Sc2a Assessment One - Culhane

Secondary Curriculum 2A: Assessment One Liam Culhane 18361777
Module B Advanced: Critical Study of Literature – Avatar (2009)
TOTAL module suite of texts:

Avatar (Cameron, 2009) – film
“Amazonians take Chevron to Ontario Court” (Oved, 2018) – media article
‘Colored man with white wife not desirable’ (1935) – historical media article
“The Land Owns Us” (Global Oneness Project, 2009) – digital text
“The Drover’s Wife” (Lawson, 1896) – prose fiction
We are Going (Noonuccal, 1991) – poetry
Avatar (Cameron, 2009) – film

As the primary text of this module sub-unit, Avatar (Cameron, 2009) is a substantial text that actively engages students with notions of textual
integrity. Through analytical critique pf the various film and literary devices deployed by Cameron (2009), students are challenged to develop an
appreciation of the text’s distinctive structural qualities, ground-breaking visual effects and use of 3D, and the unique thematic discourses that
reflect and explore broader cultural historical contexts. The cinematic form is easy for students to access and consume, in a familiar genre that
interrogates central themes of colonialism, environmentalism and connection. Students are likely subconsciously aware of these and able
personally relate to them in some way, whether it is a thematic interest or a love of science fiction or action. The text’s well-developed themes
are multi-faceted, engaging students in multiple levels of thought, providing students the opportunity to develop their own perspectives and
readings based on their interests. These themes demand audiences make judgements on current global issues, inviting students to personally
question the perspectives of others while strengthening their own perspectives in deeper understandings of the text. Finally, Avatar (Cameron,
2009) provides the unique opportunity to value and represent Indigenous Australian and First Nations worldviews and experiences, encouraging
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students belonging to these groups, and by extension all students, to use their personal and cultural funds of knowledge, as depicted by the
transformative learning framework heralded by the Na’vi.
“Amazonians take Chevron to Ontario Court” (Oved, 2018) – media article

This texts primary purpose is to demonstrate the composition of Avatar’s (Cameron, 2009) contextual relevance to current cultural and political
climates, while highlighting Avatar’s (Cameron, 2009) purpose in foregrounding and modelling responses to these exact issues. The article
supports analysis of film devices to form rhetoric, while affirming the links between the interconnected themes of colonialism and
environmentalism and contextualising these within present-day examples of corporate delegitimization of First Nations sovereignty. The text’s
easily accessible nature, connection to similar cases through search algorithms and position in a student-directed research investigation is
valuable in supporting Avatar’s (Cameron, 2009) desired purpose – to challenge audiences and demand awareness. Additionally, this text adds
value to the sub-unit by guiding students to form their own critical appreciation of a text’s integrity based on research, thereby modelling and
academic process, while forming personal judgements that are linked to synthesised ideas between a primary and supporting text.
‘Colored man with white wife not desirable’ (1935) – historical media article
This text acts as an introduction for a sophisticated, mature, academic reading of Avatar (Cameron, 2009) – colonial anxieties regarding
miscegenation. Firstly, this historical text develops and supports student understanding of this topic as one of the various modes of the colonial
genre. In critiquing this text, students must engage with and analyse content and language through a contextual lens to uncover the ideological
undertones presented by the author and explore their purpose. In treating the text as a historical artefact, students practice the skills required to
achieve a deeper understanding of Avatar (Cameron, 2009). Through the foregrounding of these skills and familiarity with this theme, the text
provides students with the opportunity later in lesson three to critically analyse characters from the primary text and form a personal
interpretation on whether Jake’s sexual relationship with Neytiri and Judy’s defection from the RDA to the Na’vi affirms this colonial anxiety.
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“The Land Owns Us” (Global Oneness Project, 2009) – digital text
The conversation with Yankunytjatjara Elder Bob Randall, is significant to the study of Avatar (Cameron, 2009) because of its form and content.
The knowledge presented in this text is not a speech, but rather a conversation. This is significant, because just as Avatar (Cameron, 2009)
positions audiences to associate themselves with the Na’vi and their cultural ethos, this text is inclusive of students from non-Indigenous
backgrounds, engaging them in an appreciation of systems thinking and deeming the ideology as culturally and locally relevant to their lives as
Australians. Similarly, Indigenous students and worldviews are represented in the classroom and positioned as possessing authentic and relevant
knowledge, while a transcript is provided to include Indigenous students unable to view the source or read Elder Randall’s name due to his
passing in 2015. Additionally, this text supports student critical analysis of film techniques such as camera angles, montage, language, narration
and exposition in Avatar’s (Cameron, 2009) depiction of systems thinking, and the synthesised valuing of these two texts in a personal
reflection.
“The Drover’s Wife” (Lawson, 1896) – prose fiction

The “The Drover’s Wife” (Lawson, 1896) is a valued canonical Australian text that majority of students will be familiar with. This text is
significant in advancing student understanding, appreciation and analysis of Avatar (Cameron, 2009) as it foregrounds thematic undertones of
Pandora/nature as oppressive and violent as a theme of the Australian gothic genre. Student engagement with this text affirms their critical
understandings of Col. Quaritch’s “You’re not in Kansas anymore” scene as an authorial expression of ideas, a source of additional reference
and research, while providing students with interactions with an alternative perspective on the environment as a character and a potential
investigative topic for their Personal Investigative Review. The exploration of this theme within this text grounds students’ increasing informed
and complex responses, which they compose creatively or critically interrogating form and content.
We are Going (Noonuccal, 1991) – poetry
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Noonuccal’s (1991) text is central to the exploration of cultural memory’s vital interrelation with identity as a product and dispossession as an
effect. Students engage with this text through an analysis of literary devices in order to identify authorial commentary on dispossession’s
detrimental effects on the self. This critical analysis is scaffolded, and again models the process students use to form their own evidence-based
interpretations while developing a deep understanding of cultural memory as a distinctive and uniquely visual feature of Avatar (Cameron,
2009). As a poem influenced by the context of its Indigenous Australian author, students are able to consider personal cultural memories of
others and make connections with their own personal perspectives on Avatar (Cameron, 2009). Additionally, through a creative letter writing
task, We are Going (1991) is the catalyst for students to engage within their local context and form perspectives on the issue of treatment of
Uluru as a tourism financial generator rather than a revered site of cultural memory.
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Class: Time:
Year 11 Advanced Term 2, Week 1 – Monday
Week Topic: Lesson Number/Topic:
Avatar and Colonialism The Other
Outcomes: Content Points:
EA11-3: A student analyses and uses language  engage with complex texts to understand and appreciate the power of language in shaping
forms, features and structures of texts meaning
considering appropriateness for specific
purposes, audiences and contexts and evaluates
their effects on meaning
EA11-5: a student thinks imaginatively,  examine different points of view represented in texts, for example those of characters,
creatively, interpretively and critically to narrators and the implied author, and the ways in which these points of view are created
respond to, evaluate and compose texts that
synthesise complex information, ideas and
arguments
Learning Intention:
Students understand ‘othering’ as a process of colonialism that justifies exploitation.
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Materials
Avatar (Cameron, 2009)
Student laptops/iPads for MindMup activity
Focussed Reading Journals
Procedures
Time Organisation Teaching/ learning activities

