writing in context
DESCRIPTION
Writing in Context. The Exam. Exam specifications. Worth 1/3 of total marks Required to write an extended piece for a specified audience and purpose, exploring ideas and using detail from at least one text ( Shark Net or Enduring Love ) - PowerPoint PPT PresentationTRANSCRIPT
![Page 1: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/1.jpg)
Writing in Context
The Exam
![Page 2: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/2.jpg)
Exam specificationsWorth 1/3 of total marksRequired to write an extended piece for
a specified audience and purpose, exploring ideas and using detail from at least one text (Shark Net or Enduring Love)
Required to base your writing on unseen stimulus material or prompts associated with the ideas and/or arguments suggested by Context of “Whose Reality?”
![Page 3: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/3.jpg)
Exam criteriaSection B – Writing in Context
understanding and effective exploration of the ideas, and/or arguments relevant to the prompt
effective use of detail from the selected text as appropriate to the task
development in the writing of a coherent and effective structure in response to the task, showing an understanding of the relationship between purpose, form, language and audience
control in the use of language appropriate to the purpose, form and audience.
![Page 4: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/4.jpg)
AdviceStudents must write their selected text on
the cover of their script book (this will be their main focus for the task)
Other texts may be referred toStudents should write in whatever form they
consider effective and appropriate for the audience and purpose
May be written in expository, persuasive or imaginative style
Must use the prompt as the basis for their writing and must draw directly from the ideas/ arguments in their selected text
![Page 5: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/5.jpg)
Expected qualities – High Range9–10Demonstrates an insightful grasp of the
implications of the prompt, and perceptively explores its conceptual complexity using an appropriate strategy for dealing with it.
Achieves an assured, cohesively structured piece of writing in an appropriate form, successfully integrating, in a sophisticated way, ideas suggested by the selected text/s.
Makes fluent and effective use of language appropriate to the purpose and audience specified in the task.
![Page 6: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/6.jpg)
Context in Enduring LoveThe balloon accident gives rise to
the question of who let go first - “everyone claims not to have been first” (p.41)
The concept of various versions of reality/ distortions of reality is encountered from the outset
The text shows how our mind lets us down when we try to determine what really happened
![Page 7: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/7.jpg)
Context in Enduring LoveThree competing realities dominate
the text (Joe, Clarissa and Jed). Each character interprets events differently and their respective interpretations are incompatible
Narrative point of view must also be considered. We are often seeing things through the eyes of Joe, even when he attempts to provide with an insight through the eyes of Clarissa.
![Page 8: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/8.jpg)
Different perspectives on realityThree main characters present very
different perspectives on the events:
Joe – believes he is being stalked by an obsessed/ deluded lover
Jed – believes he has been brought to Joe by divine intervention
Clarissa – believes that Joe is undergoing a psychological crisis
![Page 9: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/9.jpg)
Different perspectives on realityJoe represents the scientific and
practical (Science)
The balloon accident for him represents a “comforting geometry” in which the participants occupied a “state of mathematical grace”
![Page 10: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/10.jpg)
Different perspectives on realityClarissa represents the artistic
and passionate (Art)
She recalls Logan’s fall, telling Joe “how a scrap of Milton had flashed before her: Hurl’d headlong flaming from th’Ethereal Sky”
![Page 11: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/11.jpg)
Different perspectives on realityJed represents the spiritual and
emotional (Religion)
He asks Joe to pray by the body of Logan: “God has brought us together in this tragedy…”
![Page 12: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/12.jpg)
Different perspectives on realityJoe is engaged in a story-telling
exercise and despite his desire for accuracy in retelling, there is nevertheless a subjective viewpoint presented
Joe sees his subjectivity as a prison: “We were prisoners in a cell, running at the walls, beating them back with our heads. Slowly our prison grew larger.”
![Page 13: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/13.jpg)
Unreliable versions of realityHaving multiple perspectives means it is difficult
to determine the truth
Memory can be faulty, we can misconstrue events
Clarissa wonders whether Jed is a figment of Joe’s imagination.
Jean Logan believes her husband was having an affair, but Joe recognises her version of events was “a theory, a narrative that only grief, the dementia of pain, could devise” (p.123)
![Page 14: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/14.jpg)
Unreliable versions of realityThe events in the restaurant
leave Joe questioning his own version of the shooting:
“We lived in a mist of half-shared, unreliable perception, and our sense data came warped by a prism of desire and belief, which tilted our memories too.”
![Page 15: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/15.jpg)
Whose version of reality?As Joe is the first person narrator we are
given access to his reality
We can only guess at Jed’s thought processes
Joe says “What I describe is shaped by what Clarissa saw too, by what we told each other in the time of obsessive re-examination that followed.” (p.2) – but to what extent is this true?
![Page 16: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/16.jpg)
Whose version of reality?Joe wishes to see a broader
perspective “I see us from three hundred feet us, through the eyes of the buzzard…”
In Chapter 9 Joe tells us the story from Clarissa’s perspective, but it is still seen through his own eyes, rather than having the true objective story-telling of an omniscient narrator.
