably not – vultures are powerful but not enough to dig up bodies. So then their ‘feast’ has been laid out for them on perhaps a battleground. They’ve tidied it – they’ve picked the flesh from the corpses clean.

There is a balance here where love can even exist in death, but is it more than that, that even in darkness love exists.

And now it becomes a little clearer. This is no battlefield at all, no opposing sides, just predator and prey. Belsen appears to be the Belsen-Bergen Concentration Camp, which makes the vultures the Nazis overseeing the deaths of the prisoners. They have picked them clean – as history tells us – of their gold teeth, hair, belongings, tossed them out as nothing more than dead animals and strewn them across the ground, a jumble of bodies of nothingness. The parent vultures perhaps bringing trinkets home for their children, all the while smelling of death. Despicable image.

It’s like a regular nine to five for them and at night they hang up their work jacket and head home with treats for the children and love for their spouses, as though they are mere pen- pushers instead of killers.

It is so hard to reconcile that these people were actually people – husbands, wives, parents – and that they could murder so many other husbands, wives, parents – children – in the name of wiping out people they just didn’t see as people any longer. So yes, it is a miracle that there is any humanity in them – any care for anyone at all. How could they return home to look their loved ones in the eye when the deaths of so many were on their hands? What paints an even more disturbing image is that the vultures in the beginning are the ‘loved-up’ couple, so it is husband and wife ‘teams’ who are somehow able to commit such abhorrent crimes and then return to their ‘nurturing’ parental role. Can you imagine the upbringing these children would have had– perhaps kept away from the more gruesome facts but nonetheless exposed to the idealised racism and hatred that the parents believed?

First Stanza This first stanza begins with a relentlessly long sentence filled with dark, sullen descriptions. He uses alliteration in the second and third line “drizzle of one despondent dawn” but this

is an enjambment line and so doesn’t give the ebb and flow usually associated with alliteration. This helps to emphasize the bleak tone Achebe is trying to achieve.

He uses the description of the vultures seating position “perching high on broken bones of a dead tree” It is unclear whether he is describing the tree as being bone-like or if the vultures are actually perched upon a mound of bones.

Achebe then continues to describe the birds themselves and paints a grim image of them, having already described them as harbingers, a word closely associated with the brining of death he describes them as having “bashed in heads” and “gross feathers” and later in the final line he describes them as having “cold telescopic eyes” giving the birds an almost mechanical feel, suggesting they shouldn’t even really be classed as animal.

He then continues to describe their actions, again this is very grim as they peck at the eye of a corpse. And he further describes the vultures eating the corpse’s bowel. (I hope you’re not reading this whilst eating!)


Second Stanza In this stanza Achebe skilfully contrasts the “light” of love with the “dark” of death by

mentioning that in this darkest of environments, the “charnel-house”, a storage place for corpses, there is the presence of love. He personifies love itself.

He uses an exclamation point on the phrase “her face turned to the wall” because love can’t stand to look at the atrocities contained within.

It may also be a reference to people being lined up against walls before being gunned down by firing squads, but that’s purely speculative.

Third stanza This Stanza cleverly constructs the character of the Commandant. His description is not

particularly flattering. His only physical description describes his “hairy nostrils” but his actions are kind and

very human. He brings chocolate home for his child. A kind gesture and not actions you would probably associate with a war criminal.

Achebe makes us see that even this horrible man has a soft side and that is represented by the description of his interactions with his child. It is almost as if his child represents his “good side” and the vultures represent his “bad side”

Achebe also produces the harrowing image of the smell produced by Belsen, the smell that lingers on the Commandant himself being described as “human roast” considering the man smelling this way and then hugging his “tender offspring” this is a very powerful piece of imagery.

Fourth Stanza In this final stanza Achebe brings the poem to a close by describing how even the

“ogre” that is the commandant has a soft side, which was shown in the preceding stanza.

He emphasises the solace that should be taken in this small mercy “praise bounteous providence” his language here is particularly emphatic and evokes fantastic contrasts, describing the Commandant’s humanity as a “tiny glow worm” which is encapsulated in a “cruel, icy cavern” even the word encapsulated isn’t accidental, suggesting that his warmth is trapped. It gives a picture of an evil man that would be rid of that warmth if possible.

This is further emphasised by the line “the very germ of that kindred love” this is not the voice of the narrator but rather a peak into the psyche of the Commandant and showing the narrators omniscience. This is a chilling thought, the idea that the Commandant views his softer side as a curse, or a “germ” Achebe closes by using the phrase “perpetuity of evil” suggesting that evilness is enduring, everlasting. This leaves the poem on a very bleak note.

Author’s relationship with their subject Observer only. It feels very much like the author wants to distance themselves as much

as possible from what has happened and shows their surprise for how these vultures can go about a regular life of parenting whilst committing the atrocities that they did.

The vultures in the poem are real birds of prey but they represent some people. Chinua Achebe is a Nigerian writer but has a traditional English-speaking education.


The vultures have an unpleasant diet but they care for each other. Achebe shows how the concentration camp commandant who has burnt bodies during the day buys chocolate for his children “tender offspring” on his way home.

The conclusion is ambiguous: Achebe tells us to “praise bounteous providence” that even the worst creatures has a

little goodness, “a tiny glow-worm tenderness” BUT He ends in despair, it is the little bit of “kindred love” (love for each other) which allows

the “perpetuity of evil”. This means that the evil person can think that he is not totally bad. “Commandant at Belsen” reminds us that Adolf Hitler loved animals and children.