5mins Avatar Introduction:
Introduce students to Module B: Critical Study of Literature, with Avatar (2009) as the key organizing text. Inform
students that they will be responding to, comparing and synthesizing themes and devices between Avatar (2009)
and other supplementary texts. Most importantly – students will investigate and present in a Personal Investigative
Review (PIR) using their own three chosen interpretations of the text in the final week, based on their own interests
and research.
15mins Students access MindMup Activity:
FR Journals Students produce their ‘FR journals’, which they have filled out while viewing Avatar (2009) during their film day
Students access that took place during the school holidays.
https://www.min Students:
dmup.com/ - Have 5 minutes to discuss with their partner key text themes, messages, characters, scenes and/or quotes
that resonated with/challenged them.
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- Make a MindMup with a photo of themselves at the centre and add their discussed thematic examples, and
some examples of scenes/quotes that connect these themes.
- Students highlight the theme they are most interested to study.
- Students screenshot this MindMup when completed.
Facilitate the sharing of these concepts and ensure discussion covers:

- Colonisation/Imperialism/Militarism
- Environmentalism/corporate greed//technology
- Family ties/connection to land/spirituality
Discussion may also include higher-order concepts:
- ‘The noble savage’
- ‘The white messiah’
- The human condition
- Ecofeminism
Ask students – what is the main source of conflict that drives the narrative of Avatar?
- The human desire for resources, drives out the Na’vi. Preemptive strike. Link this to colonialism.
Display week one’s theme: Colonisation AND learning intention on the board.
10mins Think/Pair/Share:
Ask students: You are an old and grumpy man/woman who has lived in the peaceful, family-orientated cul-de-sac
behind the local shops since the 60s. Recently, a group of young skateboarders has started skating down the local
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streets, and they use the safe cul-de-sac to turn around, and to practice their tricks. You hate it! You want them
banned from hanging around your cul-de-sac. But you can’t just tell your old mates at the council you want them
gone – that’s not an acceptable justification is it? Reflecting on your personal experience or historical knowledge,
what is an effective way to justify their removal?
Students have 5 minutes to discuss and report back answers that may include skateboarders:
- hang out in gangs
- bring graffiti
- damage public property like benches with their tricks
- loiter
- use profane language
- engage in public unruliness
- answers that attack the culture and public perspective of skateboarders.
Key: Othering is a form of control – Othering is a feature of colonialism presented in Avatar

