Ib Skills Language and Literature A Practical Guide Student Book 1910160024 9781910160022 Compress

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Contents
How to use this book v
L. Introduction to IB skills 1
2. Introducing key eoncept 1: communication I

3. Introducing key concept 2: connections 15
4. Introducing key concept !: ereativity 22
5. Introducing key concept 4: perspective 27
6. Genre and conventions 33

Topic 1: Genre conventions 34
Topic z; Exploring a theme in audio visual media 42
Topic a: Exploring a theme in anicles 46

7. Structure 52
Topic r: Exploring openings and their functions 56
Topic z: Exploring structure in poetry 6z
Topic a: Walking and talking your way through strueture 68
8. Point of view 74
Topic 1: Narrative point of view 75
Topic 2: Can I trust the narrator? 8o
Topic !: Bringing different points of view together 8+
9. Character B8
Topic 1: A personal approach to characterisation 93

Topie z: The role of speech in characterisation 98
Topic 3: Communicating character changes and development 103
10. Theme 108
Topic r: Theme in video 109
Topic zr Theme in literature 113
Topic a: Theme in propaganda Lt7
11. Setting 722
Topic r: The role of setting in communieating character 124
Topic z: Exploring the role of setting in establishing context 13o
Topic a: The function of setting in creating mood and

atmosphere and communicating theme 135
Language and Literature lll

L2. Style ].43
Topic t; E:ploring elements of style L44
Topic e: Writing in the same style 149
Topic a: Buildingyour ownslyJe L57
13. Intertextuality 163
Topie I Using interte:*uality to inspire creativity 165
Topic a Using inter.texn:dity to create hurnor or a larger message L74
Topic !: Creating credibility through literary allusion tl8

L4 Purpose Gz
Topic r: Preparing for commentaries/textual analysis t84
Topie 2: Doing coramentariey'textual analysis successfully 189
Topic a: Selecting elements to fit your purpose vlg4
15. Context LgV
Topic t: Context and its effect on style 198
Topie e: Context and literature ?'e7
Topic a: Context clues 2L2
16. Audienceimperatives 2L8
Topic L How audience members respond ?,20
Topie z: How creators reach different audienees 222
Topic a: Reaching the intended audience 226
L7, Self-expression {34

Topic r: The graphicnovel ?.;35
Topic z: Creatirze writing 239
Topic a; Creative Writing: poetry 246;
lv Language and Literature

How to use this book
As well as introducing you to the 4 key eoncepts and rz of the related
concepts in the Middle Years Programme (MYP) language and
Iiterature course, this book will also help you praetise all the skills you
need to reach the highest level of the MYP assessment criteria.
This book has been divided into chapters on key and related eoncepts.
Throughout the book you will find features that will help you link your
learning to the core elements of the MYP.
On the first page of each of the related concept chapters you will find:
. the topics you will be foeusing on
. the inquiry questions you will be considering
. a checklist of skills you will practise
. a glossary of any difficult terms
. a list of the command terms you will come across.
You will also see a list of other concepts that relate to the chapter. You
should keep these in mind as you work.
Each related concept chapter is divided into three topics that help
you explore the concept through a variety of activities. Some activities
can be done individually while others may be done with a partner or
in a group.
Here are the other features that you will come across in the book:
(ii) eroet coNTExTs

For each activity you will see an indication of a global context
that is the focus of that activity. Global contexts help organize
inquiry into six different areas:
. identities and relationships
. orientation in space and time
. personal and cultural expression
. scientific and technical innovation
. globalization and sustainability
. fairness and development.
These global contexts indicate how the activity is reievant to your
Iife and the real world.
Language and Literature y

il
3ltilltot" ,,"0^, contexts, each topic and activity includes

an ATL skills focus. There is an emphasis on the particular skill
Iisted in each box, but you wili also be using and developing
other skills too.
It
Throughor-rt tl-re cl-rapters you will see additiot-ral infortnation to
l-relp your understanding of a topic or activity.
J& TAKE ACTI0N
These boxes suggest practrcal applications of a topic or activity

that can make a difference in your life or the lives of others.
Cg) tNTERDtsct PLTNARY LtN KS

As an MYP student you are encouraged to use skills and
knowledge from different subject areas in your learning. Look out
for these boxes, which provide links to other subject groups.
EDTcHAPTER LtNKs
These boxes direct you to other chapters that relate to a topic
or activity.
Cf)wEB LINKs
These boxes include websites and search terms for further reading
and exploration.
g) LTTERARY LINKS
These boxes provide information about books and films that relate
to the topic.
vl Language and Literature

CHAPTER
1 Introduetion to IB skills
Welcome to langiuage and literature for MYP +/S.Inthis bookyou
will leam about leaming in a langruage and literature context. You
will find out more about writing in a variety of different text types,
analysing and responding to literature, preparing for assessments and
examinations, and much more.
This chapter explains what the key concepts are that relate to langruage
and literature. It then goes on to explain the rz related eoneepts that
are the essenee of language and literature.
Key coneepts
In the Middle Years Progxamme (MYP), each subject area has key
coneepts that are used as a framework for knowledge. They are powerful
ideas that we explore through different topics to try to understand the
world around us. In IvIYP language and literaturg there are four key
concepts that we use as the basis for study. These concepts are:
. communication
o connections
o creativity
r perspective
Chapters z to 5 take each of the key coneepts and explore them in

greater detail.
Related concepts
There are also 12 related eonceptg which are the eentral themes for
the chapters in this book These eoncepts are much more related to
langruage and literature. In chapters 6 to 17 each related concept is
looked at in greater detail. Through these related concepts, key subject
skills and techniques are demonstrated and explained.
Chapter 1| lntroduaion to lB skills t

Related concepts in Language and literature
Genre and conventions Theme Purpose
Structure Setting Context
Point of view Stgle Audience imperatives

Character lntertelrtualitU Self-expression
Learning skills
You have been learning all your life. You began in settings such as your
Figure 7.7 The three different phases
of learning home and neighbourhood. Then, your learning became more formal
as you started school. Learning in the MYP is primarily inquiry-based
Ieaming. This means that you are encouraged to ask questions in order
to understand the many ways that language and literature interacts
to form the world as we know it. Your learning will continually cycle
through three different phases.
lnquirg
Ask questions-it's the only way you are going to find out exactly what
you want to know. Think about what you already know and what you
want to know. Your curiosity is one of your best assets as a student.
Action
An important part of conceptual learning is action. Action in the MYP
might involve learning by doing service learning, educating yourself
and educating others. Sometimes you may choose not to aet, based on
newly acquired knowledge and understandings. Remember to think of
the learner profile characteristic of being principled in your actions and
make responsible choices.
Reflection
As a learner, you will become increasingly aware of the way that you
use evidence, practise skills and make conclusions. Reflection in your
learning helps you to look at the facts from a different perspectivg to
ask new questions and to reconsider your own conclusions. You may
then decide to lead your inquiry in a different direction.
Inquiry learning can be frustrating. There is not always a "right"

answer; sometimes conclusions may be uncomfortable or may conflict
with what you want to believe; and you will come to realize that there
are no "endpoints" in learning. As an MYP student,learning through
inquiry action and reflection is central to your education and forms the
foundation of acquiring knowledge and conceptual understanding.
2 Language and Literature

Conceptual learning is: Conceptual learning is not
learning through inquirg learning onlg through memorization
taking action to understand the world around gou trgingto find the "right" answer
using knowledge to understand big ideas passive g accepti ng eve rgth i ng gou read/hea rAee.
I
making connections through concepts across different

subjects.
The characteristics of conceptual learning
The objeetives eovered

Both the skills and the objectives are closely related to the assessment
criteria that your teacher will have made available to you. There are
four assessment criteria and each one is designed to measure your
skills in a different area of language and literature as follows:
Criterion A Analqsing Maximum 8

Criterion B 0rganizing Maximum 8
Criterion C Producingtext Maximum 8
Criterion D Using language Maximum 8
The objectives of any MYP subject state the specific targets that are
set for learning in the subject. They define what you will be able to
accomplish as a result of studying the subject.
These objectives represent some of the essential processes of language.

In order to meet these objectives, you will engage in a variety of
activities, continually refining your skills: listening, speaking reading,
writing viewing and presenting. These skills are very much interactive
and interrelated, though in some instances your teacher may wish to
deal with them as discrete skills.
A: Analgsing
This objective refers to enabling you to deconstruct texts, in order to
identify their essential elements and to extract meaning from them,
through demonstrating an understanding of the creator's choices,
the relationships between the various components of the text, and
making inferences.
Chapter 1| lntroduction to lB skills 3

Through engaging with texts, you will be required to think eritically
and show awareness of, and an ability to reflect on, different
perspectives through your interpretations of the text. You should
further be able to use the text to support your personal responses
and ideas.
These last two years of the MYP should prepare you to:
D analyse the effects and purposes of the content, context, language,

structure, teehnique and style of texts created by others
iD analyse the effects of the creator's choices on an audience
iii) justify your opinions and ideas, using appropriate examples,

thorough explanation and accurate terminology
iv) compare and contrast works
v) connect literary and non-literary features across and within genres

or texts.
B:0ryanizing
This objective requires you to value and demonstrate an
understanding of and an ability to organize your ideas and opinions
using a range of appropriate conventions for different forms and
purposes of communication. You must also recognize the importance
of maintaining academic integrity by respecting intellectual property
rights and referencing all sources accurately.
These Iast two years of the MYP should prepare you to:
D employ organizational structures that serve the context and the

intention
iD organize opinions and ideas in a sustained, coherent and logical
manner with ideas building on each other
iii) use language-specifie eonventions to show the reason for the order
of your ideas
iv) aeknowledge sources according to a recognized convention
v) use a presentation style suitable to the context and intention.
C: Producingtext
This objective requires you to engage in the process of text creation
with an emphasis on both the creative process itself and on the
understanding of the connection between you, the creator, and
your audience. You will explore and appreciate new and changing
perspectives and ideas. As a result, you will develop the ability to make
choices aimed at producing texts that please both you, the creator, and
your audienee.

These last two years of the MYP should prepare you to:
i) create works that demonstrate your insight, imagination and

sensitivity
ii) make choices that se-"e the content, context and intentiorL and
which are designed to have an impact on your audience
iii) select relevant details and examples to justify ideas
iv) employ a range of Iiterary techniques
v) explore and reflect critically on new perspectives and ideas arising

from your personal engagement with the creative process.
D: Using language
This objective expects you to develop, organize and express yourself
and communicate thoughts, ideas and information. You are required to
use accurate and varied language that is appropriate to the context and
intention. This objective applies to all written, oral and visual text. t
These last two years of the MYP should prepare you to: It may sound like an
obvious thing, but many
i) use accurate and varied vocabulary sentence structures and forms
students neglect to read
of expression
these criteria closely-or
ii) use an appropriate register and style that serves the context and even the specific rubrics
intention
produced by their teachers.
iii) use correct grammar, syntax and punctuation Carefully following the
iv) use correct spelling (alphabetic languages) or writing (character descriptors in the cr iteria
Iangnrages) and pronunciation and the rubrics that go with
aspecific task increases
v) use appropriate non-verbal communication techniques in oral,
your chance of success.
presentation or visual work.
Knowledge
The concept of "connections" or "perspective" isn't something you can
touch but you can certainly explain it to another person using specific
examples from different subject areas. This is where your knowledge
of facts is essential. Without the support of specific knowledge,
Figure 1.2 The role ofknowledge in supportingconceptual understanding
oo tt.
o
o oo
Knowledge, facts and o
examples
O
o
o ooo o o Related concepts

facts and examples, it is very difficult to understand and explain
key concepts and related concepts. In the MYP, your teachers have
a choice as to what facts and examples they will use to help develop
your understanding of key concepts. The use of knowledge, facts and
examples will be different in every MYP classroom but theywillall lead
you to an understanding of the key and related concepts in the subject
group of language and literature.
Global contexts
Now that you know what the key and related concepts are, Iet's focus
a little more on the knowledge, facts and examples that will help you
understand, explain and analyse them. The MYP calls this part of
the curriculum global contexts. The global context is the setting or
baekground for studying the key and related concepts. It is easy to
think that the global context is the choice of topic in your course of
study. There are six global contexts:
. identities and relationships
. orientation in time and space
. personal and cultural expression
. scientific and technical innovation
. globalization and sustainability
. fairness and development.
(i) stoert coNTExTs

The choice of global context is influenced in several different ways
Scale-study of a concept on an individual, Iocal or global level.
Relevance-your education needs to be relevant for you and the
world you live in, and this will influence the choice of context.
lnternational-mindedness-lB programmes aim to develop
internationally minded students and this is supported through
using a variety of contexts to understand concepts.
Do students have an influence over what global context is chosen?

Absolutely-that's the reason why MYP language and literature courses
Iook different all around the world. The contexts that are relevant for
you may not be relevant for a student studying in another country or
even in another school in your own country. What all MYP language
and literature courses do have in common is the goal of deepening
your understanding of the language and literature key concepts.

Figure 1.3 The different parts ofconceptual learning
The s e c o n str u c'ti o n m ote r iol s These tools

rePresent knowledge such rePresent
os focts, people, ploces ond ATL skills
events
This building
These plons represent the represents
globol context {what sort
of building should be
and whyJ
built I conceptuol
understonding
'/-
-.+>
{
Approaches to learning
(ATL) skills
As a learner, you are developing a range of skills to help you learn and
process significant amounts of knowledge and understanding. Some
skills are very specific to particular subjects while other skills are ones
that you use every day in every class, and will ultimately use for lifel The
skills that you learn through the MYP allow you to take responsibility
for your own leaming. There are five groups of MYP skills:
3 Thinking skills
ATL SKILLS Communication skills
Self-management skills
Social skills Research skills
Depending on the subject, you might focus more on one or two areas
than on others. As you move through the MYP and mature as a student,
the focus will also move through different skills-from being taught, to
practising-to consolidate your skill ability. Read through the outline
of ATL skills, taking some time to reflect on where and when you have
Iearned, practised or mastered different skills. AIso, think about which
skills you still need to learn, practise or master.
thinking-the skill of analgsing and evaluating issues and ideas.
Critical
Creativitg and innovation-the skill of exercising initiative to consider challenges and ideas
Thinking skills in new and adapted wags.
Transfer-the skill of learning bg making new connections and applging skills, knowledge
and understanding to new situations.
Social skills Collaboration-the skill of working cooperativelg with others.
lnteraction-the skill of effectivelg exchanging thoughts, messages and information.
Communication
skills Literacg-the skills of reading writing and using language to communicate information
appropriatelg and write in a range of contexts.
0rganization-the skillof effectivelg usingtime, resources and information.
Self-
manaEement Affective skills-the skills of managing our emotions through cultivating a focused mind.
skills Reflection-the skill of considering and reconsidering what is learned and experienced in
order to su pport personal development through metacognition.
lnformation and media literacA-the skill of interpreting and making informed judgments
Research skills as users of information and media, as well as being a skillful creator and producer of
information and media messages.
Approaches to learning [ATLJ skills
It would be impossible to focus on all these areas in just your MYP

language and literature course in years 4 and 5, so we will be selecting
specific skills to learn, practise and master in this book.
a
Dummary
Look back at Fig 1.3 on conceptual learning. Remember that conceptual
learning happens when you use the inquiry cycle, develop your ATL
skills and increase subjeet knowledge. These three factors work
together to develop detailed understanding of the four key coneepts in
language and literature: communication, eonnections, creativity and
perspective. While the content of language and literature courses will
look different in every MYP classroom, there is always the same focus
on conceptual learning to construct a deeper understanding of the big
ideas in life and the world around us.
I Language and Literature

CHAPTER
2
GLOSSARY
!NOUIRY I How do we communicate and why is it important to
OUESTIONS consider this question? m the way a speaker
r expresses probabiliry usualiry
What are aome of the chdlenges to effective
obligation and inclination.
communication?
r How does the context of our communication affect m typeoflanguageused
in a specific social context.
the langruage we use?
SKILLS ATt
COMMAND TERMS
/ Negotiate ideas and }<nowledge with peers and teachers.
/ Draw reasonable conclusions and generalizations. lT6i;iail think carefully about
(something), before making a
/Recognize unstated assumptions and bias. decision.
/ Listen actively to other perspectives and ideas.
Diacuss offer a considered and
/ guild consensus. review that includes
a range of arguments, faetors
/ lJse appropriate forms of writing for different purposes
or hypotheses. Opinions
and audiences.
or conclusions should be
Langruage and literature presented clearly and supported
/ Speak and listen-discuss, role-play and use drama to by appropriate evidence.
explore language.
/ Develop reading and viewing skills through explorations
of language.
/Analyse and evaluate the role of language in a range
of texts.
Introducing eommunieation
How do we communicate and why is it important to consider this question?
Figure 2.7 Methods of communication
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CARRIER TELEGRAPH RADIO WORLO
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PIGEONS WIDE WEB
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Chapter 2| Keg concept 1: communication g
The following has been adapted from the IB MYP language and
Iiterature guide:
Communication is the exchange or transfer of facts, ideas and

symbols.It requires a sender, a message and an intended receiver
and a common written, spoken or non-verbal "language".
Language is important to learning thinking and communicating

and is the basis of what makes us human and unites us all. Being a
strong communicator is important for success in all societies.
One thing the images and extract here make clear is that
communication is central to everything we do and the way we learn.
Developing language skills in a range of contexts and situations for a
variety of purposes is essential for successful communication.
Understanding the naturc of communication

In these activities you will be exploring the following questions:
. What challenges does communicating across cultures create?
. What are some of the key barriers to successful communication?
. What role do verbal and non-verbal cues play in communication?
. What is the role of shared understandings in communication?
. How do our own needs, attitudes and assumptions impact on
communication?
tti Activitg 1 Considering cultural greetings
lffiIila common situation that focuses on the

conterft of culture and situation-meeting and Qi)wea LTNKS
To learn more about cultural greetings you
greeting people. Usingthe earlier images, and gour
could research websites such as the following:
own experience, brainstorm or research as mang
www.brucevanpatter.com Click on "Old site"
different wags of greeting people in different cultures and "Strange ways people greet each other".
as gou can. As gou do so consider specific verbal and www.ehow.com Search for "Cultural
non-verbal cues involved in different greetings. Use Influences on Verbal and Non-verbal
the web links box to help guide Uour research and Communication Styles".
discussion.
Non-vcrbrl cucc
o proximitg-personalspacebetweenpeople . POStUre,Stance
' eue'contac{ . bodu contact
o geStur€ o facialexpression

Verbal cues
. the formalitg/informalitg of the language . the differenttgpes of language people
. common sagingsorexpressions'used use: questions, statements, offers and
across cultures commands
. how people address each other [forms . the tone of voice people adopt
of addressJ-title, first name, formal or
informal pronouns
()! cloet coNTExTs

Personal and cultural expression
? ATL SKILLS
Communication
Negotiate ideas and knowledge with peers
and teachers.
Critical thinking
Draw reasonable conclusions and
generalizations.
Recognize unstated assumptions and bias.
Exploring Context
The way we greet each other varies enormously both within and
between different cultures or situations. It is often based on the social
expectations of a culture and also how well the people involved in
the greeting know each other. An awareness of context and shared
understandings about how to behave often determine the success or
failure of communication.
Whenever we use language there are two contexts:

r) Contqrt of culture-the way things are done in a particular culture
or context (ordering a meal, buying a train ticket and so on). Think
about how your different classes have different cultures or ways of
doing things-each with different expected behaviours.
z) Conte:rt of situation-three key factors:
. The subject matter-what is being talked or written about.
. The roles and relationships between the participants in the
interaction (status, attitude, frequency of contact).
. Whether the text is written or spoken.
Together these elements determine the language we use in any act of
communication. You will be exploring these contexts in more detail
throughout the coming chapters.
Chapter 2| Keg concept 1: communication 11

,ti Activitg 2 Challenges of communication
Ihis aaivitg explores elements that can become baniers to communication.
Em Frkrhrrln8
Thinkof an experience when gou were unable to communicate effectivelg orwhere the message
was misunderstood or misinterpreted in some wag [for example, visiting a foreign country,
writing an essag, explaining something in class, talking to a strange[ giving directionsJ. Share
with a partnerand@ consideringthe questions below:
a) Roles-wh* was the satus or relationship betrreen gou and gour audience?
b) Mode-vltratwasthe channelof communication [written, spoken, read out,visual)?
c) Howwere Uou awarethatthe communication had failed?
d) How was gour message interpreted differentlg bg the other person?
e) What could gou have done to make Uour message clearer?
fl How did gou and/orthe other person respond to the failure or misunderstanding?
gJ Whatstntegies did gou adoptto help gou communicate gourmessage?
h] To what extent was a lack of a common understanding of the "cuhure'-the expected pattems
of language and behaviour-the cause of the problem?
i) What would gou do differentlg in the future to avoid similar breakdowns in communication?
j) W.hat werc the main barrieni to communication?
Em With gour parher, list some of the major baniers to communication. Use the headings below to
oqanizegourthoughts:
?h gsiiai bariieis-noise, disiractions Emotio na ! ba rri e rs-fea r, m istrust, vu I n e ra b iI itg,

guilt
Cultural barriers-language, customs Perceptual ba rriers, stereotgpes, unfamilia ritg
La n, pronunciation, Other
()! etoat coNTExTs

I ATL SKILLS
Collaboration
Listen actively to other perspectives and
ideas.
Build consensus.
t2 Language and Literature

,ti Activitg 3 Giving instructions
lnstructions can be given in different waus
tl
Eff,l To test gour own a simpletaskthat

that involves them following gour instructions. Theg must be in a
Possible ideas to get gou thinking
. making an objea out of paper-hat, boat, .
braiding hair
simple origamishape .
jugglingthree balls
. tuing a shoelace .
opening an electronic device
. tging a knot in a string ortie
Em Present instructions for how to comptete gour chosen task in three wags:
aJ a written version of instructions on a sheet of paper-written
b read ing the as if over the
c ) a visual set of
E@
but must simplg follow Uour instructions. Be sure to speak slowlg and clearlg.
c) Swap the visual instructisns with a partner and have the partner follow them.
EEEE! exchangeF@lwith gour partnerthe following questions:

At the end of each
a) What was helpful in communicating clear instructions?
b) What prevented clear communication?
c) How could instructions have been clearer?
Chapter 2| Keg concept 1: communication 13

Elll.friIiITIilIL Use the fullowing questions to reflect on the task and what gou leamed about comrnunication.
. How did gour language change when gou had to write down the instructions?
. How did the visual images affect the claritg of the instructions?
o Whatdoesthis exerciseteach gou aboutthe role of context in successfu!communication?
. How much more difficult would this exercise have been if gou were attempting an aclivitg gou
did not have knowledge of or familiaritg with?
This acrivitg teaches us that success or failure of communication is determined bg whether or not
the recipient understands the message. lt also reinforces how gou need to adapt gour language
to sukUouraudience and purpose.
{[]] otoanl coNTExTs

0 ATL SKILLS
Communication
Use appropriate forms of writing for
different purposes and audiences.
Criticalthinking
generalizations.
Reflection
Now that you have worked through this chapter, answer the following
questions and complete the task.
a) How can you apply what you have learned about communication
to different tasks you complete in different subject areas?
b) What are the biggest challenges to effective communication that
you face?
c) Set yourself three SMART goals to improve your written and oral
communication.
aa
Dummary
In this chapter you have explored the key concept of communication.
You have looked at why it is important, how it can be used well, and the
challenges we face in communicating effectively according to the context
in which we wish to communicate and how this effects the language
we use.

CHAPTER
Introdqging L"y concept 2:
3 conneettons
INOUIRY r What is connected and why are connections
OUESTIONS important? Gffim the complex
r How can analysing paintings give us insight into relationships that are formed
and developed between people
works of literature?
and ideas.
r How can andysing literaryworks give us insight
into the paintings that have been based on them?
SKILLS ATL
,/ Inquire in different contexts to gain a different fAn-aEse] break down in orderto
perspective. bring out the essential elements
or structure. To identify pans
Langruage and literature
and relationships, and to
/ Understand the development of character. interpret information to reach
/ Understand use of symbolism and its effects. conclusions.
/ Understand the style of an artist and how meaning is tIommentl give a judgment
created in their work. based on a given statement or
result of a calculation.
/ Understand how the artwork promotes a certain reading
of the play.
Chapter3 | KegconceptZ:connections tE
Introdueing eonnections
what is connected and why are nm important?
We live in an interrelated world in which eomplex relationships are in

a state of continual change. Connections are the complex relationships
that are formed and developed between people and ideas.
There are two main ways that the MYP encourages students to make
connections outward from their subjects: learning in context and
interdisciplinary learning.
Learning in context
Each of the topics you study in all of your subjects will have a global
context. It provides a link between the topic and the wider world and
the global dimensions of many of our current issues. It may also lead
to deeper inquiry responsible action and critical reflection, developing
Iearner profile attributes, and finding creative solutions.
As you study a wider and wider range of global contexts you should
also start to:
a) have greater global sensitivity-seeing the link between local

issues and broader developments on the planet.
b) have greater global understanding-the capacity to think in

flexible and informed ways about issues of global significance.
self-a perception of yourself
c) develop your sense of the global
as a global actor and member of humaniry capable of making a
positive contribution to the world.
These three skills lead to greater global engagement.
Figure 3.7 Each ofthe topics gou studg has a global context.

In the Diploma Progamme there is a requirement called CAS, which
means creativity, action and service. These are a range of activities
alongside your academic studies to enhance your personal and
interpersonal development through service projects. Engaging in
service projects in the MYP will help you to develop a deeper sense
of global engagement.
To conclude, global contexts comprise a range of ideas and issues

that can be personally, locally, nationally internationally and globally
significant. Global contexts also:
. Make learning relevant.
. Celebrate our common humanity.
. Encourage responsibility for our shared guardianship of the
planet.
. Help us become increasingly aware of our place in the world.
In addition, your teachers will also be designing topics that connect
global contexts to every area of study. These topics are explained next.
! nterdisciplinarg learning
Interdisciplinary learning is an escape from the confining boxes on the
timetable.
It can be generally defined as the process by that we come to
understand bodies of knowledge and modes of thinking from two or
more subject groups and integrate them to create a new understanding.
it is a process that invites you to integrate concepts, theories, methods
and tools from two or more disciplines to deepen your understanding
of a complex topic.
You will be demonstrating interdisciplinary understanding when you
can bring together concepts, methods or forms of communication from
multiple established areas of expertise to explain a phenomenon, solve
a problem, create a product or raise a new question in ways that would
have been unlikely through single disciplinary means.
But that's enough talking. In order to understand interdisciplinary

activities in practice let us do a couple.
Chapter 3| Keg concept 2: connections 17

,ti Activitg 1 Analgsing paintings
!n this activitg gou wi!! be exploringthe following inquirg questions:

. How can analgsing paintings give us insight into works CE rNTERDtscrPLrNARY LrNKs
Visual art-what can we learn
of literature?
about literature through
. How can analgsing literarg works give us insight into the exploring art?
paintings that have been based on them?
trEtII Studg the painting on the right. lt is of a famous actor plaging

Painted bg Charles Buchel [1914)
a character in a drama.
As the subject is a protagonist in a work of literature,

carefullg fanilgselttre work and lcomnemlon the fo!lowing:
a) Are there ang sgmbolic elements to the painting?
b) How are colours, light and dark used in the painting and to
what effect?
c)lffi"lon outlines,lines of movementand lines of
perspective fdepth).
dl tffi'lon the composition ofthe painting in particular
the location ofthe central figure and the space around him.
e) What does this painting reveal about the protagonist's
character?
fl The character in the painting is Macbeth. How well has the
artist captured the protagonist's character based on gour
reading of the work?
Eff,fJ Nent, explore this famous scene when Macbeth and

Banquo meet the three witches. Consider the paintings CE)weauNKs
Go online and enter'Act I,
that follow and answer the questions about them.
Scene III of Macbeth" into
Macbeth ond the Three Witches bg Theodore a search engine. You should
Chasseriau [1855) : easily be able to find the
i text for this scene. Read the
t
scene and then consider the
,
I paintings that follow.
t.:
I
I

Mocbeth et les sorcidres bg Arg Scheffer Ic. 1830J The Three Witchesfrom Mocbeth bg Alexandre-Marie
Cotin [1827J
Answerthese questions for each painting:

a)flnal$elang sgmbolic elements to the painting. How are colours, light and dark used in the
painting and to what effect?
b) Commem the composition of the painting and where the characters are in relation to
each other.
c) Wnicn elements are being emphasized and which are beinggiven less importance? Whg do
Uou thinkthis is so?
d)tco-mffiTlon outlines, lines of movement and lines of perspective [depth).
e) What does this painting reveal about how the artist wanted to portrag the witches?
f) How well does this fit with the perception of witches in Shakespeare's time and with gour
perception of the witches'role and character?
g) Where theg are present, decide on which character is Macbeth and which is Banquo. ln what
wag are these characters presented? Does this presentation fit with gour perception of their
character? Justifg gour opinion.
hJ To what extent do gou considerthis artist's interpretation of this scene an accurate
representation of it? Justifg gour opinion.
() eloelr coNTExTs
I ATL SKILLS
Transfer
Inquire in different contexts to gain a
different perspective.
Exercises like this can be done with all types of art. You will need
to modify your questions, though, depending on the work.
t
For more information on studying paintings in visual arts see:
Mittler, GA. rgBB. "The Eiements of Art". Art ln Foctrs. McGraw-
Hill/GIencoe.

t Activitg 2 How does migration impact people?
ln this activitg gou wil! studg the effects of migration. As language

and titerature students gou will read the poem Piono ond Drumsby Ce, INTERDIScIPLINARY LINKS
Your individuals and societies
Gabriel Okara in the context of posl-colonial Nigeria. You will also teacher will select a range
view this activitg from the context of !ndividuals and Societies. of resources on migration
Ansrer the questions that fullow the poem. and colonialism, to inform
your reading ofthe poem
Does the impact of one culture upon another look like this? that follows.
p{
Do gou have another image in gour head?
--
r
..Ti
-:t
'7'
>--<
Pi.ano atrldDnnrrby Gabriel Okara

When at break of day at a riverside Then I hear a wailing piano
I hear the jungle drums telegraphing solo speaking of complex ways in
the mystic rhythrq urgent, raw tear-furrowed concerto;
like bleeding fleslr, speaking of of far away lands
primal youth and the beginning and new horizons with
I see the panther ready to pounce coaxing diminuendo, counterpoint,
the leopard snarling about to leap crescendo. But lost in the labyrinth
and the hunters crouch with spears poised; of its eomplexities, it ends in the middle
of a phrase at a daggerpoint'
And my blood ripples, tums torrent,
topples the years and at onee I'm And I lost in the morning mist
in my mothey's laps a suckling; of an age at a riverside keep
at once I'm walking simple wandering in the mystic rhythm
paths with no innovations, of jungle drums and the concerto.
rugge4 fashioned with the naked
warmth of hurrying feet and groping hearts
in green leaves and wild flowers pulsing.
As gou explore the poem considerthe following questions:

a) What doesthe piano sgmbolize?
b) What does the drum sgmbolize?
cJ How does the narrator reactto the drum?

d) Howdoesthe
e) Descdbe what the momsnts of pain, sadnbss or danger rerreat.
f) Describe the change of rhgthm in the poem.
g) What is the pcet saging about cukurat diftrence?
From gour understanding of individuals and societies consider:
hJ Howaccuratelg doesthe poem reflectthe clash of culturesthat mag occurduring migration?
iJ To what elftent does Gabriel 0kare echo gour perceptions or experience of migration? i
Now, bringing both subjects together:
,) Which has a greater impact on Uou, exploring the facts of migration, or the emotional response
through poetru?
{li} stoalr- coNTExTS

ldentities and relationships
I ATL SKILLS
Transfer
Inquire in different contexts to gain a
different perspective.
Reflection
Look back over the chapter and think about how this interdiseiplinary
topic can add to, deepen and strengthen your learning. AIso consider
the advantage of an interdisciplinary topic here as compared to a
single subject topic.
a)
DUmmary
By connecting subjects we can deepen the Iearning as you have seen
with the activities here on Macbeth and migratiory/eolonialism. The
following task asks you to apply the same key coneept as you reflect
back on these activities.
a) For the activity on Macbeth, choose another school subject
and topie from the timetable that could funher deepen your
understanding of this play.
b) for the activity on migration/eolonialism, choose another school
subject from the timetable that could allow you to express what
you have learned about this topic in a creative way.
c) Consider the units you have already explored in language and
Iiterature. What other connections could be made to other
subjects from them that could potentially deepen the learning?
Referenees
Okara, G. tgBS Piano and Drums. In Touched with Fi.re : An Anthology of
Poems eompiled by Jack Hyde. UK. Cambridge University Press.