Setting and context Two vultures roosting by a roadside prompt thoughts on the nature of evil. The poem is set principally in the Biafran war, although this is not mentioned explicitly (in

an obvious way). The second part of the poem refers explicitly to the Second World War. By implication/suggestion the poem is relevant to all human conflict. The poem begins with a graphic and unpleasant description of a pair of vultures who

nestle lovingly together after feasting on a corpse. The poet comments on the strangeness of love existing in places where one would not

expect. He then goes on to consider the love a concentration camp commandant shows to his

family, having spent the day burning human corpses, he buys his child sweets on the way home.

The ending/conclusion of the poem is ambiguous/two sided. On one hand, Achebe praises God and providence that even the most cruel of creatures can show love. On the other hand, these creatures show love for their families only and so allow themselves to commit cruel acts towards others.

Forms and techniques Four stanzas of free verse that set up a scene with unusual imagery before revealing

the truth. Short lines with no stop at the end. There is no pattern of stress. Three sections separated by an ellipsis (three dots…) The ellipsis(three dots…) and the

tab in from the margin show a change in thought or perspective on the poet’s part. There is a logical structure: (a) observation (b) reflection (c) further example (d)

general reflection. Achebe moves from: images of things which are actually present to the imagined scene of the commandant buying chocolate for his children to the last section with the metaphor the “glow-worm tenderness” in the “icy caverns of a

cruel heart”. The poem is written in four stanzas, in free verse with no rhyming pattern. It contains lots of

enjambment lines giving the poem a fast pace, but with a jarring rhythm that mirrors the dark tone of the poem. The first stanza is considerably larger than the other three taking up


twenty three lines that are all very short. The other three stanzas are eight, eleven and eleven lines respectively.

Each section of the poem is marked by a line indentation rather than a new stanza. This could possibly indicate how one idea flows to the next as the poem develops.

The arrangement of lines appears to be like a list, a building up of evidence. The short lines running on to the next suggest a continuous flow of content that supports the poet’s theme.

The poem goes from descriptive to reflective back to descriptive and then reflective again in terms of the style and structure.

Achebe’s conclusion offers a choice of responses (a) hope because love can exist in even the most evil of creatures. (b) despair, because despite love that cannot stop committing evil.

Theme and interpretation Achebe is fascinated by the fact that creatures that love can also carry out acts of great

evil OR creatures that carry out acts of great evil can also love. He suggests at the end of the poem that these two factors may be more closely linked

to each other than most people think. There is a fine line between love and hate. The title is again deceptive/misleading like The Night of the Scorpion. This poem

does begin with a cold and repulsive image of the vultures. We soon realise that they are symbols of evil and their main purpose is to introduce the theme of evil in the poem.

Tone and diction It is a study of familial life and then the realisation of what this loving family actually does

for a ‘living’. There are words in the poem that Achebe uses in surprising ways. We read of the commandant “going home…with fumes of human roast clinging

rebelliously to his hairy nostrils”. He does not want the smell but it will not go away. This is something that he cannot command.

The vulture symbolizes anyone or anything that benefits from another’s suffering. The poem does not show the vultures sympathetically.

The opening mood is grim/gloomy. Line 1-greyness-suggests a dull start to the poem Line 2-3-drizzle of one despondent/dawn-the grimness emphasised by alliteration in the ‘d’. Line 3-harbingers-people or things that announce the approach of someone or something. Lines 5-6-broken/bone-alliteration running on two lines for impact. Line 9-bashed-in head-description of the vultures’ heads-suggests something that has

been damaged or harmed Lines 9-13-a pebble/on a stem rooted in/ a dump of gross/feathers, inclined

affectionately/to hers-this is a metaphor describing the vultures. It conveys (puts across) an image of something disgusting. Their affectionate gestures/actions towards each other is unexpected in this context, after such a gross description of them.

Lines 11, 14, 19 and 20-gross…swollen…hollowed…cold-these are negative adjectives associated with the activities of the vultures.


Lines 13-17-Yesterday they picked/the eyes of a swollen/corpse in a water logged/ trench and ate the/things in its bowel. Again another grotesque image is associated with the vultures, this time it is not their appearance rather what they do.

Line 22-Strange-reflection on something us suggested by the use of the word ‘strange’ as if the poet is stopping to think.

Line 26-charnel house- a building where corpses and bones are placed. Line 27-coil up-this conjures up the image of a snake-again another vulgar image. Lines 22-29-Strange/indeed how love in other/ways so particular/will pick a corner/in that

charnel house/tidy it and coil up there, perhaps/even fall asleep-her face/turned to the wall. Love is personified in this section-love is seen to pick a corner and tidy up and fall asleep. Love is given human characteristics. It is a sharp contrast to the rotting corpse and death mentioned in the first section of the poem.

Line 30-…Thus the Commandant at Belsen-the language here is almost Biblical. A Commandant was a German officer in charge of a camp or unit.

Belsen is the name of a WWII Nazi concentration camp where Jews and other prisoners were held and killed-their bodies were often incinerated/burned. Anne Frank was killed here as well as 50,000 others. The camp was liberated in 1945.

Line 33-human roast-refers to the victims in the concentration camp as if they were being cooked (Belsen). This is a shocking phrase, very visual and descriptive.

Lines 34-35-hairy/nostrils-the commandant’s hairy nostrils are like the vultures’ feathers. Both creatures are ugly but both are capable of love.

Lines 39-40-Daddy’s/return-an ordinary domestic/homely image is used to suggest the father’s love.

Line 41-42- Praise bounteous/providence-more Biblical language talking about all the good things God gives to mankind.