15mins SmartBoard You Talk, I Listen – Avatar and the Other:
Scene Projection: Students view the scene. Students pair up for one minute, before moving on to new partners. Each pair will
Grace and nominate a Speaker and Listener, who will switch roles after 30 seconds – timing facilitated by the teacher. Using
Selfridge discuss their ‘FR journals’, students are to:
Avatar Program - Record one film device (not limited to the scene) that positions the Na’vi as different.
on the bridge.
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- Share their device with their partner, which can also now be traded in the next round – if they choose to talk
Display learning about human language - discrimination they must offer their partner a new quote/scene that demonstrates
instuctions this. Record partners answer.
- Stress that these devices include any creative choice that makes the Na’vi different to the humans (can
include: tribal language, blue skin, height, technology, avatar as vehicle, human language - discrimination,
Pandora vs. military base, spiritual beliefs).
After 5 rounds, teacher facilitates student sharing of devices as a class using the ‘Critique Scaffold’. Teacher may
need to give assistance in categorizing examples as specific techniques or devices. There are two columns on the
board, ‘denotation’ – where the devices are positioned, and ‘implication’. Brainstorm the implications of these
devices on the Na’vi as a collective character - what is this device implying about the Na’vi and their difference?
Show students: These devices do not have ‘naturally’ negative implications, in fact once Jake is immersed in
Pandora’s environment where the Na’vi are the dominant voice, most of these devices serve as exposition that help
us relate and sympathise with the Na’vi. During the first half of the film though, viewers are positioned in the
human realm – where Selfridge and Quaritch are the main voices.
This is summed up in “This is how it’s done. When people are sitting on shit you want, you make them your
enemy. Then you’re justified in taking it.”
Key: Control the voice, control the other – ‘othering’ a technology of colonialism.
15mins Display learning Imaginative Recreation:
instructions Show students the scene where Neytiri sees Jake for the first time and takes aim.
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Students write Neytiri’s brief interior stream of consciousness, utilising some of the ‘Othering’ language the Na’vi
use in reference to the humans such as: “Sky-people” who “cannot see”. Students must reference the memory of
Neytiri’s sister who was killed by the humans after setting a bulldozer on fire to protect the forest. Their creative
writing piece must end with the Seed of Eywa landing on Neytiri’s bow.
Homework Students send this creative writing and their MindMup screenshot to the teacher upon completion, with a three dot
point reflection consisting of: two new pieces of information they have learned this lesson and one thing they want
to understand further.
Evaluation/ Extension
 The collection of MindMup concept maps (Cornish & Garner, 2009) through student email is a means of initial measurement of student prior
knowledge, and also the effectiveness of the focussed reading journals for future incarnations of this sub-unit. Based on this formative
assessment, lesson plans can be differentiated based on the degree of student’s identification with the three major themes – colonialism,
environmentalism and connection, and of established higher order topics including discourses surrounding: ‘the noble savage’ or ‘white messiah’
tropes for example.
 Informal formative assessment will take place throughout ‘Think/Pair/Share’ (Kealley, 2016) and ‘You talk, I Listen’ (Howard, 2016)
activities through measurement of on task behaviour and engagement with techniques and themes, with the class reconvening in collaborative
exercises to share and distribute knowledge evenly. The collection of student ‘Imaginative Recreation’ (Sawyer, 2010) tasks and reflections acts
as further formative assessment.
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Class: Time:
Year 11 Advanced Term 2, Week 1 – Tuesday
Avatar and Colonialism 2. Economic capital and disinheritance
EA11-7: evaluates the diverse ways texts can  investigate and explain how composers (authors, poets, playwrights, directors, designers
represent personal and public worlds and and so
recognises how they are valued.
on) draw on cultural, textual and linguistic resources to represent particular perspectives in
texts
.
EA11-8: A student explains and evaluates  evaluate the ways that ideas, voices and perspectives are evident in texts representing
cultural assumptions and values in texts and different personal, historical and cultural contexts.
their effects on meaning.
Learning Intention:
Students recognise the way authors use film and linguistic devices to depict historical valuing ideologies that ignore traditional owners’
sovereignty.
Lesson Outline:
Texts used: Avatar (Cameron, 2009) & “Amazonians take Chevron to Ontario Court” (Oved, 2018).
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Lesson two builds on the “othering” language explored in lesson one, which has been established as being controlled by the humans in the first
act of the text. Through a collaborative learning joint construction analysis of the establishing shots of the mining scale, and Grace and
Selfridge’s conversation on the bridge, the lesson aims to highlight the dominant exploitative capitalist rhetoric of the RDA (symbolised by
Selfridge) and how Cameron (2009) utilises technology as a motif (mining technology and SecOps weaponary symbolised by Quaritch) that
delegitimises the Na’vi’s sovereignty and values. Additionally, in a student-led investigation into the Ecuadorian First Nations vs Chevron
environmental crisis lawsuit, students will link postcolonial capitalist themes from Avatar (Cameron, 2009) to real-world examples of
corporate delegitimization of First Nations sovereignty and values for economic gain.
Class: Time:
Year 11 Advanced Term 2, Week 1 – Wednesday
Avatar and Colonialism 3. Anxieties around miscegenation
EA11-3: A student analyses and uses language  engage with complex texts to understand and appreciate the power of language in shaping
forms, features and structures of texts meaning
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EA11-7: evaluates the diverse ways texts can  analyse the diverse ways in which imaginative, informative and persuasive texts can
represent personal and public worlds and explore human experience, universal themes and social, cultural and historical contexts
Learning Intention:
Students recognise anxieties regarding miscegenation as a feature of the colonial genre, and place these undertones within the rhetoric of
Lesson Outline:
Texts used: Avatar (Cameron, 2009) & ‘Colored man with white wife not desirable’ (1935).
Lesson three engages with colonial anxieties surrounding miscegenation, which as a textual feature of the colonial genre. Students first engage
with ‘Colored man with white wife not desirable’ (1935) as a historical text that reflects this element of the colonial genre and use the ‘Critique
Scaffold’ to analyse it (loss of civility/humanity, marrying down the evolution chain, return of the repressed). Students then create a character
profile DART for Col. Quaritch, who is specifically framed as the text’s major symbol of colonial ideological enforcement through his position
as the military power. This is completed in response to four selected scenes, through analysis of his dialogue and mise en scene – characterised
by a combination of military-legal rhetoric and ‘othering’ language. Through collaborative group work students discuss the consequences of
Jake’s sexual relationship with Neytiri, and to a lesser extent Judy’s rebellion after association with ‘the Other’, and these characters affirm
colonial anxieties of miscegenation as a genre trope.
Class: Time:
Year 11 Advanced Term 2, Week 1 – Thursday
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Avatar and Colonialism 4. Flipped reading – Avatar a colonial control narrative?
EA11-7 : A student evaluates the diverse ways  appreciate the different ways in which a text can be valued, for example for its themes,
texts can represent personal and public worlds aesthetic qualities or representation of cultures
and recognises how they are valued
EA11-8: explains and evaluates cultural  experiment and reflect on changes to texts, for example point of view, form or setting to
assumptions and values in texts and their effects explore different cultural meanings
on meaning
Learning Intention:
Students identify and critique the perspectives of others, while evaluating their personal judgements on evidence drawn from their own reading.
Lesson Outline:
Texts used: Avatar (Cameron, 2009)
While the previous three lessons position Avatar (Cameron, 2009) as a text critical of colonial ideologies, lesson four is designed to present
students with a contrasting perspective of the texts based on alternative reviews – that Avatar’s (Cameron, 2009) plot structure is regressive in
its dependency on the ‘white messiah’ complex, supported by the noble savage trope. In a joint construction task, students are presented with
key plot elements re-conceptualised through this critical lens and challenged to recognise how these might support a white messiah complex,
and how these could be changed to shift power back to the Na’vi, including: Jake’s appropriation of Na’vi skin, mastery over the culture and
language, mastery over Neytiri, appropriation of Na’vi mythology through taming Toruk to assert authority etc. Students then engage in a
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recreation writing task from the perspective of a Na’vi character who is critical of Jake position in the tribe, addressing a chosen key plot point.
Lastly, students debate whether they believe this reading to be accurate.
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Class: Time:
Avatar and Environmentalism 5. The environment as a character
EA11-1 : A student responds to, composes and  analyse the ways language features, text structures and stylistic choices shape ideas and
evaluates complex texts for understanding, perspectives and influence audiences (ACEEN024)
interpretation, critical analysis, imaginative
expression and pleasure
EA11-7 A student evaluates the diverse ways  appreciate the different ways in which a text can be valued, for example for its themes,
Learning Intention:
Students recognise how sound, camera angles, camera shots and symbolism influence the portrayal of Pandora, and how Avatar (2009)
presents stewardship as a valuable model of land ownership that creates connections with the audience.
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Materials
FR Journals
Learning tickets
Student personal technology, in addition to laptops/iPads
Procedures

