Writing your responses

• Allow time to edit and proofread. Correct basic spelling, punctuation and
grammar errors, but - more importantly - identify gaps in your reasoning, a lack
of evidence, inexplicable changes in direction or unclear ideas and arguments.
• Make sure your topic sentences and introductions in Sections One
(Comprehending) and Two (Responding) are clear and concise. Your marker
will be looking to these for evidence of your attention to the question and the
stating of a clear line of argument.

• Engagement with the question is crucial. Make sure your responses clearly
address the syllabus concepts embedded in each question.

• Keep an eye on the clock. Even if you have not quite finished a response for a
particular question, move on to the next if the allotted time is up. You can always
come back to it. It is better to have slightly incomplete answers for each section
rather than a largely incomplete response for one section.
• Clearly identify which question you are answering. Don't make your marker
guess.

• Do not write outside the margins on the exam paper. Anything outside the
margins will be cut off when your responses are scanned to be sent to the various
markers of your paper.
• If your response will not fit in the allocated space and you complete it on another
page, make sure you clearly identify where the marker will find this additional
material.
• Finally, and above all, don't panic. If your mind goes blank, move on to another
section. If you have prepared well, and chosen questions with which you are
comfortable, your answers will come to you.
 J~_q_g_~-~-q-~~y~···'-~-~.9_µ~_9.~. .f.~.q.tµr.~.~
There are literally hundreds of language and literary devices. Some of the more
common ones are listed below.

i w i Adjectives and i Adjectives are words that describe nouns; adverbs describe verbs.
• i=
>LU.
:: C. CJ ::
~ adverbs :
:................................................................................................................. ::
: ix j Connotation ! Meaning that is suggested. rather than literal. .. · · ·· .. · .. · · !
: ~~
CJ
:····· .. ······· : : :
i ~ ...J i Sensory details i Words and phrases that appeal to the reader's senses. typically of sight and hearing. but also of j
: : : touch. taste and smell. :

i Anthropomorphism :•··································
:······ ) Giving human qualities to an animal or object.
:
i Metaphor
:················ i A comparative device that describes one thing as being another.
.. ··········:················· !
:
w ! Metonymy i Using a word to represent a larger concept to which it is related. e.g. using 'the bottle· to refer i
~ i i to alcohol. i
~ !.;;;·,;;;;;~ ;~;,;;; !. c;~dii;;~·;;·,~;~-~;;h.h~;;;;;·;;;;;;.~~: ·;.d~;~;;;;;~·;.;, ;;;;.:,;~;;;;;;;~ ~~;;;;;,;;;.;· ~s;;;~;;;-.; !
j i ! emotional state. i
T;;;;;;
~ !" ;;;;;;~;;~;;;;~. . . ;~;;;~ -h~,;;;·; ·~~;·,;;;;; ;; ;~ ·;bj~;;·;;·~;;;~;;;;;~;~:· ·· · · · · · ·· · · · · !
Ls;,;;;;; · ·· ·· · · T;; ;~;;;~;;;;;;;·d;~;;; ;;;;;·;~;·;;;;~;·;;~·,;;;;~·;;·;;-;~~ ;;;;-;;;;s·;;:· ····· · ·· ···· ··· ··· ··:
::J : : :
i An object or phrase that embodies a range of meanings that extend beyond its literal definition. :i
~ i............................................................................................................................................................
Symbol

/ Synecdoche / Using a part to represent a whole concept. or something specific to represent the general. e.g. :

:: :: using 'hands' to refer to workers. :

[ Zoomorphism
I
i
I
Giving a human animal-like qualities. !
: .

:: Alliteration
:: Using words with the same initial sound in quick succession.
:
::i L ~~:?.?:.?:: .! y~;_?1..".'.~:~:.~;!~..'~:.~:'.:'.:.~?.".'.:.'. ~-~~-?~:_;?_ ~~;:_•.:~:::~:;?.?: ...:
l:! L '::.'.?P.~-~~~- ..!. ':? ~b;-~;?~ .".'.?'.d~- '?. .'.'.:.:':.?.'.. '.~~-'Y..'._h~'.:h.?: ~~e.':~:: ?'.:?.~-~?. . .... ... . . . .. .. .. . .... ..... .. !
UJ
CJ
CJ
/ Consonance / Using words with the same consonant sounds. typically at the end. in quick succession. f
.