Line 43-ogre-a type of monster-here it represents evil and the glow worm represents love. Lines 43-47-that grants even an ogre/a tiny glow worm/tenderness encapsulated/in icy

caverns of a cruel/heart-the contrast in the final section between the glow worm and ogre suggest that evil is bigger than love. This is a powerful image that shows us the glow worm (love) becoming enclosed/encapsulated in the icy caverns of the ogre’s (evil) heart.

Line 46-icy caverns of a cruel-alliteration used for impact-sharp sounds. Line 49-kindred-related by blood, close family, the same. Line 50-perpetuity-the state of continuing forever. Lines 47-51-or else despair/for in the very germ/of that kindred love is/lodged the

perpetuity/of evil.-this final section of the poem is one of despair as Achebe believes that the evil will continue forever even if there is the potential for love in the same being.

Imagery and sound The opening of the poem is dark. The greyness (Line1) is heightened by the heavy

alliteration in drizzle of one despondent dawn (Line2) and even by the approaching sunbreak (Line4) does not life the atmosphere.

There are metaphors of horror and death. The dead tree (Line6) branch which the vultures roost on is described as a broken bone (Line5).

The male vulture’s bashed in head is a pebble on a stem (Line9) and its body is a dump of gross feathers. (Line11)


In the second section the vultures love leads the poet on to think about the nature of love. Love is personified as a woman finding a place to sleep. She is in other ways so particular

(Line23) and hard to please, yet strangely she chooses to sleep with the vultures, that charnel house (Line26). Yet why does she sleep with her face to the wall(Line 28)? Is it to avoid seeing what is really there?

The Belsen Commandant-the mass murderer is called Daddy. Achebe uses this word as it brings the man back to someone we would associate with children, thus making his actions at work even more horrifying.

In the fourth section the poet uses more metaphors. The evil Commandant is seen as an ogre with a tiny spark of love inside him, which is the glow worm. These images are clichéd but Achebe is wants to say that he is saying nothing new-that there will always be love and evil in the world.

The germ of love does not seem to grow as a normal seed would because of the perpetuity of evil (Line 50) is bound up with it and prevents it from developing. Germ here refers to something like a seed rather than a germ of disease.

Alliteration is used throughout the poem for impact. The poet establishes a depressing mood in the poem through the ‘greyness’ (line 1)

and ‘drizzle’ (line 2) of the pre-dawn setting where even the dawn is ‘despondent’ (line 2).

The opening scene continues with evocative imagery, prompting an emotional response from the reader. Consider the description of the vultures’ appearance perched on ‘broken/bone’ (line 5-6) and the ‘bashed-in head’ (line 9) that is grotesquely prominent above the ‘gross’ (line 11) feathers. The strong imagery of their picking at the‘swollen/corpse’ (line 14-15) to devour the ‘things in its bowel’ (line 17) effectively disgusts the reader.

Yet we are also told that the scavengers ‘nestled’ (line 7) ‘affectionately’ (line 12), which would normally generate a positive response. However, in this instance, the contrast established between the birds’ warmth towards each other and their revolting practices, makes their ‘cold/telescopic eyes’ (lines 20-21) all the more disturbing.

The shift to focus on human behaviour in the second section of the poem is even more disturbing. The jarring images of the Commandant, with ‘fumes of/human roast clinging/ rebelliously to his hair/nostrils’ (line 32-35) who then buys a chocolate for his

‘tender offspring’ (line 38) is alarming and makes the reader feel uncomfortable. Achebe expresses his theme powerfully due to his choice of diction, the disturbing

imagery created, and the use of contrast. Notice the use of alliteration in the final section where the providence ‘grants’ an ‘ogre’ a

‘glow- worm/tenderness’ (lines 43-45), while the harsh ‘c’ use in ‘caverns’ and ‘cruel’ (line46) refer back to the ‘cold’ (line 20) eyes of the vultures.


Summary[Source: Poetry Last Push Notes, Nadine Townsend Boshoff, 2018, EHL/EFAL FET Teachers, Facebook]

Imagery/Figurative Language

METAPHOR S1 -’ broken bones of a dead tree’ – plosive ‘d’ sounds

repeated. ‘dead’ highlights the sterility of the environment – even the tree (symbol of life) is dead.

S 1 ‘a pebble on a stem rooted in a dump of gross feathers’ – depicts the revolting and ugly physical sight of the vulture. The word ‘gross’ and ‘dumped’ reinforce the idea that the speaker is disgusted by the sight of the vultures. The words show his rejection of what they symbolise.

S 3 - ‘the Commandant at Belsen / Camp going home for / the day with fumes of / human roast clinging rebelliously to his hairy / nostrils’. ‘fumes’ of ‘human roast’ is a reminder that the commandant’s job is to execute people. The fact that he is able to breathe and live normally while the stench of their pitiful deaths linger in his nostrils, is horrific and saddening. He has the capacity to kill cold-heartedly and indiscriminately yet it is not instinctual as it is for the vulture.

S 4 - ‘tenderness encapsulated in icy caverns of a cruel heart’ – heart is like an icy cave yet there is warmth. ‘the very germ / of that kindred love is / lodged the perpetuity of evil’. ‘germ’ suggests that love and hate can blossom unhindered in all of us. The word ‘perpetuity’ suggests that both love and evil will never die, and their co- existence will persist. Both images highlight that the speaker is perplexed by the paradox of the human condition.

PERSONIFICATION‘despondent dawn’ – dawn is personified as a sad person. This depressing mood is reinforced by the heavy ‘d’ sound repeated.‘love in other / ways so particular / will pick a corner / in that charnel-house tidy it and coil up there’ - The fact that love is given human characteristics shows that humans, just like love, will initially struggle to survive with a semblance of normality, but ultimately shrivel up and die in inhumane conditionslike in the Belsen camp where hatred and evil rule. Loveis snuffed out and human lives are destroyed because love is absent.