5mins Students receive Introduction and context:
learning tickets as Environmentalism is the second of the themes to be explored from list students identified in lesson one.
they enter class Investigate student background knowledge regarding environmentalism, ask for hot current topics that may
include:
climate change – where corporations and environmentalists are at odds, the NSW drought, environmental policies
as key political issues, and sustainability movements like ‘ban the bag’ and veganism on the rise.
15mins Students access Setting as character, Jakes Transformation - Mini Lesson
personal This scene is a sensory experience, that subtly distinguishes the human environment and Pandora, and hints at
technology and differences between the human relationship with their environment and the Na’vi relationship with Pandora.
headphones. Using their ‘FR journals’, students:
First, access the YouTube link and watch the scene on their personal device with headphones, and:
Students access
YouTube link:
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https://www.youtu - SEE the indoor human setting in the opening shot. Describe the camera angles, shots, HEAR the sound –
be.com/watch?v=c how does the author WANT you to feel? (The fuzzy, disorientating shot – unfamiliarity with clinical
rEU1pcoWiw environment. Explain to students this is a Dutch angle close up).
- SEE the outdoor human setting. This is a tracking shot, designed to give viewers detail. What does the
author WANT you to see about the human relationship with the land? (human mastery of land, avatars
training to be Na’vi in human-made obstacle courses in cleared Pandora land – Jake runs past all of this
towards wild Pandora in the background)
- SEE Pandora, once Jake has reached the perimeter of human settlement just before he stops running.
Describe what the camera angles and colours WANT you to see and sense. HEAR the background sound
which has come into focus – the fruit and the birds. How is this different to the opening sound?
Second, students start the scene again and turn their device around so they can’t see the images
- HEAR how the sound changes, knowing the plot of the scene. How does this establish Pandora as a
character? What traits does Pandora have?
Facilitate a brief discussion of some examples, and stress that these sensory cues are very subtle, and our brain
picks them up subconsciously. We have to force ourselves to see them. We have established Pandora is alive, and
this sets the precedent that Pandora should be treated so.
20mins Students will Student-led investigation:
require Cameron (2009) develops Pandora as a character, which through Week One’s discussed colonial processes
laptops/iPads and positions Pandora, as the “other”. Yet as humans we are positioned to connect with Pandora, the environment
FR Journals over our own species.
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Organise students into six mixed ability groups of three to four. Students will perform an open-ended concept
map investigation of one of four symbolic text structures that connect viewers to Pandora as a character,
becoming the experts that will present their assigned text structure on poster-board:
The Avatars and their field-testing processes – a literary vehicle (1 group)
The fall of Hometree – a 21st century political symbol (2 groups)
Eywa as a symbol – a 21st century ecological context (2 groups)
3D film which revolutionised visual effects – a form for the masses used in a revolutionary way (1 group)
Prompt questions may include:
- In the world of Avatar, what is the significance of this concept? How do the humans and/or Na’vi respond
to this?
- What is the symbolic significance of this thing to viewers? What cultural/political symbols/events does
this evoke? Why would it create sympathy/understanding/connection for human viewers?
- What response does the sound/camera angles/camera shots/editing evoke from you? Are these steady
shots, shots that cutaway and compare more than one element of the scene?
Students are free to suggest additional symbolic text structures that evoke connections between viewers and text
that they may like to investigate, but teacher may recontextualise suggestion under the above four concepts (ie.
Discussing allusions to Mother Nature, current environmental crises like deforestation, and the Na’vi’s spiritual
connection to Pandora all can be investigated within ‘Eywa as a symbol’).
20mins Expert Presentations:
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Students reconvene, and are divided into two large learning circles, with a representative group from each topic
between the two learning circles (3 groups per learning circle). Student groups give 5-minute presentations on
their collaborative investigations, while other students make notes in their FR journals, and fill out a learning
ticket that addresses:
Name their text structure and one key piece of information they learned with their group
Name another groups text structure and one key piece of information they took away from their presentation.
Name one idea presented that they disagree with/did not understand
This learning ticket is handed to the teacher before leaving class for next period.
During task completion, the teacher:

- assesses progress including understanding of task; on task behaviours; requirement for additional time or
differentiation
- ask questions to extend student thinking and support understanding
Homework
 The introductory discussion of current environmental contexts acts as assessment of student prior knowledge and affirms this knowledge and
relevant in a frontloading task. The brief discussion after the ‘Scene Analysis Mini-Lesson’ is designed to scaffold the analysis of sensory film
techniques to ensure effective critical practice and fulfilment of the lesson aims, while the ‘Expert Presentations’ and learning tickets (Kealley,
2016) allow for teacher-facilitated extended thinking questions and knowledge consolidation between class members.
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 Informal formative assessment will take place throughout the ‘Student-led Investigation’ task (Boas, 2016). As the task is open-ended,
students investigating the fall of Hometree for example, could focus on the ramifications of event for the Na’vi’s as a symbol of their spiritual
and cultural ethos to generate audience identification, just as easily as performing a post-9/11 symbolic reading of Hometree’s similarity to the
Twin Towers to elicit emotion in viewers. Prompt questions to guide student thinking are therefore a necessity to ensure direction, use of
techniques and themes and an effective student-led task.
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Class: Time:
Avatar and Environmentalism 6. Systems thinking
EA11-4 : A student strategically uses  explore a wide range of texts, including those that represent the diverse experiences of
knowledge, skills and understanding of Aboriginal and/or Torres Strait Islander Peoples, to engage with ideas, perspectives and
language concepts and literary devices in new conventions in familiar and new context
and different contexts
EA11-7: evaluates the diverse ways texts can  compose creative and critical texts that reflect particular values and perspectives,
represent personal and public worlds and including their own
recognises how they are valued
Learning Intention:
Students interrogate the environmental values presented by Avatar (Cameron, 2009) and synthesise these with Indigenous Australian
worldviews.
Lesson Outline:
Texts used: Avatar (Cameron, 2009) & “The Land Owns Us” (Global Oneness Project, 2009)
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Having established Pandora as a nurturer, students investigate the systems thinking worldview that Avatar (Cameron, 2009) endorses – the
holistic understanding of the environment and the Na’vi’s role as stewards. Investigating the Na’vi kill prayer: "I see you, my brother, and
thank you. Your spirit belongs to Eywa but your body remains so that I may take it to nourish the Na'Vi people”, and the symbolic quote: “All
energy is only borrowed, and one day you have to give it back” – in their groups students analyse the effects of montage, narration, camera
angles and exposition while ‘creating’ the founding principles of the Na’vi’s cultural ethos. Students then watch “The Land Owns Us”, and in a
reflective piece compare the Indigenous Australian land ownership ethos to the Na’vi and evaluate the merit of this cultural and historical ethos
to their own personal interactions with the world.
Class: Time:
Avatar and Environmentalism 7. Natural world as isolated, oppressive, and violent.
EA11-1: A student responds to, composes and  analyse the ways language features, text structures and stylistic choices shape ideas and
evaluates complex texts for understanding, perspectives and influence audiences
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EA11-6: A student investigates and evaluates  analyse the relationships between conventions of genre, audience expectations and
the relationships between texts interpretations of texts, and the ways texts may conform or subvert these conventions
Learning Intention:
Students interrogate alternative narratives and new genres, and compose texts that deepen their understandings of the Avatar (2009)
Lesson Outline:
Texts used: Avatar (Cameron, 2009) & “The Drover’s Wife” (Lawson, 1896).
Students view Col. Quaritch’s opening “You’re not in Kansas anymore” scene. After a think/pair/share guided by the question: what image
does Cameron (2009) create of Pandora through Col. Quaritch, using mise en scene, close up and narration; students cooperatively learn using
joint construction to analyse these film techniques and establish Pandora again as an active character. However, the character described is
opporessive and violent, and contrasts to the benevolent nurturer the students have previously described. Through a close reading of imagery in
excerpts of “The Drover’s Wife” (1896) using the ‘Critical Analysis Scaffold’, students attribute this construction of the natural world as a
feature of the Australian colonial gothic genre, amidst discourses of mastery and oppression of the domestic space. Students synthesise the
literary examples from in Avatar (Cameron, 2009) & “The Drover’s Wife” (Lawson, 1896) in a 500-word response that:
- Critical analyses how colonial gothic modes/techniques are explored in both texts, and whether Avatar subvert this trope.
Class: Time:
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Avatar and Environmentalism 8. Spirituality