50 / Euphony j Combining words to create or imply a pleasing sound. .f

tn
·······
/ Onomatopoeia / Words that sound similar to the sound they are meant to depict.
.f
i Rhyme i Words that share the same or similar sounds. f
i Caesura ) A break in the rhythm of a line, created by splitting a sentence or interrupting its regular rhythm. f
w : resulting in a dramatic pause. j
~ j ·R;;;;;·,;; j. ;;;i,;-;;·; ;;~;;~;-;;;;;~~;; "ih~~;;;;~;;;;;~;~;.:,;;;d;·;;~;;d;;~·;;.;;;,;;;~;.;;;;;; ~;;;;;; !
] emphases created by their pronunciation. ·
i Irony ( Using words with intended meanings that are different from. or even the opposite of. their literal
~ . : meanings; is often conveyed by the tone of delivery. j
-; _ i· P····;;···············.·.· i. Th~-d~i;;;;;;;;-~;;·;~·;;;;;;;·;;·;;;;;;;·,;;·;;;;~;;·;;;;;;;;· ~i ;~;;;;;;;:;;;;;·,~;. h~;;;~;;;;~;;;~; !
C ~.~~.x : : :
g i Pun i A play on words. creating hurr:~~:.~~_i;.~~Y..t.~~?.~~?.~~.~.~~~.t.~~.~~.':'.~:.~:.~.~~.~.t.V.V:~.~.~_n.:~:.~.~~.~~.1~~~·.. !
~ ts;;;;~ ·-:-u;;~~·;;;·,; ;~;·;·; ~;;;d;·;;·dr;w attenHon to human flaws j
! > ; Allegory Explor;ng a complex or abs'.'.'.:'. .'.?.~'..:P.'i~'.?.~~-h.'~.: .'.'.~'.';?.~. ?.'. ~ ~?'..:.'.?.?.'.'.'..'.'..'.~'.'.:'.P''.: .)
:1 ffi• 5 :i Allusion
_. ·~ ca ~~~-,-~~·;;~~~~~·;~·~~~;her literary work or real-world event. :(

.i z
,_ x
~
4 !
: Analogy
E
xp a1ning
,.. :·'. ~~rnething by comparing it with a similar thing that is more familiar to the audience. '.
:
i -~ ) _. R t•:·g th~·~·~~d~·~·f~~·~;h·~r work or person, to add meaning or authority to a text. :
: : Quotation epea in

insight YEAR 12 ENGLISH: WESTERN AUSTRALIA 239

Dividing language and literary devices into imaginative and persuasive categories is
somewhat arbitrary. All of the imaginative language features listed on the previous page
may be found in persuasive texts and used for rhetorical effects. However, the following
devices are specifically rhetorical, i.e. designed to persuade an audience.
It can be helpful to think about persuasive language devices in terms of those that
appeal to the audience's emotions - pathos - and those that appeal to their sense of
logic and reason - logos.

j Anaphora \ The repetition of a word or phrase at the beginning of successive clauses. \