Tone S 1 (ln 1-21) – Disgust and revulsion: the

speaker describes the dreary day and the ugly vultures relaxing after a meal of rotting flesh.

S 2 (ln 22-29) – Puzzlement: the speaker marvels that love could find a place in the heart of such an ugly creature.

S 3 (ln 30-40) – Horror: The speaker contrasts the unimaginable evil that the Commandant is guilty of with his feelings of tender kindness for his children.

S 4 (ln 41-51) – Resigned and pessimistic: The speaker offers a choice of being thankful for the capacity to love or feeling ‘despair’ because the capacity for evil seems to co-exist with it.

Style/Structure/Form Free verse Divided into 4 sections, indicated by indentation of

lines and ellipses. Enjambment Very short lines

Theme & MessageThe strange co-existence of gross evil, and tender love.The paradoxical nature of human beings who have the capacity to love intensely while at the same time, commit unspeakable horrors.


ACTIVITY 2.2: POETRY (Seen Poem)

Keep the following in mind when answering contextual questions:[Source: KZN Provincial English Resource Guide, Grade 12 Paper 2, 2020]

The contextual question is worth 25 marks in the question paper. To revise for this section, you should refer to the answering of comprehension questions in PAPER ONE. The structure of the comprehension questions is similar to that of the literature paper with the exception that the extract given in the contextual is one that you know.

Note that there should be TWO texts and that some questions may refer to both. Knowledge of the entire novel or drama is essential in answering the contextual. It is

advisable to read the book rather than watch the movie. The book is more nuanced rather than the movie.

For example: the first question on an extract assesses whether you can place the extract in context – When does this happen in the play? What has led to this?

Structure your answers based on the levels of the questions. Take note of the mark scheme. Always provide two ideas for two marks and a

critical discussion/ comment for the third mark.

The following elements need to be taught and understood. Intention: Is the reason for writing or the purpose of the passage. Why did the author

write what he did? Often authors have a message about life, about human psychology and human relations which they try to convey. Every detail of the story is chosen in order to allow this message to be most effectively conveyed: the characters, the plot, the narrator and style all combine to achieve this goal.

Style is the way the novel is written. What words and types of sentences are used? What imagery and linguistic devices are used? Some possible styles are: Narrative Factual and informative Humorous and light- hearted Tongue-in-cheek Sophisticated Technical and full of jargon Poetic and figurative

Consider the following linguistic devices when commenting on the writer’s style. Sentence structure, length of sentences, sentence variation, and sentence positioning. The use of sensory details, figurative language, and other literary devices The use of sound devices–alliteration, onomatopoeia, rhythm and repetition The use of dialogue and punctuation Diction, Word choice (pronouns, jargon) Irony Tone. Attitude and Mood Atmosphere


Remember Underline the instructional verbs in the question. These verbs will help you to respond

appropriately to the question. Avoid generalized, vague and unsubstantiated responses. It is good practice to use the diction from the extract to substantiate your viewpoint. [PEEL METHOD]

Use the character’s name instead of pronouns to avoid ambiguity. Learn to spell the names of the characters correctly.

Mark allocation guides the length of responses. Distinct and relevant points per mark. In answering the contextual questions, your answers must be concise and precise

and grounded in either the extracts or the wider context of the novel or drama. The comparison question must include both extracts in your response. Always substantiate responses with suitable/ relevant EVIDENCE from the texts.

VULTURES – Chinua Achebe[Source: EHL Literary Study Guide, Linda Holm, EHL/EFAL FET Teachers, Facebook]

Briefly discuss the lack of any rhyme scheme in the poem. (2)

Account for the poet’s use of the word ‘corpse’ (line 15). (2)

Identify the figure of speech found in lines 22-29 (‘Strange… to the wall’) andcomment on the effectiveness thereof. (2)

Comment on the poet’s intention when referring to both the vultures and the Commandant of the Belsen camp, together in the poem.

(2)

Refer to lines 41-51 and provide your opinion of the poet’s attitude towards the‘glow worm of tenderness’ and ‘germ of that kindred love’. (2)

[10]Describe the tone in lines 1 – 6 with close reference to diction. (3)

Explain how the poets change from Past tense to Present tense furthers the themeof the poem. (3)

Analyse the personification in lines 22 – 29. (2)

Explain what is suggested by the use of the exclamation mark in line 29. (2)[10]

Refer to line 38, “tender offspring” Account for the use of the word „tender‟. (2)

What impression of the Commandant is created in the use of the word „Daddy”(line 39)? (2)

Refer to the poem as a whole. Comment on the appropriateness of the image created of the vulture in his natural environment as compared to the Commandant

at the Belsen Camp. (3)

Refer to lines 5 – 7, “perching high …to his” Critically discuss the contrast created with the use of the diction “broken bone” and “nestled”.