EA11-7: evaluates the diverse ways texts can  analyse the diverse ways in which imaginative, informative and persuasive texts can
represent personal and public worlds and explore human experience, universal themes and social, cultural and historical contexts
EA11-8: explains and evaluates cultural  evaluate the impact of specific cultural references on meaning, for example historical
assumptions and values in texts and their effects allusion, cultural stories and symbol
on meaning
Learning Intention:
Students deconstruct the symbolic importance of the avatar and Eywa, and the cultural symbols Cameron (2009) appropriates to form these
symbol
Lesson Outline:
In collaborative learning groups, students investigate and reconvene as experts on: the spiritual symbolism behind an ‘avatar’, Eywa as the ‘tree
of life’ and evocative of ‘Yahweh’, ‘mother nature’ or ‘Gaia’, Pandora as the ‘Garden of Eden’ as examples of religious allusion – all of which
contribute to Pandora’s pantheism. Through a concept mapping exercise, students assess Eywa’s spiritual character as one that is deeply
connected – containing the memories of all Pandoran life and energy and effecting the characters, specifically Jake Sully. Through a close
character and film device analysis, students either individually or in pairs investigate Jake’s personal evolution from a physically, mentally,
spiritually and emotionally paralysed character; who through connection to surroundings, a local community, and a cause larger than himself
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finds meaning. Students creatively map this journey as a metamorphosis through the spiritual symbol of “the avatar”, and compare this to their
own spiritual experience.
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Class: Time:
Avatar and Connection 9. Cultural Memory and Significance
EA11-7: evaluates the diverse ways texts can  appreciate the different ways in which a text can be valued, for example for its themes,
represent personal and public worlds and aesthetic qualities or representation of cultures
Learning Intention:
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Students understand the concept of cultural memory, use this concept knowledge and their understanding of film device to creatively represent
how sites are attributed cultural value.
Materials
Learning tickets
Laptops/iPads
FR Journals
Procedures
15mins Students Personal Writing Task:
collect Students will be given two minutes to write responses (written or typed) to the following scenarios. They must begin
learning by reflecting on the places most important to them – some of these places might include their most treasured childhood
tickets on memory, old family holiday place, a cultural meeting place or a grandparent’s house.
their way in  You’ve entered four of your favourite and memorable places into a VR machine, which computes these places
to class. into a town and allows you to visit them all as you remember them. You put on the VR.
1. You’re driving into your memorable town after being away for 10 years. In/on your ride, you approach the first
Display place that is important to you, but you don’t go in. What are you driving in? Describe what your first important
prompts on place looks like? What is it made of? What do you hear/smell/see?
screen
28
Timer 2. As you continue on your drive, you turn on your phone/radio, and there is a song playing as you enter your
required second important place. What song is playing? What does it remind you of? You get out of/off of your ride and
walk around this second important place – describe what makes this place important?
3. You continue walking, and as you reach the edge of this second place you find a path. Where does this path
lead through? At the end of your walk you enter the third place. Standing on the edge is a person from this third
place. What do they say to you? What do they remember from this place? What did they share with you here?
4. You walk together through this place, but the path comes to an end. At the end of the path is a giant mirror,
which holds your fourth important place in its reflection – what does this place look like? Which important
people used to gather here? What time of day is it at this important place? In the mirror also stands the
reflection of your younger self, at the time of one of your visits to this place. Your walking person has
disappeared, and you step through the mirror into your fourth place. What are is your younger self wearing?
How old are you here? As you walk, what lesson do they tell you that they learned here?
5. As you walk, you arrive at a car the VR company has sent you, with a driver. Something feels a little off, and
your younger self nervously says they have to stay. You get in the back seat of the car, and wave to your
younger self – how do they respond? You drive back through the town, past your four memorable places –
name a distinguishing feature of place four, three, two and one that you’re expecting to see as drive past it.
6. BUT, as you drive past, these features have changed. These memorable places don’t have that one
distinguishing feature anymore…they look different... smell different…there are other people in them – the
thing that was special about each place is gone. You ask the driver what has happened, but they don’t hear you.
How do you feel in this VR that you created, about these places – as you are driven away?
29
Ask students to reflect under their writing – what was the significance of these places to you? How did this sudden
change at the end of the task affect your reality, to return to these important places only to find that they’ve changed?
How does it affect your sense of self?
Email this to the teacher.
5mins Cultural Memory Mini-Lesson:
Display learning intention on screen.
The personal importance you placed on these spaces demonstrates the cultural, spiritual and social value humans place
on place. These attachments are a form of cultural memory – where social rituals, rites of passage or special events are
a part of the character of a place. Places infused with cultural memory can take on meaning:
When you are physically there by yourself or with that community
When you talk to others about that place (as a point of reference or to those in your community)
When you think about that place, which evokes memories of loved ones, ancestors, important life lessons etc.
You cannot separate meaning from place once it is established, and damage to these places can hurt you internally,
your concept of self, and the community which you shared in these places.
15mins Students Travel Article: Pandora’s sites of cultural memory
access Brief Think/Pair/Share:
laptops/iPads Students have 30 seconds to consider the sites of cultural memory depicted in Avatar (2009), and list them in their ‘FR
for research Journals’ (answers should include Hometree, Tree of Voices and Tree of Souls).
With the person next to them, students:
- share their list and add any sites they didn’t consider
- consider – what is the specific cultural function of these sites? How do they contribute to cultural memory?
30
Students Facilitate brief class discussion – challenge students to recognise the recurring motif of the tree and critique its
require FR connotations as a symbol for connective function and stability.
journals
Divide students into six mixed groups of three to four. Assign two groups each to either Hometree, the Tree of Voices
or the Tree of Souls. Each group must nominate a typing scribe. Advise students that will have 15 minutes to create a
brief travel article for educational purposes, explaining:
- the significance of their nominated site to the Na’vi’s cultural identity.
- the activities, ceremonies and functions that take place here
- how this site allows INDIVIDUAL Na’vi to connect and shape their identity.
20mins Students Travel Article Presentations:
require FR Students reconvene, and are divided into two large learning circles, with a representative group from each topic
journals between the two learning circles (3 groups per learning circle).
Presenters:
- Read out their travel articles,
Listeners:
- Note in their FR journals the two key educational facts the presenters suggested, and one fact that was unclear,
and relays these back to the presenters.
- ONE of the two listening groups fills out a learning ticket for ONE presentation, and rotates so each group
receives a learning ticket from their presentation to hand in to the teacher.
31
differentiation
Homework
 The collection of student creative writing and learning tickets (Kealley, 2016) will be taken for formative assessment, to assess student
knowledge of their own personal interactions cultural memory, while their reflections will be evaluated based on their ability to recognise the
concepts of cultural memory within their own creative writing using their newly learned jargon. Additionally, the collection of this task will be
used to evaluate the engagement and success of the frontloading task for future incarnations of the sub-unit, and to assess with their final theme
reflection at the end of week.
 Informal formative assessment will take place throughout ‘Think/Pair/Share’ (Kealley, 2016) and brief class discussions, to ensure student
thought is progressively more detailed, while the presentation of student ‘Travel Articles’ to class groups is assessed based on: content
knowledge that recognises distinctive qualities of Avatar (Cameron, 2009), and their ability to represent this knowledge in a sustained creative
text.
32
Class: Time:
Avatar and Connection 10. Cultural Memory and Dispossession
EA11-3: a student analyses and uses language  experiment with language conventions and forms in the composition of persuasive and
forms, features and structures of texts imaginative texts for a variety of purposes and audiences
Learning Intention:
Students critically engage with the concept of cultural memory through their understanding of literary devices to create persuasive texts.
33
Lesson Outline:
Texts used: Avatar (Cameron, 2009) & We are Going (Noonuccal, 1991)
In groups, students produce copies of We are Going (Noonuccal, 1991) and listen to spoken version of text. In groups students engage with
culturally representative language using the ‘Critical Analysis Scaffold’ and through a teacher-facilitated joint construction analyse literary
techniques that address dispossession and the interrelatedness of cultural identity with the self. Students are also encouraged to identify
collection of words, sounds, images, language that are producing an effect without knowing the specific name the device, so that vocabulary
can be extended. Having established the significance of Hometree in the last lesson, in a group DART activity, students interact with the theme
of dispossession in the Na’vi’s retreat to the Tree of Souls as their last bastion, and construct an imaginative recreation response to: how would
the cultural day-to-day processes of the Na’vi change if the Tree of Souls had been bombed? Students relate these Avatar (Cameron, 2009)
examples back to We are Going (Noonuccal, 1991) and compose a response that values cultural memory in a letter that affirms the climbing of
Uluru should be prohibited.
Class: Time:
Avatar and Connection 11. Cosmopolitan Education
EA11-5: a student thinks imaginatively,  examine different points of view represented in texts, for example those of characters,
creatively, interpretively and critically to narrators and the implied author, and the ways in which these points of view are created
34