![Page 17: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/17.jpg)
Distortion of realityJoe’s breakthrough moment is
when he discovers the concept of de Clerambault’s Syndrome. He describes it as “a dark, distorting mirror that reflected and parodied a brighter world of lovers…” (p.128)
Describes Jed Parry’s world as one of “emotion, invention and yearning”
![Page 18: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/18.jpg)
Distortion of realityJed simply filters out anything
that does not fit with his version of reality
But we are all on some level distorting reality – Joe also would like to believe that he is part of that “good society” and therefore presents his view that he did not let go of the rope first.
![Page 19: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/19.jpg)
The reality of the textJoe makes it clear from the outset
that he is constructing a story:
“The beginning is simple to mark…”, yet he goes on to suggest that a beginning is an arbitrary concept (“an artifice” / “as notional as a point in Euclidean geometry”)
![Page 20: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/20.jpg)
The reality of the textJoe makes several references to
him being a character in a story:
“What idiocy, to be racing into this story and its labyrinths…” (p.1)
“I knew it was only when they reached us that their story could continue.” (p. 173)
![Page 21: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/21.jpg)
The reality of the textSuggestion that this reality is the
stuff of novels and movies, not real life:
“For this was preposterous, the kind of thing that happened to Bugs Bunny, or Tom, or Jerry, and for an instance I thought it wasn’t true….” (p.15)
![Page 22: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/22.jpg)
Context in The Shark NetFocus on the way that memory
has the capacity to shape a reality. Drewe, as the storyteller, shapes the narrative yet his memory inevitably falters with the passing of time
Drewe says “memory may falter and portraiture is a highly subjective endeavour…” (p.361)
![Page 23: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/23.jpg)
Memory and realityDrewe is selective about the
vignettes he chooses to include in his narrative
His memories of Perth as a young boy reveal the clear, open skies and wide horizons, but also the parental restrictions
![Page 24: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/24.jpg)
Memory and realityFor Drewe he is telling the story
as an adult and his recollections are filtered through the eyes and perspective that comes with adulthood
It is often the feelings and emotions that Drewe remembers with certainly and, arguably, these feelings shape the way he views the past.
![Page 25: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/25.jpg)
Memory and RealityMemory can distort and alter reality.
Drewe’s memory of Eric will inevitably have been influenced by what he learns about Eric later in life.
He says at the beginning of the novel that “Even in a short time I’d come to realise that most murders looked more like bank tellers or economics teachers or crayfishermen. But he didn’t. When he smiled and preened like that he looked like a murderer. “(p.12).
![Page 26: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/26.jpg)
Memory and Reality
Similarly his guilt about his mother’s death will impact on the way he remembers her.
Drewe acknowledges that with
her death ‘The orderly world seemed turned on its head’ (p.264) and reality changes as does his sense of who he is.
![Page 27: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/27.jpg)
Multiple realitiesConveys a sense that various realities can
exist at the same time
Drewe inhabits a different world to that of his parents.
His father is a “Dunlop” man – totally committed to his company and its products.
His mother finds it difficult to adapt to her new life in Perth away from the “ordered Melbourne world of frosty lawns and trimmed hedges”
![Page 28: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/28.jpg)
Multiple realitiesDrewe attempts to give the reader an
alternative insight into the reality of Eric.
He is a murderer, but also a father who finds joy hearing his mentally handicapped son say the word “starfish”
We are simultaneously fascinated and revolted by Eric
![Page 29: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/29.jpg)
Multiple realitiesDrewe’s recollections of Eric have
another layer, in that he is a journalist reporting on the events.
Sally, Eric’s wife, says “It never dawned
on me… he could kill anybody. I knew he was a liar, a cheat, a thief – you couldn’t do nothing about that. But not a killer.” We are provided with a greater insight into Eric through Drewe’s interview with his wife.
![Page 30: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/30.jpg)
Multiple realitiesEric is the alter-ego for Drewe –
he represents the darker side of his nature
Drewe hints at the two sides of his personality: ‘my body was divided down the middle by a dotted line, I could feel my good half and my bad half.’ (p.254).
![Page 31: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/31.jpg)
The imagination and reality
The act of remembering will inevitably be shaped and altered by imagination.
Drewe presents himself as having a vivid imagination (playing Tarzan and Sophisticated Lady; imagining the lions coming into his room; imagining the foundations crumbing under his home etc). How much does this reveal an altering/ distorting of reality?
![Page 32: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/32.jpg)
The imagination and reality
We are reminded throughout about the connection between reality being remembered and recreated.
The “Saturday Night Boy” episodes are clearly works of fiction, yet they are informed by encounters and episodes based on fact too.
![Page 33: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/33.jpg)
The imagination and reality
The literary techniques also remind us of how reality is shaped by the imagination.
The extended metaphor of the ‘shark net’ is used to illustrate the fears that encircled Perth at the time
Similarly The Shark Net is a satire of Perth at the time. He lampoons the fears and conservative attitudes and therefore creates a work of fiction where the reader is left questioning what the reality might have been.
![Page 34: Writing in Context](https://reader036.vdocument.in/reader036/viewer/2022062302/5681662a550346895dd98a89/html5/thumbnails/34.jpg)
A prompt‘What people remember shapes their
understanding of themselves and their world.’
Use the prompt as the basis for a piece of writing exploring the idea that what people remember shapes their understanding of themselves and their world. Your piece is to be published in an anthology written by VCE students for the wider school community. You must draw on ideas and issues suggested by a text or texts from the list above.