(3)[10]


What is the core theme of the poem? (1)

Why does the poet introduce the poem with such an exceptionally long sentence? (1)

Comment on the poet’s use of diction in ‘cold, telescopic eyes’ (L21) (2)

2.217 Summarise the main thought of stanza 2. (2)

Discuss the effectiveness of the imagery in lines 32/3 “fumes of…hairy nostrils”. (2)

Does the poet believe that man is inherently good? Justify your response fromthe text. (2)

[10]

Content: Poetry (unseen poem)[Source: Adapted from https://imgur.com/gallery]

Keep the following questions and aspects in mind when analysing an unseen poem

Form andstructure

Tone/Mood/Atmosphere

Language Meaning/ Theme Context/Purpose/Audience

1. How are the ideas structured/ organised?

2. How do the ideas build on each other?

3. What effect does this have on the reader?

rhyme rhythm stanzas

lines enjambment

refrain repetition

metre

1. How would the poem be spoken?

2. (angry, sad, bitter, nostalgic, etc)

3. Does the tone change in the poem?

4. How does the setting affect the atmosphere?

5. Are the mood and atmosphere the same for the whole poem? Does it change at any point?

1. How are the ideas expressed?


pun connotation denotation ambiguity word order adjectives key words phrases

slangunusual words misspellings intertextuality

style

1. What is the poem about?

2. What are the main themes of the poem?

3. Is there any hidden meaning or extended metaphor in the poem?

1. When was it written?

2. Why was it written?

3. Who was it written for?


10

15

20

5

LOVE OF HILLSLynne Bryer

Driving from Grahamstown in the early morningthrough hills that are less geography than familiar shapes, welling deeply out of myself like members of my ownfamily, figures not truly separate since relation gives them unconditional shelter in the self –I see a field of earth lying lilac in the light, and on its curve a man with a tractor, ploughing,so that a small far spurt of purple dust hangs as a cloud.then such a rush of love and longing fills me – joy, shards of regret,an ancient, fierce belonging – that my breast begins to burst, unable to containthe pure reflection rising: hill, field, cloud of dust,the whole blest, well beloved country of the heart.


ACTIVITY 2.3: POETRY (Unseen Poem)[Source: Department of Education Free State Province, Poetry Example Questions]

Read the poem and answer the questions.

Refer to lines 1 – 4: ‘Driving from Grahamstown … than familiar shapes’. Explain how these words convey the speaker’s relationship with the land. (2)

Refer to line 8: ‘I see a field of earth lying lilac in the light’.Comment on the poet’s tone. (2)

Suggest why the poet has included the image of ‘a man with a tractor’(line 9) in her description of the land. (3)

In your view, is the last line, ‘country of the heart’, a suitable conclusionto the poem? Justify your answer. (3)

[10]



Content: Literature study

THE LITERARY ESSAY

Steps in planning and writing a literary essay

The following question is used to illustrate the planning process:

In Life of Pi, both the human and animal characters commit deeds of heroism and gruesomeness to survive.

Critically discuss the extent to which you agree with the above statement.

1. Make use of the planning template provided.2. Analyse the question to identify the:

instruction words/verbs clue words

In Life of Pi, both the human and animal characters commit deeds of heroism and gruesomeness to survive.

clue words clue wordsclue word

Critically discuss the extent to which you agree with the above statement.

instruction words

3. In the middle of the template, phrase your thesis statement, making use of the words you have identified as central to answering the question. This statement will be your introductory paragraph.

4. In each following cluster, discuss the different clue words in cogent paragraphs to elaborate on and proof the theses statement. Make use of the PEEL-method for each paragraph and each cluster of paragraphs.

5. The last paragraph will be the conclusion where you provide a brief summary of your argument and why it supported the thesis statement.

Refer to the example below.

PLANNING A LITERARY ESSAY: NOVEL/DRAMA/POETRY

INSTRUCTION WORD/S : (What is expected of me?) Critically discuss; extent; you agreeCLUE WORDS: (Topics per paragraph cluster) human and animal characters; deeds of heroism and gruesomeness; survive.

CLUSTER 1Paragraph 2.Human character 1’s deeds and evidence from the text.

Paragraph 3.Human character 2’s deeds and evidence from the text.

Paragraph 4.Human character 3’s deeds and evidence from the text.

CLUSTER 3Paragraph 8.Indicate how human characters’ deeds helped them to survive.

Paragraph 9.Indicate how animal characters’ deeds helped them to survive.

THESIS STATEMENT

PARAGRAPH 1

Cluster 1:

Human characters, deeds of heroism and deeds of gruesomeness

Cluster 2:

Animal characters, deeds of heroism and deeds of gruesomeness

Cluster 3:

Both deeds of heroism and gruesomeness helped with survival

CLUSTER 2Paragraph 5.Animal character 1’s deeds and evidence from the text.

Paragraph 6.Animal character 2’s deeds and evidence from the text.

Paragraph 7.Animal character 3’s deeds and evidence from the text.

CONCLUSIONParagraph 10.

WRAP UP SENTENCE

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

Page 24 GRADE 12 REVISION


SKILL 3: WRITING AND PRESENTING

Content: Transactional writing; Speech

Notes[Source: DBE, Guideline for teaching and writing essays and transactional texts, 2018]

SpeechA speech is a written account of an oral address with a specific purpose in mind. The purpose will be determined by the topic.The sign of a good speech is capturing and holding the attention of the audience.

Must be in paragraph form The tone might be formal/informal depending on the audience Opening/ greeting Keep it brief and simple Outline the subject of the speech Highlight three or four key ideas and discuss each in a paragraph. Conclusion

logical and appropriate closure to the speech


SKILL 4: LANGUAGE STRUCTURES AND CONVENTIONS

NOTES

SENTENCE STRUCTURE


PUNCTUATION


PARTS OF SPEECHName Function Clue Example

Nouns1. Common Noun

Names of ordinary, everyday things.

A, the... There are desks andchairs in everyclassroom.

2. Proper Noun Names of People, places etc.

Capital letter My teacher, Mrs Jones, comes from England.

3. Collective Noun

Names a collection or group.

Replaces ‘lots of...’ A staff of teachers. A class of students.A bouquet of flowers. A swarm of bees.

4. Abstract Noun Something which is not visible or tangible.

You can give it to someone, but not in a box.You feel/ experience it.

John’s intelligence and perseverance won him a trophy. A mother’s love isnever-ending.

Pronoun Stands in the place of a noun.