arguments
EA11-8: explains and evaluates cultural  evaluate the ways that ideas, voices and perspectives are evident in texts representing
assumptions and values in texts and their effects different
on meaning
personal, historical and cultural contexts
Learning Intention:
Students understand the concept of cosmopolitan education, and through literary device analysis can identify transformative education as a
theme of Avatar.
Lesson Outline:
Through a think/pair/share activity guided by open-ended questions, students investigate the montage and narration depicted in the scene where
Neytiri teaches Jake how to be part of the Omaticaya, the visual and language changes we see in Jake, and the effects of Jake’s growing
connection with the Neytiri and her culture has on the audience’s relationship with the Na’vi. Students are challenged to value Jake’s learning
experience and consider what makes it effective. Teacher introduces students to the concept of ‘cosmopolitan education’; defined by its
localised relationality, moral duty to all human beings and transcultural understanding as key to transformation. Students assess the relationship
between Dr Grace Augustine’s Avatar Program scientists and language as a symbolic of connection (these scientists speak Na’vi), and contrast
35
them with the Selfridge, Col. Quaritch and the RDA’s rhetoric. Students assess the value of this learning process heralded by the text, in the
context of multicultural Australian society.
Class: Time:
Personal Investigative Review (PIR) 12. PIR introduction and research
A student:  investigate complex ideas and information through sustained argument and imaginative
compositions
› thinks imaginatively, creatively, interpretively
and critically to respond to, evaluate and
compose texts that synthesise complex
information, ideas and arguments EA11- 5
EA11-9: A student reflects on, evaluates and  use constructive, critical feedback from others to improve learning, including their own
monitors own learning and adjusts individual composing and responding
and collaborative processes to develop as an
independent learner
36
Learning Intention:
Students understand the requirements of the Personalised Investigative Review, and plan the outline of their own increasingly informed
interpretation of the text in its entirety.
Lesson Outline:
Students begin their final week of the sub-unit, dedicated to a Personal Investigative Review of Avatar (2009). Students will present the review
as a vlog to the class on Thursday lesson 16 and submit their written critical review, which will be scaffolded during class over the next week.
Students first select which three topics, one each originating from the three broader themes discussed in class (colonialism, environmentalism,
connection) they wish to reflect on, research and critically review – and in doing so extend their reading and form their own interpretation.
Students are free to organise the structure of their review – ie. a review discussing the ‘Other’, nature as a villain, and cultural memory under
the unifying theme of colonialism, or three separate topics of interest. Students may also consider the additional topics discussed in lesson one
or a related topic of their own interpretation – all must be clarified with the teacher. In a ‘You Talk, I Listen’, speakers discuss their topics for
four 30-minute rounds, while listeners ask questions of the arguments organising features. A workshop follows this, where students are able to
conduct additional research they wish to use in their critical review. During this time students can clarify additional ideas. A scaffolded
introductory response that outlines their three topics is completed and emailed to the teacher for progress marking.
37
Class: Time:
Personal Investigative Review (PIR) 13. PIR Paragraphs 1 Workshop
EA11-1: A student responds to, composes and  develop independent interpretations of texts supported by informed observation and close
evaluates complex texts for understanding, textual analysis
EA11-9: A student reflects on, evaluates and  reflect on and discuss personal preferences and insights gained from engagement with
monitors own learning and adjusts individual and increasingly wide repertoire of complex texts
independent learner
Learning Intention:
Students understand and effectively use scaffolding and editing processes, to compose their own increasingly informed interpretation of the
text in its entirety.
Materials
Laptop for completion of task
38
Critical Review Scaffold - worksheet
Procedures