:································:·································································································:
j Attacks and praise ( Strongly affirming one idea or person while strongly criticising their
. j opposite. .
:································:·································································································:
\ Colloquialism ( Using vernacular or even slang language. often to appeal to the 'everyday' (
\ j person. (
:······························· .. :·································································································:
: Cumulation ( Sometimes called the 'rule of three', cumulation refers to the ·
. \ accumulation (heaping up) of descriptive words or phrases. .
:································:······ .. ··························································································:
i Emotive language \ Language that is highly emotional, designed to provoke an emotional \
. l response in the audience. \
......................................................................................................................................
. . . .
: tlJ : Emphasis : The devices of repetition, alliteration or cumulation, used to add emphasis :
: □: : . . :
: ::c : : to or reinforce an idea. :
. !;i; ········································································ , .
j a. j Generalisation j A statement that is expanded from a specific situation to a broad one. j
· : \. ~~~~.~~.!!~.~.~~.~~ .'".'".~.~'. ·i·~·t·r·~~ .f.~~. ~.~'.1:'.~ i.~ .1.~~~ .r.~~. '.1:'.~~.1.~~ .~!'.· j
i..~!.~.~~~.~~~ \. ~. ?.:~i.~:.~~:~ .~~.~~~~:.~~i.~~..~?.1..~:~~:. '.?. ~:..~.~:~ .1.i~~.~~~~~: \
\ Inclusive language \ Language, such as personal pronouns (e.g. ·we·, 'us', 'our'). that makes
.
. .: the audience feel included in the writer's argument. .
:············ .. ···················:·································································································:
j Litotes ( An ironic understatement in which an idea is expressed as not being its
. \ opposite (e.g. 'not at all bad').
:································:·································································································:
j Repetition j The use of a key phrase, idea or image at multiple points. .
···································································································································:
\ Rhetorical question \ A question that is posed not to elicit an answer but to encourage the \
\ ; audience to think, or for which the answer is self-evident.

: Anecdote ) A short, personal story, typically about an experience the writer has had,
\ used to illustrate a point.

l>~;:~~;~:;:::::::::::: : ::Ti:j ~~~~; :~;~:t ~~~~~: ~~ :~~:1!~:f: ~~ :?~i:~i .~:~~i~:i:~ :~~;~~~;~~: :~~:~ :t~:~;~:-:::::::::: J
\ Evidence Facts or examples used to support an argument. \
.................................................................................................................................... :
j tlJ j Expert opinions \ The inclusion of quotes or research from those who might be considered \
j § ; \ credible sources of information on the topic. j
: g :································:····································· :
\ \ Formal language j Language that conforms to the proper rules of grammar and is (
\ j j appropriate to address an educated or unfamiliar audience. (
. :································:·································································································:
j Jargon j Terminology that is specific to or part of the discourse on a particular
( l topic. :
······················································· .. ············································································
l Statistics \ The presentation and analysis of data. often expressed numerically. \
 Spoken language·······features.
.. , , ,,,

The following table outlines some features associated with spoken language.

i Accent / The ways in which words are pronounced, usually associated with a
i i geographical region.
:···· .. ······ .. ·············.............................................................................
.
:
i Back-channel j Words, phrases and non-verbal indicators that suggest lh~·l;~·l·~~·~;·i~ ..... /
i i paying attention to the speaker, such as ·1 see', 'oh' or 'uh-huh'. i
!. ~;~·I~~; !. G~~~~~;.~~~·~·~~·~~·~;~~·~ ·;~~·;;~·~~~·I;~·~;~~·;;·~ ·~~~~i~~·~~~;~~:· '.
!. ·~;~·ii~~·~;·;~~·i~~; i.;~~~·~~·~;~·~.· i

j choice
:········ .. ···················:·····························································································:
i Elision i The omission or slurring of syllables or words. such as 'gonna' and i
: j 'g'day'. i
i· ~;;i~~;~······· ··········· ·i ·~~·; ·~·~i~~·i;~·~; ·~~·r·; ~;·~ · ~~~.t~~~~· ;~· ~;~~;~· ~· ~~~~~; ;~~~-- ~~~~·~·~ · · ·· · · · 1

j 'vou going out tonight?' (missing 'are') or 'Oon·t know. You?' (missing
: 'I' and 'are').
: •:·····························································································i
i ..:~~.~~_i~.~i.~~ i ..'.~:. ~_I~~:. ~.~~~~~~_i~.l_i.~~. ~~ _'~~:.~:: :
/ Filler i Words and non-verbal indicators that allow a brief time to think or i

: ! .?.~.~:.:·. ~~.~~.~:.:~~_': .-.~~ ?.~ .~~.. ~~~~~::~.t.:?..l~~.~~.~!'.~.I. ~.~~:.::.~'.~~· !