Can replace a noun. Mary is given homework every day and she does it diligently.

Verb Doing word. We work in the mornings and play inthe afternoons.

Adverb Describes/ tells moreabout the verb.

Ask How? Where?When? etc.

He ran fast at schoolyesterday.

ACTIVE AND PASSIVE VOICE

Four steps to change a sentence from active voice to passive voice

1. Underline the verb in the sentence.2. Divide the sentence into a Subject – Verb – Object.3. Begin the new sentence with the object.4. The verb in the passive voice consists of the past participle form with some form

of the verb ‘to be’ or, occasionally, the verb ‘got’ (for example,‘I was stung by a bee’.)

When you are asked to change a sentence from one voice to the other, make sure that you keep the tense of the original sentence. For example: Present continuous tense

Active voice: The striker is scoring a goal.Passive voice: A goal is being scored by the striker.

Perfect tenseActive voice: The striker has scored a goal.Passive voice: A goal has been scored by the striker.

Simple future tenseActive voice: The striker will score a goal. Passive voice: A goal will be scored by the striker.


CONCORD[Source: www.writerswrite.co.za]

What is concord? When we use the word ‘concord’ in everyday speech, it means ‘agreement or harmony between

people or groups’ (Oxford Dictionary). When we use the word in the context of grammar, it has a similar meaning: grammatical

agreement between two parts of a sentence.

The basics of concord Subject-verb concord is when the subject of a sentence and the verb of a sentence agree. Simply, if the subject of the sentence is singular, the verb must be singular. If the subject of a

sentence is plural, the verb must be plural.

Look at these examples:

The subject and verb must agree in number. The pages (subject) is (verb) held together by a staple The pages (subject) are (verb) held together by a staple.

Number 2 is correct, because the subject, ‘pages’, and the verb, ‘are’, are both plural. They agree.

A phrase in between the subject and the verb. The message between the lines is that we need to finish before Monday. The message between the lines are that we need to finish before Monday.

The temptation here is to look at the word in front of the verb (the plural ‘lines’) and choose the verb that agrees with it (the plural ‘are’). This is wrong. The subject of the sentence is not ‘lines’. It’s ‘message’. So, because the subject, ‘message’, is singular, we use the singular verb ‘is’. The phrase ‘between the lines’ is a prepositional phrase (starting with a preposition), which is why it’s not the subject of the sentence.

Two subjects connected by either/or, or neither/norIf you have two singular subjects that are connected by either/or, or neither/nor, use the singular verb. Look at this:

Neither Sibongile nor Ted has the keys to the stationery cupboard. Either Mary or Shandu is manning the info desk at the conference.

Even though you’re discussing two people, only one of them (singular) is taking action, so the verb is singular.

What do you do when one of the subjects is plural and the other isn’t? Look at these examples:

Neither Sibongile (singular) nor the personal assistants (plural) have the keys to the stationery cupboard.

Either the stewards (plural) or Mary (singular) is manning the info desk at the conference. Do you see how the verb agrees with the subject closest to it? However, the second sentence sounds awkward, so rather write sentences like this with the second subject being plural, and then make the verb plural. The second sentence should rather be rewritten as:


Either Mary or the stewards are manning the info desk at the conference.Two subjects connected by ‘and’When you have two subjects connected by ‘and’, use the plural form of the verb.

Tshepiso and Sbo are responsible for the exchange server. Elize and Raveshan are our new project managers.

There are two exceptions to the rule. The first is when a compound subject connected with ‘and’ is seen as a singular subject due to popular use. The second is when the subjects connected by ‘and’ are the same person or entity).

Pap and wors is my favourite meal. The creator and distributor of the software is Energesix Ltd.

Plural subjects that call for singular verbsUse a singular verb when you have a subject that conveys a single unit of distance, time, or money.

Ninety-five cents is a great bargain for a SIM card. One hundred kilometres is a gruelling daily commute. Twenty minutes is all I have to prepare for the meeting.

Other subjects that call for singular verbsThe following words need singular verbs: each, everyone, everybody, anyone, anybody, somebody, nobody, someone, none, and no-one. Look at these examples:

Each of our staff members has to fill in an evaluation form. Each of our staff members has to fill in an evaluation form. Anyone who wants a day off in lieu of overtime must still fill out a leave form. Someone has left a coffee cup on the glass of the photocopy machine. None of us wants to admit to being behind on filing.

Subjects that are collective nouns The board wants to make the decision by next Thursday. The staff is in a meeting. The team is due to fly out today. The board, staff, and team are made up of many individual members, but each forms a

collective, singular subject. Thus, a singular verb is used.


MALAPROPISMS

TAUTOLOGY AND REDUNDANCY

Tautology is redundancies within phrases. Redundancy is any kind of repetition: phrases, sentences, paragraphs, entire books, it's all the same; the scale isn't important.

A tautology refers to phrasing that repeats a single meaning in identical words: They followed each other one after the other in succession


ACTIVITY 4.1: USING LANGUAGE CORRECTLY[Source: DBE, NSC February/March 2016]

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

RISE OF AFRO-OPTIMISM

1 South Africans are embracing their rich culture and heritage through food, fashion, music and even home décor in a trend dubbed 'Afro-optimism'. Nicola Cooper, senior trend analyst at Flux Trends, agrees that Afro- optimism is here to stay, at least until 2050.

2 She tracks the latest changes in lifestyles, politics and technology as 5 many of these elements affect fashion, cultures and subcultures. 'This isa long-term trend – we have been tracking it for two years now, but it has only just been picked up. South Africans are growing into their own skin and have created their own identity, from fashion, hair and make-up toornaments, and it's beautiful to watch.' 10

3 From a lifestyle prospective, the continent was setting trends abroad. 'Overseas companies, musicians and fashion designers are finding opportunities in Africa, from a financial and a creative point of view.