CHAPTER
Introdu L"y eoncept g:
4 ereativity
GLOSSARY
INOUIRY I How and why do we create?
OUESTIONS r How can we use the design cycle in langruage and ffi th" top, highest point or
summit.
literature?
I How can our creativity be used to entertain others? ru fictionwherethe
reader makes choices that affect
SKILLS ATt the plot of the story.
/ Co-rrrurricate information and ideas effectively to m " play on words that uses
multiple audiences using a variety of media and formats words with the same or similar
literature meanings or sounds, usually for
Langruage and
humorous effect.
/ Workeffectively in small groups.
/ Create original works and ideas.
/ Organize work appropriately for your audience. COMMAND TERMS
Create to evolve from one's own

thought or imagination,
as a work or an invention.
Put ideas and

t-orga nazel
information into a proper or
systematic order.
Introdue ing c reativity

How and why do we create?
Creativity is the process of creating something new and originaf

approaching an idea or issue in a different way. It is characterized by
expressiveness and imagination.
Creativity may include recombination or building upon the ideas of

others. If this is the case, you should acknowledge your sources, by
creating a bibliography.
If you completed the quick think activity here, you have taken part
in the creative process, just as you have done many times before
across several subjects. if the creation is a painting a piece of music
or an invention it most probably lies outside of the scope of language
and literature; however, activities such as creative writing are very
important in this subject.

The importance of crcativitg
Anne Bamford, Director of the Engine Room project at the University
of the Arts London, says:
Creativtty ts a way of thtnktng. If you ask "What's three plus three?"

the answer is always stx. But tf you ask "What ts stx?" you're turning
the task around to get to a different way of thinktng that goes
beyond the subject. It could be two plus four. It could be half a dozen
eggs to make a pavlova. It could be anything.
To give you an idea of how important creativify is, there is a pyramid- Figure 4.1 Bloom's Taxonomg
shaped model used in education called Bloom's Taxonomy that defines
learning objectives (figure 4.r).
Creativity is at the top of the diagram. Or, we could say, at its apex
As an MYP student, being creative can be seen as the ultimate
expression of educational achievement. It is also part of what it means
to be human.
Simply the way a question is phrased can change creative thinking.
A lot depends on how you look at things.
,ti Activitg 1 Creative writing: gamebooks
ln grmcbooks gou enterthe world of the author's imagination. Your decisions change the plot and allow
for multiple endings. As gamebooks often teke gou into dangerous imaginarg situations, gou must choose
wiselg orterrible things can happen to Uou.
Mang people see creativitg as an individualthing. This a*ivitg treats creativitg as a class project.
ln this activitg gou will be creating an adventure novel usingthe following stages:
lnvestigate: You will read a range of gamebooks and analgse them, breakingthem down into their
separate parts.
Plan and Groste: You will then construct one of Uour own role-plaging/adventure novels in an electronic
format using.programs of Uour choice. This will include characters, plot and the creation of a convincing
genre/setting forthe adventure. You will break down gour e-novel into parts with different individuals
responsible for creating different sestions in the chosen program.
Create [contlnuedl: You then present this e-novel to an MYP L,? or 3 group, who will then attempt to
complete it successfullg.
Evaluate: The MYP t,? or 3 students will complete a surveg on their reactions to the e-novel. You can then
make changes before the final assessrnent.
Chapter 4| Keg concept 3: creativitg 23

Effl lnv$tltatr
Analgse one or more gamebooks/adventure novels. Considerthe following ques{ions:
al Which genre did the adventure novel use?
b) How convincingwas it?
cl How well-developed was the protagonist/main character?
dl Explain whg this worked/did not work.
e) How well-developed wasArere the antagonist[sllvillains?
fJ Explain whg this worked/did not work.
g) Which parts of the ploVaction were well done? Whg?
h) Which parts of the ploVaction were disappointing/poorlg done? Whg?
Etrf Pbn andlEEltel

You will now construct one or more of gour own gamebooks in the chosen electronic format.
Elementsto include:
o Anopening-setthescene.
o The setting-this must be realistic, convincingand accurate to the genre gou have created. For
example, a vampire hunt might be set in the Carpathian Mountains of Romania.
. 0utline gour hero/heroes. Trg to develop them a little as the s-tory unfolds. Make sure gou
invent them-no new adventure for Hang Potter, for example.
o The plot-the storg will have dead ends and failure. There mag be one wau to reach the end,
or more.
. Reward cleverthinking-design the choices sothatthose cornpletinggouradventure advance
if theg think carefullg.
. Rrnish sillg decisions-if the readers make unconsidered choices, send them backto the start
to begin again.
. Balance-dont make ittoo difficult, ortoo easu.
. The ending/resolution-conclude the story furthose wtro will reaci the end. Praise their succeqs.
Now assign differcnt sections of the story to different members of gour group.
ffi Ellilreete'rndprcsenr
You mag choose to illustrate gour work with images from the lntemet, though be eareful that theg
are consistent. Work through gour e-novel whh the target group.
ft-=lf Evaruere
Use the same surveg questions forthose who complete gour adventure that gou used to review
the published adventure novel (from Step 1).

Examplc of an adventure novcl
Here is an example of what one group chose to do:
A sole surviving member of an elite US unit...
... is battling across a modern-dag New

York in ruins, to destrog a mgsterious
space portalthat has opened up on Wall
Street, the horne of the NewYork Stock
Exchange.
Alltgpes of alien creatures, some flging some

walking some crawling are coming out of the
portal. Amongthem is an intelligent species with
technologg superiorto that on Earth.
0n the weu, our heroine meets alltgpes of monsters,

who mostlg wantto eat her.
CE rNTERDTscTPLTNARY LrNKs
Instead of using images from the Internet to illustrate your e-novel, you could create your own
images in visual art instead. Perhaps they could be done in the style of a black and white cartoon.
Alternatively, you could compose some atmospheric music to be playing in the background as you
present your adventure to your audience.
Chapter 4| Keg concept 3: creativitg 25

Continuingwith the example, six students decide to work on this project and theg divide the work
as follows:
Beginning
. Student 1 writes the introduction to the character and the scenario.
Middle: crossing New York

. Student 2 writes aboutthe journeg through Brooklgn to the East River.
. Student 3 writes about the choice to tru to cross the East River bg boat.
. Student 4 writes about the choice to cross over the Brooklgn Bridge.
. Student 5 writes about the choice to trg to go
through the subwag tunnels of Clark Street
;zVTAKE AcTl0N
Station to Wall Street Station [during a
After you have presented your story
Powercut). within your school, consider whether you
End could present it to children in the wider
o Student 6 writes aboutthe final confrontation
community, perhaps as part of a service
programme.
at the alien portal. '
(€)! eroet coNTExTs

I ATL SKILLS
Media literacg
Communicate information and ideas
effectively to multiple audiences using a
variety of media and formats.
Reflection
Check your understanding of this key concept. Has it inspired you to
be creative? How successful was your e-novel? Consider the following
questions.
a) What were the main ehallenges in writing an adventure novel?

b) How effectively did you organize yourselves as a group?
c) What would you do differently next time?
a
Dummary
In this chapter we have looked at the concept of creativiry how and
why it is importang and howyou can use it to communicate with and
entertain a range of audiences using a variety of different mediums.
Thinking creatively can be applied to a range of contexts and problems,
not just the obvious creative industries who inspire and engage with their
application of creative flair on a daily basis. As you apply the creative
skills you have explored in this chapter you will begin to discover how
creativity can expand howyou look at approach problem solving and
equip you with the tools and confidence to think outside the box.

CHAPTER
Introducin g key eonee a
o
5 perspect lve o
GLOSSARY
INOUIRY r What is the difference between sympathy and
OUEST!ONS empathy? m the skill of having a
r How does your perspective colour your view of the good sense or understanding of
what another is going through.
world?
r How much empathy and perspective is necessary to m onewho allows oneself
live in today's world? to be used for another's profit or
advantage; a puppet.
SKILLS ATL
tn recognizing a
/ Recognize unstated assumptions and bias. person'ssuffering and offering
emotional support or assistance.
r/ Consider ideas from multiple perspectives.
/ Consider ethical, cultural and environmental implications. COMMAND TERMS
/ Practise empathy. Discuss offer a considered and

balanced review that includes
{ Use a variety of speaking techniques to communicate
with a variety of audiences. a range of argmments, factors
or hypotheses. Opinions
/ Gather and organize relevant information to formulate an or conclusions should be
argument. presented clearly and supported
./Access information to be informed and inform others. by appropriate evidence.
Language and literature tiustiEl give valid reasons or
,/ Evaluate evidence and arguments. evidence to support an answer
or conclusion.
,/ Seek a range of perspectives from multiple and varied
sources. Summarize abstract a general
theme or major point(s).
Chapters I Kegconcept4:perspective 2f
,
Introdueing perspeetive
Try a new strategyl Try
What is perspective and why is it imponant?
using role-p1ay and debate
as a study technique. For The Middle Years Programme will require you to form your own
perspective on a variety of issues and viewpoints across your
exarnple. iI yorr ale reviewirrg
diseiplines. For example, you might have to debate the impacts of
your notes on World War II,
Science from a variety of viewpoints, "get into character" in a dramatic
why not get together witlr
performance, compare different definitions of "healthy''in Physical and
classmates and stage
Health educatiorL or analyse sources in Individuals and Societies to
your own debate? Become
determine whose perspective is most reliable.
Stalin, Churchill, Mrissolini,
The key concept of perspective is critical to a language and literature
Hitler and Truman (or add
Iearner since so many of the related concepts rest upon this conceptual
othel world leaders frotn
foundation. You cannot determine an author's purpose very
the time). You willl-rave
successfully if you cannot move from the perspeetive of a reader to the
to Llse perspective ar-rd,
perspective of a writer. This is a critical shift when creating a thesis
most irnportantly, yor-i will
statement for literary analysis. Additionally, you cannot discuss an
practise the highest levels of
author's plot construction in nearly as much depth if you cannot see
Bloom's Taxonomy (ar-ralysis, the perspectives of various characters.
evaluation and synthesis)
However, as you enter into the Action phase of the Inquiry Cyclg you
while ir-rcreasing yor-rr
will have to recognize different perspectives in order to successfully
understanding.
collaborate, plan and reach your goal.
Without a sense of perspective, it is difficult to understand other people

in a deep and meaningful way. There is the risk of only understanding
them in a superficial (surface) or stereot)?ical (conventional) way. A
vital skill in understanding perspectives is rmpr6ry.
Though complete empathy is impossible, it is a deeper feeling than
qF#U.With sympathywe may feel sorry for a person's problems,
whereas when we have empathy with someone it is more of an active
process of understanding how they feel and identifying with their
situation. As empathy is a skill, it is something that we can continually
refine and improve in.
Empathy is not just about understanding the lives of other humans,
it is also an intimate awareness with the other creatures we share this
planet with, many of whom are increasingly threatened by humans
encroaching into their habitats.

t Activitg 1 The difference between empathg and sgmpathg
hllowing questions: @twEB LtNKs

Go to www.thersa.org and enter
a) Howcan empathg help us survive as a
"The Empathetic Civilisation"
bJ What does the video mean bg to empathise is into the search box. Alternatively
to civilise'? go to www.youtube.com and enter
c) Wtrg are nations'fictions'? "RSA Animate - The Empathetic
d) Can technotogg extend empathg Civilisation" into the search box.
(ii) etoart coNTEXTS

Globalization and sustainabilitg
? Criticalthinking
ATL SKILLS
Recogr-rize unstated assumptions and bias.

Cor-rsider ideas from rnultiple perspectives
Whg is consideration of perspective so important

tti Activitg 2 when actin to better a communit ?
What ofa 16-gear-old

deemed to
ca ndidate forthe |'lobel
M alala Yousafzai has been hailed as a to thG head and

designed to guarantee the right of education in her communitg. She has appeared on mang intemational
news netvvorks an d media. But, as the New York Times investigated further
though Ma lala has been well _'rBceived tn thewesl, there are those ftom
i_
who see her as a lrestem $oogr,' what she has done fortheir
Dlr*ctionc
ElFllltf ln common gmups, read orviewone of thethree articlesfuideos on Malala ehown in the
web linksbox.
m and.d€tormine what penpeaives gou would offer
fiff,fl uove into heterogBnsou fdiverse] discussion gn ups with memberc reprosenting each of the
three articleslvideos.
ChapterS I Kegconcept4:perspective 29
ffif In gour discussion, focus on the guiding question on perspeclive forthe activitu as well as the
questions that follow. Compare gour different points of view on the issue.
a) the main idea of gour articlefuideo and the perspective[s) it gave on Malala.
b) Pustlfg;l !s Malala a hero? What is a hero and what do gou think a person should have to do to
win the Nobel Peace Prize?
c| To what enent does the perspective and purpose of each news source impact upon the
message we received?
QD)wea LINKs
t) The Daily Show with Jon Stewart, October, zor3. Go to www.youtube.com and search for
"The Daily Show: Extended Interview: Malala Yousafzai".
z) The New York Times, October zor3. Go to www.nytimes.com and search for "Pakistani Girl,
a Global Heroine After an Attack, Has Crities at Home".
g) Huffington Post, July zor3. Go to www.huffingtonpost.co.uk and search for "Malala Yousafzai
and the White Saviour Complex".
(Extension Reading: Go to medidiversified.org and search for "A Reply to: Malala Yousafzai and
the White Saviour Complex", October, zo6).
(i! stoalr- coNTExTs

? ATL SKILLS
Collaboration
Listen actively to other perspectives and ideas.
Reflection
Consider ethical, culturai and environmental
implications.
,ti Activitg 3 Dead Poet's Societg and standing on a new desk
EFEI|I Watch the trro-minute scene from the film Deod Poetbsocietg [see the ,) Walt Whitman had an
4
influence on the theme
web link boxJ. The scene shows the teacher, plaged bg Robin Williams, l ofthe film Deod Poets
i
pushing his English class to 'look at things in a different wag'-pushing Society
them to seek different perspectives. His main point is that, as Uou explore
li the views of others and seekto understand them, gou are more likelg to
I
find gour own voice. MYP students who firmlg develop an understanding
of the keg concept of perspective will be blessed with greater empathg for
others and greater understanding of themselves.
C/ilwee uNKs
Watch the clip from Dead Poet's Society. Go to www.youtube.com
and seareh for "The Universe is wider than our views of it (Thoreau)".

ffi-i:ff Stand on a new deek
Todag after class, move to a new perspestive orviewpointthat gou have not considered previouelg.
Forexample, movetoa differentviewof the cafeterta, orgourneighbourhood.0rinterview
someone gou have neverspokento before, be or
Sut:lttltifiB what gou saw. Be readg to offer
Eff,f| Dcmographlc grld

Create this Demographic grid in gour notebook or computer and fill out gour demographic details
then describe a time when this has impacted upon Uour perspective, either influencing gour
perspective on a situation or someone else's perspective on gou.
Exampte: Mg socio-economic level is middle class. But, mU father lost his job when I was a child
and we had to go without a lot of the comforts we had previouslg experienced. lt wasn't so much
hardship, but I could see howthe financial strain put a lot of added pressure on mU parents during
thattime period and it built some empathg for classmates whose parents had to deal with that
pressure all of the time.
Mg demographic details
Gender Ethnicity Socio-economic background

Nationalitg Generation Religion [optional)
Time when this impacted
uPon mu perspective:
Fffi:Zf 60-second shadng

Be readg to share gour experiences with members of the class who differ from gou in terms of
their demographics.
Follow up questions:
a) How much do our demographics define us?
b) How often do we presume a person's perspective based upon their background?
c) Are there better wags to find out and understand a person's perspective?
Em Taking action through a "gtand on gour own degk" orat presentation

Structure:
The oral assignment takes the structure of a presentation given to fellow students. Yourteacher
can give gou more information about how it can be assessed.
i Part one: Address a viewpointthat Uou have long held without investigating an alternative
Perspective.
r Part two: lnquire into and present an alternative perspective with a particular focus on
overcoming personal bias and building empathu.
Chapter 5| Keg concept 4: perspective 3l

{(,i} otoalt coNTEXTS
I ATL SKILLS
Communication
Use a variety of speaking techniques to
communicate with a variety of audiences.
lnformation literacg
Access information to be informed and
inform others.
Reflection
Now that you have worked through this chapter, consider the following
questions:
a) Whose perspectives do you understand most in society? Whose

do you struggle to be open-minded about?
b) What is the difference between empathy and sympathy?
c) How much empathy and perspective is necessary to live in
today's world? Can too much empathy be a bad thing?
Summary
In this chapter you have learnt about the importance of perspective
in shaping and colouring how you as an individual view the world
and your relation to it. You have also explored sympathy and empathy
and how it is necessary to apply these to your daily encounters and
problems so that you may understand the people, environment and
challenges you encounter in a meaningful way.

CHAPTER
Genro
6 conventions I KEY COilCEPT FOCUS
PERTPECIIYE
GLOSSARY
INOUIRY
ffi) Genre eonventions
OUESTlONS r How can the type of genre used affect the message DlilUdrtg a diary entry is
delivered through it? intimate and introspective, not
meant to be read by anyone
Exploring a theme in audio/visual media else but the writer. A diary is
ffi used to express feelings and is
I How can ure choose a stand from different perspectives reflective and often emotional.
delivered through audio/visual media? The language of a diary will
reflect some of these aspects.
; Exploring theme in articles
a
r How can we choose a stand from different perspectives Hcdmjrnnc drama, fable,
fairytales, short stories, Iegends,
delivered through articles?
poetry and science fiction.
SKILLS ATt ltonfic{or3cnna
/ Read critically and for comprehension. autobio graphies, biographies,
essays, informational texts,
/ Demonstrate awareness of media interpretations narrative non-fiction and
of events and ideas.
speech.
Langruage and literature Rwlu a review should
/ Analyse the content, context, language, structure, not retell the plot, but
technique and style of text(s) and the relationships should include an amount
among texts. of information about the
/ Analyse the effects of the creator's choices on an audience. film, book, play. Opinion
and evaluation should be
/ Evaluate similarities and differences by connecting
given, concluding with a
features across and within genres and texts.
recommendation, which might
/ Write and speak in a register and style that serve the be implicit or explicit.
context and intention.
/ lJse appropriate non-verbal communication techniques.
OTHER Context Style Theme

RELATED rcompail to estimate, measure,
CONCEPTS
or note the similarity or
dissimilarity between.
llnterpretl explain the
meaning of.
Chapter6 |
Introdueing genre
and eonventions
Differentiating between different genres (or text typ"r) is very
important in language and literature. If you want to communicate any
piece of information, you have to express it in a certain way in order
to deliver the message you intended. Genre writing challenges you
to consider everything that's interesting and difficult about writing; it
pushes you to think about:
. the purpose of your message
. the person you are delivering it to
e the content of the message
. the situation you are in.
These things affect the way you approach your own writing; your tone
or voice and your choice of words and sentences.
The term most synonymous (compatible) with genre is text types.

When you study genre you study different types of texts whether
oral, visual or written. Genre refers to a type of literature and can be
categorized into ffi ""a
ls!ffi. Non-fiction genres include
types like autobiographies, biographies, essays, informational texts,
narrative non-fiction and speech. While fiction genres include types
like drama, fable, fairytales, short stories,legends, poetry and science
fiction. Genres are identified by their own features. Each genres has
specific features that identify it and make it unique in delivering
its message.
Genre eonventions
Genres are identified by their own conventions. Each genre has
specific conventions that identify it and make it unique in delivering
its message. Conventions are linguistic and non-linguistic features that
identify a certain genre.
To master writing different genres you have to be able to identify and
use different genre features.
In this topic you will be exploring four narrative texts that all have
the same theme,'tVhat is beauty?" Each text has different features to
match the genre it belongs to.

Diarg entries
The following information will help you when analysing or writing s Diarg entries make use of certain genre features
Soeial purpose
The purpose of a diary entry is to express your attitude towards a
certain event that happened through the day.
Structure
. A topic sentence indicating what the paragraph is going to
speak about could be good to keep your ideas organized.
. It can start with an orientation providing information about
who, what, where and when.
. It usually recounts events in chronological order, but a
flashback about something that happened before it could
be useful.
. There are a lot of personal comments and/or evaluative
remarks interspersed throughout the diary.
. At the end there is a "round-off" for the event.
Grammar and style
. Usually informal literary style.
o Use of action verbs to refer to events. For example: browse,
t
pick, take. Idiomatic explessions are
combinations or collocations
. IJse of past time tenses. For example: the next shop I visited,
of words that when pr,rt
she told me, she came.
together give another
r Use of time connectives in order to organize the sequence of meaning. The meanings of
events. For example: In the meantime, then, after that, first.
those expressions are common
. A lot of idiomatic expressions and use of everyday language. and well known by users of
For example: check out, in fact, not to mention. the languaqe. Thele are both
o Use of descriptive language and descriptive details, which formal and informal idiomatic
include: expressior-rs. Phrasal verbs
and idiorns, for instar-ice, are
o very detailed description of a certain action
regarded as idiomatic because
o a lot of adjectives to describe the place, the people or the the meaning cannot be worked
events involved from the definitions of the
or-rt
o use of senses to describe something thoroughly. individual words.
Chapter 6| Genre and conventions 35

,ti Activitg 1 Exploring diarg entries
Read the following diarg entry and answerthe questions that follow.
Shopp@ ln furfci: My Beiolry Dfdry, a webelte b!, the New York TiE€e Company
Dear dtary,
I love Paris. Every day I discover somethtng new. Todoy I dtd not join the group. Instead
spend here I
I spentthe day alone checktng out new products, sipping latte,psp&watching,andmeeting
tnteresting people.
Therehrere so many
interesting ffems, I hardly knew where to stort; in fact.I could have browsed all day. The displays
in the store are artfully ananged and I found myself taking a tour of the spoce at least twtce,
trying to choose what products I would leave the store wttlu Maria Thomas, the sfore's manager,
wcls extretnely helpful and took time to explain about the hatr care ltne that the store carried and
offered three generous somples to try.
So what dtd I leave fhe sfore with?? Two bars of soap that I can't wait to try. I love the scent of #esh
roses and ltly of the valley and these fh,o soops were os close ,o the scent of fresh flowers as ysasgn-
possibl,v get And the Rosewater soap also contains cold creom Does this sound ltke h.ocury to you??
It wos a tiny shop but tt was wall to wall perfumes! The scent
alone will lure you into thds dnteres ttng ltttle shop, not to mention the feast of colors that will overtthelm
you Wtthin seconds. a very nice young lady by the name of Anita was at my side. offering help. She
told me the new ltne called "Mechanics for Women" offers several products to choose frorn I pisl<ed out
three that lool<ed interesting to me and Anita was extremely helpful . I asked her for the hottest scenfs
of the summer a nd she ppi,nlsd me.gg"Romance" by Ralph Lauren, "JAdore" by Christian Diot and
'Allure"by ChaneL
A
soish year old woman who was probably dark hatred in her
youth and was trying to duplicate the same color as she oged Didn't work It was too evident that the
color canne from abonle andher hair cut wds too severe for her feafiires, She should have picked a
dark brown irctead of the black and she needed a softer hair sty/e. Remember dear diary ...............os )ve
age, we need to go lighter with our lwir color, In most caseg blocfr simply doesnt work!
I was not only dazzling aroundshops and products, but I also met some interesttng people. A young
Asian woman that I spotted in Fairtiew Mall amazed me by her long gorgeous black hair with scarlet
(not red) srreo/cs in her lwtr. It looked fabulous. While rhis sry/e ts not going to work for all of us it really
worlcedwithh,ercolortng!!Icamecloser toherandstartedaconversotionsaying;'I{ellomam,Iam
sorry, but I couldnl miss your unique hair style. Did you manage to get such a beauttful hair style in
Pons" She rumed to me and we soon started a conversation about hadr sfyles, cloths, fashton, )'ou
name iL llnforfinately, she had to leave after half an hour, as she wos jus t on o.lunch break and had to
gobacktowork
That was all for today dear diary. Tomorrow the group wants to go to more site seedng. I don't know if I
will iotn them You know I'm not the type.

Answerthe following questions. Support Uour answers with evidence from the tern.
a) What isthistgpe of writing [genreJ?
b) What is its purpose?
cl What isthe level :f formalitg?
dl What do the shaded sentences have in common?
e) The underlined words.are idiornstic,expressions. How dotheg affeathe author's expression of ideas?
fl Choose three idiomatic expressions thet Uou would use in Uour ovyn diary entry"
(ii) etoert coNTExTs

I ATL SKILLS
Communication
Read critically and for comprehension
News r€ports
The following information will help you when analysing or writing
news reports.
Socid purpose
The purpose of a news report is to document a series of events that
happened and evaluate their significance.
Structure
. Usually starts with an orientation providing information about
who, what, where and when.
. A record of events that is usually recounted in chronological
(time) order.
. Personal comments and/or evaluative remarks interspersed
throughout the record of events.
. A reorientation which rounds off the sequence of events.
Grammar and style
. Serious, informative, formal style or semi-formal style
depending on the type of audience.
. If formal it would have advanced vocabulary and sentences in
the passive.
. Use of action verbs to refer to events.
. Use of past time tenses.
. No literary style.
. Description is factual.