/.!l'..'.~'.Y j. _r~:.~'.~u,y.~, '.P::.'.h I'...'~'.'.'.'::-~'.'.'.'. n~;,.'..'.'. ~'.'.?.'.:''.'..'..,~u~'.'.Y. ..........•
i..l~i.~~~.~'. i..~.~. i.~?_i.~i.~~~~ .~~~~~~:~. :.t:.I.:. ~.f. ~.~~.~~·i·~~: :
i Intonation i The expression or tone carried by the voice; also refers to whether the i
.i_ .! ..~~_i:.:.'.:. ~'.:_i~.~: .~~~l_i~~. ?.~ .~:~.~'.~_i~.~. ~.1. !~.:.:~~~. ?.'.t.:~: .!
i Modality i The degree of uncertainly conveyed through language choices and :

: ! ..~~.~~.:~. !~~~.~~.~~..f.:~:~~~~.:~.:~.~:. !?.~~..~~.~ .~~~.~~:.· :

i Non-verbal features i Features that inform spoken communication. such as eye contact, i
/ / gesture. posture and movement. :
:····· .. ······· : :

! ..~.~~~ .~:. :~.~~.~ ! ..'.~:. :?.~.:~..~~ .~~!~.~.~. ?.::.~~~.:?.:~.~:.- i

i Pause j A break or hesitation in speaking. .
·····························································································································
j Pitch / The sound frequency (high or low) of a voice. j
·····························································································································
j Register / The degree of formality of language used. j
! . ·~~~;~~ ! . ~~·;.~~~~~~~~·~~~· ~; ·~~·;~·~~·-· ~·;;:·~;i~~·~~·;~;~~~·~ ·~~;;;~~~·;~· ~i~;i~~-- !
. i pace, intonation, stress etc. i
: : ••·······················································································:
i Sociolect i A style of speaking associated with a particular social group. i
: : ••···················································································:
i Stress i Emphasis. created through diction. pauses. intonation etc. \
: : :
i Tone [ Language choices that convey emotion or attitude. i
: : :
i Transition markers i Words and phrases that indicate transitions or relationships between i

1 /.i~:~.:: 1
· Volume i The loudness or softness of a speaker. l

:-.$i"-'lt YEAf~ 12 ENGLISH: WESTERN AUSTRALIA 241

 VJ~µ-~-~---~-~-~- -~-µ-~~~-m 9..~-~-~---'-~-~-g_µ_~_g_~_ J_~-~-~-µ_r.~~-
The following tables outline some of the main language features for analysing images
and multimodal texts.

Mise en scene
Mise en scene refers to all the visual elements within the frame.

; Colour ] Establishes atmosphere and tone through the symbolic associations of

; certain colours. For example, a palette of yellows can create warmth, while
\ C!J \ \ red might suggest anger or passion. ;
I Z .. , .. .,.,.,.,, ,.,.,,.,.,, .. ,., ,,,, ,, ,,.,.,,. ,.,.,. . ., .. ,.., .. ,..,.,.,.,., .. ., .
) ~ \ Contrast \ The juxtaposition of light and dark areas of the image; can be used to draw \
)• =!
...I.\ \• attention lo certain points. ~•
.
l . .
••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• .
: \ Key \ High key lighting is bright, leaving few shadows; low key is the opposite. \
[ ) \ Key lighting helps to establish the atmosphere or tone of the image. \

\ C!J \ Environment \ The aspects of the surroundings that indicate the time and place of an image :
j ~ \ j and the location of the subjects. \
IF-,, .. ,, .• , ,.,,,,..,, • .,.,.,,.,,.,.,.,., , ,..,,.,.., •. .,,., ••• .,.,., • .,,..,.,.,., •• ,..,,..,,.,..,.

\ ; \ Props \ Short for 'properties' - objects within the image that contribute to the setting :
; : : and characterisation of the subjects.

\ ti ( Costume ) Subjects are the people - or objects - that are the focus of the image. \
j ~\ \ Costumes are essential elements in establishing people's character. \
I Ill .
) ~ \ Body language \ Includes the postures, facial expressions and actions of the subjects. \

Composition
Composition refers to the specific placement of elements within an image. For example,
objects may be arranged along a horizontal or vertical plane, or along a diagonal or
another leading line (vector) that draws the viewer's eye.