5mins Display Introduction:
learning Recap with students the goals of the ‘Personal Investigative Review’ from last lesson: Students will be:
instuctions - developing their own interpretations of Avatar (2009) based on three topics we have investigated within the
three discussed themes: colonialism, environmentalism, and connection.
- Students can adopt the topic perspective discussed in class, or challenge/extend it with their own additional
research.
- delivering a 4-6-minute critical review in response to their own thematic interpretations for Thursday Week 4’s
class.
- scaffolding a critical essay throughout the week and submitting the completed product with their presentation.
15mins Students Scaffolded Responses:
access Using the notes students have developed throughout the sub-unit, students use ‘Review Scaffold’ as a guide for their
laptops and thinking. Remind students that in scaffolding this paragraph, they are applying best practice to ensure their writing is
‘Critical succinct and engaging. In selecting textual evidence, students are permitted to use one previously discussed in-class
Review example but should also come up with a supporting example of their own choice. Advise students they have 12
Scaffold’ minutes to complete the task.
39
differentiation
15mins Composing Response:
Using the completed scaffold, students now compose a critical analysis paragraph in response to their first topic.
Advise students they have 12 minutes to complete the task.
- provide students with workshopping opportunities to check the validity of arguments or clarify techniques
10mins Display PQP Peer Review – Praise Question Polish
prompts on Students have 10 minutes to trade writing with a person from their term two mixed ability groups. Students read the
board article and provide feedback based on the PQP framework displayed on the board:
Praise (P):
Which techniques were most effective in my writing?
What was the highlight of my paragraph?
Question (Q):
What clarifying questions do you have about my writing?
What further points do you think I should make/What further questions do you have?
Polish (P):
What are one or two things I should add in? (extra points, related techniques/evidence)
What are one or two writing skills should I try to improve? (topic sentences, vocabulary, quote flow)
40
The teacher can take up to three student paragraphs for PQP feedback.
10mins Renewed Goals Composition:
With these new writing goals, students have 10 minutes to rewrite their response under their original composition, so
that they can see the changes they have made.
5mins Reflection:
Under their two compositions, students reflect on how their own interpretive writing has changed their understanding
of their chosen topic and/or the topic’s broader theme:
Why did you choose that particular topic? Does this topic have any personal or cultural relevance/interest to you and
your experiences? What elements of the argument have you developed more since the topic/theme was discussed in
class? Has your opinion changed on the topic after investigating it? What new evidence/examples have you used to
support your point?
Students save their file with their three responses and send it to the teacher.
Homework
 The evaluation of lesson thirteen’s progress to achieving outcomes during class, much like all the lessons from week four, relies on the
informal formative assessment of peer review feedback (Stafford, 2016), based on an altered version of Boas’s (2016) ‘Praise Question Polish’
strategy, influenced by Stafford’s (2016) pre-writing questionnaire. A percentage of this is completed by the teacher as formative assessment
with a small number of students, modelling Atwell’s (1987a; 1987b) writers’ workshops.
41
 The teacher’s collection of the original, revised and reflected upon paragraph acts as a method of tracking student improvement, while
monitoring which students would benefit from a teacher directed PQP the next lesson.
42
Class: Time:
Personal Investigative Review (PIR) 14. PIR Paragraphs 2 and 3 Workshop
independent learner
independent learner
Learning Intention:
Students understand and effectively use scaffolding and editing processes, to compose their own increasingly informed interpretation of the
text in its entirety.
Lesson Outline:
43
Students undertake a scaffolded response for their second topic and compose this into a succinct paragraph. Students follow the same process
as the previous lesson, and trade responses and PQP’s with the second member of their term two editing group for a collaborative editing
workshop – while a different three students to last lesson are able to perform a PQP with the teacher. After revising their work under their
original composition, students follow the same process again for the third topic and paragraph. Students who have not had a PQP consultation
with the teacher send their work to the teacher.
Class: Time:
Personal Investigative Review 15. PIR Completion Workshop
EA11-5: a student thinks imaginatively,  synthesise complex ideas and information in a sustained, structured argument using
creatively, interpretively and critically to relevant textual evidence
arguments
44
EA11-9: A student reflects on, evaluates and  assess strengths and weaknesses of their own creative and critical compositions and set
monitors own learning and adjusts individual learning
goals accordingly
independent learner
Learning Intention:
Students complete their own personalised composition, and record and present this is a form that replicates the external narrative device of the
studied text.
Lesson Outline:
Students compose their conclusion after using the provided scaffold to guide their thoughts. Students then perform their own PQP on their
introduction and conclusion to make sure their argument and ideas are clear and flow. Once students have assembled and saved their completed
review under a page break in their document, they then use the allotted time to read their review in full to their ‘You Talk, I Listen’ partner –
and discuss feedback. Using their phones, ipads, laptops – students then split into pairs to collaboratively record their reviews in a vlog-styled
presentation similar to Jake Sully’s in Avatar (Cameron, 2009) – each paragraph is recorded separately and loosely edited together using
iMovie or similar software to replicate the montage exposition from the film. Students attach this file to a USB, to be brought in tomorrow.
Class: Time:
45