,ti Activitg 2 Exploring news reports
Read the following news report then answer the questions that follow.
rtlcaess dtas aftcr plasda swgery lrrrart accldendby Simon de Bnrxelleg

ANASPIRING octress died when her heartwas acctd.entally pynefuredduring cosmetic surgery to
correct her pyg;trugliry chtru
to tlrc medical tearu a
But, un*nown
fine rube ircerted to monitor her blood pre,ssure hodp ierced the wall of hcr leart"
to aid her recovery tle drug leaked thror,rgh th.e hole in her
heart and trtggered a cotdiae anest that led to trrarcrsible bmin damage.
AlanCrickmore,the G/oucestershire Coroper, saidtlnt Ms Mills's dcathhadbeena'tenible
coinctdence', for which doctors ktere not to blama. After the heartng her mother, Jane Mtlls, sai&
"She'dalwayswantedto go onthe stage.lilhenshe wos ltttle she wos teosed ot schoolbecouse of her
chin, so she didn'twanttoletit standintheway of her career."
The operationwcrs pcfit of a long-term surgical plan to cotect her jaw line.
tlrcn in February last year she underwent tl:r. main procedure to break and reset her
jawline. Hanison, aconsultant
surgeon, said that the procedure had been carried out successfizlly for z5 years. He ad.de& "The
procedure lr,os fo separdte her upper jaw from the rest of her facial bone so that the teeth met in the
correct positioru There were no problems during surgery andwe were all pleased at that stage with
the resulL" However, at some ttme durtng surgery or Ms Mills's recanery,
and caused a small tear. The next day,while Ms Mtlls wos sal/
heavtly sedated thepotossduminjected fo resfore animbalance inherbloodfloodedthe area around
her heart and stopped it.
She suffered massive b rain damage and died four days after the operatioru A postmortem
examinationshowedthe cause of deathtobe orygenshortage to thebraindue to anarrhythmtain

the heart, causedby the potassium-
Recording averdict of accidental death Mr Crickmore satd that there had been'ho human controlo
over the deatlu "she wos the unforrunate victim of an unusual event -
the terrible coincidence created
by the beating of her heart and the potassium acting agatnst the best interesfs of her hearL"
a) Match the formalvocabulary funderlined in the tert] with a substituting informalword:

1J aspiring a. sticking out
2J punctured b. knocked out
3J protruding c. Poured out
4) summoned d. pierced
s) leaked e. called upon (called asJ
6l aid f. would-be
7l triggered g. huge
8) irreversible h. help
sl sedated i. lasting
10J massive j. caused

b) Find how mang of the following connectingwords are in the news report:
after but dueto then the nextdag however
c) fEomparalthe news repor{ above to the diarg entry in the previous activitg. Decide whetherthe following
features are the same or different.
iJ Purpose: same different
iiJ Audience: same different
iii) Levelof formalitg: same different
iv) Outline and organization of ideas: same different
vJ Tgpe of sentences: sarne different
vi) ldiomatic expressions: same different
d) What is this tgpe of writing [genre]? Support Uour answer with evidence from the text.
eJ What is its purpose? Support Uour answer with evidence from the telft.
fl What is the level of formalitg? Support gour answer with evidence from the terct.
g) ls formatvocabularg used in the quotations? Whgftvhg not?
hJ Look atthe sentences that have been shaded. Describe them and sag whg Uou thinktheg are fonned
this wag.
([i] otoelr- coNTExTs

I ATL SKILLS
Communication
Read critically and for comprehension.
Short Stories
The following information will help you when analysing or writing
short stories.
Soeial purpose
The purpose of a short story is most probably to entertain through a
piece of writing that contains literary elements like characters, setting,
plot and so on.
Struchrre
. Paragraphs are not a regular length or type. Sometimes you
find a dialogue, then a short paragraph of description, then
maybe a telling of a series of events and so on.
. It can start with an orientation providing information about
(the setting) whq what, where and when, but it could change
this order by starting with a dialogue between two of the
characters or a description of one of the characters' feelings, for
example. Also there could be flashbacks.

Gramrnar and style
. Usually informal,literary style.
. Use of action verbs to refer to events.
. Use of past time tenses.
. Use of descriptive language and descriptive details, which
include:
e very detailed description of a certain action

o a lot of adjectives to describe the place, the people or the
events involved
o use of senses to describe something thoroughly.
t Activitg 3 Exploring short stories
Read the following short story then answer the qu estions that fol !ow.
*erf,rhrore
oI ll,alr, clntr ond pogeclgrtsgA tll.€ roomfor atbostthe tenthtime. Slrc
Kim had every right to be nemotlr,. She wos obout to have a face lift and eyelid surgery. I{s not just the
surgery that sl:,r- feore|ablaughtha{s scary enouglt,butthe change.Itwos,after oll,herfoc*her
self tn a Wr. How will slrc look? rtlhat will peoph say? Mll she wish she hadnl dane it? Itls so
permanenlso drusrlc/ Will she lilce whomshe becomes?
71rc roomwos col|despite the August doy gathering steam outside, but th.e temperafifie vtas nrlt her
matn concent She loolced at the nurse sitfing on l:rlr stool in the correr.
'I'm sco.ret"she soid "slwuld I be seared?'

"Of courser" the nurse soid
'Everlone'sscared lt's only sensible to be scored If youweren't scare{we'dbeworriedaboutyotl"
Sandy, tl.a nursing superufso6 co,ffE into tlrc rcorr" Kim asked her the same guestion ond. got morc or
Iess the so,me an$iler.
'In fifteen rninutes," Sandy said'this ts all going to look a lot betterJ'
Kim went lnto the operation room for four hours. Dr. Wallace was telling sfones as lrc worlce{ joking
with the technictans. Finally he left to consult with new patients. Ihe technicians ftnisled tle lcst of
the s*ting,puttir,g inthe finr- touches justbelow rhe lowereyelcshes.
Kimwos beginning to wake up Thenurses found her clothes,sfufftNhlietgthe loose knlt pants
and shin tnwhtch she arrtved early this moming.
She loolced d btt ltke a tnutnmy.

Kim said'lVhattime is itf They told,her, almost g oblocl*
"Oooofu that long?'she soid
Martha and Julte sat her up. wamlng her about possible dizziness. She wos fine, and so they put her
into a wheelchatr and wheeled her into the LwlL.Her sister hros there to p/4;kher W She was given
expltcit instnrctions on how to care for Kim and what to do if there are any problems.
Dr. Wallace sat tiredly on a stool af fhe nurses ' statio4 nrned to tlrcsdster and s aid, "She dtd ftne. We
dtd a really ntce job on her." The doetor took her hand and squeezed it. 'That's my girl!" he said, "Go
home andheaL Leave Kim's storyhere."
a) ReadtheshortstoryA Happg Ending itto the diarg entry and the news report in the two
previous activities. Decide whetherthe arethe same
i) Rrrpose: same different
ii) Audience: different
iii] Levet of formalitg: different
iv) 0utline and organization of different
v) Tgpe ofsentences: same different
vi) ldiomaticexpressions: same different
b) What do gou think is the difference between a diary entrg and a storg? Support gour answer with
evidence from the text.
cJ What do the two shaded sentences have in common?
d! What do the undertined words have in common?
{ii} stoart coNTExTs

? ATL SKILLS
Communication
Reflection
Consider the following:
. What did you learn by exploring different genres?
. How did it add to your knowledge and understanding of
language and literature?
. How are you going to use what you learned in your own work?
Chapter 6| Genre and conventions 4l

Exploring a theme in audio
vrsu al media
Authors have their own perspective in seeing a certain theme.
Each author chooses the genre that best delivers what needs to be
communicated to the audience. It is the ability of the author in using
genre features effectively that lets the audience see what they see.
In this topic you will explore how different genres can approach a
certain theme differently. The theme is "Life perception and career
choices". The theme is about how people see life choices differently.
For example, some see it as a choice and others see it as destiny, some
believe in hard work while others believe in enjoying life. In this topic
you will study how this theme has been tackled in the audio/visual
media of films and songs.
,ti Activitg 4 The theme in songs
Fflill,l Listen to the song in the web links box and ansrrrerthe questions that follow.
a) What isthe songrriters'perception about life and
career choices? QD)wee uNKs
b) How do the followingwords and phnses reinforce the Go to www.youtube.com and
search for "The Climb by
songwriters'perception about lifu and career choices?
Miley Cyrus".
I am dreaming - faith is shaking - keep mg head held
Songwriters: Jessi Alexander;
high - uphill battle - the climb - I'm not brcaking - Jon Mabe
keep going - got to be strong.
c) What other genre [song) features, like music, figthm, and so on
contribute to reinforcingthe theme here?
Eff,f! Listen to the next song in the web links box below and answerthe questions that follow.
a) What is the songwriters' perception about life and career choices?
b) How do the following words and phrases reinforce the
songwriters'perception about life and career choices? CD)wea LINKS
Go to wwwyoutube.com and
Seize the moment - tomorrov/'s gonna come Uour wag - search for "Beautiful Life by
walk in the parkwhen gou feel down
beautiful life - - Ace of Base".
lift gou up - laughing child - someone to guide gou. Songwriters: Jonas Berggren,
c) What othergenre [song] features, like music, rhghm, John Ballard
and so on contribute to reinforcing the theme here?
dJ How does the song portrag life? ls this portragal of life the same or
different to the theme of the previous song "The Climb"?

Eff,f! After listening to the two songp consider the fullowing
a) Oia the music add to the clarification of the theme? How?
b) Did the music video add to the clarification of the theme? How?
c) What can be the genre features [elements) of an audiovisual genre?
()! oloart coNTExTs

? ATL SKILLS
Media literacg
Demonstrate awareness of media
interpretations of events and ideas
t Activitg 5 The theme in the film Jerrg Moguire
EEf,If Read the tollowing quotes firom the ftlm and fiffiI6ffilwhat the main themes of the fitm coutd be.
Quotes by the main character:

. I'm cloaked in failure! I lost the number one draft" pick the night before the draft! hrhy?
Let's reeap.: Becouse a lackey player's kid made me feel like a superftcial jerl* I ate two
s/ices of bad pizzo, went to bed and grew a consctence!
. I will nof resf until I have you holdtng o Col<e,
wearing your own shoe, playing a Sega game t f
featuring you, while singtng your own song in a

Terms you need to know:
new commerctal, starring yott, broadcast durirry
Draft: a process by which
the Superbowl*, tn a game thot you are winntng,
spofts teams select new players.
and I wtll not sleep unttl that hoppens.
Superbowl: the annual
. We ltve in a cynical world A cyntcal world And we championship game of the
work in o business of tough eompetitors, National Football League, the
Quotes by other characters: highest level of professional
. American football in the United

Hey-. I dont have all thconswers. In life, to be
States, culminating a season
honest, I have failed as much as I have succeeded
that begins in the late summer
But I love my llfe.Ilove mywtfe.Andlwtshyoumy
lind ofsuccess. of the previous calendar year'.
r Ir's not "show frtend,s.o lt's "showbusiness".
Chapter6 | Genreandconventions 43
ffllltf Read the film rwlu and make notes on what gou like about the plot of the film and the concepts
and issues it discusses. Ihen ansrer the questions that follow the review.
Reuiert, of tlrn ftlmJerry Magvtre by James Berardinelli

Every time I thinkHollywoodlws slippedbeyondredemptiory someone inthe sysfemproduces
a film lil<e Jerry Maguire that renews my fattL Apparently, creativity ts not dead in the
moin1trecrm mwie marl<et - not entirely, at least. Thfs fs the kind of movie that remtnds me
why I started reviewing in the first place, Jerry Maguire ts magic on celluloid-fresh, funny,
tomanrticrandupbeat. You'll leave the theater with a smile onyour face and perhaps a tear in
your eye,
Personally, I never really bought Tom Cruise os the actton lead in Mission Impossib/e.
Here, however, the actor is playing to his strength, whtch lies rn an arena that demands less
tesfosterone. Leave the stunts and explostons to Schwarzenegger and Sfollone. Cruise is best
wlenhe stays low lcey and flashes the occasional smtle. And, tn thts ptcture, surroundedby a
superlative supporting cost, his abtltty shines. Jerry Magutre works becouse we root for the
title character, and it's Cruise's performance that forges the ltnkbetween his screenpersonde
andthe audience.
As sporfs agent Jerry Magutre is facingo crdsis of conscienee (that
th,e matteoper?s, super
he srlllpossesses one after working in such a qntcal, moteriolistic business is something of a
mirocle). He wonders what he has become - "Just another shark in a suttY He realizes that
he hotes himself and his place in the world" and laments that, akhough he has a lot to say, no
one wtll lisrea So, late one night, he wrttes o Mission Statement called "The Things We Think
and Do Not Say: The Future of Our Business". The essoy attael<s the sporfs agency business,
, advocattng a more humane approaclL TI:.e next day, ct copy is disrribute d to everyone in the
office. And akhough Jerry's co- workers applaud his courage ('somebody ftnally said what
hadtobe said),his bosses are offended andhe /oses his;ob. Only one client,unremarkable
Arizona Cardinak wide receiver Rod Tidwell (Cuba Goodtng Jr), elects to rematnwith Jerry
os he stnles out on his own- Also jointng htm * d ziyear old single mother, Dorothy Boyd
(Renee Zellweger), who rs so moved by Jerry's Mission Stotem ent tlwt she's wtlling to throw
away o, safe job to be part of hts new venture.
In an era of downsiztng and force reducfions, it's edsy to understand what happens to Jerry.
Hespecfts hismind,crying outforcompossion andcartng,only tobe slappeddowruHeis
branded as a loser because he dares to swim against the heartless, prevalent business
Jerry finds himself in deep, uncertainwdters, but his indefatigable sptrtl bolstered by rrreless
support from Rod and Dorothy, helps htm navigate the most dangerous eddys.
Jerry Maguire is about redemption ondlove. It's about findtng one's heart and soul in a
business climate that attempts to rip both away. Writer/director Cameron Crowe, who
previously helrned Say Anythtng ond Singles (tn addtHon to scripting Fost Times ot
High), brtngs both a strong sense of verisimiliatde and a ltvely wit to hts ftlm Even as Jerry
Maguire recches out to the heort, it tickles the funny bone.
Foranyone who has forgotten the feelings that a wonderful movte can trigger, Jerry Magutre
provtde s a w elcome reminder.

a} List the ideas discussed in the review that are connected to the theme of "Life perception
and career choices" and how the reviewer interprets it.
b) Do Uou agree or disagree withthe reviewer's points of view? Whg? Why not?
cJ What is the tone of the review? Give examples from the text.
d) What is the beslthing gou like about the review? Whg?
Hff,f;f Watch ctips from the filmJerry Moguire on YouTube and write gour interpretations about
the following:
(l; er-ost coNTExTs ? ATL SKILLS

i Personal and cultural expression Media literacg
I
i
interpretations of events and ideas.
I
t Activiig: 6 The theme in the film lhe Pursuit of Hoppyness
EHf Watch clips from the fitm lhe ftls uit of Hoppgness on YouTube and find a sgnopsis online to give
an overviewofthe s1ory.
i Answer the questions below:

a) How woutd gou interpret thetitle of the film? fwhat do
bJ What is the theme of the film?
I
c) Oia the main character in the film leave his future to
I
to achieve?
dJ What did ittake to achieve his dream?
eJ The film deals with some ideatistic concepts. Which do gou agree with and which do gou have
j
1 some doubts about? Whg?
fl The following quotes are from the fllm. Choose the one gou like best and mention the reason.
I
a When he SECS the man in the expensive red car (Fenari).
:'
"Sir, I have two questions foryou: What do you do? and'How do you do iff'
. When he is speaking to his son.
"Dont ever let somebody tell you you eant do something. Not
got a dream... You gotta protect it. People cant do somethin' wanna
tell you you cant do it. If you want
o After he was accepted as an employee in the compan)4 going down the stairs.
"This part of my life... this part right here? This is called trappyness'."

FlllljFf After exploring the trro songg and the two films in this topic, an$,ver the fullowing questions:
aJ Mention in one statement how each song and film tackles the themes of life, careers and
the futurc.
b) What is common in their perceptions and:what is different?
c) According to how each song/film perceives lift, what would be the meaning of happiness
tothem?
d) Which do gou agree with? Whg?
([]] etoeat coNTExTS

? ATL SKILLS
Media literacg
interpretations of events and ideas.
Reflection
Consider the following,
. What did you learn about by doing this comparison?
. What don't you understand?
. What is your next step?
Exploring a theme in artieles

This topic continues to explore the same theme of "Life perception
and career choices" in the genre of written media. You will explore the
theme in social media articles and magazine articles. Through social
media articles you will be able to see a different view of the theme.
Social media articles are more personalized with a strong sense of
authenticity. Magazine articles often present a stand about an issue.
This genre uses features of well-chosen words to appeal to readers.
t Activitg 7 The theme in social media articles
Effl End in mind:

lmagine it is gour 7&h birthdag where allthe people gou know are around gou, what would gou
want to hear from them when theg talk about gou? You might think about the following people
beingthere:

. Familu members: Sisters and brothers, Sons and daughters,Aunts and uncles.
. Friends: Close, Not close.
. People gou workwlth: Emplogees, Colleagues, Boss.
lf one of those people werc to write a Facebook article about gou at 70, how do gou think gou would
be described?
EHllIiFf The fotlowing is an article written bg a former student about her teacher who has died. Read the
article and then answerthe questions that follow.
A*ielre ohoutteaeh,erby Noren Shafty

I didn't realize until today how mueh I'dleamt fromhim A
wtth a ringing voice that caught you even before rnaktng a
a teenage girL
Today I read that he'd possed away earlier in the moming,
Facebook, I found that I couldn'f sfop thtnktng of htm How we were
Sir, not Mtster, and how our British teachers would explatn that we himas
Str Waltthougla ashe hadnot received aKntghthood!Butlooktng bach I thtnkhe desented
more thanthat tttle.
Dtsctpltne and punctuality; dore any of us be ltngertng outstde c/oss before his /esso4 or
not have our books ready on our desfts, or not stdnd tn attentionos he crosse d the classroom
threshold Never! He'd wahk in and look down at us ignorant credtures of the magical world
ofscience.
The Periodtc Table and Mendeleev, atomic numbers,valencies, elements, oh I c:an remember
iust now when he explained how oil was formed and what the Shell on the gos stouons
represented Hts neat handwriting on the blackboard, the labeled diagra,ms in multt-colored
chalb anduswhile copying everything down as neat ospossib/e.
The best treat was the visit to the tab, qnd us walking behtnd htm down
up the stairs tn a to sitbehind the woodenbenches, and Mr.
fuming miraales wondering eyes.
andso grown tomy parents andtelling themthat
that day.
hepartng for Speech Ddy wa,s a time of excitement, mtsstng /essons for th.e chotr and prize
winners,learning how to curtsy for girls, andbow forboys. Dtrections of walktng to the stage,
then back again- On the day of the big event, no nonsens e was allowed, just one look from Mr.
Wali looming at the side wos more than enoughfo ser us stratght and stop our silly giggles
midway. I doubt that our parents had that effect on us.
Then sometime, when we werein senior sc hool, we heard, that Mr. Wali was ill, a,nd thot
he would be traveling to England for a heart checkup, as far as I recalL Was that why he
was betng so sweef on d ktnd to us all of a sudden? He traveled for a short whtle, and came
backhealthy, and Boom! ThBre he was shouting at the top of hts lungs, chastng all those
chatterboxes bocft in closs.

Yes, if there wr:s crny organtzing to be done, it was better done with Mr. Wali tn the
background Ltke the first day of school,whenltnesu,ere sef sfroight for the saluting of the
flag in thn patto. The pattern would be repeated daily, and we had to move quickly and
quietly up to our classrooms. No time wasred I can stillsee him withhts silver grey hair and
stem loob one arm crossed ogoinst his chest leaning on the other, whichwos roised with one
finger resting on his cheekbone. Yes, we had to learn it properly from the first day.
In zoot, my closs celebrated our zgth year of graduatton, by having os o Silver Jubilee
reunion in our school dining roonr We were over fony srudents, with their families, and most
important of all many of our teochers Lrere presen t, includtng Mr. Walt We lovingly sang
?ioneers",souyendrs were distribute{ cheers were called out, and teochers couldnt believe
the naughty boys turned out tnto fine young men That wos rhe last time I saw Mr. WalL and
I'm almost certatn I caught a look of pride in hfs eyes as a few of us stood beside him for one
of the picdtres.
Dear Sir,
Pleose allow me to salute you one last ttme;
Three. cheers for Mr. Wali!
HipHip,Horray!
Hip Hip, Honay!
HipHtp,Horray!
Your forever grateful student,
NoranShafey
aJ What kind of person was Mr Wali? Support with evidence from the text.
b) How did he make his personal decisions? Support with evidence from the text.
cJ How did the author of the article make us view Mr Wali? What descriptive language was used
to make a vivid image of his charac{er?
dl Whg do his students remember him even now? Support with evidence from the tert.
('j! oloarl coNTEXTS

3 ATL SKILLS
Media literacg
t Activitg I The theme in magazine articles
Read the extftlct and answerthe questions that follow.
Ilcrpptnece fsfirele&rmfo chooee b!/ NZ Herald

['l tr climate is a cause for despair and thetr htgh tax mtes would be a rum-off to most, but the people
of Denmarkhave found ahappiness eltxir .

That, at /eosf, is the concluston of rwo srudies published this year. The first, by Leicester (Iniverstty
reseorchers, proclaimed the Scandtnavian natton the happiest in the worl{ and now that ftnding has
been echoed by the UnitedStofes Government-funded World Values Survey.
In the latter, New Zealand ftntshed. tSk, a respectable if not resounding rating that, at least, made tt a
happter place than the tJS, Australta and Britain-
Why Denmark? The study dtrector, Ronald Inglehart of the Untversity of Michigan's Institute for
Socdo/ Rese arch, points to ite prosperity, democracy, social equaltty and peaceful atrnosphere.
Yet New Zealand, to a fatrly large degree, shores the same attributes. Why, then, are New Zealanders
Perhaps that also explains the relatively modest positton occupted by the
are prosperous and thetr country also ranks relatively well insocio/ equaltty and
they
and
ouotient.
The surveys' main conclusion is that the most tmportant determinant of happine,ss ls fhe extent fo
which people have free chotce tn how to ltve thetr lives. This is the more relevant gtven that last-placed
of the Sz countries analysed is Ztmbabwe. Prospertty, democracy and peace have become alien
concepts there as Robert Mugabe's thuggtshregime clings to power.
The study, in facl proves a reply to those who claim money cdnnot help to buy happiness. People of
rtch countries fend to be happier than those of poor countries.
The researchers o/so found that, globally, happtness had risen substanttally, thanks tn no small part
to unprecedented economic growth in low-tncome countriessuch os Chtna and Indta Money that ltfts
people out of poverlt prompts o sense of wellbetng
Other factors hove helped. this global trend.. Mony medtum-income nations have become democractes,
and there has been a sharp rise of gender equaltty and tolerance of minorttfies in develqped socieftes.
According to the study, democrattsq.tion and rising tolerance have more impact thsn econamtc
growtll But, when stacked together, a{,1 three provide people with a wtder range of choiee in how to live
their lives. They become genuinely and perpe&rally happy. Ihis is not the short'term joy produced by
cross consu merism or wtnning Lotto but a more deep-seated contentment.
All thts wtll not exactly enchanr those who decry the diminution of traditionalvalues or pred.ict
sociefo/ disintegratton- /hey perceive only unhappfness. Nor will it tmpress those who romanttcise
poverty. Doubtless, they will say too broad a brush ho,s been applied
Even if this is sq ft rematns impossible to overlook the message about the importance of freedom
of chotce.
It is one for allseosons, and for all countrtes.

al What is the meaning of the following phrases underlined in the text?
iJ tum-oft
iiJ a happiness elixin
iiiJ erodesthe happiness quotient:
iv) that lifts people out of povertg:
v) too broad a brush has been applied:
b) How did those phrases better clarifg the message of the article?
c) Wtrat do these bold and underlined words in the text referto? The first one is done for gou.
i) Their: the people of Denmork
iiJ its:
iii) that:
iv) Theg:
d) How did those reference words better clarifg the message of the article?
€i! stoat coNTExTS

3 ATL SKILLS
Media literacg
,ti Activitg 9 Assess gour understanding
Eflllfa Get into pairc orgroups. With gour pair/group choose one of the fullowing interactive oraltasks.
Task 1: A television talk show with a focus on a topic under the theme "Life perceptlons'. Choose
either "Do dreams or desting drive our future?", or "What is happiness?".
ln this oral task the talk show is done bg 4-6 students where each group member adopts
a character that is relevant to the topic discussed. For example the host, a life coach, a fi!m
producer, a book author. This aaivitg should last approximatelg 20 minutes.
Task 2: An interview with the director of the film Jerry Moguire ot The Pursuit of Hoppuness.
The interview is done bg two students, one plaging the interviewer and the other the director. This
activitu should last approximatelU 20 minutes.
Teak 3: A debate between two groups with opposing ideas.
One group is to be for'Desting" the other for "Decisions'. The debate can be done bg 6-8 or more
students. You divide gourselves in two groups each adopting an opposing idea. This adivitu
should last approximatelg 20 minutes.
f{Iftf Aftergou have chosen Uourscenario, gou should each prepare independentlg and then come
togetherto do the interactive activitg spontaneouslg.

O! e toam coNTExTs
0 ATL SKILLS
Communication
Reflection
. What did you learn about by exploring written media?
. What don't you understand?
. What is your next step?
Summary
Through the related concept "Genre" any theme can be explored
in different contexts and from different perspectives. The author's
choice of genre and its conventions frame ideas and thoughts to
give it the form that suits the audience and situation. In this chapter
exploring different genres written about the same theme showed how
the use of genre conventions helps in delivering the message in a
manner that suits the context.
. Consider how this chapter helped you develop your ATL skills.
. What are the ATL skills you worked on most in this chapter?
. How can you share them to help peers who need more
practice?
. What will you work on next?
Referenees
Berardinelli, J. 1996. Review of the filrrr Jerry Maguire.http//www.
reelviews.net/moviesf /j erry.html.
De Bruxelles, Simon. May 5,2006.'Actress Dies after Plastic Surgery

Heart Accident". Times Newspapers Ltd.
Hopplness Is Freedomto Choose.2oo8. APN New Zealand Limited.