4 'Since we recognised and embraced what we have always had, other countries are also embracing us,' Cooper said. 'We have started a 15dynamic and new innovative movement that is gaining international interest. This trend, which appeals to all countries, have certainly put all eyes on South Africa.'

5 Africa, which is often regarded as the cradle of Oscar winners and Grammy recipients, has risen above the tide against it. It boasts a pretty 20good CV.

[Adapted from Pretoria News, 20 September 2014]

Give an antonym for 'Afro-optimism' (line 2). (1)

Rewrite the following clause in the passive voice:

'She tracks the latest changes in lifestyles, politics and technology' (line 5). (1)

What is the function of the dash in line 7? (1)

To which noun does the pronoun 'it' refer in the clause, 'but it has only justbeen picked up' (lines 7–8)? (1)

Provide the adverbial form of 'ornaments' (line 10). (1)


Correct the malapropism in paragraph 3. (1)

'Since we recognised and embraced what we have always had, other countries are also embracing us,' Cooper said (lines 14–15).

Correct the tense error in this sentence. (1)

'We have started a dynamic and new innovative movement that is gaining international interest' (lines 15–17).

Remove the redundancy in the above sentence. (1)

Correct the concord error in paragraph 4. (1)

Choose the correct answer from the options provided. Write down only the letter of your choice.

'Africa, which is often regarded as the cradle of Oscar winners and Gramm recipients, has risen above the tide against it' (lines 19–20).

The above sentence is an example of ...

A a clause.B a complex sentence. C a simple sentence.D a compound sentence. (1)

[10]


ANSWERS TO ACTIVITIES

ACTIVITY 1: LISTENING AND SPEAKING and WRITING AND PRESENTING

Use the relevant rubrics to assess the written and spoken tasks.

ACTIVITY 2.1 : READING FOR MEANING AND UNDERSTANDING[Source: DBE, NSC February/March 2016]

The film industry has failed to address the issue of the criminality of piracy.

[Award no more than 1 mark if the candidate lifts from the text.] (2)

Transgressors commit piracy without thinking of the harmful consequencesthat their actions have on those who work in the film industry. (2)

Studios are short of money (1) and therefore hesitant to take chances. (1) (2)

The writer casts doubt on the general respectability of people who commit online piracy. They have a veneer of respectability while they are in factbreaking the law. (2)

The words 'not without clout', 'threat' and 'hard legal measures' suggest a robust approach to addressing piracy. However, 'raising awareness of the consequences of piracy' is less emotive and anti-climactic after the initial hard-line approach.

[No marks for mere identification of diction.] (3)

YES

People who are disgruntled with Hollywood ought not to be interested in downloading films at all. Their behaviour indicates that the films are worthy of being downloaded, thus contradicting their excuse for not supporting the film industry legally.

OR

NO

[Credit cogent 'No' responses.] (3)

The phrase 'steal a lead' is effective since it relates to the theft inherent in film piracy. The stealthy nature of robbers is suggested by 'steal'. The well- known idiom indicates that film pirates have the upper hand. (3)


AGREE

The writer has shown that film piracy cannot be curbed. Large film studios could follow the lead of independent studios by harnessing the Internet as a distribution tool/marketing mechanism. The writer has provided several examples of the benefits of allowing legal downloading of films.

OR

DISAGREE

The arguments against piracy raised earlier in the passage have not been addressed. Because illegal downloading is free and difficult to prosecute, it will continue harming the film industry financially.

[Credit an answer based on the moral perspective.] (3)

The boy's body language (hands behind his head/leaning backwards) displays a sense of achievement and self-satisfaction in downloading contentfrom the Internet. (2)

The mother represents the general public/she is the mechanism used by the cartoonist to convey the information about the hidden cost factor. (2)

The boy's response is ironic. In the first two frames he condones his criminal activity. In the final frame he is outraged by the service provider's audacity in charging him for something he has perceived to be free. The cartoonist has effectively satirized the lack of conscience displayed by those who support and commit piracy.

[Award 3 marks only if the candidate makes reference to tone.] (3)

YES

As the writer has explained, piracy flourishes through the anonymity of the user and the illegal act of downloading material. The boy represents the large number of people guilty of piracy referred to in Text A.

[Credit reference to the mob-mentality.]

OR

NO

Paragraph 5 maintains that piracy has no cost implications and undermines capitalism. However, in TEXT B, the service provider is a beneficiary of the act of piracy as there are monetary gains. The producers of both the music and the film industry do not benefit financially from piracy.

[Award marks for relevant alternative responses.][Award full marks only if the candidate has referred to both Texts A and B.] (3)

[30]


ACTIVITY 2.2: POETRY (Seen Poem)

VULTURES – Chinua Achebe[Source: EHL Literary Study Guide, Linda Holm, EHL/EFAL FET Teachers, Facebook]

The poet has used free verse which means that there is no regular rhyme scheme or regular rhythm/metre. His use of free verse serves to emphasize the abnormality in the behaviour or humans like the Commandant. There is nothing normal or acceptable to it and can never be condoned as one would in the caseof vultures who act on instinct. (2)

A corpse refers to a dead human being and it is shocking when the reader realises that the vulture is gorging on a human being, rather than a dead animal. The word has shock value as it clearly contrasts the behaviour of the vulture who acts by instinct and cannot differentiate between a carcass and corpse as compared to mankind, who knows better and uses reason, yet commit atrocities against other human beings.