Personal Investigative Review 16. Review Presentation introduction and research
EA11-7: A student evaluates the diverse ways  appreciate the different ways in which a text can be valued, for example for its themes,
EA11-2: A student uses and evaluates  explain and assess the processes of drafting, reflecting, editing, revising, refining and
processes, skills and knowledge required to presenting for a range of audiences and purposes
effectively respond to and compose texts in
different modes, media and technologies
EA11-9: A student reflects on, evaluates and  assess strengths and weaknesses of their own creative and critical compositions and set
monitors own learning and adjusts individual learning goals accordingly
independent learner
Learning Intention:
46
Students reflect on the development of their personal interpretations, their learning journey, and evaluate the personal interpretations of other
students.
Lesson Outline:
Students spend this lesson viewing their classmates recorded Personal Investigative Reviews. While doing so, students write a reflective
response to the following:
- What did I used to understand about the themes presented in Avatar (Cameron, 2009)
- What do I know understand about the themes, genres, film techniques and/or contextual references in Avatar (Cameron, 2009)
- Why have these understandings changed?
- What is one thematic perspective presented by a classmates that I had not previously considered/challenged my perspective?
47
Resources:
Critique Scaffold:
Example of Technique Denotation of Technique Connotations of this Technique Implications of this Technique
Think: What is the author’s
purpose in CHOOSING this
technique?
48
Review Scaffold – Introduction/Conclusion

Thesis Statement
Theme One - Point
Theme Two - Point
Theme Three - Point
Final Comment
(for ‘conclusion’: what does your linking
idea through your 3 theme points say
about your text?)
49
Review Scaffold – Body Paragraph

Topic Sentence
Support One
(Broader theme?)
Support Two
(Your specific angle?)
Support Three
(link to a supporting text?)
Concluding Sentence
50
Mr C’s Learning Ticket

I learned…
1
I was interested by…
2
I disagree with/was challenged by…
3
51
References
Atwell, N. (1987a). In the middle: writing, reading and learning with adolescents (pp. 76-86). Boynton/Cook.
Atwell, N. (1987b). In the middle: writing, reading and learning with adolescents (pp. 88-121). Boynton/Cook.
NESA. (2017). English advanced stage 6 syllabus.. Retrived from http://educationstandards.nsw.edu.au/wps/portal/nesa/11-12/stage-6-learning-
areas/stage-6-english/english-advanced-2017
Boas, E. (2016). Developing and inquiry approach. In E. Boas &S. Gazis (Eds.), The artful English teacher (pp. 103-129). Kensington Gardens,
SA: Australian Association for the Teaching of English.
Cameron, J. (Producer & Director) & Landau, J (Producer). (2009). Avatar [Motion picture]. The United States of America: Dune
Entertainment, Ingenious Film Partners & Lightstorm Entertainment.
Cornish, L., & Garner, J. (2009). Promoting student learning (pp. 60-91). Frenchs Forest, NSW: Pearson.
Dally, K. (2016). Culminating projects in English. In E. Boas &S. Gazis (Eds.), The artful English teacher (pp. 151-175). Kensington Gardens,
Global Oneness Project. (2009, February 26). The land owns us [Video file]. Retrived from
https://www.youtube.com/watch?v=w0sWIVR1hXw.
52
Howard, D. (2016). Gradual release of responsibility. In E. Boas &S. Gazis (Eds.), The artful English teacher (pp. 83-102). Kensington Gardens,
Kealley, A. (2016). Effective formative assessment in English. In E. Boas &S. Gazis (Eds.), The artful English teacher (pp. 130-150).
Kensington Gardens, SA: Australian Association for the Teaching of English.
Lawson, H. (1896). The Drover’s Wife. In While the Billy Boils (1896). Project Gutenberg, EBook No.: 7144
Noonuccal, O. (1991). We Are Going. In J. Tranter and P. Mead (Eds), The Penguin Book of Modern Australian Poetry. Camberwall, VIC.:
Penguin Books Australia. [Originally published in K. Walker, We are Going (1964)].
Northwest Enterprise. (1935, March 3). Colored man with white wife not desirable. The Northwest Enterprise. Retrieved from
http://depts.washington.edu/civilr/antimiscegenation.htm.
Oved, M.C. (2018, April 16). Amazonians take Chevron to Ontario Court. The Star. Retrieved from
https://www.thestar.com/news/investigations/2018/04/16/amazonians-take-chevron-to-ontario-court.html
Sawyer, W. (2010). Applications: Further classroom resources. In S. Gannon, M. Howie & W. Sawyer (Eds.), Charged with meaning (pp. 123-
126). Putney, NSW: Phoenix Education.
Stafford, S. (2016). Differentiation. In E. Boas & S. Gazis (Eds.), The artful English teacher (pp. 61- 82). Kensington Gardens, SA: Australian
Association for the Teaching of English.
53

Sc2a Assessment One - Culhane

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Secondary Curriculum 2A: Assessment One Liam Culhane 18361777

Module B Advanced: Critical Study of Literature – Avatar (2009)

TOTAL module suite of texts:

Avatar (Cameron, 2009) – film

“Amazonians take Chevron to Ontario Court” (Oved, 2018) – media article

“The Drover’s Wife” (Lawson, 1896) – prose fiction

We are Going (Noonuccal, 1991) – poetry

Time Organisation Teaching/ learning activities

Facilitate the sharing of these concepts and ensure discussion covers:

Key: Othering is a form of control – Othering is a feature of colonialism presented in Avatar

Week Topic: Lesson Number/Topic:

Time Organisation Teaching/ learning activities

20mins Expert Presentations:

During task completion, the teacher:

Avatar and Environmentalism 8. Spirituality

During task completion, the teacher:

synthesise complex information, ideas and

Critical Review Scaffold - worksheet

Time Organisation Teaching/ learning activities

Week Topic: Lesson Number/Topic:

Review Scaffold – Introduction/Conclusion

Theme One - Point

Theme Two - Point

Theme Three - Point

Review Scaffold – Body Paragraph

Mr C’s Learning Ticket

NESA. (2017). English advanced stage 6 syllabus.. Retrived from http://educationstandards.nsw.edu.au/wps/portal/nesa/11-12/stage-6-learning-

SA: Australian Association for the Teaching of English.

Entertainment, Ingenious Film Partners & Lightstorm Entertainment.

SA: Australian Association for the Teaching of English.

SA: Australian Association for the Teaching of English.

Kensington Gardens, SA: Australian Association for the Teaching of English.

Penguin Books Australia. [Originally published in K. Walker, We are Going (1964)].

126). Putney, NSW: Phoenix Education.

Association for the Teaching of English.

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