Herald, NZ. Retrieved from http//www.nzherald.co .nz/opinron/news/
article.cfm?"_id=466&obj ectid=ro5 zoo 43.
Huss-Ashmore, R. Spring rggg. "The Real Me: Therapeutic Narrative in

Cosmetic Surge4/'. Expedition Magaztne. Vol 4r, number 1.
Shafety, N. zoog. Retrieved from Facebook EGC all Generation page.
The Beauty Diary.2oog. Shopping tnParts: My Beauty Diary. The

Beauty and Health Site ozoog About.com, a part of The New York
Times Company.
CHAPTER
7 Str-{ieture I KEYCOilCEPT FOCUS

corruilrcATr0il
GLOSSARY
INOUIRY reExploring openings and their functions Cailm within
OUESTIONS r What are the functions of openings? a break or pause
a line of poetry made by a
Exploring structure in poetry comma, full stop or line break.
I} The purpose of a caesura is to
r How canyou use structure in poetryto help
add emphasis, suggest balance,
communicate purpose and message? or create a change in pace.
; Walking and talking your way through structure lhurmm the conclusion of
plot (resolution of conflicts,
I What are the key elements of the structure of a text at a
misunderstandings or unsolved
sentence and word level?
mysteries).
SKILLS ATt ffiEtet the depietion of
/ Use appropriate forms of writing for different purposes a scene or event in the past
and audiences. through memory speech,
dream, narration or description.
/ Draw reasonable conclusions and generalizations.
hrrdt {otrfts something that
/ Recognize unstated assumptions and bias.
gives an indication or hint as to
/ Use a variety of speaking techniques to communicate what may occur later in the text.
with a variety of audiences.
/ Wite for different purposes.
COMMAND TERMS
{ Use existing works and ideas in new ways.
/ Read critically and for comprehension. [Anatgdlbreak down in order to
bring out the essential elements
/ Organize and depict information logically. or structure. To identify parts
/ Evaluate evidence and arguments. and relationships, and to
interpret information to reach
Langruage and literature conclusions.
/ Articulate thoughts and ideas in a variety of ways.
rcr?atA to evolve from one's own
t/ Articulate thoughts and writing skills by organizing ideas thought or imagination, as a
and information using a range of text types. work or an invention.
e/ Employ organizational structures that serve the context Discuss offer a considered and
and intention. balanced review that includes
a range of arguments, factors
OTHER Connections Character Style or hypotheses. Opinions
RELATED
or conclusions should be
CONCEPTS presented clearly and supported
by appropriate evidence.
tExaminel consider an argument
or concept in a way that
uncovers the assumptions and
interrelationships of the issue.
List give a sequence of brief
answers with no explanation.
6t l-anguage and Litenture

Introducing structure
Structure is central to the way we organize our ideas, it even reflects
our thinking patterns. Structure comprises a number of elements and
can be considered on difi*rent levels. For example:
. text structure
. sentence structure
. word structure.
As you discovered in chapter 2 on communication, the structure of a
text varies according to:
r the context of culture and situation
o the purpose of our communication
o the audience and method of communication.
t Activitg 1 Considering texts gou read, write and view
Through gour studies in language and literature, as well as in othersubiectareas, gou will produce and
analgse a range of spoken, written and visualtelits. Look atthe table'that follows and think about different
text tgpes and howtheu are structured. While the texts listed are di$crete tens, mang of the te)fts gou
encounter are made up of a rilnge of tert tgpes and forms. For example, a science practical write.up could
involve a procedure or recount of the experiment, an explanation of the process, an analgsis of results, and
a discussion of the conclusions reached.
Think of differenttgpes of texts for each intended writing purpose. Add them to the fa
The table shows both factual terc tgpes and their forms, and response text tgpes and
examples have been included to Bet
Purpose Text tgpe Specific purpose How are these texts Examples
of structured? I Subjects/Texts/
writing Activities)
Procedures To show how . Goal . Design
to carru out an ! Materials needed Iinstructions
experiment or . Methods in series of staged for a project)
procedure. steps a
lnstruct t
or Procedural To record . Aim a Science
record recounts or records procedures or . Record ofevents [write-up of a
results. . Results practical)
t Conclusion a
t
ChapterT I Structure 53
r
Personal recount To record personal . 0rientation t Ang subject
Ifactual) events in the past a Record of events in order [journalor
chronologicallg . Evaluation memoir entrg)
to entertain or a
reflect. I
Recount
Historicalor To record events r Background . Visualarts
biographical about individuals a Record ofevents Iresearch
recount [factualJ or groups in the r Deduction or evaluation project
past. on artistic
movement)
t
a
Sequential To explain the t Phenomenonidentification t Sciences
explanation phases of a . Explanation sequence [diagram or
Imechanical, Process. description of
technologicalor To show how and life cacle of an
naturalsgstems) whg the phases animal)
occur in that a
Explain
order. a
Causal/ To explain a outcome a 0ccurrence . Geographg
Consequential reasons or a Reasons a Consequences [water cAcle]
Iexplaining whg) consequences r Review r Review I
relatingto an a
outcome 0r event.
Narrative To entertain or . 0rientation . LanguageA
Entertain
instruct reader. . Complication [short storg)
. Resolution a
t
Taxonomic Todescribe the . Generalclassification . Science
classification into parts of a group or Iclass/unit) Iclassification
tgpes Isubclasses) sustem. . Oescription [tgpe/part) of mammals)
To present t
Report or information about a
0rganize the living or non-
livingworld, orto
explain how and
whg something
occurs.
Analgtical To put forward a . Thesis . Historg
Argue or
Ipersuading "how") point of viewto . Argument for one position Ipolitical
Persuade
argue one side of ! Reinforcement of thesis or speech)
an issue and to summing up position a
justifg it.

lnterpretative To present case t lssue . Language A
Ipersuading "how") for different a Series of arguments or Iessags)
Discuss
points of view, perspectives t
or
concludingwith a a Judgment, position, a
recommendation recommendation
Persuade
based on
consideration of
the evidence.
Evaluative To argue against . Position challenged t Ang subject
Ipersuading "how") another person's . Arguments against Idebate
Challenge point of view. r Antithesis speech for
or one side of the
Pe rsua de argumentJ
!
t
Personal response To articulate . 0rientation . Performing
an individual t Tert description arts Ireflection
response to a a Comment on peer or own
work of literature performance)
or art. a
a
Reviews To assess the a Content . Bookorfilm
appeal and value r Text description reviews
of a work of r Judgment t
literature or art. !
Respond lnterpretations To interpret the t Text evaluation . LanguageA

message of a . Text sgnopsis Iliterature
work of literature ! Reaffirm the text evaluation circles)
or art. a
a
Critical responses To analgse or r Text evaluation I Language A
evaluate the a Text deconstruction fwritten or oral
message in a . Challenge the text evaluation commentarU
work of literature on a Poem or
or art. Prose extract)
a
a
(li) etoart coNTExTs

3 ATL SKILLS
Communication
Use appropriate forms of writing for
different purposes and audiences.
ChapterT I Struaure 55
Exploring openings and
their funetions
Openings in texts are essential in order to establish the context of a
text and engage the reader's interest. It is essential that you capture
your reader's interes! whether you wish to write a newspaper headline,
the introduction to a critical analysis or the opening scene of a novel.
The opening of a text performs a number of functions, which include:
. introducing characters and relationships
. introducing a conflict
. establishing the time and place
. explaining anything that happened before the action began
. introducing symbols or motifs
. establishing a mood or atmosphere.
,ti Activitg 2 Analgsing openinBs
ln this activitg gou wil! analgse the openings of a varietg of different texts taken from both fiction and non-
fiction texts. ln preparation, gou will need to find some different text tgpes. You can use examples from this
book or ang texts Uou are studging in class.
ln pairs or a small group, studg the openings of the fiction or non-fiction lt I
texts gou have chosen and answerthe questions below:

Examples of non-fiction
a) llow does the title of the text pteview what follows? texts are newspaper articles,
b) How doesthe opening engage gour interest and make gou editorials, web pages, film
wantto read on?
reviews and story openings.
cJ How do subheadings give further clues as to the text's
structure?
d) How are visuals used to add context to the tert? What clues do theg offer?
el Which people or character[s] are introduced and what are their relationships to each other?
How do gou learn about them fdire*lg from what theg sag or do, or indirealg from what others
sag aboutthem)?
fl Who is speaking? From what point of view are events presented [firs-t person orthird person)?
g) How are the setting mood and atmosphere established and communicated?
h) What potential conflict or conflicts are established?
il Are events described.in chronologicalor non-chronological order? Give reasons whg the writer mag
have madsthis decision and explain its impact on the rest of the text.
j) How efftctiVe isthe opening in communicatingthe text's purpose and message?

(i! sroert coNTExTs 3 ATL SKILLS
Personal and cultural expression Critical thinking
generalizations; recognize unstated
assumptions and bias.
t Activitg 3 Death and the Maiden
GERARDO (voice off): You sure you don't want to come in? Just one fur the rcad (muffled rcpA . . . .
Right then, we'll get together before I leave. I've gotta be baek by. . . Monday. How about Sunday?
(muffledreply)....Mywifemakesamargaritathatwillmakeyourhairstandonend....Ireallywant
you to know how much I appreciate . .. (muffledreply) See you on Sunday then. (He laughs)
Paultnahides the gundway.She stands behtndthe curtains.The car drives oft

room ag air'G erardo enfers.
GERARDO: Paulie? Paulina?
I{e sees Paulina htdden behtnd the curtatns. He switches on o lrgha She slowly
curtains.
GERARDO (cont'd): Is that...? What're you doing there like that? Sorry I took this long to... I....
PAITUNA (Wtng not to seem agttared): And who was that?
a man
GERARDO (cont'd),Poor little love. It must've got col{ right, the--

PAITUNA (very calm, till the end,'of tlle scene): We can heat it up. As long
celebratg that is. something to celebrate, that is.
Eff,lI Ansrver the following questions:
a) What is the setting of the plag and how is the setting established?
bJ How is dramatic tension created through a range of dialogue, stage directions, and visual and
auralde.vices?
c) t{hat isthe mood and atmosphere and how are theg communicated?
d) How are characters and their relationships introduced?
eJ What is the keg conflict and how does the plagwright leave the audience asking questions?
f ) Whatverbal and non-verbal devices are used to create tension?
g) What keg props and sgmbols are introduced?
h) Having read the whole tent, are ang aspects of plot ffiffia
Eff,f! Lookattheopeningsofotherter(sandmakealistoftechniquesgoucoutdusetomakegourown
openings engaging and interesting.
(l]! etoert coNTExTs

I ATL SKILLS
Critical thinking
generalizations.
tti Activitg 4 Explori n g narrative structu re th rough i m provisation
lFm'inclFregtag's tdangle below. Work with a partner to create a basic narative plot that follows each of the
stages on the outline of the triangle from beginningto end.
climax
crisis
c
.9
t
tr
P
resolution
exposition
Time
r lntroduce the characters - their roles and relationships

Exposition r Establish the setting in time and place
r lntroduce the conflict faced bg the character(sJ
r Develop the conflict and build tension
Rising action . Create a moment of crisis with a climax - the point of highest
emotional intensitg. This is the turning point in the action
Falling Action r Show how the protagonist's fortunes change for the worse

With a partnerFiEate-ltrrvo improvised scenes usingthe following diatogue. When performing gour dialogue
gou could choose from the following scenarios below or create [command term stgle) another scenario of
gour choosing.
Dialogue
A: Hello
tl
Follow Freytag's triangle
B: Hi
structure. You will need to
A: What are gou doing?
B: Not much
think about how you can use
verbal and non-verbal cues
A: Angthing interesting?
(such as miming actions and
B: Not reallg
gestures) during your scene.
A: Bge
B: See gou later
Scenarios
o Ateacher discovers a student with a cheat sheet in an exam.
. A man waits for his date in a restaurant and sees an attractive girl. His date, who is a
different person, enters.
. Ashopkeeper sees a customertrgingto steal something.
. An office worker is late for a meeting. The manager is waiting.
Before gou begin gour scene decide how gou will do the following:
r establish who gour characters are

I a
ftheir roles and relationships)

0rientation If you are creating a dialogue,
a establish where the scene is
be sure to stick to the lines and
taking place
words listed in the dialogue
a create a complication that creates
above. If you are working with
Rising action tension
a scenario, use language and
r create a moment of climax
vocabulary appropriate to the
nt?tiair,#+ied$ilj\
.:.'.- r:r* ..- -.rrl.-l j! a create a resolution scenario you have chosen.
(l]) e rcell- coNTEXTS

I ATL SKILLS
Communication
communicate with a variety of audiences
,ti Activitg 5 Spreading the news
Newspapers and magazines use headlines and opening paragraphs to grab the reader's attention and
create a sense of excitement and interest.
With a partner, write a sensationalized newspaper headline and opening paragraph. Use the plot from one
of the scenarios gou created in Activitg 4. lt should engage gour reader's interest bg communicating keg
information aboutthe plot and conflict, and highlight keg elements of the narrative.
Your headline must:
o fitthe storu and tellthe readerwhat it is about
. make the reader interested in the story and want to read on
. be visuallg striking enough to grab the ege of readers
. fit into a verg limited space [aim for about six wordsJ
. capture the reader's attention using:
o sensationallanguage
o emotive language
o puns or a plag on words
o the present tense for recent past
o no definite and indefinite articles.
The opening paragraph should trg to answer as manu of the five W + H questions as possible [Who? Where?
When? What? Whg? and How?1.
(li) stoeat coNTExTS

? ATL SKILLS
Communication
Write for different plrrposes
Filmmakers and writers often use

structure to shape the reader's or viewer's
experience. Many films and texts do not
run in chronological order of events, rather
they begin just before the moment of
climax and then rrse ffiHffi to explain
how events lead to the climactic moment.
lookat the
To illustrate this point
children's story Ihe Three Little Pigs.If.
you examine the basic structure of The
Three Ltttle Ptgs and show it visually, it
would look like Figure 7.r.

Figure Zl How the action develops in Ihe Three Little Pigs
0RIENTATI0N: We meet 3 pigs. Their quest is

to build their own houses.
COMP 1: Wolf blows down straw house. CRISIS
TR l: Pig runs to Znd pig s house.
C0MP 2:Wolf blows down stick house.
TB 2: Pigs run to 3rd pig s house.
CRISIS: Wolf climbs down chimney.
COMP 2
, RESOLUTI0N: Wolf falls into boiling water. TB2
COMP 1 TR1
C0MP = complication
ORIENTATION TR = temporary resolution RESOLUTION
Imagine a movie version of the story that begins at point X on the

diagram above. The action of the story would start with two pigs
heading towards the third pig's house with the wolf in hot pursuit. The
movie could then flashback to how the characters got to point X.
t Activitg 6 Manipu lating the structure
Take a narrative text gou are studuing in class and think about how gou can manipulate the text's structure
to Produce an engaging opening for a movie. You can move thc plot around to ereate tensbn and gnb the
reader's or viewer's interest.
EEf,lI Usingthetemplatebetow,FrtElaseriesof5-l0shoethatoutlinetheopeningscenesofuourrnovie.
Make notes under each shot usingthe table as a guide.
Shot #: Seconds:
Draw gour shot here
Action
Sounds/music/dialo e
Camera shot/an e/movement
!n other effects
Effect on viewer
m Write a brief description of gour movie opening fur the class. Use the headings in the tabte to strucure
uoursummary.
1(.) oloelt coNTExTS
3 ATL SK!LLS
Creative thinking
Use existing works and ideas in new ways.
CD))weaLtNKs
For an example of a
eondensed version of a plot,
search www.youtube.com for
"The 32 second Macbeth".
Reflection
. How does the opening of a text affect the way a reader perceives
the material?
. Is the opening of a text more important than its conclusion?
. How can you use what you have learned in your own production
and analysis of texts?
Exploring strueture in poetry

The ability to analyse how poets organize their ideas to suit their message
and purpose can help you develop your own creative and critical responses
to reading and writing poetry. Thinking about the decisions a poet might
make can help you better understand the craft of poetry and the impact
these can have on the reader.
t Activitg 7 Considering structure and form
ln the followingactivitg gou will explore how structural TI D
features of poetrg plag a role in communicatingthe message, Some common structural

purpose and mood in a poem. features found in poems are:
rhyme scheme, Iine length,
Effl Studg the table of possible themes and list of sentence organization, stanza
possible poem structures (A-H), which present some Iayout and punctuation.
different visual lagouts of poems. Look at the themes
and ideas listed in the table and write possible poem structures nelit to each theme. Which one
best communicates the concepts, ideas and themes in the table? To help gou determine where
each poem structure could go consider:
. Howthe overall oryanization can create a sense of order, control, regularitg and logic, or a
sense of disorder, irregularitg, freedom and chaos.
. How the rhgme scheme can reflect opposition, harmong and balance, or chaos,
disorganization and freedom.
. How punctuation affects the pace and flow, reflectingthe fluid or stilted movement of thoughts
and people, or of ideas or actions.
. How atCItntr can be used to create a sense of balance or division.
. How sentence length can create a sense of order and regularitg, add emphasis and highlight a
change of pace or mood [such as building tensionJ.
. How stanza organization can implg a sense of brevitg, fleetingness or order, or reflect changes
in ideas, time and place.
Concepts, themes, ideas Possible poem Concepts, themes, ideas Possible poem
structures structures
conflict, opposition routine, order,
discipline and logic
independence, freedom of brevitg, fleetingness

movement orthoughts or snapshots
chaos, disorder and shifting, restless

disruption, rebellion movements, ebb and flow
balance and harmong stilted, stumbling

movement
unitg, cohesion and harmong a change, a

turning point
Poem structure A Poem structure B
a a
b b
a c
b d
c
e
d
f
c
g
d
Poem structure C Poem structure D
a a
b b
b a
c d
c !c
d e
e f
d e
;g
c o
5
f
g

Poem structure E Poem structure F
,a a
b b
a b
, b a
,c a
d b
, c ;b
,d a
t e ;c
t f d
e c
f , d
,g , c
g d
Poem structure G Poem structure H
a a
b b
,a c
b d
c e
d f
c ;g
d ._.h
EEf| think about other poem forms or structures gou have seen and how theg could communicate
different aspects of a poem's content and message. Consider what other concepts, themes or
ideas might be represented bg the structures in this activitg.
(li) etoerL coNTExTs

? ATL SKILLS
Communication
ChapterT I Struaure 85
,ti Activitg 8 Structure in poetrg
Considerthe role that structure plags in the meaning and interpretation of poetrg.
Ef il The followingtext is a poem bg William Blake catled London.lt has been written here as one long
paragraph. As a group read through the lines and arrange them into a poetic form. You will need to
think about how gou organize the lines in orderto highlight:
. keg words, phrases or ideas
. transitions in time or place
. a change oftopic, idea orconcept
. a turning point in the action or a change in the charaaer[s).
Make sure gou varg the pace and flow of the lines.
London b!/ Wil[ern Blake

I wander thro'each charter'd street, near where the eharterd Thames does flow; and
mark in every face I meet marks of wealcness, marks of woe. In every cry of every Man,
in every Infant's cry of fear, in every voicg in every ban, the mind-forg'd manaeles I hear:
How the Chimney-sweepey's cry every blaclCning Church appalls, and the hapless
Soldier's sigh runs in blood down Palace walls; but most thro'midnight streets I hear how
the youthful Harlot's curse blasts the new born Infant's tea4 and blights with plagues the
Marriage hearse.
E{EiFf Now search online for the original version ana tiscusdthe impact the organization of the te}ft has
on the meaningand message of the poem as a whole.
Eff,f! Poets tend to maniputate the structure of sentences in orderto create emphasis on certain words,
Read Wordsworth's poem about London and discuss how he plags with sentence structures in
orderto highlight keg words or phrases.
Compo*d Upon Wesfrltirwter Bridge by William Wordsrrorth

Eanh has not anything to show more fair:
Dull would he be of soul who could pass by
A sight so touching in its majesty:
This City now dottr, like a garment, wear
The beauty of the mornirig; silent, bare,
Ships, towers, domeg theatres, and temples lie
Open unto the fields, and to the s\y;
All bright and glittering in the smokeless air.
Never did sun more beautifully steep
In his first splendou4 valley, roch or hilL
Ne'er saw I, never felt, a calm so deep!
The river glideth at his own sweet will:
Dear God! the very houses seem asleep;
And atl that mighty heart is lying still!

Eff,!! Consider the content and structure of each poem and how the two work together and add gour
ideas to the table below. Some ideas have been added to start gou thinking.
London bg William Blake Composed Upon Westminster Bridge bg

William Wordsworth
Content Content
r attitude: negative . portragal: positive
t focus on the people t focus on buildings and landscape
a focus on suffering, miserg, social and a focus on beautg, splendour
political problems t focus on sights
t focus on sounds a
t t
a t
!
Structural elements and how theg reflect content Structural elements and how theg reflect content
a rigid stanza structure reflects idea of control of . lines organized to highlight phgsical aspects of
church and state the scene [ships, towers, domes, the riverJ
a !
a a
a a
Eff,f! Answerthe foltowing questions:

a) Both poets use a regular form to describe the citg. How do the different forms help
communicate the different aspects of the citg?
b) Why does Wordsworth use a sonnet form in his poem?
c) How does Blake use the structure of his poem to communicate the sense of control and
restriction he sees inflicted on the people of London?
l
dJ How does Blake use structure 10 communicate the lack of imagination and freedom of
expression he sees in the people of London?
e) How does Blake use repetition to express the universalitg of suffering he sees in the people
. ofLondon?
()) oroam coNTExTS

3 ATL SKILLS
Critical thinking
generalizations.
ChapterZ I Structure 87
Reflection
. To what extent do you feel poets make conscious decisions
about how they organize their ideas?
. How important is it to consider structure and its impact when
you read and write poetry?
Walking and talking your way

through strueture
A methodical approach to analysing texts will help you plan your own
writing. In the following activities you will look at some ways to analyse
texts and think about the planning process. You can use this to ensure
you present your ideas clearly and coherently to an audience, using a
range of features at text, sentence and word level.
,ti Activitg 9 0rganizing Uour writing
!n this activitg gou wil! analgse the wag texts are constructed bg writers. This will help gou to develop
strategies to organize gour writing in a clear, logical manner. You could trg this activitg on ang text Uou are
workingon.
EfflI Rcconetructlngtcxt
al Select a text [an article, an explanation of a process, a discursive essag, a speech, a scientific
report, a poem or an extract from a novel, for example).
b) gourtext into sections and mix up the sections so that Uou can no longer see its
Cut up
originalorder.
c) Swap texts with a partner and take it in turns to rearrange each other's text back into the
conect order using clues in the language. Think about how aspects of the text such as
subheadings,topic sentences and discourse markers give gou language clues.
d) 0nce gou have reconstructed the text, share the strategies gou used to r€construct the text
back in to its conect order. ffilang areas of uncertaintg and whg Uou mag have been
unsure of the order of ideas.
Eff,fJ Eqlorlngprngnphs
al lf the text has no subheadings think of summaries for each paragraph. TrU to summarize the
paragnph in one word or a short phrase.

b) Underline the topic sentences of each paragraph. Remember that while the topic sentence
summarizes the main idea of the paragraph, it mag not alwags be placed at the verg
beginning. lt should however be verg close to the beginning.
c) lffigelthe focus of the topic sentence and how it helps the readerto read the text. What
is its focus? ls it the cause or result of something? 0r perhaps it is the victim or agent of an
action or decision? How does this focus affect how the reader interprets the text?
d) Use a highlighter pen to mark specific examples or evidence given to support a point. How
brief and precise are the references? How well chosen and effective are the examples? Are
theg referenced correctlg?
e) ln the maryin write the Iefters EG wherever a specific
example is given. Write GEN in the margin alongside text
that uses general terms about the point being discussed,
butwithout giving evidence. This should give gou an
overview of how much supporting evidence is used in
relation to the amount of general comment.
fl Highlight ang transitions Iphrases such as furthermore,
also, but, however, in contrast) that help link paragraphs
and guide the readerthrough the text.
g) [ffiltne keg features of a well-construcled paragraph.
Eff,f! Eqlorlng lntroducrtlons

a) Read the introductoru paragraph closelg and considerthe following questions:
i) lf an essau, to what enent does the introduction putthe essag into context?
ii) lf an essag, to what elftent does it outline the keu ideas of the essag?
iiiJ To what extent does it answerthe questions: Who, What, When, Where, Whg and How?
ivJ To what extent does it express the writer's opinions?
vJ To what elftent does it grab the reader's attention or interest?
bl tDlsr,E[Awith a partnerthe role of an.introduction in:
i] tens in genera!
ii) the particulartext gou are working on.
EfIf,tI Exp t orl n g co n cl u s I o n s

a) Read the conclusion and consider the following queslions:
iJ To what elftent does the conclusion summarize the main aryuments?
iiJ To what enent does the conclusion offer a solution to a problem?
iii) To what extent does the conclusion end with a clear statement of the writer's position?
iv) To what extent does the conclusion make an impact on the reader? How does it do this?
bl lDiscuB with a partnerthe role of a conclusion in:
i) tens in general
ii) the particulartext gou are working on.
c) lffilttre ingredients of a successfulconclusion.
f{I!I[a Erglorlng vlsuats
tffiilUgol ang visuals (charts, graphs, photographs, imagesJ and think about the following questions:
a) To what elnent do the visuals help clarifg the communication?
b) Has the visual been referenced in the ten?
cJ To what elrtent does it complementthe writing in the text?
d) To what extent does it contradictthe writing in the text?
e) To what extent does it help offer context and add claritg?
fl To what elftent does it create an impact on the reader?
g) How does its position on the page affect the message of the text or paragraphs nearbg?
(,) oroell coNTExTS

0 ATL SKILLS
Communication
Organize and depict information Iogically,
,ti Activitg 10 Walking and talkinB Uour wag through a discussion essaU
ln gour final two Uears of the lB Middle Years Programme gou will be It D
asked to produce essaus, speeches and articlesthat persuade oraryue a

One way to clarify ideas in
case. Aryuments tend to put fonrard one side of a case while discussions
your head before you start
present both sides of an aryument and end with the writer sagingwhich
writing is to talk your ideas
side theg agree with. Reviewthe chart atthe beginning of the chapter.
through with someone. It
Remind gourself of the keg elements oftexttgpes and forms.
is also a good test to see if
you are ready to write. If
Eff,! Talklng through gour artuments
you cannot explain your
As a class, choose a topic or statement. Think of as manu
arguments clearly you are not
arguments as uou can for and against the topic or slatement
ready to begin writing.
gou have chosen. Trg to think of concrete examples to
suPPort uour arguments.
Your teacher will now select one observer. If gou are selected as the observer, gou will need to
walk around the class and observe the groups as theu work through the next two steps.
aJ Get into groups of five. ln gour groups consider one side of the debate. There should be
roughlg the same number of groups on each side of the debate forthis activitg to work. ln
gour group of five, agree on the best five aryuments or opinions to support gour case and
divide them among Uour group. Take one point each and come up with a specific example to
suPport and illustrate gour point. lf gou can, and Uour group is bigger than five, think of further
arguments to develop the point.

b) Use the writing frame below to write a short 3-4 line paragraph which states the point
succinctlg and includes an example as supporting evidence.
lntroducing the point lntroducing the example Explaining the example

A reason whg ... is .. This is seen for example that shows/suggests/
An argument for ... is when ... implies/proves/
Some people argue .. suPports the idea that
Theg claim ...
c) As a group, listen to each other's arguments and evidence. Decide on the order in which gou
would like to present Uour arguments to the class. Think about which arguments will make the
greatest impact on your audience.
Eff,fJ Walkingthrough the arguments

All groups should now come backtogether and furm two lines fsee diagram below). Each line needs
to represent one side of the aryument. Make sure Uour group lines up in the order gou decided on in c)
above, and is facingthe opposinggroup.Thiswill create a corridor 1-2 metreswide.
NOTE: Depending on the size of gour class gou mag have more or fewer groups than is shown in
the diagram.
Create two sides of the argument with a "corridor"
GB0rs I GROI'P 3
ooaaaaooooaooo
tl il t] t] t] il t] t] t] il il tl il 11
it ooaooaaooaoooa
tluutlt]il][ililililill]
08uJP,{ [M-6.l onruP6
a) ne student who was observingthe groups earlierwill now move down the corridor. This
person represents the reader moving through the essag, listening to arguments on both sides
as theg Progress.
bJ When the'reader" reaches Uou, Uou should deliver gour point and support it with evidence.
c) Once the 'reader' has moved all the wag down the conidor and heard all of the aryuments, he
or she should decide which perspectives are most convincing.
lf gou are the "reader', gou will need to begin bg saging "ln conclusion, ...'and state Uour
perspective and whg gou chose it. The aim is to make this closing phrase sound like the
conclusion of the essaU.
EEID For the "reader":

. How did gou fee! as Uou were moving down the corridor hearingthe different arguments?
r Which were the strongest arguments gou heard and what made them convincing?
. To what degree did the order in which gou heard the arguments influence Uour conclusion?
r Would gou have ordered the arguments differentlg? lf so, what changes would gou have
made and whg?
Forthe group:
. How did the exercise help teach Uou to structure and write an essag?
. What, if angthing have gou learned about Uour own process for constructing aryuments?
o What, if angthing have gou learned about how to improve the language of gour essags?
{li} eroaaL coNTExTS

? ATL SKILLS
Critical thinking
Evaluatc cvidencc ancl argunrcnts
ttt
Dummary
In this chapter you have analysed and explored aspects of structure
used in a wide range of texts and genres, in your own and others'
writing. You have become more aware of the role of structure in
communicating a writer's purpose, and how structure can help reflect
the writer's thinking.
To test your understanding of these concepts go back and review the

structure of the chapter, and then of the book as a whole, and answer
the following questions:
. How effective are the openings of both the chapter and book in
fulfilling the key functions outlined in Topic r?
. How effective is the organization of images and text in
reinforcing the thinking and ideas outlined in the chapter and
the book?
. What improvements could be made to the overall structure and
Iayout of text and images?

References
Blake W.London. The Poetry Foundation. Available at: httpy'/www.
p o etryf oundation.o rg/p o emf tT zgzg.
Dorfman, A. rgg+. Death and the Matden. Penguin Books; Reprint

edition.
Wordsworth, W. Comp osed Upon Westrninster Brtdge. The Poetry
Foundation. Available at: httpy'/www.poetryfoundation.org/
poem/yZ4TBB.
ChapterT I Struclure 73
I
CHAPTER
Point of view 9 KEY CONCEPT FOCUS

PERSPECIIVE
GLOSSARY
INOUIRY Narrative point of view
OUESTIONS r How does the narrator's point of view influence the Ccfe$Cd speechusedin
ordinary conversation and
reader's perspective?
not used in formal or literary
Can I trust the narrator? situations.
I How do critical readers analyse texts according to who lhmU a person who narrates
is narrating? something especially a
character who recounts the
Bringing different points of view together events of a novel or narrative
poem.
r How can bringing together different perspectives lead
to positive action? 0uaGdtrr not influenced by
personal feelings or opinions in
SKILLS ATL considering and representing
facts.
t/ Draw reasonable conclusions and generalizations.
./ Analyse complex concepts and projects into their OrmKm all-knowing.
constituent parts and synthesize them to create new
understanding.
COMMAND TERMS
./ Read critically and for comprehension.
/ Consider ideas from multiple perspectives. tffiigqel breakdown in orderto
or stmcture. To identify parts
Language and literature and relationshipg and to
/ Understand and identify different points of view and interpret information to reach
narrators. conclusions.
,r/ Analyze the effects of the narrator on a story and consider lTFpigl use knowledge and
what perspectives have not been represented. understanding in response
to a given situation or real
/ See and utilize Bloom's Taxonomy and its thinking levels
circumstances. Use an idea,
applied to the learning of a concept.
equation, principle, theory or law
,/ Plan effective action by bringing together different in relation to a given problem or
perspectives. issue.
Contrast give an account of

OTHER Structure Intertextuality Character
the differences between two
RELATED
CONCEPTS
(or more) items or situations,
referring to both (all) of them
throughout.
7tl Language and Literature

Introducing point of view
As defined in the MYP language and literature guide, point of view
is'the particular perspective brought by a composer, responder or
character within a text to the text or to matters within the text. It also
entails the position or vantage point from which the events of a story
seem to be observed and presented to us. When exploring this concept,
students will, for example, consider positioning voice and tone." Given
the obvious cross-over to the key concept of perspectivg this chapter
will focus predominantly on narrative point of view (literature), or the
point of view a story is told from. It will then move into journalistic
and historical point of view, still focusing on understanding the person
recounting the nonfiction (language).
Narrative point of view

Narrative point of view is something that we recognize from childhood.
We can recognize when books speak directly to us, when the
ffi
has a funny voice, when a book starts with "Once upon a time" or when
we determine right from the start that an unknown story teller is about
to tell us something that they once experienced.
Once a reader moves towards literary analysis, the necessary choices

of an author and their effects becomes slightly more complicated,
but children's books are a great way to define the concept of point of
view. This chapter is structured to move up the pyramid of Bloom's
Taxonomy to demonstrate the different levels of the thinking ATL and
to give context for the command terms.
Figure 8.7 Benjamin Bloom's Taxonomg
1st Person
First person narration uses "I" or "we" and puts us in the mind of our
narrator. We are involved in the story no matter where the storyteller
takes us, and we can oflen "hear" the thoughts behind their actions.
ChapterS I eointofview 75
The advantage of reading first person narration is that we really get
to know the character speaking-the whole story is written from their
viewpoint. We get to know their voice, both out loud and in their
thoughts. The example below, taken from Where the Red Fern Growsby
Wilson Rawls, shows these advantages. Notice how the diction or the
choice of words or phrasing and the sentence structure are o!ffi#l
('Along about then..."). What are the effects of having the narrator's
voice tell the story? Also, the reader is able to experience the moment
of realized personal growth as the narrator realizes it for himself.
Contrast how this would be different if it had been written in 3'd person,
with a narrator telling the reader that "Billy realized he had become a
full-fledged raccoon hunter"?
I was a proud boy as [walked along tn the twilight of the evening.
Ifelt so good even my sore hands had stopped hurting. What boy
wouldn't have been so proud? Hadn't my ltttle hounds treed and
ktlled their first raccoon? Along about then Idectded lwo,s a full'
fledged rdccoon hunter.
2nd Person
In the example below, you can see the power of speaking directly to
the reader (yor). Children in particular Iove this because it makes
them part of the story. Whilst this is not used as often in adolescent
Iiterature, it is still used in speeches, plays, dramatic poems, and in a
variety of situations for this same effect.
"You're off to Great Places!
Today is your day!
Your mountain is waiting
So... get on your way!"
3rd Percon
Take a look at the example below. The storyteller understands the
thoughts of many characters: the prince's daughter (Snow White) is
h"ppy, the stepmother is jealous, and everyone was "quite sure she
(Snow White) would become very beautiful." The narrator even knows
what the magic mirror said. If this was written in 1"'person, from the
point of view of Snow White, the narrator could only know what Snow
White had seen and heard personally. In this excerpt, the pronoun that
is consistently utilized in third person narration is "she" or "her".
"Once upon a time .. great castle, a Prince's daughter grew up

. in a
hoppy and contented, in sptte of aiealous stepmother. She was very
pretty,withblue eyes andlong blackhatr. Her shn wos deltcate and
fain andso she was called Snow White. Everyone was quite sure she
wouldbecome very beautiful. Thoughher stepmother was awtcked
woman, she foo was very beauttful, and the magtc mtrror told her
this every day, whenever she asked it."