(Award the second mark only if the learner is able to clearly formulate the unnatural behaviour of people compared to animals.) (2)

Personification. The fact that love is given human characteristics shows that humans, just like love, will initially struggle to survive with a semblance of normality, but ultimately shrivel up and die in inhumane conditions like in the Belsen camp where hatred and evil rule. Love is snuffed out and human lives aredestroyed because love is absent. (2)

Vultures are generally viewed in a negative light and this is made worse when the vultures are surprisingly described as being affectionate, yet only a few lines later any sympathy is destroyed when they gorge on a corpse. On the other hand the Commandant is regarded as cruel and evil because of the smell ‘human roast’ clinging to him, yet a few lines later he shows a caring side when he stops to buy his son some chocolate. The image the reader has of the vultures and the Commandant appear to be a reflection of each other’s behaviour – gentleness compared to ‘cruel’ behaviour that evokes disgust and repulsion. The difference however is that the vulture acts on instinct, while the Commandant chooses tocommit the atrocities in the camp. (2)

The glow worm of tenderness and germ of love are both positive attributes, and yet they contain an awful prediction in their continuation of the cruelty andhorror in the DNA of future generations. (2)

[10]


The tone in lines 1 – 6 is bleak / grim.“despondent” “drizzle” – the alliteration of these words as well as the meaning (miserable light rain) create a very dreary tone.“harbingers” broken bone” “dead tree” – these words all deal with death, which emphasises the bleak tone as it seems to be an ominous warning of death to come.

The theme of the poem is that love and evil resides everywhere, within good, within bad, all people have a spark of love within them.The poet’s change from past to present tense displays the fact that the duality of

(3)

love and evil has always been and is present even now. (3)

Love is personified as a person in these lines. The personification demonstrateshow love will be presents even in the most depressing of places, like a morgue. (2)

The exclamation marks indicate how ‘love’ cannot stand to look at the atrocities / corpses within the ‘charnel-house’ (morgue). (2)

[10]

The word “tender” means having a soft or yielding texture / or to be physically weak. “Offspring” means a child of a parent. Thus the word “tender” in line 38means that the Commandant’s child(ren) were young and/or tender/ vulnerable. (2)

“Daddy” is a very affectionate, informal way to refer to one’s father/ shows the softer, loving side of the Commandant’s nature. This emphasises the contrast tothe image of a monster that was created earlier in the poem. (2)

In its natural environment the vulture is the one that picks meat off the bones ofthe dead animal. His “job” in nature is to clean up/ clear out the carcasses and in that way to clean up the environment (decaying flesh / diseases / etc.) The Commandant’s job at the concentration camp at Belsen was to “pick clean” the corpses of the dead Jews (their glasses, gold fillings, false teeth, valuable personal belongings). Thus this comparison is very appropriate in that it portraysthe Commandant as a vulture (one who feels nothing for the dead thing in front of (3) him)

The dead branches of the tree are compared to the bones of a dead body. When something is dead there is no warmth / nurturing / caring left in that person/thing. However, “nestled” means to settle snugly and comfortably or to draw / press close as in affection; snuggle. Thus these two concepts stand in direct contrastwith one another which links with the central message of the poem that there is both good and evil in all living things. (3)

[10]

The nature of man/ man as inherently good or inherently evil. (1)

To emphasize the dismal scene/bleak tone that he is describing. It adds monotony.

(1)

Introduces the idea of machinery – something that has no feelings. It shows that


the vultures are acting mechanically or on instinct. (2)


Love that is usually associated with warmth, generosity (positive factors) will sometimes act like a snake and turn its back on the cruelty of humanity. Itchooses to be blind. (2)

Effective because it shows the inhumanity of the commandant .He has cooked human beings like animals almost as a celebration or a feast. (2)

No. (No alternative). He is ambivalent as he argues throughout the poem that there is good in evil and vice-versa. In the final lines, however, he clearly states ‘is lodged the perpetuity of evil’ which shows that he does not believe man to beinherently good, as evil always resides in him. (2)

[10]

ACTIVITY 2.3: POETRY (Unseen Poem)[Source: Department of Education Free State Province, Poetry Example Questions]

The relationship between the speaker and the land is an intimate and familiar one (1) and not a clinical / academic one as suggested by

‘geography’. (1) (2)

The speaker is enthralled by the beautiful colours that the landscape produces. (1) This contributes to the picturesque setting. The words ‘lying’ and ‘lilac’ convey her admiration for the serenity of the land. (1) The use of the ‘I’ alliteration suggests her admiration for the pleasant, lyrical quality of the land.

(2)

The poem celebrates nature (1), but it does not suggest that human presence is necessarily intrusive. (1)The image of a man and a machine associated with farming suggests that people can be in harmony with this

natural world. (1) (3)

Yes, the speaker refers to her deep love for, and connection with the land. It emphasises the special, intimate bond to which she has referred throughout the poem. The line conveys the remembrance and sense of

nostalgia which is evident. It reinforces the idea that the land is an essential part of the speaker.[A ‘no’ response is unlikely; however, consider all responses on theirmerits.] (3)

[10]


ACTIVITY 4.1: USING LANGUAGE CORRECTLY

Afro-pessimism (1)

The latest changes in lifestyles, politics and technology are tracked (by her). (1)

The dash indicates that a development/an explanation follows.

[Accept valid alternative responses.]

(1)

trend (1)

ornamentally (1)

perspective (1)

'have recognised' (1)

Candidates must omit either new or innovative. (1)

This trend, which appeals to all countries, has .../have – has (1)

B – a complex sentence (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.

Page 44 GRADE 12 REVISION

online.htseden.co.za · web view[source: , 2015] use the guidelines provided and write an interview...

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