\ Low angle / ( Positions the viewer as looking up at the subject, giving the subject a
w : worm's eye ( sense of dominance or power. j
.a.I : : :
C!J
z
c(
l Eye level \ Puts the viewer on the same level as the subject, suggesting equality ;
~ \ between them.
a: : : :
w
:::E:
c(
i High angle / \ Positions the viewer as looking down on the subject. This suggests the ;
t.l : bird's eye ( subject is powerless or inferior in some way. j
: : .
l
Oblique \ Refers to an image that is captured on an angle. j
\ Establishing / \ Positions the viewer far away from the subject. This can work to create :
j long shot ( emotional distance, or it may be used to reveal the subject's small stature l
. \ in their environment.
.................................................................................................................................
l
~ i Full / medium j Brings the subject closer to the viewer. In a full shot the subject fills :
l
t : shot : the frame, whereas a medium shot only shows their torso and head.
a:;
::r: : \ These are common techniques as they offer a detailed representation
i en . \ of the subject. .
:················ :.············· .. ························· :
l Close-up / \ Close-ups force the viewer to get up close and personal with the subject; ;
\ extreme \ extreme close-ups can be confronting, forcing the viewer to focus on a \
\ close-up j particular detail of the subject. j

242
 FIL::M SiJiEICK The type of film used, such as black-and-white, sepia or colour.

: Refers to the dominant subject of the image, created through its size,
SAIUENEE : the focus of the image, lighting and/or colour choices.

j T_he positio~ing of the subject within the image, e.g. centrally, or to one
FRAMING : side of the image; including the whole of the subject, or only part.

i The degree to which the objects in a shot, from foreground 10

DEPiJiH OF FIELD j background, are in focus.

j Refers to how crowded the image is. Images that contain many elements
DENSITV : appear busy or claustrophobic.

j The relative closeness of subjects within the image. The closer they are,
PROXEMICS : the closer their relationship.

Sil"AGING POSFrlONS ) The direction the subjects face relative to the camera. Descriptive terms
i include full front, quarter turn, profile, and back to camera.

Text
Text refers to any words included in the image. These might include titles, captions,

speech bubbles, slogans and logos.

: Position [ Where in the image the text is placed. Position affects the degree to which the text
, / draws the viewer's eye.
i ·;~·;i~ Tr~·;.~·;~~·~~·1;;~~··~; ·;;:·i ;~~·i~~~~·;~· ~~;~;;~~ ·t·~.~·~~; ·~;~~~: ·~·~;~· ~;;~;~;~·~~· ~·~;~~ .. ·
. j element has greater significance.
r~~~~·~~~~~~·····r T~·;·~~;;~ ·~"r" ;~·~;: ·i~~;~·d;~·~ ·ii~·~~l~~·; ·~~·d ·~·i~·~:·T;~~~·~;~~~~~~·~~·~;~;~·~;~·;~ ·t;~·······
i i tone or atmosphere of the image.

Camera movement and focus

i The camera is mounted on a moving i Gives the impression that the viewer is
j Dolly
i platform (dolly) and smoothly moves / moving to/from the subject: creates a less
i closer to (dolly in) or further away (dolly i artificial effect than zooming.

: i ..~~.i:. :~~~.~~.~ .:~.~t~~- : :

: Handheld i The camera moves naturalistically, as if \ Used to mimic human movement. or to
: held by human hands. j create intimacy between the viewer and
. j j the subject. as if they are in the scene. :
························· .
) Pan ) The camera rotates horizontally (left or \ Used to follow a moving character or take i
i i right), from a fixed position. i in a large scene. such as a landscape. i
: : : :
) Pedestal i The camera moves vertically up or down j Used to create a sense that the viewer is ;
) ( without changing the angle of the shot. j moving along with the subject. .
: =•·······················································:·············· :
( Tilt ( The camera moves vertically up or down. \ Gives a sense of height and positions the \
. ( but from a fixed position. j viewer relative to the subject. )
\;~;~ i. Th;·;~~~;;.~~:~;.;·;;;;~~,;;,;:;;~;;~;,; j. u~;d·,~.;;~;;~·;.;~;~;.;;·;;·,;~;;;~~;·;~·..:
; i maintaining focus on a subject, without i moving along with the subject.