Using the narrative point of view to gain insight
As you can see from the video mentioned at left, point of view can be
assigned to two areas of classificatron: the "grarnmatical person" ,..:,scc1
in the text and "Level of Insrght" of the narrator.

The grammatical person is shown by pronouns used,
. 1"r Person: ] or We
. 2"'l Person: You
. 3"r Person: He, She, or It, broken dov/n based on levei of insiclht.
The level of insight can be shown on a scale, with objectiv€ on one eirLi
and omniscient on the other.
. Objective: Like a video camera, dictating events throug}r rnrhat
can be seen and heard. No hidden thoughts or information are
shared. This is the leve] of insight a journaiist generally r,vants
to aim for, since rt does not inadvertently insert bias into the
reporting and just tells what happened. Also known as the "l1v
on the r.,r,a11" point of view.
. Limited Cmriiscient: The narrator only knows one character's
pornt of vrew, but presents other characters externally. Thrs
viewpoint is in tl-ie middle of the spectrum, givirrg more
freedom to a writer than first person or 3"i person objective, but
noL as much as 3 person omniscjenl..
. Omniscient: Simply defined, this equals "all knowing", mearr ng
the narrator knows everything that is going on and tells the
readers everyhrng they neecl to know from the viewpoint of
many characters.
Look at the short extract below. Analyze how Terry Pratchett uses the 3'd person point of view in Wyrd
Sisfers for comedic effect. Look at the chapter on Setting if you would like to see the intertextuality
shown here, derived from the scene in Shakespeare's Macbeth.
Wyrd Sisters by Terry Practchett

The night lvos os black os fhe inside of a cat. It was the ktnd of night, you could believe, on which gods
moved men os though they were pawns on the chessbo ard of fate. In the middle of thts elemental storm
a fire gleamed among the dripping furze bushes li.ke the modness in a weasel's eye. It illuminated
three hunched figures. As the cauldronbubbled an eldrttch voice shrieked: "When shallwe three
meet again?"
There wo,s a po,use.

Fi.nally another voice said, in far more ordinary tones:'Well, I can do next Tuesday."
ChapterS I Pointofview 77
Applging and analgsing narrative point of view
t Activitg 1 ldentifg and analgse point of view
1) ldentifg the point of view used in each passage below and 2J the effect it has on the narration
ofthe storg.
t. Pnlrla etla ew-mrcrby Jane Austen
Mr. Bingley had soon made himself acquaintedwtth all the prtnctpal people in the room; he was ltvely
and unresented danced every dance, was angry that the ball closed so early, and talked of givtng one
himself at Netherfield Such amiable qualittes must speak for themselves. What a contrast between
htm and hts friend! Mr. Darcy danced only once with Mr* Hurst and once with Miss Btngley, declined
betng introduced to any other lady, and spent the rest of the evening inwalking about the room,
speaking occasionally to one of his ownporty. His chorocterwas decided. Hewas the proudest,most
dtsogreeable man tn the world, and everybody hoped that he would never come there agairt
z. Tw lototslry Joseph Conrad

We were drtvtng along the road from Treguter to Korando. We passed of o smart trot between the
hedges topptng an earthwoll on eoch side of the road; then at the foot of the sreep oscenf before
Ploumar the horse dropped into a walk, and the driver jumped down heavily from the box. He fltcked
his whtp and climbed the incltne, stepping clumsily uphtll by the stde of the carrtage, one hand on the
footboard, his eyes on the ground After a whtle he lifted his head, pointed up the road with the end of
the whtp, and said: "The tdtot!".[ was stort/e d by hts outburst.
g. Pm-rm-rewfu Rud5Tard Kipling

Rikkt-tikki heard them gotng up the path from the stob/es, and he raced for the end of the melon patch
near the walL "I was not a day too soon" he said; for he could see rhe baby cobras curled up inside the
sktn, and he knew that the minute they were hatched they could klll a man or mongoose. He btt off the
tops of the eggs os fasf os he eould taking care to crush the young cobras. Nagaina spun clear round,
forgetting everything for the sake of her eggs. She sow she had lost her chance of ktlling Teddy, and the
last eg g lay between Rikkt-ukkf spows.
4. Wttrz Fexeby Jack London

They spoke no more until camp was made. Henry was bendtng over and adding ice to the bubbltng
a sharp snarling cry of patn from among the dogs.
pot of beans when he was startled by the sound of
Henry grunted wtth a tone that wois not sympathy, and for a quarter of an hour they sat on in stlence,
Henry startng at the fire, and Bill ot the ctrcle of eyes that burned tn the darkness just beyond the
ftreltght. Antcy wtnd circledbetweenthem and the ftre.
5. Ceupnrc OwW ErnestHemmingvray

To be really resred and get any benefit out of a vacation o mon must get a good night's sleep every
ntght. The first requtstte for this is to have plentlt of cover. It is rv'ttce as cold as you expect it will be tn
the bush four ntghts out of five, and a good pla.n is to take just double the beddtng that you think you
will need An old quilt that you canwrap up in is as wcrrm os rwo blankets.

6. Tm Ts.r.-rets Hse*rby Edgar AUen Foe
And every night, about midnight, I arned the latch of his door and opened it-oh so gently!
7. Atnuer, Fzaaby George On^tell

Three ntghts later old Major died peacefully inhis sleep. Hts body was buried at the foot of tl;r- orchard
This was early in March During the next three months fhere was muchsecret activity. Major'sspeech
had given to the more intelligent animak on the farm a completely new outlook on ltfe. They dtd not
know when the Rebellion predicted by Major would take place, they had no reoson for thtnking that tt
wouldbe wtthtn their ownlifetime,but they saw clearly that ttwas thetr duty to prepare for tt.
8. Irfrss8nzr, by Kathertne Mansfield

Oh how fasctnating tt was! How she enjoyed it! How she loved si tttng here, watching it alil It was ltke a
play. It was exactly like a play. Who could belteve the slE at the back wasn't patnted?
g. Hmnv Ponn na ns Csawmor Szenuzs by J.K. Rowling
"Do I look stupid? snarled Uncle VernorL a btt of frted egg dangltng from his bushy mustache. "I know
what'llhappen if that owl's let out."
He exchanged dark looks with hts wtfe, Petunia.
Harry ffied to argue bach but his words were drowned by a long, loud belch from the Dursleys' soq Dudley.
Creatlng polnt of viBw - gourturn

Are gou readu to reach the top of Bloom's pgramid of thinking?
ln this last challenge, write about or create a brief but exciting moment in gour own life. The length should
be about the same as the longer examples in numbers 1-9. See if gou can narrate Uour storu from three
different points of view. Afterwriting, share with a classmate or Uourteacher and evaluate the advantages
and limitations of each point of view.
Options: First Person, Second Person, 3d Person 0biective, 3d Person Limited, 3'd Person 0mniscient
NTfiI:ITIIITII
1. What are the possible points of view?
2. What are the advantages and limitations of each?
(()! etoanr. coNTExTs

I ATL SKILLS
Critical thinking
generalizations.
Can I trust the narrator?
Narrators are not always trustworthy. This is the next level of
understanding in terms of narrative point of view-authors will
purposely choose a narrator that should be more closely analysed
by the reader. Just as archetypal characters have been defined in the
chapter on characterizatior5 so too have unreliable narrators been
classed into a list of repeated styles. Most of these types fall into first
person narrators. Why do you think that is?
The titles of these unreliable narrators are not well known or

universally accepted. However, the types are a good guide to the
unreliable narrators you might encounter. You may want to ask your
teacher for help in explaining the terms used here or the examples
listed:
. The Pfcaro: a narrator who is characterized by exaggeration and
bragging. Example: Walter Mitty
. The Madman: a narrator who is either experiencing mental
defense mechanisms, such as post-traumatic-dissociation and
self-alienation, or severe mental illness, such as schizophrenia
or paranoia. Examples include Franz Kafka's self-alienating
narrators, noir fiction and hardboiled fiction's'tough" narrator
who unreliably describes his own emotions
. The Clown: a narrator who does not take narrations seriously
and consciously plays with conventions, truth and the reader's
expectations.
. The Naff: a narrator whose perception is immature or limited
through his or her point of view. Examples include Huckleberry
Finn and Holden Caulfield.
. The Liar: a mature narrator of sound cognition who deliberately
misrepresents himself, often to obscure his unseemly or
discreditable past conduct. Example: John Dowell in Ford Madox
Ford's The Good Soldter.

,ti Activitg 2 Poem analgsis
lI'nalgsclttte poem below forthe use of an unreliable narrator.

,i
l Lucrezia di Cosimo Painted bg the ltalian

:
artist Bronzino [ 1503-1572).
QE)wea LINKS
You can search for an audio
I
reading of. My Last Duchess
on www.poets.org.
The bough of cherries some

Broke in the orchard for her, the white mule
She rode with round the terrace-all and each
i My last hrctessb,y Robert Arowaing Would draw from her alike the approving speech, I
I
Orblush at least. She thanked men-good! I
but thanked
That's my last Duchess painted on the wall, Sornehow-I know not how-as if she ranl<ed
i
Looking as if she were alive. I call My gift of a nine-hundred-years-old name
:
That piece a wonder, now: Fra Pandolf's hands With anybody's gift. Who'd stoop to blame l
Worked busily a day, and there she stands. This sort of trifling? Even hadyou skill
I
Willt please you sit and look at her? I said In speech-whieh I have not)-to make yourwill
"Fra Pandolf" by design, for never read
Quite clear to such a one, and sa16 "Just this
Strangers like you that pictured countenancg
Or that in you disgrusts me; here you miss
The depth and passion of its earnest glance,
Or there exceed the marlC'-and if she let
But to myself they turned (since none puts by
Herself be lessoned so, nor plainly sether wits
the curtain I have drawn for you, but I) to yours, forsooth and made excuse
And seemed they would ask me, if they durst,
How sueh a glance came there; so not the first
-E'en then would be some stooping; and
I choose
Are you to turn and ask thus. Sir,'twas not
Neverto stoop. Oh sir, she smiled, no doubt
Her husband's presence only, called that spot
W'hene'er I passed heq but who passed without
Of joy into the Duchess's cheekt perhaps
lr
Much the sarne smile? This grew; I gave I
Fra Pandolf chanced to say "Her mantle laps I
commands;
Over my lady's wrist too much," or Paint Then all smiles stopped together. There she
Must never hope to reproduce the faint
stands
Half flush that dies along her throat'':
As il alive. Will't please you rise? We'll meet
such stuff
the companybelornr then.I repeat
Was courtesy, she thought, and cause enough
The Count your master's knornrn munificence
For calling up that spot of you. She had
Is ample warrant that no just pretense
A hean-how shall I say?-too soon made glad,
Of mine dowry will be dieallowed
Too easily impressed she likedwhatebr
his fair daughtey's self, as I
She looked on, and her looks went
At starting; is my Nay,we'll go
everywhere.
Together dowru
Sir,'twas all one! My favor at her breast, Taming a sea horse,
The dropping of the daylight in the West,
Which Claus of Innsbruck
Dlscurslon 0ucctlons:
Ansrverthese questions on Uour own first. Then create final answers with a small group of classmates.
Comprchcnslon: What isthe poem about?
Anelgels
. What are the hints that Robert Browning gives us to show that the narrator is not truslworthg?
Cite keg quotes or lines.
. What tupe of unretiable narrator from above do gou think Ferrara would represent? Whg?
o What overall effect does using an unreliable narrator have on both the poem and the reader?
. How would gou characterize the nanator? Do gou know angone in todag's societg who has a
similar character?
(i)) etoert coNTExTs

0rientation in space and time
3 ATL SKILLS
Critical thinking
Analyse complex concepts and projects into
their constituent parts and synthesize them
to create new understanding.
The TRUE Storg of the ThreeLittle Pigs conn ected

t Activitg 3 to on experience thot gou retold
For another nanative example, look at the storg of the "The Three Little Pigs" mentioned in the chapter on
Structure. What if the point of view was changed in a verg familiar storg? Jon Scieszka explored this idea
when he wrote The TRUE Story of the fhree Ltttlc Ptgs.
"Everybody knows the story of the Three Litde Pigs. Or at least they think they do.
But I'll let you in on a little secret. Nobody knows the real story
because nobody has e.rer heard my side of the story.' QD)wea LINKS
-A. Wolf
You can find a video
1. Re-write the opening of another fairg tale from a different point of view. Retelling of. The
Think about the keg elements that gou need to change in order to show True Story of the
that otherviewpoint. What if gou switched to an unreliable narrator? Three Little Pigs on
What emotions or motives would drive their unreliable response? www.youtube.com.
Enter the story title
2. Retell an event that Uou were involved with at school or in a into the search box.
co-curricular activitg from the first person point of view of one of the other
ParticiPants. What are some keg elements that gou changed to show that other viewpoint? What if gou
switched to an unreliable narrator? What emotions or motives would drive their unreliable response?
(€i) eroet coNTExTS

Orientation in space and time
I ATL SKILLS
Criticalthinking
Consider ideas from muitiple perspectives.
Communication

,ti Activitg 4 Additiona! practice on point of view
Optlon 1: Creative Writing

Choose gour favorite novel, storg or ang piece of narrative writing and write a vital page from the.first
person point of view of a different character. How does the storq change? What are the advantages and
disadvantages?
0ption 2: Hot Seatlng Group Onl

1. As a group, choose a controversia! moment ortopic in a novel, plag, movie, historica! period, etc. and
select keu characters.
2. Create a television talk show scene where a host and studio audience grillthe characters/personalities
in a dramatic manner, with the student actors maintainingtheir characterthroughout. Focus on each
character's point of view and highlight howtheg differ.
t()! etoaru coNTExTs

o ATL SKILLS
Collaboration
Listen actively to other perspectives and ideas
Reflection activitg
Read the excerpt below. Use what gou have learned about point of view to lEEilUFlthe storg.
It dutumn night. The old banker was pactng from corner to corner of hts study, recalling
was a dark
to hts mtnd the party he gave in the autumn fifteenyears before. There were mdny clever people at
the party and much interesttng conversation- They talked among other thtngs of capital puntshment.
The guests, among them not a few scholars andiournolisfs, for the most pdrt disapproved of capttal
punishment. They found it obsolete as cL means of puntshment, unfitted to a Christion Sfofe
and immoral. Some of them thought that capttal puntshment should be replaced universo.lly by
life-tmprtsonment. t
"I don't agree wtthyou," said the host. "I myself have experienced neither capitol punishment nor
life-imprtsonment, but if one may judge a priort, then in my opinion copttal puntshment ts more moral
and more humane than imprisonment. Execution kills instantly, life-imprtsonment ktlls by degrees.
Who ts the more humane executtoner, one who ktlls you in a few seconds or one who draws the ltfe out
ofyou incessantly, for yearsT
"They're both equally immoral," remorked one of theguesrs, 'because their purpose fs fhe sdme, to
take away life. The Store is not God It has no right to take away that which tt connot give baclq tf tt
should so destre."
Among the company wos o lawyer, ayoung manof about twenty-five. Onbetng askedhis opinion,
he said:
"Capital puntshment and,ltfe-imprisonment are equally tmmorol; but if I were offered the chotce
between them, I would certainly choose the second. It's better to ltve somehow than not to ltve at alL"
ChapterB I Pointofview 83
Tlere ensued o lively discussion The banker who was thenyounger and more neryous suddenly lost
hts temper, banged hts fist on the tabh, and rurntng to the young lawyer, cried out
*I* alie.I.betyoutwo millionsyouwouldn't stick tn acell evenfor ftveyedrs.".
'If you mean it seriotslyi replied tlrc larye6 "then I bet I'lI stoLy not five but fifteeru"
'Fifteen! Done!' cried the banlcer. "Gentlemery I stake tuto millions."
'Agreed Yau stolce tyto mtllions,I my freedom," said the lawyer.
So this wtl{ ridiculous bet came fo pdss...
ETf,TfrflIi[T
1. What point of view is this text written in?
2. What levelof insight has been chosen?
3. Lookingattheoverallideaorpremiseofthestory,whatadvantageswouldthispointofviewhaveinthis
scene? What advantage do gou think this point of view will have as the story continues?
()) er-oarr- coNTExTS

I ATL SKILLS
Communication
Bringing different points

of view together
If all stories are told from point of view and there is the chance that
a
the narrator of those stories is unreliable, how can this concept be
applied beyond just thinking about the narrator when you read a novel?
So far this chapter has foeused on the narrative point of view. But how
do you apply understanding of point of view to the stories that are told
outside of fiction?
As one Al Jazeera Internationo/ news cameraman once said, "There is

no unbiased news in the world. As soon as you point your camera in one
direction rather than another, you have created some degree of bias."
There is no story without a storyteller. AII stories are told by someone,

and that person has a background and inevitably a bias.
You can easily see this concept in action when there is a major incident
in a school. Principals separate the involved parties and have each
write what occurred. Invariably, if the group has had no time to discuss
what occurred, each account has elements that were not included in

other versions. Principals then use all of the materials to determine
"what really happened".
t Activitg 6 Creating a mutual historg
Read the 2 ternbook excerpts below. Can gou determine which textbookwas used in lndia and which was
used in Pakistan?
In tg+Z when Hari Singla the ruler of Kashmtr, opted to stay independent, Pakistani armed. intruders
from Pakistan attacked Kashmir. Hari Singh then signed an agreement to join Indta, and the Indian
army was sent into defend Kashmtr.
Hart Singh started a brutal campatgn to drtve out Muslims from Kashmir. Over zoqooo people tn
the princely Stotg supported by the tribesmen of the Northwest Frontier hovince,were successfi.rl in
liberattng a large area of Kashmir from the Moharaja's controL So Hari Singh was forced to turn to
India for help and in retum acceded to India.
(il etoelr- coNTExTs

3 ATL SK!LLS
ldentities and relationships Critical thinking
Communication
J&TAKE ACTT0N
The students involved in Seeds of Peace pubhshed a common
textbook, to be used in both countries, in zotz as part of The
History Project. They hoped that establishing a common history,
representing various viewpoints, would help to create the bridge
necessary to end division between their countries.
Can you think of any type of action that you can take that would
help to bring important viewpoints in your community together
to understand one another? Not only is it in line with the IB
mission to "understand that other people, with their differences,
can also be right," but it is also an important role for young
people in a community since they are often less mired (stuck) in
the issues surrounding the conflict.
Reflection
r. What is the value of understanding point of view?
z. How does the narrator's point of view influence the reader's
perspective?
3. How do critical readers analyse texts according to who is narrating?
4. Are there other nonfiction books, articles, movies, etc. that you have
watched without thinking about the point of view? How did this
impact your opinion on the matter being discussed?
5. How can bringing together different perspectives lead to positive
action?
a
Dummary
This chapter has focused primarily on narrative point of view and on
the many ways that a creator can choose to tell a story. It then moved
to being able to analyse the effects of point of view on an audience
and to provide the necessary points of view to bring about an open
dialogue towards peace in the world. Finally, you were asked to apply
this understanding to make a difference in your community.
Referenees
Austen, J. r87o. Pride and Prejudtce. Clarendon Press.
Browning R.My Last Duchess. Extract from: httpy'/www.

poetryfoundation.org/p o emf tT Boz4.
Checkhov, A. The Bef. Extract from: http://www.eastoftheweb.com,/

shoft -stories/UBooks/Bet.shtml.
Conrad J. zoo7. The Idiots (included in lhe complete shorr srories of

Joseph Conrad). Barnes & Noble.

Grimm, J. & Grimm, W. SnowWhite. t8tz. Extract from: httpy'/www.fpx.
de/fp/Disney/Tales/SnowWhite.html.
Hemingway, E. rgzo. Camping Ouf. Extract from: httpy'/grammar.about.
comf o df classicessays/y'campinghemingway.htm.
Kipling R. zorz. NKKI-TIKKI-TAVI, SMK Books.

London, J. rggr. White Fang.Dover Publications; Unabridged edition.
Mansf ield, K. Miss Brf l/. Extract f rom: http/ / www.eastoft heweb.com,/
short-stories/UBooks/MissBril.shtml.
One story fwo sides. Textbook extracts from httpy'/www.thehindu.com.
Orwell, George. Lg4S. Animo.l Farm. Extract from Project Gutenberg:

http y'/gutenberg.net.au/ebo oks o y'o ro oo 1 th.html.
Orwell, G. rg5o. J984. Signet Classic.
Poe, E. rB4B. The Tell-Tale Heart. Extract from: https//vrvrw.

po emuseum.o rg/works-telltale.php.
Pratchett, T. zoo4. Wyrd Sisters. Corgi.
Rawls, W. zorr. Where the Red Fern Grows. Random House.
Riggan, W. rg8r. Picaros, Mad.men Notfs, and Clowns: The lJnreliable

First-personNarrator. Univ. of Oklahoma Press: Norman.
Rowling J.K. Reprint edition ZotJ. Harry Potter andthe Chamber of
Secrefs. Scholastic Inc.
Scieszka, J. rgg6. The TRIJE Story of the Three Little Ptgs. Puffin;
Reprint edition.
Seuss, Dr. rggo. Oh the Places You'll Go!Random House.
ChapterS I eointofview 87
CHAPTER
9 Character I KEY CONCEPT FOCUS

c0liltuNlcATro]t
GLOSSARY
INOUIRY m A personal approach to characterisation
OUESTIONS r What techniques do writers use to present a character? the process
by which the writer reveals the
personality of a character.
;|J The role of speech in characterisation
r How do ourwords define us? something
m Communieating eharacter ehanges and

development
suggested or implied by a word,
phrase or portion of a text.
I How do characters change and how can ure represent

those changes visually? COMMAND TERMS
SKILLS ATt [AnI[selbreak down in orderto

/ Consider ideas from multiple perspectives. or structure. To identify parts
/ Interpret and use effectively modes of non-verbal and relationships, and to
communication. interpret information to reach
conclusions.
/ Use and interpret a range of discipline-specific terms and
symbols. tEltpiore"l undertake a systematic
process of discovery.
/ Make inferences and draw conclusions.
/ Make unexpected or unusual connections between
objects and/or ideas.
/ Generate metaphors and analogies.
/ Give and receive meaningful feedback.
/ Draw reasonable conclusions and generalizations.
/ Read critically and for comprehension.
/ Organize and depict information logically.
/ Create original works and ideas; use existing works and
ideas in new ways.
/ Explore verbal and non-verbal communication through
speaking and listening - drama, role play, discussion.
/ Read and view texts to explore the impact of writers'
choices.
/ Be creative and critical in exploration of characters and
characterisation using a range of media for different
purposes and audiences.
OTHER Perspective Audience imperatives

RELATED
Self-expression
CONCEPTS

When thinking about characterisation, a good place to start is to think
about yourself. Understanding how you present yourself to the world,
and how you communicate your physical and emotional states, can
help you explore techniques of characterisation used by writers to
present their fictional characters.
QUICK THINK
One of the first questions a stranger might ask you is your name.
Think about what your name tells people about you:
. where you are from and your cultural baekground
. your age and the generation or time when you were born
. your personality (you can use an internet search to find out the
meanings of your names)
. associations with people with that name in historical, cultural,
religious, sporting or other contexts.
Writers also use characters' names to reveal aspects of their personalitg. You will look at this
again in Chapter 17, Self-expression. Think about what the following famous names in fiction mag
suggest about the personalities of the characters behind them:
. Mr Gradgrind - a hardware merchant and politician in Charles Dickens's novel Hord Times
. Piggg- a bog in William Golding's novelLord of the Flies
. ShUlock - a Jew in William Shakespeare's plag The Merchont of Venice
. Crooks - a stablehand in John Steinbeck's novel0f Mice and Men
. lnspector Goole from J.B Priestleg's plag An lnspector Calls
. Biff and Happu - two brothers from Arthur Miller's plag Oeoth of o Solesman
Let's look at the first character mentioned in the list, Mr. Thomas Gradgrind, from Charles Dickens's
novel Hord Times. Mr. Gradgrind is a successful hardware merchant who embodies the spirit of the
lndustrial Revolution, treats people as machines and emphasizes rational thought. Find a hard or
electronic copg of Hord Times, read Chapter 1, and analgze how Dickens uses Gradgrind's name
and the description of him to conveU his personalitg. Use the questions belowto guide gour analgsis.
. WhU is his name not mentioned here?
. What associations can gou make with his name?
. How does Dickens use his name to embodg his belief and attitude towards education?
. What is the narrative voice's attitude towards Gradgrind? How can gou tell?
. What is the impact of repetition in the description of Mr. Gradgrind and in his own speech?
Chapterg I Character 89
. How does his speech reinforce the impression of him as a rigid, hard rationalist?
. What interesting comparisons does Dickens use to develop Gradgrind's charaaer?
. What associations do gou make with the square shape that is used to describe him?
o How does the setting and comparisons of the schoolroom to a factorg and a vault reinforce the
sense of Gradgrind's character?
o How does the dialogue reinforce his dry, dictatorial character?
o What is the effect of comparing the children to vessels?
t{IfiIf Now took back at the adventure storu Uou created in Chapter 4 on Creativitg. Think about the
names of the protagonisls in gourstorg.
o Did their names reflect anu aspects of their personalities? lf not, how could gou change their
names to give gour readers a better sense of their personalities?
(ii) erosrt coNTExTS

3 ATL SKILLS
Critical thinking
Consider ideas from multiple perspectives.
Communication
Interpret and use effectively modes of
non-verbal communication.
In addition to exploring characters' names, studying how they are

addressed by other characters is also important in establishing
their roles and relationships with other characters. In Shakespeare's
The Merchant of Venice, for example, Shylock is only addressed by
his name six times in the play but called "Jed'twenty-two times,
something that highlights how others regard him more as a member of
the Jewish community than as an individual.
In this chapter you will explore the following questions:

. How can you use your own life to investigate writers'
presentation of fictional characters?
. How do writers' choices about how they present characters
influence your responses to them?
. What are the different forms of direct and indirect techniques
of characterisation that writers use?
. What are symbols and how do writers use them to
communicate characters?
. How can you use your own creativity to show an understanding
of characters and their portrayal by writers?

Consideri ng techniques of cha racterisation
To funher explore aspects of characterisation, continue thinking about
yourself. If an investigator knew your name, what other strategies
might he or she use to find out information about you - where you
go, your motivations, passions, fears, interests, movements? The
Figure 9.7 lnvestigating characten
investigator could:
thinki like a detective
. Speak to people who know you well - friends, neighbours,
parents, teachers
. Speak to people you have had regular contact with
. Visit your house - your room
. Speak to you in person
r Visit your Facebook page to see who you know and your
hobbies and interests
. Read a journal or online blog that you wrote.
Writers use similar strategies or techniques of characterisation when

presenting characters to a reader. With a partner,look at the following
table and see what other techniques you can come up with. You might
want to ask your teacher to clarify some of the words or terms listed here.
What theg sag and how r Do characters have specific speech patterns or use certain expressions or
theg saU it language that sets them apart or defines them?
r How do characters alter their speech when talking to different people?
r Towhat extent do theg make / use statements, questions, commands,
exclamations? How do these conveg their tone or mood? For example,
someone asking lots of questions mag be doubtful, uncertain, or concerned.
I Turn-taking / interruptions - do theg interrupt to agree and show solidaritg or
do theg interrupt other characters to demonstrate their authoritg?
r Do theg dominate the conversation and/or dictate the subject matter?
. What forms of address do theg use in dialogue and how do these conveg the
status and relationships between characters? [e.g. calling people bg first
name terms or bg theirtitleJ
What theg don't sag / lgnoring a question or a person and plaging a passive role in conversations can
pauses / gaps and reveal as much about a character as what theg do sag.
silences
What others say about Do we see other characters making comments aboutthem when theg are present
them or absent from the scene? Having other characters describing or discussing gour
protagonist before Uou meetthem can shape Uour expectations aboutthem.
What theU think Describing a character's thoughts gives gou get another insight into their
mind. Theg mag be thinking differentlg from how theg are behaving outwardlU.
Soliloquies in drama and free indirect discourse are some wags of presenting a
character's thoughts.
Chapterg I Character 9!,

Their interactions with Seeing a character interacting with other characters [through speech, actions,
other characters and behaviour) can reveal different aspects of their personalitg. Are characters
contrasted with another character? ln dialogue, look at forms of address,
subject matter discussed, turn-taking tone and volume, which all conveg power
relationships.
Their appearance How characters dress, the sort of clothes theg wear, even their hairstgles can sag
something about their moods, status, or situations.
Their facial expressions Bg describing a character's facial expressions Uou can communicate how that
character feels. lt is better to show the reader in images rather than telling them
[e.g. instead of writing "he was angrg," gou could write "the veins in his temples
grew more pronounced and his face turned redder bg the second.").
Their movements / actions / The wag characters stand, move and use gestures can revealtheir moods and
posture / stance / gestures their relationships with the people theg are interacting with (e.g., "He stood,
towering over the bog at the desk, shaking his fist." 0r "The girl shuffled into the
bus station and curled up on the hard plastic bench."J.
Their relationship to their Seeing a character in different settings Iintimate private settings, public settings,
surroundings / different work/school setting or at home) can reveal different aspects of their personalitg.
settings Do theg behave differentlg in different settings? Do theg seem comfortable,
uncomfortable in different places? Does the setting reflect their character Ian
isolated setting mag reflect a desire to be alone or the fact a character feels
alienated)?
Their relationship to a Are characters seen with a particular object or prop [e.g. constantlg looking at
sgmbolIs) their watch, alwags with their dog sitting bg a fireJ which reveals something
about their personalitg?
Toble 9.2 Techniques of characterisation
We could summarize these under the following heading: SMART PASS
Is the character presented mainly through:
. What they say? SPEECH

. Howthey move? MOVEMENTS
. What they do? ACTIONs
. How they interact with other characters? RELATIONSHIPS
. What they think @ut may not always say)? THOUGHTS
. Through their own lens or the lens of someone
else? PERSPECTIVE
. How they look? APPEARANCE
. Through their relationship to their surroundings? SETTING
. Through their relationship to a symbol? SYMBOLISM

Another way to explore techniques in characterisation is by dividing
techniques into two distinct types:
. DIRECT - telling the audience about the character
. INDIRECT - showing the audience aspects of character that
reveal their personality.
Sometimes indirect methods of characterisation are summarized by

the mnemonic STEAL:
. Speech - what characters say and how they say it
. Thoughts - a character's attitudes, beliefs and motivations
are revealed through the private and public expression of
their feelings
. Effect on others - how others react to and interact with the
character reveals their personality
. Actions - what a character does and how they behave
. Look - the physical appearance of the character - the way they
dress and what they look like
Let us now move on to further explore these and some other

techniques of characterisation:
A personal approach
to charaeterisation
The comparison of Mr. Gradgrind to a square in Dickens' description
of him highlighted another key technique writers use to present their
characters: symbolism. By connecting characters to symbols and their
symbolic and metaphorical associations, writers can expand the picture
of their characters in the minds of their audience.
Figure 9.3 Sgmbols are all around us - what other keg sgmbols can gou think of?
il D
In these activities you will explore the following questions:
Some people flnd it l-relpfulto . What are some of the key symbols used in literature and what
think of the text as all oniorl are their common associations?
and the process of analysis
o How do writers use symbolism to communicate character?
as that of peeling back the
layers of the onion, its layers A symbol is a concrete object that represents an abstract idea.
of meaning. Tl-re surface layer Symbolism is a device used by writers and artists where an object,
represents the literal meaning, person or event represents something beyond its literal meaning.
br-rt beneath this layer Iie several
rnore layers of metaphortcal f Many symbols in different cultures have agreed meanings and
symbolic meaning. We call these associations. However, these may vary between cultures.
connotations. As a soeiety we have already created several layers of meaning for
Figure 9.4 Analgsingtext can be
words and images through the many written, verbal and visual texts we
like peeling an onion have produced over the ages.
Literal meaning
Metaphorical / symbolic
In pairs, consider the following words and their lt|ifm
o,
associations. Remember to think about cultural, historical and religious
WM
meaning 1
Metaphorical / symbolic
associations and also about texts you have read and symbols they have
meaning 2
featured.
Sgmbolgroup Common sgmbols Associations /

Connotations
Time of dag / gear Sunrise, sunset,
t seas0ns, sun, m00n
Use a dictior-rary of idioms to Weather and Warmth, cold, snoq
help you, or look online. Look temperature rain, fog
up a symbol and see how many Animals Lion, dove, snake, cat,
expressions are used about lamb
them. For example, if we look Nature/trees/plants Rose, roots, apple
up "hands", you willfind the
tree, river, mountain
foliowing expressior-rs:
Bodg parts Hands, head, eges
. Cooperation: they worked
hand in hand. Colours / shades Light, dark, black,
. Experience: he's an old hand blue, white
at it. Shapes Circle, triangle, square,
. Involvement: to play a rectangle
hand in. Sgmbols, associations and connotations
. Inheritance: to hand down
(inheritance, possession). Sometimes characters themselves are seen as symbols representing
. Gr-rilt/responsibility: my hands a given idea or concept within a text. Many characters are seen as
are clean, it's out of my hands. saviour or redemption symbols, for example. Gradgrind symbolizes
. Fate: he ,r'ras dealt a poor hand capitalist greed and ambition, or innate evil.
in life.
. Many writers use these symbols in their writing to compare characters
Point of vlew: on the one hand,
with different objects and symbols. Repeated symbols are called
on the other hand.
motifs. By tracking a character's relationship to a symbol you can trace
their development in a text. For examplg fire as a symbol in William
Golding's Lord of the F/fes conveys how the boys drift away from

civilization and thoughts of rescue, and become more primitive and
evil, as order breaks down on the island.
t
As well as symbols and their associations, writers use comparisons Hags: old women.
when describing characters. Most common are similes and metaphors Flares: rockets whiclr were
@oth forms of comparison) and allusions (indirect references) which sent up to burr-r wit]-r a brilliant
create images in the reader's mind, helping form clearer mental images
glare to light up men and other
of the fictional characters.
targets in the area between the
Consider the following lines from Wilfred Owen's poem "Dulce et front lines.
decorum est". It describes World War t soldiers marching back to their Distant rest: a camp away
trenches from the front line. frorn the front line where
Bent double like old beggars under sacks, exhausted soldiers rnigl-rt rest
Knock-kneed, coughing like hags, we cursed through sludge,

for a few days, or longer.
Hoots: the noise made by tl-re
Till on the haunting flares we turned our backs
shells rushing through the air.
And towards our distant rest began to trudge. Outstripped: outpaced,
Men marched asleep. Many had lost their boots the soldiers }-rave struggled
5
beyond tl-re reach of these
But, Iimped on, blood-shod. AII went lame; all blind;
sl-rells which are now falling
Drunk with fatigue; deaf even to the hoots behind them as they struggle
Of tired, outstripped Five-Nines that dropped behind. away from the scene of battle.
Five-Nines: 5.9 calibre
Owen uses verbs and adverbs to communicate the soldiers'exhausted
explosive shells.
and dilapidated condition and how they move. Think of how these
comparisons work on several levels. You can use a Venn diagram:
Figure 9.5 A good wag to explore comparisons in "Dulce et decorum est"
under heavy
Soldiers begging for war

stop marching
in wfrich they haw lost pride L Beggars . Hags

I Drunks r Marching
asleeP
t Activitg 2 Sgmbols and characterisation - bodg parts
Honds bg Sareh Kcg [lB Gnduatcl

"Kids high-five but grown ups shake hands. You need a firm CE cHAPTER LINK
handshake but dont hold on too tight, but dont let go too Think back to Activity r
soon, but dont hold on for too long." about cultural greetings in
Chapter 2, Communication.
The excerpt that follows describes people bg focusing on a keg Think about the gestures
sgmbol, in this case, ahother bodg part: feet. Read it carefullg and you make when meeting and
greeting people.
answer the questions that follow. Remember that while Uou are
focusing on the writer's use of imagery and sgmbolism gou should
also be alert to other forms of characterisation. Refer to the list of
techniques of characterisation earlier in this chapterto identifg
different wags in which the characters are presented.
RcodlnginthcDork bg Seamue Deane

The plasttc tableclothhung so far down that I could only see thetr feet. But I couldhear the noise and
some of the talk, akhough I wos so crunched up that I could make out very ltttle of what they were
saying.Besides, our collie dog, Smoky, was whtmpertng; every time he quivered under hts fur, I became
deaf to theirwords and alert to their noise.
Smolcy had found me under the table when the room ftlled with feet, standing at all angleg and he
slopedthroughthemandcame tohuddlehtmself onme. He fehthe dreadtoo. tJna Myyoungersiste4
Uno- She wos gotng to dte after th.ey took her to the hospital. I could hear the clumping of the feet of
the artulance men os they trted to mctnoeuvre her on o sfretcher down the stoirs. They would have to
Itft tt htgh over the banister; the turn wos foo narrow. I hold seen the red handles of the stretcher when
the glossy shoes of the ambulance men appeared in the centre of the room One ho,d been holding it,
folded up, perpendicular, with the handles on the ground beside hds shtny black shoes, whlch had a
any redness in one toecap whenhe put the stretcher handles on to the linoleum The ltno itself wos so
poltshed that there were ansu)ering rednesses in tt toq buried upside down under the surface.
They were at the bottom of thestoirs. All the feet mwed that wcly. I could see my mother's brothers were
there. I recognised Uncle Manus's brown shoes; the heels were worn down ond he was mwing back
and forvtard a little. tJncle Dan and Uncle Tom had tdentical shoes, heavy and rtmed with mud and
cement, becouse they had come from the building sdfe in Creggan^ Dan's were dirtier, thougla becouse
Tom was the foremaru But they werent good shoes. Dan put one knee up on a chair, There wos scaffold
oil on his socfts. He must have been dipptng putlocks' in oiL Once he had invtted me to reach right
intothebucketto findalockthathad slippedto thebottomandwhenl drew it out,blackto the upper
muscle, tllre slick oil svtarmed down my skin to comtgate on my wrtsL I sprinkled handfuls of sawdust
on tl fiirning my arrn tnto a bright oatmeol s/eeve that darkened before Dan made me wash it off.
But tt was my mother's and father's feet that I watched mosr. She was wearing low heels that needed
mending, andher feet were always swollen so that even from there I couldsee the shoe leather
embeddcd vanishing from that angle, into her ankles. There wcls more scuffle and notse and her feet
disappeared into the hallway, after the stretcher, and she was cough-crying as my father's workboots
followed close behin d her, huge, with the laces thonged round the bacle Then everybody went out, and
the roomwas empty.

Use the following prompts to consider techniques of characterisation used in this excerpt:
. How are characters defined in this telft through the description?
r How are characters defined bg their stances?
. How are characters defined bg their movements and gestures?
o How are characters defined through theirthoughts?
. How are characters defined through their actions?
. How are characters defined bg their appearances [clothing facial expression etc.)?
. How are characters defined through comparison with other characters [similarities and/or
differences)?
. What sgmbols are theg associated with?
. How do their relationships with the sgmbols change duringthe text?
. How does the writer create an emotional connection with the speaker in the excerpt?
(!)) etoet coNTExTs

I ATL SKILLS
Critical thinking
Consider ideas from multiple perspectives.
t Activitg 3 A sgmbol of gou Icreating)
Having explored howwriters use sgmbols to communicate t D
character, use Uour creativitg to design a sgmbolthat When designing your symbol, stay away
represents gou. Think about allthe elements and from concrete objects that represent
associations thatwill communicate gour character and what you are like (".g. o ball because
personalitg. Use ang of the associations from the earlier you like to play football). Instead, think
table or others gou have read about.fi'n-ffil$d and research about characteristics, beliefs and your
different sgmbols and their connotations that could be personaiity, and come up with abstract
incorporated into the visual image. See Chapter 10, Theme, symbols that reflect these aspects of you.
for more ideas.
()) or-oam coNTExTs

? ATL SKILLS
Creative thinking
Make unexpected or unusual connections
between objects and/or ideas.
Generate metaphors and analogies.
Communication
Use and interpret a range of discipline-
specific terms and symbols.
Reflection
. Which techniques of characterisation do you use most often in
your own writing?
. How can you create more convincing characters in your own
writing using symbolism and imagery?
The role of speeeh

in eharaeterisation
Another key technique of characterisation is speech. In this series of
activities you will explore the following questions:
. How do your words define you?
. What role do verbal and non-verbal communieation play in
your speech?
. How can you use drama to creatively interpret and represent
characters and their relationships?
Dialogue performs a number of functions in a text, such as revealing
new information and adding variety to the narrative. However, its
primary function is to develop the characters and bring them to life by
enabling the reader or audience to hear their voices.
,ti Activitg 4 Studging speech in gour own exchanges and texts
ln Chapter 2 Communication, gou explored how we varg our language accordingto the roles and
relationships that exist within ang given communication. Begin bg examining gour own language in a
varietg of situations to see how it changes accordingto the social and situationa! context.
Ef[lI Work in pairs. Decide who is A and who is B. Awi!! improvise three phone conversations with
three different people while B Iistens and records the sort of language that is used in each
conversation. B should listen forthe following:
. The forms of addresb to the person being phoned
. The level of formalitg of the language
o Thetgpe ofspeech functions used.
The three calls should be made to:

. A friend to organize plaging a game of sport [e.g. soccer ortennisJ
. A friend's parent to ask permission to take a friend to an important social event
[e.g. the prom or a partuJ

. A potential emploger about a job interview.

Spend 3 to 5 minutes planning. A should think about what sort of things to sag and how to sag
them. B should predict the conversation and the tgpe of language that will be used.
A should first think about the person to ring and talk to. 0utline the following:
. What is gour relationship with the person gou are phoning? How welt do gou know that person?
o What is the purpose of gour call? What are Uou trgingto get done?
. What are the conten and circumstances of the phone call - at home, at the office, in the shops?
. How gou wil! adjust gour language depending on whom gou are addressing and the purpose
of gourcommunication?
Use the followingtable to help Uou:
Phone call content of call - things to be Tgpe of language used - waus to

addressed sag them
Friend
Friend's parent
Potential emploger
Role-plag the convercations with a partner. B should listen and write down tupes of language that
seem interesting or important in helping achieve the desired goal of the conversation.
Conversation #
Audience:
lnteresting / important language
r Vocabularg - ang technical sounding
language, jargon
r Formalitg
r Use of statements, questions,
commands, exclamations
r Use of tentative language ["could 1",
"mag 1", "might", "perhaps", "possiblg",

"chance"J
r Hesitations, pauses, restarts
r Verbalfillers
r Use of speech when expressing
obligation, inclination
r Tone of voice
r Form ofaddress
0ther observations
IPosture, gestures, facial expressions]
Notes on what helped achieve the
PurPose
ffi+:ff 0nce the three conversations are improvised and written up, discuss the fo!lowing questions as
a group:
. How did A appear as a different person in each of the conversations?
. How did the language used change in each convercation - vocabulary, formalitg, number of
statements, questions, exclamations, commands, use of speech/language etc.?
o How did the language help achieve the purpose of the conveniation?
. How did A's bodg posture and position change depending on who theg were addressing?
o How did A's tone of voice change accordingto whom theg were talkingto?
o How did the mode of communication (phone call as opposed to face to face or written down)
affectthe language A used?
Eff,f! Studging a character's speech, focusing on elements such as the tgpe of language theg use and
howtheg address and interactwith other characters can reveal much abouttheir motivations and
relationships and howtheg change.
Applg what gou have learnt to te)fts gou are reading and studuang in class. Choose a key scene
of dialogue from a fiction or non-fiction text Uou are readingandlffiEla character's dialogue
usingthe following prompt questions:
. Control: Who initiates the exchanges? Who dominates the conversation?
. How is their speech characte rized? 0o theg use statements, questions, assertions,
exclamations or commands?
o Turn-taking Does anuone interrupt someone else? lf so, do theg do so to agree, complete their
partner's sentences or show dominance overthe other person?
. Arethere ang silences, gaps or pauses? What do theg reveal about one or both characters?
. Does ang one character appear more confident or more hesitant in the exchange?
o How does the pace and speed of the exchanges communicate the mood of the characters?
o Forms of address: How do theg address each other and what does this revea! about their
relationship?
. How are theirthoughts revealed?
. ls the description of them sgmpathetic, negative or neutra!?
. How do their speech and verbal interaction revealtheir attitudes, motivations, and behaviour
towards others?
. How do details of setting and characters' relationship with their surroundings reveal aspects of
their perconalities?
. Are ang verbs or adverbs used to describe how characters speak [e.g whispered, gasped, snapped,
stammered, mumbled, softlg, screaming) and conveg theiremotion and state of mind?
([]] oroaat coNTExTs

I ATL SKILLS
Communication
Give and receive meaningful feedback.
Critical thinking
generalizations.

t Activitg 5 Studging famous speeches
We can learn a lot about the power and impact of spoken words bg studging famous speeches. Find three
different famous speeches bg people in fiction or real life. Read and/orwatch them, studgingthe wags in
which the speakers create an impaclthrough both the choice of
words theg use and the wags in which theg deliverthem. Below QE)wea HNKs
You can find more speeches
are some suSgestions:
on the following website:
. Martin Luther King: "l have a dream" www.f amous-speeches-and-
. 0prah Winfreg 54th Emmg Awards speech-topics.info.
. Lou Gherig: Farewellto baseball address
. Abraham Lincoln: the GettgsbergAddress
You can use a framework (like the one shown in the followingtable) to help gou analgse the speech:
Context Where and when is the h bei delivered?

Purpose What is the speaker's purpose in addressing his/her audience?
Audience Whom are theg addressing?
Mode of Face to face, online etc.
communication
Structure: 0pening
How the speech builds to a climax
Use of anecdote
Shift between present realitg and future expectations
Concludin remarks
Language: Vocabularg
Rhetorical devices -
rule of three [does ang part come in threes? E.g. content or
structure?J, rhetorical questions [are questions asked that are answered bg the
speaker or questions asked where the answer is implied?J
How emphasis is created though changes in pace, volume, tone
Pauses and changes in pace
Repetition rule of three
Use of evidence - statistics and facts
Use of emotionalappeal
Use of humour
Emotive
Deliverg: Pace, volume, ege contact, postures, gestures , movements
()) etoart coNTExTS

3 ATL SKILLS
Communication
Make inferences and draw conclusions.

Many researchers on communication agree that the majority of our
communication is non-verbal and that the words we speak account for
only a small part of the message we send. Now look at the role of non-
verbal communication in dialogues and spoken exchanges.
t Activitg 6 Directing a scene
0n gour own orwith Uourteacher, select extracts of dialogue (approximatelg 15 to 30 linesJ from ang novel
or plag gou have read. lmagine Uou are the director of the scene, giving instructionsto an actor/actorui
performing the roles for a film or stage production. First, gou will need to think about how gou could use
indirecttechniques of characterisation to present gour characters on film/stage.
To help gou plan Uour direstions considerthe following questions:
o How can Uou create a dramatic impact at moments when characters deliver lines?
o Which words and phrases will gou give emphasis to and how?
o Change in volume Cli)wee uNKs
The following site has some
o A pause before orafterthe line useful information on how to
o Agesture ormovementwhen gou deliverthe line present monologues on stage
. What sgmbols are associated with the character? How can using a range of theatrical
devices: tedb.byu.edu.
gou highlight these and the character connection to them?
o How can Uou draw out aspects of the character bg using lighting (colours, light and shadowJ?
. BodU language: How should theg stand, move and use their hands to communicate their emotions
at different points in the exchange?
o Costume / dress: How will gou dress gour characters to reflect thdir states of mind? Where would
gou place gour characters on stage/in the film at different points in the dialogue to show:
o Their mental state?
o Their relationship to the other characters?
. What props could be used to help communicate character? How should theg interact with them
to help furtherthe audience's understanding of their characters?
ln orderto help gou direstthe scene, draw a map of the stage/film set and make notes on these questions.
You could mark characters'movements on the stage/film set using letters and arrows and also illustrate the
positioning of ang keg scene props. Write a brief description explaining gour choices.
" Phgsical space

Costume / dress
Props
Backdrop
Lighting
Positioning on stage/fi lm
(i) crost coNTExTs

3 ATL SKILLS
Personal and cultural expression Communication
Make inferences and draw conclusions

Reflection
Use the following questions to reflect on what you have learnt:
. How has studying characters' speech in texts made you think

about your own communication?
. How true is the saying, "It's not what you say, it's the way that
you say it?"
. Write down three ways you can improve the way you communicate
in different contexts using verbal and non-verbal cues.
Communieating eharacter
changes and development CDlwee UNKS
Using a text you are studying, consider characters'roles and You can look up types of
relationships and how they change. To help you do this, begin by characters in fietion at:
learn.lexiconic.net.
thinking about some common character t)ryes and roles. Research and
Click on "Character Types"
complete the table that follows and then apply these definitions to
on the main sereen.
characters in your text. Use the web links box to help you.
Protagonist
Antagonist
Stock
o
o,
6
OE
Anti-hero
Foil
0utsider
Minor character
_C, Round
o6
(J
Flat
o= Static
o)G.l
>E
-L
3e Dgnamic
Common character tgpes and roles

Characters do not exist in isolation. Often writers use characters'
relationships and interactions with other characters to help define and
develop their character.
Use these prompts to consider different relationships between

characters and the extent to which they unite andfor divide characters.
o Are some loners while others are sociable?
. Are some victims while others are predators?
. Are some leaders while others prefer to follow?
r Are some liberated while others are repressed?
I Are some introverts while others are extroverts?
o Are some thinkers while others take action?
. Are some motivated by greed while others are motivated by love?
Dynamic characters in a text undergo a change, for better or worse.

In most texts the protagonist undergoes some sort of change. Many
characters are also rarely consistent and may play different roles
during a text.
t Activitg 7 Reflecting changes in characters through images and words
ln this activitg gou are goingto explore creative wags to portrag the wags in which chamcters in a text change.
Ef[tI Think about how gou can communicate these changes graphicatlg. You can choose from one of
two visual optionsto do this activitg:
Optlon 1:Achrncterwcb
Create a characterweb to highlight roles, relationships, interastions and the effects of characters
on one another and how theu change during the course of a text:
1. List allthe characters in the ten - those who appear and those who are mentioned [if
significant). Rememberthat even minor characters can teach gou a lot about a main charact€r
through their i nteractions and relationships.
2. Group the characters accordingto their relationships with one another and the bondsthat
unite or separate them [financial, emotional, familg, professional, friendships etc.f .
3. Write a brief character description in each character box.

4. Draw lines showing relationships between characters and how theg change and develop. Here
are some suggestions for a keg but gou can develop it and create gour own:
. Thickness of line = stre ngth of relationship [thicker = strongerl.
. Arrows show direction of love/affection. These mag go onlu one wag if characlers do not
retum love/affection.

. Create a keg of sgmbols to explain the basis of the relationship [e.g. $ = indicates
relationship based on financial interests, heart indicates relationship based on emotional
interests / love interest / professional interest).
. Familg interests: lightning strike indicates stormg / aggressive relationship etc.
5. 0n / beside the lines, explain the relationship brieflg in words and how it changes, if at all.
Brample of a charactcrwcb
The example that follows is a simple version of a character web, to help gou visualise the task.
Think of wags to develop its complexitg to incorporate all of the aspects mentioned here.
Relationships
AmongCharacters
in Pearl S. Buc}'s
TheGoodturth
Optlon 2:Acharactcr's mlnd aB a room

In Chapter 11, Setting gou explored how setting can be used to communicate aspects of
charac{er. This ac'tivitg builds on that as a creative exploration of how images can be used to
reflect changes in a character.
Take a dgnamic character, one who undergoes a change, from a tem Uou are studging and create
a visua! representation of the protagonist's mind as if itwere a room.ffiI5Elthe room and
how it changes during.the course of the textto reflect changes in the character's personalitg,
motivations and behaviour. Produce three different images of the room and provide an
explanation of each. Look at the Topic 1 activities in Chapter 11 for some ideas to get Uou started.
You could considerthe following:

r Colours: How do different colours represent and reflect gour character's mood and personalitg?
. 0rhaments: Theg mag be sgmbots reflecting the personalitg and behaviour of gour character. A
vase of red roses, forexample, would reflecttheirromantic side.
. Piclures: The pictures on the wall mag show important people or moments in gour character's
life. Theg mag show familg, loved ones or heroes.
o Fumiture: The fumiture will also reflect gour characte/s personalitg. Are theg minimalise fsomeone
who enjogs a simple life with the minimum amount of materialthings)? Do theg have expensive
tastes? Are theg environmentalists or people who like natural materials and textures?

. Structure: ls the room a smal!, compact place with narrow conidors [possiblg reflecting
someone who feels trapped, confined or frustrated in their lifeJ or sharp angles [possibtg
reflecting a tense, aggressive personalitg)? !f gour character has a dual personalitg, the room
might be split into two different sections reflecting each side of their personalitg.
. Lighting: Are there larye windows [possibtg reflecting a broad-minded person or someone
who is observant and/or a happg person) or small ones [possiblg refleaing someone who is
shg or narrow-minded or refuses to see the truth)? Remember, darkness can sgmbolise evi!,
mgstery, the unknown and the musterious.
. Securitu: Are there locks on the door [possiblg reflecting someone who is insecure, afraid, tries
to shut outthe outside world, or likes their privacg) or is the door left open [a warm friendlg,
sociable person who feels comfortable in the outside world)?
. 0rder: ls the room tidg [reflecting an oryanised and ordered individualJ or messu with clothes
dropped evergwhere and the bed left unmade [reflecting someone with a lot of chaos and
confusion in their life)?
These are merelg suggestions. The important thing is that gou are able to describe objects and
explain their significance (what theg represent or reveal about the character). Be as imaginative
and detailed as gou can.
Eff,f! Having produced gourvisual representation of characters and relationships [either 0ption 1 or
0ption 2), presentthem to gour class and explain:
aJ the changes that occur in Uour characters
b) the techniques of characterisation that are involved in communicatingthese changes
c) the impact of these changes on other characters
d) the function of gour characters and the wag these changes are used bg the writers to
communicate the text's message.
O) eroet coNTExTs
I ATL SKILLS
Communication
Organize and depict information logically.
Creative thinking
Create original works and ideas; use existing
works and ideas in new ways.
Reflection
. With a partner, explore other ways of representing changes
in through their changing appearance). Design
character (e.g.
a series of costumes for the characters in your own text to
highlight these changes.
. Consider the role and influence of other characters in your own
Iife. Which characters have inspired you or defined choices
you have made? Which minor characters and encounters have
influenced key decisions you have made?
Summary
Other chapters have explored different methods of characterisation:
. Chapter 5, Perspectives,looked at different ways we interpret
people's characters and behaviour and different ways we can
represent them.
. Chapter tt, Setting; looked at how setting can be used to
communicate characters and how they change.
. Chapter 2, Communication,looked at how our own language
changes in different contexts when communicating with
different people.
. Chapter 17 Self-expression, explored how a writer's choice of
different narrative perspectives can influence the way a reader
or audience interacts with a character.
From the activities in this and other chapters, and by reflecting on your
own personality and howyou appear to others you will see that human
beings are complex and varied. Show your understanding of character
and techniques of characterisation through one of the following
creative explorations:
. Write and perform, in costume, a monologue for a fictional
character of your own creation.
. Visually represent emotional shifts in character(s) in a text
using a graph of your own design.
. Use hotseating freeze-framing thought-tracking or another
drama activity to highlight your understanding of characters'
thoughts and motivations at different moments in a text.
Referenees
Deang S. rggZ. Readtng tntheDorfr. Vintage. New edition.
Key, S. Hands. Spoken word poetry.
Owen, W. rgrZ-r8. Dulce et DecorumEst Extract from: httpy'/www,

warpoetry.co.uk/owenr,html.