. ) changing the angle of the shot. \ :

! ~~;~······.· !· ~h;~;~;.;;~.;;~;;·,~;~;;·~;;~;·;;·;;· !. u~;d i;.;;~;;;;~; ;~·;;;~;.~~;;;;; :
i i giving the impression of moving closer to i or manipulate the intimacy of the
j j or further away from the subject. i relationship between viewer and subject.

jf1<.~,;tnt YEAR 12 ENGLISH: WESTERN AUSTRALIA 243

Editing

[rossfade A gradual fade from one shot to the next. ) A slow transition to create mood or

:
.
:
\ indicate lengthy time passing.
: :
j Cut / cutaway j A sharp transition from one shot to \ Used to switch to action that is ·
• j another. j happening elsewhere. or at a later time. \
:······················:·····················································:·····················································:
: Fade : A gradual fade to or from a blank j Often used to signal the beginning or

: !.-~~:~:.~·. !~?'.?.~l_l( -~~~:.~: l.-~~-~'.~~-~~-~- ~-1~..~'. -~~~~l-~'.:. ~-:~~~-~:.:: \

j Jump cut j A type of cut between two sequential j Compresses time by progressing more \
: j shots of the same subject. but from j quickly through a scene than it would
: different positions or slightly later in : take in reality.

: j. _t~:.~-:~~~-~:.:: j \
L-cut j A cut in which the visuals transition : Can be used to smooth the transition ·
j while the audio continues (or vice j between scenes. or to create intrigue
: versa). ] or tension by introducing sound before
. . \ the viewer sees the visuals. :
····································································································································
j Match cut j A cut between two shots that are j Maintains visual continuity while \
· \ matched or linked through similar j switching between scenes.

= I.. ~?.r:1.~~~!:i.~~ _t~ .::~~!~. ~?.~:i.~~-i_t:.- \ =

: Shot-reverse- : A cut between shots of two subjects : Often used to create tension, e.g. ·
! shot j within the same scene. j switching between characters having

: ! L.~~- ~-~~~~~~:: =

j Split screen j The screen is physically split, allowing j Used to indicate scenes happening \

: \. _t::'.~. ~~?.t~ _t_~.?~ -~~-~~~ .~'. .?.~~-~-- \. -~i-~~-1:~.~~-~~~~~: \

) Wipe i Various types of gradual transitions j Used to create a slower transition to \
i ; whereby one shot blends into another. ; new scene. \

Sound

Diegetic Sounds that are natural within the scene and are Adds to the realism of a
able to be heard by characters, such as dialogue. scene.
. street noise, doors closing, and music on a radio. .
: ···································································· ········································:
\ Extra-diegetic Music and sound effects that are heard by the Creates atmosphere and \
\ audience. but are not present within the scene. manipulates the audience's \
such as voice-over commentary, the music response.
soundtrack, and sound effects for dramatic
purposes.
 The two flow charts in this appendix show processes you can use to analyse any text.
The first gives you a process for a timed assessment, where you are analysing a text or
texts you have not previously seen. The second is a more detailed, extended process for
studying a text over several weeks or even months.

This table shows a four-step process for analysing an unseen text, such as those you will
see in the Comprehending section of the exam. Because of the short time allocated for
short answer responses, you would only annotate the text and the question, rather than

making extensive notes.

Read and annotate the What are the key concepts in the question?
question to identify your What contextual information have I been given?
purpose for analysis.
Also read the contextual What do I already know about this context?
STEP 1:
information. which should
PRIOR TO What are my expectations of the text,
1dent1fy the form and particularly of its form?
READING some publication details.

What is my initial response to the text? What

Gain a general overview
of the text and think
STEP 2: about your 'gut reaction'.
FIRST READING
seems striking, engaging or important?
What happens within the text? For example,
what is the sequence of events or content?
Who is represented in the text? How does the
text conclude?

How are the key concepts from the question

evident in the text?