!ffii,,
,
ti i itiilitt*il.:;!:j,
CHAPTER
10 Theme I KEY COI{CEPT FOCUS

PERSPECTIYE
GLOSSARY
INOUIRY Theme in video
OUESTIONS r What film techniques will convey the meaning we want frnq!* exaggeration to
to the viewers of our videos? create an effect.
nfiptm+ information
Theme in literature designed to promote or criticize
I How can different readings in literature emphasize a political group, cause or
different themes? leader.
Dmr the topic or idea that

Theme in propaganda is being raised or implied in
r As propaganda seeks to develop one idea and ignore discussion, art, literature, etc.
others, how can we avoid being manipulated by it?
SKILLS ATt COMMAND TERMS

,,/ Creale original works and ideas.
tffiigsel break down in order to
.,/ Use critical-literacy skills. bring out the essential elements
.,/ Present information in a variety of formats and platforms. or structure. To identify parts
Language and literature interpret information to reach
/ Appreciate how a work of literature will have many conclusions.
different readings, each one emphasizing a different
theme. Comment give a judgment
based on a given statement or
/ Understand that to support a reading of a text, we must result of a calculation.
present evidence in order to demonstrate its validity.
/ viewer essential if we
Be a critical reader, listener and
l@l give valid reasons or
evidence to support an answer
wish to avoid being manipulated by texts. or conclusion.
/Understand texts have values within them that we may
agree with, or may clash with our principles.
/ tutedia/video. Appreciate the importance of camera angle
in making effective videos.
,/ Media/video. Know other essential skills in video making.
OTHER Context Point of view Purpose Style

RELATED
CONCEPTS
tffi Language and Lir.rature
r ii;iri!;ii';::r '
Introducing theme
A tffi is a central idea, though texts can have more than one theme.
Different interpretations of texts see different themes as dominant.
In literature, critics give readings that focus on particular themes. In
most texts the themes are embedded within them; however, in one field
in particular, that of video games, some offerings allow the player to
change the theme due to the choices that they make as they go. gE cHAPTER LtNKs
For more on self-expression
This is a tremendously exciting development and will likely lead to see Chapter t7.
new forms of self-expression.
Increasingly, video game manufacturers are offering free downloads

as introductions to their games. Look to see what is available. You are CD)wee LINKs
looking for a game where you take on the role of the protagonist and Go to http://www.
make choices that have consequences. An example of the type we are stanleyparable.comr/ to see an
example of a free download.
talking about would be The Staniey Parable. Decide as a class which
one you would like to download download it and play it as far as it goes.
These new generation first-person role-playing games are different in

many ways from the video game market before. Previous games had
a set theme. You might have had to prevent the zombie apocalypse,
defeat that extra-terrestrial invasion or set up a criminal empire, but
the thing that they all had in common was that the theme was pre-
determined by the game designers.
What will be different in games of the future is that the players will
increasingly be able to determine the theme of the game by the choices
that they make. Is the game about what happens to a character who
follows the rules, or is it about what happens to those who question the
way things are? The work of art is becoming malleable, meaning that
we can shape them; theme is becoming an interaction between the
designer and the gamer.
Theme in video
In video making you start with a story or a theme, to be told. How The audience's reaction is
effectively that theme is told will depend on the techniques chosen to
bring out that theme. The final test of this is to present the video to an
audience and analyse the way they react to it. A possible activity that
can get you started is analysing the videos of others who are filming on
a similar theme to the one you are interested in.
CC,CHAPTER LINKS
Some techniques for analysing the texts of others are included
in Chapter 14.
Chapter 10 | Theme 109
will be making your own video, in
For the first activity in this topic you
gD, tNTERDtSctPLtNARY LtN Ks other words, you will be in charge of deciding the theme. In the later
This activity really combines
activities, you will be analysing the worl< of others and deciding upon
well with design, and even
the themes within.
if that is not possible, the
design cycle is an excellent
way to help you organize and
complete your video.
,ti Activitg 1 Making gour own video
When gou are making a video there are a number of things that gou
shoutd pag carcful attention to. Let's start with camera angles.
Ihcmcrnd camrr. rnglcs

The wag gou use a Gamera is ernremelg important as Uou can add
ortake awau status depending on the relation of the camera to the
subject. Bg puttingthe subjea at a distance gou mag diminish its
importance, while a low angle mau make the subject seem stronger
orimposin&
lf gour theme is something like 'urban decag', for example, the wag
gou shoot gourcitg shots will still greatlg affectthe message gou
conveg, and with care and thought gou wi!! emphasize the theme.
Camera position What is seen and/or the effect

Establishing shot Distant with lots of landsca ors ace
Long shot Distant, but with zable res
Fullshot The whole bod can be seen so there is less ba und
Medium shot Usuall the s from the waist u
Close up Focusing on one face, or a keg aspect ofthe subject
Extreme close up Showin ust one feature, no bac nd
Point of view As if looki th the e es of one character, movin with them
Ege level At the ege level of the characters, like normal vision
Undershot From underneath characters, can suggest danger
Low angle Looking up at something often used to make somethinq seem powerful
Panning M round to take in ba d, but sub tn vtew
Zoom in/out Gets closer/ further with su ect sta in focus
Overhead Directlg looking down, a "bird's ege" view
High angle Not directlg above, but makes the subject look small
Tilt At an angle, perhaps emphasizing disorientation
Cutting Changing from scene to scene
SloMfast motion Slowi di real
Sharp/soft focus Crisp or fuzzgldreamg focus
Deep focus Keeping different subjects at different distances in focus

Theme and audlo
When consideringaudio rememberthat music is an emotional heightenerand
added sound can provide useful, or even essential, information for the viewer.
Sound How it can add to gour video

Musicalscore Background music, possiblg varied, possiblg a recurringtune
Sound effects lnvented, altered or exaggerated that are added
Natural sounds The normal sounds expected in this location
Dialogue Conversation between gour characters-each word counts
Voiceover Adding a first orthird person narrator and her or his perceptions
Theme, lighting and shadow

The amount of light can be altered; shadow can also be suggestive.
Lighting The effect

High/low keg BrighVdim, both change the mood
lishtins
Front lighting Little shadow, nothing is hidden
Underlighting Catches the shadows around the eges, creating a sinister mood
Toplighting Bright with few shadows
Backlighting Creates silhouettes and shadows, creating uncertaintg
Sgmbolic lighting A character moving from the light into dark, or dark into light
Lightning [and Momentarg light combined with loud noise, sinister and
thunder) threatening
Coloured lighting See below in colours
Theme, sgmbollem and colour

Codes and sgmbols can suggest meaning. The colour can be in the lighting the
costumes orthe set.
Colour/sgmbol The effect/possible meaning

Repeated images These will create their own meaning depending on what
focus on
Sqmbols oblects that suggest an idea
White lnnocence, childhood, puritg, peace
Black Evil, death
Red Love, passion, anger, blood, danger
Blue Sadness, cold
Yellow Happiness, earlq in the daq
Green The naturalworld

Iheme ln comporhlon tnd framlng lnteresting composition is vital in a
The final thing that is essential is the composition or framing of all good-qualitg video
gour shots. What is included and what gets left out? The things that
are seen tlrroughfhe lens need to be carefullg ananged.lhe space
betwae,n,et-ffilt€re, their closeness to the camera and their bodg
language tell the viewer a huge amount about the relationships
, belWeen thbrn A$ gourself the question, what do gou want to conveg?
Phnnlng gourvldco
Using the table below and all the information about the video
techniques above, plan gourvideo.
Video title
The main theme gou will focus on during the
making of this video
A brief description of what gour video will be about
Choose four camera effects gou will use and 1l
explain how theg will help to develop Uour theme
?)
3)
4l
Choose two sound/music effects gou will use and 1l

explain how theg will help to develop Uour theme
2l
Choose a lighting effect gou will use and explain 1)

how it will help to develop gour theme
Choose a sgmbolic or colour effect gou will use 1l

and explain how it will help to develop gour theme
What do gou want to achieve in gour video?
Shominggourfilm
lf gou have been able to shootthe film, gou will need to edit itwith the appropriate software program. Show
it to gour peeni and teacher after editing get feedback and then make a final cut.
{[]] oroall- coNTExTs

3 ATL SKILLS
Creative thinking
Create original works and ideas

Reflection
Write a reflection explaining your film and why you chose the
.j& TAKE ACTI0N
A video is a powerful way to

techniques that are in it:
take meaningful action, or can
. camera angles iink to service work. With your
classmates, discuss some ways
. audio
in which a video couid be used
. Iighting to make a difference.
. other features.
Theme in literature
You will now turn to more traditional interpretations of theme as
it appears in literature. The first thing to note is that the theme is
not immediately apparent in a work. What you notice first are the
characters and the setting. Then, as you continue, you appreciate the
plot. The theme is something Iess obvious. You have to find it for
yourself and as we all approach literature from our own unique mix
of gender, race, class, culture and experience, that makes for a really
interesting mix of interpretations that can come out of any text. Having
said that, for many texts you are likely to come to a wide consensus on
what is going on within them.
Consider the works of literature you have read before this point.
Discuss with your classmates what the themes were in them.
When arguing for a particular theme in a text, it is necessary to provide

evidence to support your views. This will usually be a combination of
concise quotations and carefully laid out arguments.
,ti Activitg 2 Exploring theme in Animol Form
For th is activitg we wi I be
I a na lgsi ng extracts from the n ovel Animol
Form bg George Orwell. The point of this actMtu is to see how thrce QDlw$ LtNKs
For this activity you will
different interpretationslthemes can be found in this text and to
need some knowledge of
appreciete how eech rcading has its strcngths and weaknesses. the Cold War. You can find a
lot of information about the
I events of this war online. Try
in 1945,thewodd rapidlg entered searching "the Cold War" on
into the period known as the Cold War. Georye Orwell's novel came the following websites:
out at this time and warned of the horrors of life in the Soviet Union wwwbbc.co.uk/history
www.historylearningsite.co.uk
IRussiaJ, which, unlike the democratic nations of North America
www.history.com.
and Westem Europe, was undarthe di*atorship of Stalin.
This interpretation of the noveliB in schools all overthe world.
Chapter 10 | Theme !,13

Nfimol furm-lmrrprrt tlon 2
A different interyretition of this work can be found bg closelg
exploring parts of the character Old Major's speech in chapter one.
il
The character Old Major is the
We are told *rat Old Maior lras so highlg regarded on the farm that
evergone was quite readg to lose an hour's sleep in orderto hear
first character to be described
what he had to sag".Ihis suggests that his words are crucial to
in Animal Fann.
understandingwhat develops in the novel.
Read this paft of the novel carefullg.
Anlmal Fermby George Or$rell

Man is the only credfifie that consumes without producing.He does not give milb he does not lay
eggs, he is too weak to pull the plougla he cannot run fast enough to catch rabbits. Yet he is lord of
all the antmals.I{e sefs them to worb he gives back to them the bare minimum that wtll prevent
them from startting, and the rest he leeps for htmself. Our labour tilts the sotL our dung ferttltses il
and yet there is not one of us that owns more than hts bare skin-..
Is it not crystal all the evik of thts life of ours spring from the tyranny
clear, then, comrades, that
of human beings? Only get rtd of Man, and the produce of our labour would be our own^ Almost
overnight we could become rich and free. What then must we do? Why, work ntght and day, body
and soul for the overthrow of the human rolce! That is my messo ge to you, comrades: Rebellton! I do
not know when that Rebellton wtll come, it mtght be tn a week or in a hundred years, but I knoh,, os
surely os "[ see thts straw beneath my feel that sooner or later justice will be done. Fix your eyes on
that, comrades, throughout the short remainder of your ltves!And above o/[poss on thismessoge
of mine to those who come after you, so that future generattons shall carry on the stntggle unttl tt ts
vtctorious.
And remember, comradeg your resolution must never faher. No argument must leadyou astray.
Never listen when they tell you that Man and the animals have a common interesl that the
prosperityof theoneis theprosperttyof theothers. Ittsallltes.Manseryes theinterestsof no
creature except himself. And among us animals let there be perfect untty, perfect comradeship in
the struggle. All men are enemtes. All animals cre comrodes ...
I have little more to say. I merely repeat, remember always your duty of enmity towards Man and all
his woys. Whatever goes upon n'to legs is an enemy. Whatever goes upon four legs, or has wingg is
a friend And remember also that in fighting against Mat\ we must not come to resemble htm Even
wlrcn you have conquered him, do not adopt his vices. No animal must ever live tn a house, or sleep
in a bed or wear clothes, or drink alcohol, or smoke tobacco, or touch money, or engcrge in trade. All
the habits of Man are eviL And, above alL no animal must ever tyrannise over his own kind Weak or
strong, clever or stmple, we are all brothers. No animal must ever kill any other antmaL All animals
are equal.
0ucstlons: ,
a) According to 01d Major, what are the failings of Man?
For this next interpretation,
b) What would be the advantage of overthrowing him and putting
bear in mind that the
the farm under animal control?
neighbouring two farms
c) What does Old Major warn that animals should never do?
represent Britain and Germany,

ln this reading of the text, Animal Farm under Napoleon [the pigthat It
represents the dictator Stalin) is a horrible exploitative place. What is
Spoiler aiert: don't read the
continuallg measured, however, is how lowAnimalFarm has sunk
next page if you are reading
when compared to the two human farms around it. Remember
the whole novel in class.
in 1946 manU Western nations were democracies. Nevertheless,
theg ran colonialempires with widespread human rights abuses, racism, no democracA and continual economic
exploitation. The author of this novel had seen this first hand as a police officer in colonial Burma/Mganmar.
When we reach the end of the novel, six human farmers, including Mr Pilkington, who represents the
leaders of Britain, and Napoleon with five other pigs, who represent the Soviet Union's Communist partg, get
together for a drunken partg. Unknown to them, the ordinarg farm animals are secretlg watchingthrough
the window. This is what happens.
Mr. Ptlktngton wos about to spring some carefully prepored, witticism on the company, but for a
moment he was too overcome by amusement to be able to utter it. After much choking, during
whtch his vartous chtns turned purple, he managed to get it out: "If you have your lower animals to
contendwtth" he said, "we have our /ower c/osse s!" ... Mr. Ptlkington once agatn congratulated the
ptgs onthe low rati,ons, the long working hours, andthe general obsence of pampering whLchhe had
obseryed on Animal Farm.
And now, he satd finally, he would ask the company to rtse to thetr feet and make certatn that
thetr glasses were full. "Gentlemer4" concluded Mr. Ptlktngton, "gentlemen, I give you a toast:
To the prospertty of Antmal Farm!"
There was enthustastic cheering and stamping of feet. Napoleonwos so gratifted that he left hts
place and came round the table to clinkhts mug agatnst Mr. Pi,lktngton's before emptytng tt. When
the cheering had dted down, Napoleon, who had rematned on his feet, intimated that he too had a
few words to say.
Ltke all of Napoleon's speeches, if wos short and to the potnt. He toq he said" was happy that the
pertod of mt sunderstanding was dt an end. For a long ttme there had been rumours
-circulated,
he had reclson to thtnk, by some maltgnant enemy
-
that there was something subversive and even
revoluttonary in the outlook of himself and hts colleagues. They had been uedited wtth attempting
to sttr up rebellion dmong the animals on netghbouring farms. Nothtng could be further from the
truth! Their sole wish, now and in the past, was to live at peace and tn normalbusiness relattons
with their netghbours. Thts farm whtch he had the honour to control, he added, wos o co-operattve
enterprise. The tttle-deeds, whtch were tn his own possessfon, were owned by the pigs jotntly.
He dtd not beli.eve, he satd, that any of the old susptctons still ltngered, but certain changes had
been made recently tn the routtne of the farm which should have the effect of promottng conftd.ence
sttll further. Hitherto the antmals on the farm had had a rather fooltsh custom of addresstng one
another as "Comrd.de." Thts was to be suppressed. There had also been avery strange custorn,
whose ortgtn was unknown, of marching every Sundoy morning past a boar's skull whlch was nailed.
to d. post in the garden. This, too, would be suppress ed, and the skull had already been buried His
viszfors mtght have observed, toq the green flag whtch flew from the masthead If so, they would
perhaps have noted that the white hoof and horn wtth whtch it had prevtously been marked had now
be en removed. It w ould b e a plain gre en flag from now onw ords.

He had only one crtttctsm" he said, to make of Mr. Ptlkington's excellent and netghbourly speech.
Mr. Pilktngtonhod referred throughout to'Animal Farm." He could not of course know - for he,
Napoleo4 was only now for the first time announctng tt - tho,t the name 'Animal Farm" had been
aboltshed. Henceforutard the farm was to be known as "The Manor Farm" - whtch he believed, was
its correct and ortginal name.
"Gentlemer;" concluded Napoleon, "I will give you the some toosf o s before, but in a different fornt
Ftllyour glasses fo the brtrru Gentlemen, here is my toast: To the prosperity of The Manor Farm!"
There wols the same hearty cheering as before, and the mugs were emptied to the dregs. But as the
animals outstde gazed at the scene, it seemed to them that some strange thing was happening.
What was it that had altered tn the faces of the pigs? Clover's old dtm eyes flitted from one face to
another. Some of them had ftve chins, some had four, some had three. But what was it that seemed
to be melting and changing? Then, the applause having come to an end, the company took up their
cords and conttnued the gdme that had been interrupted, and the antmals crept silently away.
But they had not gone twenty yords when they stopped short. An uproar of voices was coming from
the farmhouse. They rushed bock and looked through the wtndow agoin Yes, a vi.olent quorrel was
in progress. There were shoutings, bangings on the table, sharp susplcious glances, furtous denials.
The source of the trouble appeared to be that Napoleon and Mr. Pilktngton had each played an ace
of spodes simubaneously.
Twelve voices were shouttng in anger, and they were all alike. No question, now, what had happened
to the faces of the pigs. The creatures outside looked from pig to man, ond from man to pig, and
from pig to man again; but already tt was f mpossible to say whtch wos whicL
0uestions:
a) Pilkington is given "various chins" bg the author. What does this mean? What effect is created bg this
and bg further givingthe pigs and humans three to five chins?
b) Napoleon announces that he is changing the name of Animal Farm back to the previous name, Manor
Farm. What do gou think he means bg doingthis?
c) What is the sgmbolic effect of having both Mr Pilkington and Napoleon plaging the ace of spades card at
the same time?
d) What effect is created bg havingthe pigs and humans look similar?
e) ln what wag could this be said to be an optimistic ending to the novel?
fl ln what wag does this ending contradict the first reading given of the novel?
Anl mol Fo rm-i nterpretation 3

third interpretation of the novel, read the second extract again. You will need to approach the reading a
For a
little differentlg. ln the world of the 21st centurg, the Cold War and the Soviet Union are no more; therefore,
this interpretation looks for the timeless theme in Animol Form bg asking the following question: How can
we prevent power conupting us? The theme here is a moral one. Though no angel at the start of the novel,
powerturned Napoleon into a self-obsessed murderer.
For us, the readers, to have a theme that relates to our own lives gives the novel added relevance begond the
historical issues in the previous two. We all have some fbrm of power in our lives. lt mag be as a member of the
studentgovemmentfor Uourschool, oran organizerof a service progmmme.0utside school, it mag be over
can abuse it.
Uounger brothers and sisters, over smaller children, or over pets. We can use that powerto help, orwe

What does the second elctract sag about corruption?
Corruption is as much with us todag as in 0rwell's time
rilfinfirilr
. which of these three readings is most powerfulto gou@gourchoice.
. Arethese readings mutuallg exclusive@Uouranswer.
. To what extent do gou thinkthat themes are limitless and constantlg changing?
(ii) sroerL coNTExTS

3 lnformation
ATL SKILLS
literacg
Use critical-literacy skills.
Theme in propaganda
ffimpi& is designed to influence us to be for or against a particular
position. It involves the manipulation of facts, perhaps by presenting
just the information that favours a position, or even by seeming to lie
by leaving out information that is vital for a clear understanding of
the issue. In propaganda the theme or message is distorted, so that
the word propaganda is often used negatively; however, this is not
altogether fair. Propaganda could, for example, be raising a health
issue that is causing concern to the government, such as the warnings
about smoking.
You may well have seen examples of wartime propaganda in your

individuals and societies class. In the examples that follow the
propaganda is mainly political in nature.

t Activitg 3 Seeing through the tricks of propaganda
Here are some famous examples of political statements that aim to

il
establish the theme, or set up the limits in which the speaker
In order to appreciate this
wishes itto be viewed.
topic, go online and research
First, here is a statement bg former US President George W Bush on the attacks on the Twin Towers
2Oth September 2001to the nation. on September rrth zoor and
'Amertcans are asking Why do [the terrorists] hate us7 the build up to the Iraqi War
They hate what they see rtght here in thts chamber: a (zoo3).
democratically elected government. Thetr leaders are
self-appointed They hate our freedoms: our freedom
of religtora our freedom of speech, our freedom to vote
and assemble and dtsagree with each other."
SEt FnrnunQ on the following statements.

Statement 1: The speech praises positive perceptions of the USA.
Statement 2: The speech avoids discussing other reasons behind the attacks such as US support for
dictators in the Middle East, sellingweaponstothese diaators and trainingtheir police and militarg.
EEf! Fnalgtrolttre following extracl from the same speech. Look at how it establishes a theme and
considerotherwags of viewingthe pointthatthe President is making.
'Etther you are with us or you are wtth the terrorists."
And from the other main partg in US politics, here isthe Obama 2008 Presidential campaign slogan.
"Change we can believe fn." Followed by the chant: 'Yes we con!"

a) F-dI$Athese two phrases, includingthe word choice.
b) What do these phrases sag and what don't theg sag?
(!)) eroaal coNTExTS

? ATL SKILLS
Use critical-literacy skills
The first interpretation of Antmal Farm in Topic 2 became a powerfui

theme during the Cold War that may have helped defeat the
Soviet Union. The West succeeded in portraying the Russians as a
dangerous dictatorship. Though Western nations overthrew several
democratically elected leaders during the Cold War through violent
takeovers and supported many brutal dictatorships, the same Western
nations have been successful in suppressing this theme of world
history so that even today many people are unaware of it.
Political propaganda seeks to impose a theme, or narrative, on the
audience, Ieaving them unreceptive to alternative voices. Let's now
look at the kind of techniques used in the creation of propaganda. The
first few will be familiar to you. The later ones will be explained in more
detail. Here we go:
. lffiffiff or "h5rpe".
' Repetition.
' Symbols.
. Fear.
o Humour.
r FIatteV.
. Vagueness: two of the political statements at the start of this
topic fall into this category.
r Rhetorical questions: answering questions that you put forward
yourself, thus maintaining complete control of the theme.
. The common touch: no matter how wealthy and privileged leaders
arg it is desirable for them to be portrayed as being "just like us".
. Euphemism: using more pleasant language to cover an ugly
reality. For example, instead of a leader saying that he or she
killed innocent civilians, they may instead say that there was
"collateral damage".
. Simple solutions: keep your theme understandable by a mass
audience.
o Scapegoating: blaming a problem on a certain group. For
example, if the "terrorists" are to blame for a problem then it
avoids looking too closely at the injustices that caused those
men and women to turn to violence.
. Testimonial: seeking the support of famous people to give
credibility to your message.
. The straw man: creating a false, damaging message and then
associating your opponents with it.
o Intentional fallacies: arguments that may appear to be logical,
though they are calculated to manipulate or deceive. One of the
Tricked bg Napoleon's propaganda
political statements at the start of this topic falls into this category.
The sustained use of all these techniques is often called "spin". Spin is
not a complimentary word in this context. These methods to control
what an audience sees are clearly disagreeable in manyways; however,
if we know what they are it is easier to recognize them in real life when
they are used against us (which they undoubtedly will be).
Returning to Animal Farm for a moment, the sheep on the farm

represented the ordinary people who uncritically believed what their
Ieaders told them. In the novel, George Orwell consistently warns us
what will happen if we are not critical about what we see and hear.
t Activitg 4 The task
You have two choices forthis activitg:
Cholcc 1
LOok back to Topic 2. lmaginethe situation at the end of the novel when Napoleon has been exposed as a
corrupt cheat. ln the uproarthat follows, he is forced to allow free and fair elections open to other animals
that will be supervised bg outside observers. Note: if gou did not read the whole novel, find and read a
summary of the novel. Design gour political campaign to defeat Napoleon.
Cholcc 2
Consider political leaderc gou have studied in gour individuals and societies classes. Create a campaign to
run against one of them.
Whichevergou choose gou need to design the fottowing

. a logo, that then appearc on/in:
o a campaign postel
o a politicalleaflet
o optional: a campaign video.
When gou have finished gourwork, present ittothe group forfeedbackthen make ang changes gou
consider appropriate before the final drafts.
F.TfiEEIIilT
Reflect on the following idea: how principled am l?
. To what extent are these propaganda techniques distasteful?
o To what extent are theg necessary?
o How can we know when theg are being used on us?
Using the table below write a reflection explaining Uour cempaign and whg gou chose the propaganda
techniques that are in it.
Name of gour leader
Themes gou have prioritized duringthe making

of this campaign
Take one propaganda technique gou used and

explain how it helped develop gour theme
Take a second propaganda technique gou used

and explain how it helped develop gour theme
Take a third propaganda technique Uou used and

explain how it helped develop gour theme
Reflect on what gou have achieved in gour

campaign. What were its strengths?
What would gou change for next time?

(()) eroear coNTExTs
o lnformation
ATL SKILLS
literacg
Present information in a variety of formats
and platforms.
al)
DUmmary
This chapter has taken you through three activities. In the first, you had
to choose the theme and then the techniques that brought it out. In the
second, you were looking for different interpretations, or themes, that
were hidden within the work of a famous writer. Finally you explored
texts where the theme was deliberately being obscured.
Some questions to consider:
a) When doing your own original wor[ is it better to start with

the techniques you are going to use or the theme? Justify your
response.
b) Take each of the following in turn: setting characters, plot. How

important is each in helping to work out what the theme is in the
work of others? Justify your response.
Reference
Orwell, G. rg+6. Ani.mal Farm. Harcourt Brace and Company.

CHAPTER
11 Setting I KEYCOHCEPT FOCUS

CREATMTYA}ID
coffitEcTr0]rs
GLOSSARY
INOUIRY tI; The role of setting in communicating character
OUESTIONS t How can setting help us better understand characters, fmret repetition of sounds
and kinds of sounds at the
their identity and how they change?
beginning of words
n Exploring the role of setting in establishing m!fllt0 a three-dimensional

context representation of a scene
r To what extent do changes to the setting of a text 0noilfrPqdr words that make
impact our understanding of its purpose and message? the sounds they describe or
refer to e.g. piop, fizz,buzz
I The function of setting in creating mood and
atmosphere and communicating theme ESltGtrry attributing
human emotions and behaviour
I How can we explore aspects of setting in our own to natural phenomena
creative writing?
if;emr when human
SKILLS ATt attributes or qualities are
given to an inanimate object or
/ Give and receive meaningful feedback.
abstract idea
/ Consider ideas from multiple perspectives.
l-lrcp an object or piece of
/ Interpret and use effectively modes of non-verbal furniture used by actors in a
communication. play or film
.,/ Read critically and for comprehension.
./ Collaborate with peers and experts using a variety
COMMAND TERMS
of digital environments and media.
/ Use a variety of media to communicate with a range lAnalgs;lbreak down in order to
of audiences. bring out the essential elements
or structure. To identify parts
./ Recognize unstated assumptions and bias.
/ Write for different purposes. interpret information to
reach conclusions.
/ Interpret and analyse visual texts. Create to evolve from one's own
or imagination,
./ Speak and listen for a range of purposes. as a work or an invention.
.,/ Analyse and produce creative and analytical responses
to texts.
OTHER Audience imperatives Contqrt Theme

RELATED Perspective
CONCEPTS

Introducing setting
Setting is a central aspect to all our lives and influences, not only the
shaping of our personality but also the perspectives we have on various
people, ideas, beliefs and texts we read. Setting is not only restricted
to the physical characteristics of the locatioru time of day or year and
place but can also include broader aspects such as cultural setting
the historical point in time or geographical location. All these factors
influence our own personality and outlooh as well those of characters,
events, themes and ideas in texts that we read or view.
The setting of a text is comprised of a number of key elements:

. Time - many stories take place over a short time period
. Place - these include where you set individual scenes of
your text
. Location - the geographic location
. Period - the historical period in which the text occurs.
Setting as a literary device performs a number of functions within

Iiterature, including:
. Establishing character - The location or time of day or year and
a character's relationship with or reaction to their surroundings
may suggest something about a character's mood, motivation
or situation. Symbolic elements in the setting may also be used
to reflect aspects of their personality or mental state.
. Establishing plot - The setting can cause events to occu4 acting
as an antagonist (creating conflict) or creating circumstances that
force a character to take a certain course of action.
. Establishing cultural, historical or geographical context -
External elements of time and plaee can add information and
background against which we can judge events or characters.
o Communicating atmosphere and mood - Setting can be
used to establish a general mood or atmosphere, sometimes
foreshadowing (future) events or arousing a reader's
expectations.
. Developing theme - The setting can reinforce certain ideas or
aspects of a worh such as a character's alienation or isolation
within society.
Chapter 11 | Setting 123

The role of setting in
eommunieating eharaeter
The settings you inhabit, both public and private, affect your own
attitudes, behaviours, the langiuage you use, the things you discuss and
messages and impressions you send to others. In different settings you
may appear to be a very different person to those who do not know
you. We are all more at ease in some settings than in others. Think of
your own classes, for example. You may feel more comfortable being in
an art studio or drama space than in a mathematics class or a science
laboratory. You are a different person when:
. sitting at the dining room table with your grandparents
. being in different classrooms in school
. being with friends in the playground
. being online in a virtual setting.
12tl Language and Literature

,ti Activitg 1 Consider gour settings
Take a moment to consider some different settings in gour lifo,and how theg affect how gou ftel, how gou
gourself that gou project to others.
Feel public and prirate settings.
Setting How I feel How I behave How others see me

0nline presence in
socialmedia networks
ln different classes
With friends in
plagground
At large familg
gatheri ngs of relatives
Other settings
0urstlong
r How do, gou appear dift rentlg to different people in diffarsnt settir69.?
o Hgw ate,Uoil different in a range of private settings?