Conduct close analysis, What generic, structural, language or stylistic

identifying the text's
construction, meanings
and effects. Annotate
the text as you do this.
features are used in the construction of these
key concepts?
How do these textual features function?
What evidence from the text most clearly
supports my analysis?

Draw your analysis What is my interpretation of this text tn relation

together. thinking to the question?
critically.

245
insight YEAR 12 ENGLISH WESTERN AUSTRALIA
 The extended process in this flow chart can be used for the close analysis of a text you
are studying in class. It reflects the outcomes of the ATAR English course. You won't
necessarily analyse every text for every concept in the syllabus; that's why the first
focus question is 'What is my purpose in analysing this text?' Your teacher may set a
particular text to explore in terms of its genre, for example. While that doesn't mean
you can ignore the other syllabus concepts, it does mean that this particular concept will
be foregrounded as you read and analyse the text.

What is my purpose in analysing this text?

Consider your
purpose for analysis,
as well as what you
already know about
the text, its genre
and subject matter
What are my expectations of the text, particularly of
its genre and form?
What do I already know about the text or its creator?
What background knowledge do I already have on its
subject matter?

What is my initial response to the text? What seems

striking, engaging or important?

Gain a general What happens within the text? For example. what
overview of the is the sequence of events or content? Who is
STEP 2: text and identify represented in the text? How does the text conclude?
FIRST READING your 'gut reaction'. What are the main ideas or arguments in this text?
What conventions of form and genre does it use?
Does it conform to or challenge my expectations?

Identify the text's

cultural context
and the creator's
situational context, as
STEP;3: well as the purpose
and intended audience;
CONTEXTUAtlSE begin to consider how
this shapes the text's
construction.
What can I find out about the text's context of
production?
What aspects of context might be relevant to
understanding this text?
What is the purpose of this text?
Who is the intended audience? What is their context?

What are the specific meanings of this text: what

are its themes, ideas, representations, perspectives,
values and attitudes?
Conduct broad
analysis, identifying What 1s emphasised or foregrounded in this text?
the text's construction What is omitted or marginalised?
its meanings and What are the generic and structural features of the
its effects at the text?
whole-text level.
How can I characterise the overall language and
style of the text?

What broad effects does the text produce?

246 insight YEAR 12 ENGLISH: WESTERN AUSTRALIA

 Conduct close Which sections of the text make good examples?
analysis of
Ho~ ~ave specific generic, structural, language and
selected extracts;
stylistic features been used in these examples?
these will be your
examples to Justify What specific effects are achieved in these examples?
your interpretation
How do these examples represent the text as a whole?
and response.

How has my response to the text changed as a result

of my analysis?
Am I responding to the text in the way that seems to
be intended by its construction? If not. why not?
Reflect on your How have my personal context and the general context
STEP 6: own reading of reception influenced my response to the text? Am I
REFLECT ON positron.
part of its intended audience?
YOUR INITIAL Does the context of reception differ from the context
RESPONSE of production? If it does, how is my response affected
by this difference?

How is this text similar to or different from other texts

of the same mode and genre?
How is this text similar to or different from other texts
with similar subject matter?
STEP 7: Compare this Does this text transform, adapt, respond to or
MAKE text to others. otherwise connect with another text?
CONNECTIONS What similarities and differences in construction.
TO OTHER meaning and effects are highlighted through this
TEXTS comparison?

How have others interpreted or responded to this text?

What impact do these other interpretations and
Read and
construct other responses have on my own?
STEP 8:
interpretations Can I read the text differently, such as reading for
CONSIDER of the text. representations of gender or from a postcolonial
OTHER INTER· perspective?
PRETATIONS

What is my considered interpretation of and response

to the text?
What evidence from the text, as well as from my wider
reading, supports this interpretation?
Draw your What alternative interpretations could I argue in
nalysrs and
support of?
research
How and why do my interpretations differ from others'?
to ether.
Specifically, how does this text function as an example
of its genre(s)?
Specifically, how do I respond to its perspectives?

247
insight YEAR 12 ENGLISH· WESTERN AUSTRALIA