. Are there *attings gour friends orteacher or relatives rnlghtbo S{ifpris8d t0eee ggrl
in {aaing on stage in school, plaging in the band}?
Share gour findings with a partner Uou feel comfurtable talking to.
(f)) oroanr- coNTExTs

3 ATL SKILLS
Communication
Give and receive meaningful feedback

t Activitg 2 A Room with a view
Em Let's start bg thinking about a setting that mang
t:
of gou are most familiar with: gour bedroom. This
is possiblg gour most perconal space and the one
that reveals most about gour personalitg. !f gou
' share a bedroom or live in a dormitory, gou can
think about somewhere else that's pdvate to gou,
like gour locker at school. What could the following
aspects of gour perconal space reveal to someone
about gour interests, ambitions, character,
perconalitg andtastes?
. The pictures or photographs on the wall -
What clues do theg give as to gour passions,
dreams, things gou value as important?
. The fumiture - eBB, design, size and shape -
How might it reflect gour interests and tastes?
o The colour scheme - bright vibrant colours or
darker, more restrained ones?
. The objeas in gour room - Which objects
stand out or occupg a prominent position?
r The lagout of gour room - What areas are points of focus and importance?
o The cleanliness and order - How clean and tidg is h? ls it cluttered and busg or emptg and
spacious?
. The genenl appearance - Comfortable and cosg? Dark and dingg? Messg? Ordered and
organized?
Using a camera, take five photographs of gour room [or other personal spaceJ which best displag
the tgpe of person gou are. The photographs should focus on aspects of gour room that reflect
gour interests and personalitg. Theg can be pictures of important objects, furniture, pictures
on gour wall, or photos showing the colours and general organization of gour space. All these
aspects sau something about gour identitg. Bdng gour photos to school.
Eff,fJ Swap gourfive photos with someone in the ctass. Now swap the photos gou got back from them
with someone else. You should end up with five photos from an unknown member of gour class.
You do not need to knowwhose room gou are lookingat. Studg the photographs and considerthe
following questions:
o What is the general appearance of the room - oryanized or messu, cluttered or bare?
o What objects or items appear prominent in the room?
o What objeas appearto occupg a less important space?
. What pictures or posters are there on the wall?
. What colours stand out? Are theg bright, vibrant colours or darker, more subdued ones?
o How much pdvacg is there?

rNnd"r,prMMM,kr&tNer
. Which elements of this room appealto gou?

. What questions about the robm do gou have for the person who took the photographs? Write
them down.
EfllIiEI Using these observations, what general conctusions can gou draw about the tgpe of person who
lives in this room?
r Theirpersonalitg - outgoing introverted [inwardJ, organized
r Their passions, interests or dreams
. Their outlook and perspective
. Their behaviours and attitudes
See if gou can guess whose room gou were viewing. Share with a partner
0uestlons
Use the prompt que$ions below to reflect on how changes in gour own room have
gour life.
. How has gour room changed over time? How simitar or different would it have looked if gou had
photographed it (ora previous room) five gears ago?
e What things have entered gour room and what have now disappeared? How do these changes
reflect changes in gour own life- gour priorities, responsibilities, hobbies, interosts and dreams?
. How has gour room reflected gour grourth, both phgsical and psgchological?
o How can Uou use these notes to create a piece of creative writing about goursel8
{ii} etoerl coNTExTs

o Criticalthinking
ATL SKILLS
Consider ideas from multiple perspectives
@, ! NTERDIsclPLtNARY LrN Ks GDTcHAPTER LtNKs

Individuals and Societies SeeActivity Z in Chapter 9
Research rooms from around the world,looking at different Characterisation about
rooms of people from different cultures. Create a photo story representing a character's
of rooms around the world exploring how they communicate mind as a room.
similarities and differences between cultures in terms of
personality and lifestyles.
Present it to your peers.

tti Activitg 3 Exploring rooms in literature
Eff,lI Having explored what gour own room sags about gou, consider some well-known texts where
writers have used characters' rooms for a range of purposes, such as giving reades a clearer
insight into the personalitg of their characters. Here are some classic examples from
well-known texts:
. Crooks's room andthe bunkhouse in 0f Mice qnd Menbg John Steinbeck
o The rooms inhabited bg Torvald and in Henrik lbsen's plagA Dollb House
. Mrs Mallard's room in Kate Chopin's short storg 'The Storg of an Hour'
o Miss Haversham's room inGreatbcpectations bg Charles Oickens
. Gregor's room in Kafka's Metomorphosis
o Bilbo Baggins's room in The Hobbit bg J.R.R. Tolkien
. lhe Yellow Wollpoper bg Charlotte Perkins Gilman
' . Frankenstein's laboratory in Marg Shelleg's Fronkenstein
o The poem MrBleoneg bg Phillip Larkin
Read one or more of these and applg the same questions gou asked about Uourown room to the
characters and settings in these slories. What do their rooms reveal about their characters and
howtheg change, if at all?
Etrf Focus on Kate Chopin's fhe Story of on Hour.

Follow the points below and then ansrer the QDlwee uNKs
You can find an extract from
questions about the tern.
"The Story of an Hour" at:
Befure gou read, what do gou thinkthe slory is about? wwwvcu.edu
. Where might it be set?
Enter "The Story of an Hour"
into the search box.
. What events might Uou expect to read about?
o Atwhattime of dag do gou thinkthe story willtake place?
. What sort of hours or moments are important in people's lives?
. How mightthe title signal setting's importance in the storg?
o The originaltitlewas'The Oream of an Hour'. What further
clues does this title give about the story's possible content?
Now read the xory either alone or as a group. lt can be found inThe Awokening ond Seleaed
Stories of Kote Chopin, or Uou can find and read the extract in the web link given.
Whllc rcrdlng
. ldentifg as manu aspects of sefting as gou can that are sgmbolic.
. What details give gou clues as to the historical setting of the storg?
. What details give gou clues as to the cuhural setting of the storu?
. What aspects of setting relate to character? How do these details help conveg the characters'
internal mindscape - thoughts, feelings, motivations?
o How does the setting reflect or help establish the mood?

Aftcrrcrdlng
What is the significance of the following in terms of the possible messlge Kate Chopin
communicate aboutwomen's role in maniage and within 19th century societg?
. Mrc Mallard experiencing her epiphang behind closed doors insidethe house
. The metaphoricalphrase the storm of grief"
'Her awakeningtaking place as she stands facingan open window

. The
*comfortable,
roomg armchair'in which she experiences her epiphang
. 0nlu the women being upstairs in the house while the men remain downstairc below
. The patches ofblue skg that are described
. Thethings she experiences outside herwindow
This xory reveals how setting can do much more than establish character;
also shows how the setting of wents can help rcinfurce a writer's message.
experiences her epiphang behind closed doors in her house reveals how
as taboo or shocking in those dags and had to be experienced in the pdt/acg
(€i! eroarl coNTExTs

3 ATL SKILLS
Communication
Reflection
Consider these questions:
. How can I develop my explorations of setting in my own
analytical responses to texts?
. How can aspects of setting in my own life be used to develop
characters in my own creative writing?
. How can I apply my understanding of setting and its role in
communicating someone's identity and apply it to the real world?
;eV TAKE ACTI0N

Think about how you can apply your learning about
setting to make a difference in the lives of others. As part
of a service learning project, research Iow-cost housing
initiatives in your area, investigate the needs of family and
design a room/rooms for a low-cost house, using recycled
materials, that meets the needs and reflects the tastes and
interests of its inhabitants. You could work with a local
organisation like Habitat for Humanity or apply your work
to an existing challenge in your region.

Exploring the role of setting
in establishing eontext
In the previous topic, you considered changes in your room and how
these reflected changes in you as a person. In the last activity you
touched on the role of setting in communicating social, cultural and
historical context. In reading Chopin's short story you also explored the
role of setting in communicating context.
In this series of activities you will further explore setting's role in

communicating context by asking the following key questions:
Factual:
. How does a text exist in a range of settings and contexts

simultaneously?
Conceptual:
. How do setting and context provide a usefulbackdrop against
which you can explore and analyze characters, ideas and events
in texts?
. How does the setting and context of a text influence and/or
reflect its content, production and reception?
. If a text exists simultaneously in a range of contexts and
settings, how is its meaning affected?
,ti Activitg 4 Judging a book bg its cover
Choose ang text Uou are studging andF-nalgsdlits cover.
There are likelg to be mang editions of the text, especiallg if it is well-known. Research and find other
examples of covers for gour text. Trg to find covers that contain either images or scenes from the telft. lf gou
cannot find a suitable cover, gou can research and find otherformats of the text like film coverVposters or
theatre posteni.
Once gou have two orthree covers, studg the images on the cover and read the blurb on the back. Then
answer the following questions:
. What details can gou extftlct aboutthe following:

o the geographical location
o the historical sefting in time
o the culturalsetting?
. the phgsical setting weather, or colours reveal angthing about the mood or
Do ang details in
atmosphere of the people, actions and events portraged?

. lf people are portraged, how theg relate to their surroundings? Do theg seern at home, uncomfortable
or at ease, are theg interacting with their environment, do theg seem to fit into to it?
. Do ang details on the cover give clues about keg themes or ideas in the text [e.g. power struggles,
conflict, alienation, death etc.)? How do these linkto the context and setting of the text?
. lf the cover contains an image of a particular scene, locate the relevant passage in the text and
consiilerwhetherthe image reveals explicitlg anU aspects of thetextand its settingand contextwhich
are not immediatelg apparent in the writing.
O! ouoart coNTEXTS
? ATL SKILLS
Communication
,ti Activitg 5 Swapping settings - exploring settinB through drama

One wag to explore the impact a setting can have on a text is to set it in a different time and/or place. Mang
recent film versions of classic telits are doing this. You mag well have watched recent productions of
Shakespeare plags set in a modern context such as:
o Mocbeth onthe Estote [1997]. Penng Woolcock'stelevision adaption of the plag set in a modern
British council estate.
c Romeo and Juliet [1996) directed bg Baz Luhrmann where Verona, ltalg becomes Verona Beach
in the USA.
. Hamlet (2000). Michae! Almeregda's modern adaption of Hamletset in modem dag
NewYork Citg.
o Homlet (1995). Kenneth Branagh's film adaption of the plag set in the 19th centurg.
Research orwatch these films and considerthe following questions:

. Did changes to the text's setting make it easier for Uou to understand? Give reasons whg or whg not.
. How, if at all, were the te)ds meaning and message affeaed bg the change in setting and context?
Film and theatre directors and plag producers often presenttelfts in new culturaland historicalsettings
to give the text a more meaningful contelf,to a modern audience or more relevance to their cultural and
historical settings. The themes and ideas of the texts are often timeless and universal, but bg adaptingtheir
settings and contexts to a more contemporarg context, producers are able to give the te)ft a more relevant
context for their audience or use the text as a an historical, social or political comment on contemporarg
societg.
Taking a well-known scene from Mocbeth, explore how changingthe setting context of the ptag changes its
meaning for a modern audience.

Eff,tI 0rganise gourself into groups of three and read act 1, scene 1 of the plag.
Thunder ond lightning. Enterthree Witches
First Witch When shall we three meet again? il D
ln thunder, lightning orin rain? Terms you need to know:

Second Witch When the hurlgburlg's done, Hurly burly: cornrnotion,
When the battle's lost and won. uproar, tunnoil.
Third Witch That wi!! be ere the set of sun. Paddock: the second witch's
FirstWhch Wherethe place? familiar is a toad.
Second Witch Upon the heath. Graymalkin: one of tl-re witch's
ThirdWitch Thereto meetwith Macbeth. familiars.
FirxWitch lcome, Gragmalkin!
Second Witch Paddock calls. 10
Third Witch Anon.
ALL Fair is foul, and foul is fair:
Hoverthrough the fog and filthg air. bccunt
Eff,fJ Yourtask now isto create a new setting and context forthe scene.
o The witches are no longer witches. lmagine what theg could become.
r The setting is no longer a deserted heath in Scotland.
Be creative and think about how gou can maintain the original essence of the scene. Below are
some possible scenarios gou could use.lmaginetheg are:
o US citg
gangsters meeting in a deserted building in a
. weird scientists planningto make a new creature in an isolated castle.
o bank robbers in an abandoned warehouse planning a robbery
. generals in an underground bunker planning an attack.
o Alternativelg, gou could use a scenario of gour own.
Spend 20 minutes thinking about how gou will communicate the new setting and context for gour
settingto gour audience. You will have to think about how gou use gestures, postures, intonation
and props to communicate this setting and context.
. Think also about howthe meaning of some of the words will change. What new meanings could
theu take on? What, for example, could Gragmalkin be?
. Howwillthe phgsical charaaers change?
o How would Shakespeare's audience, who believed in witches and witchcraft, have reacted to
the original scene? KingJames lwas himself an expert in witchcraft and even wrote a treatise
on witches, so it is likelg Shakespeare included them in his plag knowingtheg would have
been a subject of interest to his king and patron. How would a modern audience respond
similarlg and differentlu to this scene?
. The three witches were original known in the first folio as tvegard'orweird sisters. The word
lreird'has its origins in the Anglo Saxon word lrgrd', a concept relatingto desting and the
role of past, present and future in shapingan individual's fate. How does this alter gour reading
of their characters and role in the plag?
o How does changing the historical, geographical or socia! setting of a text alter its meaning for a
reader orviewer?
()) otoert coNTExTs
? ATL SKILLS
Communication
Collaborate with peers and experts using a
variety of digital environments and media.
Now look at the role of setting in communicating context in non-fiction

texts that you may study.
,ti Activitg 6 Exploring settings in non-literarg texts - advertisements
Mang advertisements relg on using setting to connect wkh a taryet audience and comniunicete a messaBe
about a product or brand. Aspects of setting help establish not onlu the cultural and historical context but also
help communicate the image of produst and the $et of values and beliefs associated vvith it.
Eff,lI Research print advertisements for a common product. Choose a product which appeals to
a range of target audiences [cars, perfumes, chocolate, clothes, sporting goods, drinks,
confectionarg etc.).
Select two or three print advertisements for gour chosen product that appeal to different target
audiences. For each adverUimage complete the following information. lf gou are unsure, ask
gourteacher.
The advertisement
Target audience
Context: publication in which gou found the

advertisement and the sort of people who bug it
Promises being made bg the product. What is

the primarg appealof the advertisement? What
sort of thoughts/aspirations Ie.g. fears, dreams,
ambitions etc.) does the advertisement appeal
to in the viewer?
For example, gou could explore print advertisements for different cars in different locations [citg,
wilderness, futuristic setting etc.). To help identifg the target audience and the main appeal of the
car, gou mag explore some of the following questions:
. tn what publication was the advertisement located? What sort of people read this publication?
o What do advertisers promise will come with buging a car? Status? Freedom? Control? Fower?
Success? !ndependence?
o How is the viewer made to see the car as an emblem of himselfiherself?
. What kind of people and relationships are shown in the advertisement [familg, couples,
business executive etc.) ?
. Does the advertisement address the question of global warming? ls the tan6t
environmentallg responsible?
Chapterll I Setting t33

Havingidentifted,these aspects of the advertisement,thinkabout how its settingreinforcesthe
message and image of the product.
Eff,f| Swap gour chosen adverts/images with a partner and answerthe following questions:
o What is the setting of the advertisement and how can gou tell? Look at elements such as:
o the location includingthe backdrop,the phgsical landscape
the people in the advertisement - their clothing relationships with others
o the props - food, signs, objects being held and the relationship of people to these objects.
. What does the setting tell gou about the taryet audience? Whg is this appropriate for the
product being sold?
. What iryage of the product is the advertisement trying to sell? How do the settings reinforce
the image of the productthe advertiseristryingto communicate [e.g. sophisticated,
'adventurous,
professional, luxurious, futuristic etc.J? What concepts or lifestgle aspirations
are theu trying to promote (e.g. status, freedom, powerJ?
o How do the settings conveu the mood and atmosphere that fits with the product image [calm,
comfortable, relaxed, exh i la rati n g exchi ng adventu rous etc.) ?
. WhU did the advertiser choose this specific context for the advertisement?
(li) eroaal coNTExTs

? ATL SKILLS
Communication
Use a variety of media to comn'runicate with
a range of ar-rdiences.
Criticalthinking
Recognize unstated assur-nptior-rs ar-rd bias.
Consider ideas frorn multiple perspectives.
Reflection
.j& TAKE ACTT0N
Use the following questions and statements to gnride your reflection:
Focus on aspects of setting. Design
an advertisement in print or other . How might your chosen advertisements or book covers from
media for a campaign or appeal the previous activities be interpreted in a different historical
for action focused on a local and cultural time and place?
environmentai or Irr.rmanitarian
issue. Consider l-iow a focus on
. Changing the setting or context of a text forces you to consider
aspects of setting will help yor.r different perspectives and readings.
cornrnunicate the issuc, problern . Up to what point can a text's meaning and message remain
or need and the werys to address
it. Be sure to have a specific target unaffected by changes to its setting and context?
audience in mir-rd.
Present your advertisement to
your class, explaining how aspects
of setting highlight the issue's
appeal to t}-re t.uget audience and
empl-rasize solutions and change.

The funetion of setting in
creating mood and atmosphere
and communicating theme
In this section you will explore how writers use setting as a tool to
communicate themes, atmosphere and mood. You will explore the
. How can physical or described setting be used to communicate
a text's message?
. How can the physical setting be used to communicate key

ideas and themes in a text?
. What is pathetic fallaey and how is it used as a tool by writers?
. How can you create convincing and realistic settings in your
own writing?
,ti Activitg 7 Staging a scene - drama diorama
ln this activitg gou will explore how setting can be used to communicate various aspects of a text, such as
characters' mood and the atmosphere and how it can even highlight keg ideas and themes.
Choose anu scene from a plag gou have studied in class. With a partner construct a diorama of the
scene in which gou use elements of the settingto communicate the plot and action as well as aspects of
character. Use the following questions to help gou plan:
o What props will gou include on stage? How will gou position them in order to highlight their
importance to the action and/orthe character[s) on stage?
. Where will gou set the scene?
. What aspects of lighting/sounds will Uou use to conveg mood and atmosphere? How will changes
in lighting affect the shifting mood of the characters and the scene in general? lf the scene is set
at night gou need to think about how gou can communicate this.
o What dominant colours will gou use in gour set [backdrop and lighting) to communicate mood
and atmosphere?
. What props can be used to help communicate character and how should theg interact with them to
help furtherthe audience's understanding of their character?
o Howwillgou use shadows ordarkspaces?
r What partsof the stage wil! gour characters use? Where willtheg move and at what points in
the dialogue?
. Thinkalso aboutwhat goursettingcan communicate aboutthe scene's historicaland
geographical location.

Complete the table to help gou capture gour plan:
Staging/backdrop
Props
Colours
Lighting
Actor's positioning on staBe
(); er-oarr- coNTExTS

? ATL SKILLS
Communication
Interpret and use effectively modes of
non-verbal communication.
t Activitg I Creative writinB based on setting
Read the following extract from William Golding's novel Lord of the Flies and think about howthe setting
is used to help communicate events. Then answerthe questions that follow:
Piggy touched Ralph's wrist.
"Come away. There's going to be trouble. Andwe've had our meat."

There was a blink of bright light beyond the forest and the thunder exploded again so that a littlun
started to whine. Big drops of rain fell among them making individual sounds when they struck
"Going to be a storm," said Ralph, "and you'll have rain like when we dropped here. Who's clever 5
now? Where are your shelters? What are you going to do about that7
The hunters were looking uneasily at the sky, flinehing from the stroke of the drops. A wave of
restlessness set the boys swaying and moving aimlessly. The fliekering light became brighter
and the blows of the thunder were only just bearable. The littluns began to run about, screaming.
Jack leapt on to the sand. 10
"Do our dance! Come on! Dance!"

He ran stumbling through the thick sand to the open space of rock beyond the fire. Between the
flashes of lightning the air was dark and terrible; and the boys followed him, clamorously. Roger
became the pig grunting and charging at Jack, who side-stepped. The hunters took their spears,
the cooks took spits, and the rest clubs of firewood. A circling movement developed and a chant. 15
While Roger mimed the terror of the pig the littluns ran and jumped on the outside of the
circle. Piggy and Ralph, under the threat of the sky, found themselves eager to take a place in
this demented but partly secure society. They were glad to touch the brown backs of the fence
that hemmed in the terror and made it govemable.
"Kill the beast! Cut his throat! Spill his blood!" zo

The movement became regular while the chant lost its first superficial excitement and began to
beat like a steady pulse. Roger ceased to be a pig and became a hunter, so that the center of the
ring yawned emptily. Some of the littluns started a ring on their owry and the complementary
eircles went round and round as though repetition would achieve safety of itself. There was the
throb and stamp of a single organism. 25
The dark sky was shattered by a blue-white scar. An instant later the noise was on them like the
blow of a gigantic whip. The chant rose a tone in agony.
"Kill the beast! Cut his throat! Spill his blood!"
Now out of the terror rose another desirg thich urgent, blind.
"Kill the beast! Cut his throat! Spill his blood!" 3o
Again the blue-white sear jagged above them and the sulphurous explosion beat down. The
litduns screamed and blundered about, fleeing from the edge of the fores! and one of them
broke the ring of biguns in his terror.
"Him!Him!"
The circle became a horseshoe. A thing was crawling out of the forest. It came darkly 35
uneertainly. The shrill screaming that rose before the beast was like a pain. The beast stumbled
into the horseshoe.
'Kill the beast! Cut his throat! Spilt his blood!"
The blue-ra&ite scar was constant, the noise unendurable. Simon was crying out something
about a dead man on a hill. 40
"Kill the beast! Cut his throat! Spill his blood! Do him in!"
The stieks fell and the mouth of the new circle crunched and screamed. The beast was on its
knees in the center, its arms folded over its face. It was crying out against the abominable noise
something about a body on the hitl. The beast struggled forwar4 broke the ring and fell over
the steep edge of the rock to the sand by the water. At once the crowd surged after it, poured
down the roclg leapt on to the beast, sereame4 struch bit, tore. There were no wordq and no
movements but the tearing of teeth and claws.
Then the clouds opened and let down the rain Iike a waterfall. The water bounded from the
mountain-top, tore leaves and branches from the trees, poured like a cold shower over the
struggling heap on the sand. Presently the heap broke up and figures staggered away. Only the 5o
beast lay still, a few yards from the sea. Even in the rain they could see how small a beast it was;
and already its blood was staining the sand.
Now a great wind blew the rain sidewayq cascading the water from the forest trees. On the
mountain-top the parachute filled and moved; the figure sli4 rose to its feet, spun, swayed down
through a vastness of wet air and trod with ungainly feet the tops of the high trees; falling still 55
falling it sank toward the beach and the boys rushed screaming into the darkness. The parachute
took the figiure forwar4 furrowing the lagoon, and bumped it over the reef and out to sea.

0ucstlons
. How does William Golding use pathetic fallacg to reflect the mounting tension and conflict in
this scene?
. How do aspects of setting and weather help communicate risingtension in the scene?
. What doesthe storm sgmbolize in terms of the conflict between the bogs?
{ii} etosrt coNTExTs

? ATL SKILLS
Communication
Planning a piece of writing based on setting
Having explored how Golding uses weather to communicate atmosphere in the previous activitg, Uou are
now goingto step into the shoes of a writer and plan a piece of writing based on setting. The purpose of gour
writing is to consider how aspects of setting can communicate the mood and atmosphere as ivel! as the
themes and ideas of the piece.
Use the ptanning furm that follows to help Uou think about the theme/idea gou want to exptore (e.g. love
and loss) and the wags in which aspecls of setting can help communicate the theme/idea, mood and
atmosphere. ln particularthink about how setting can create tension. Ask gourteacherto explain ang terms
gou do not understand.
Theme/idea (emotion / mood / atmospherel:
Possible situations:
Lighting to conveu
atmosphere
r intensitg
l colours
r changes in light
r shadow/sun
Setting Itime/placel
Weather

Sounds Ieffectsl to
create mood
r alliteration
a assonance
r onomatopoeia
a texture of words
Speech / dialogue
a tone of voice
r vocabularg
r punctuation marks
r mode of address
r volume
Movements of people /
objects to conveg mood &
attitude [verbsJ
lmages / sgmbols
r similes
r metaphors
r sgmbols
Point of view
r close-up
r aerialview
a movement uP/down
0uestions ll I
Explain howthe factors above combine to create an

in t]-re earlier references to 7/re Srolu ol'crri
overallmood.
Horo'and Lorcl of the Fi..,.', weather is r-rsed
Describe how gour piece builds to a climax and metapl-rorically to cornrnLrnicate characters'
howthe tension is reflected in gourvarious er:rotions and general tensior-r. Use pathetic
elements above. This should then be followed fallacy to transfer the ernotions to your'
bg a denouement / resolution / falling aclion. surroundings so that they convey your
characters' rnood. Use persor-rification to
This plan can easilg be used for a
bring the scene to life and nrake tl're setting
piece of prose writing.
becorne like one of the characters.
O! oroart coNTExTS
? ATL SKILLS
Communication
Write for different purposes.

Creating a convincing piece of writing
Using rcalistic details
How can you convey a sense of place to someone who has never Iived
where you do? One way is to think of different aspects of the place that
make it unique. These realistic details will make your setting convincing:
. food
. names of people and places
. animals
o plants and trees
. type of music played
. buildings and landmarks
Try this yourself. Write down names and examples local to you and create
a sentence that describes a person moving through that landscape. Be as
specific as you can. As an example,look at the following extracts. Think
about the locations they describe and how through appealing to your
senses they help transport you into the scene.
Extract A
As Juan ambled ocross the dusty landscape, picking hts way between
cactus and mesttze frees, his thoughts were interrupted by a coati
scampertng ocross the dusty patl4 a green mango in its mouth.
And:
Extract B
The sounds of mariacht drtfted through the jacaranda trees, up up
through the window of Guadelupe's kitchen and mingledwtth the
rtch smell of mole ond frtjoles emanating from her srove. A pair of
chachalocas flew notstly past her window, chattertng loudly ltke
gosslps in the plaza, no doubt mocking the lovers below, who sang
boleros through tequila breath, their notes mingling with the smell of
the frangipant trees.
t Activitg 10 Appealing to the senses
EEI Re-read the lines from Wilfred 0wen's poem Dulce et decorum est in Chapter 9 on characterisation
and ansurerthe questions that fullow. The poem describes World War I soldiers as theu retum to
their resttrenches from the front line.
0ucctions
o How does0wen bringthe battlefield in France to life for his readers back in England and etsewhere?
Consider his us€ of onomatopoeia, alliteration, and vivid images.
r What comparisons [similes and metaphorsf does 0wen use to create a clearer picture of the
soldiers and their environment?

D
Creating tension
Tension can be created by varying the pace and rhythm of sentences. To vary pace
and rhythm you need to use a variety of sentence types (simple, compound, complex
eompound-complex) and iengtl-rs. Ask your teacher for further information on different
types of sentence.
In Dulce et decortutt esr for example, Owen conveys the slow trudging pace of the tired,
injured men using punctuation to create a stilted, limping movement to the verse.
Eff,f! Communicating emotion usintyerbs

ln his description 0wen peg$ close attention to the verbs he uses to describe the soldiers'
:tso
movements and s(ate of mind, Yerbs are a powerfrJl wau to communicate character and csnveg
emotions. Substitute a verb from the tcble into the space in the sentencc thet fqllows. Cornplete
the table bg consideringthe different moods and moti\rations suggested bg each verb. Feelfree
to think of others
Samantha t... ... I intothe classroom.
Verbs Possible moods and motivations implied

skipped
ambled
shuffled
sPrinted
meandered
marched
stormed
sneaked
(,i) e roalr coNTExTs

o ATL SKILLS
Communication

Reflection
. How successful was your piece of creative writing?
. What improvements could you make to your planning and
writing next time?
. What advice would you give to someone else to improve
their writing?
Summary
In this chapter you have explored some of the key functions of setting
in communicating character, context, themg mood and atmosphere.
Can you think of any other functions?
To demonstrate your learning of the eoncept of setting, choose one of

the following activities:
1. Develop a service learning project to improve an aspect of the

physical setting of your school or loeal communiry Investigate how
your project ean address a true need and make a positive impact on
the setting and eommunity. Monitor the impact of these changes
on the community through questionnaires and surveys.
2. Change setting: Spend time in an unfamiliar environment

or change settings in a familiar environment (e.g. eat lunch
somewhere differently, visit somewhere new in your local
eommunity, move seats in your classroom). Reflect on how the
change affects you-your outlooh mood, perspectivg attitudes and,/
or values.
g. Design a newbook cover: For a text you are studyingg design a

newbook coverwhich uses setting to communicate one or more
aspects of the text: character, theme, mood, atmosphere. Consider
the key elements to incorporate in order to communicate as much
as you ean about your text.
Referenees
Golding W. zorz. Lord of theFlies. Faber and Faber.
Shakespeare, W zoo7. Macbeth.Penguin Classics. New Edition.
1{2 Language and Literature

CHAPTER
L2 Style I KEY CONCEPT FOCUS

colrlrEcTrolts
6LOSSARY
INOUIRY ; Exploring elements of style
OUESTIONS r What is the reason behind an author's choice of style? Om nffi the literal
dictionary meaning of a word.
; Writing in the same style tfidflt the author's choice of
I What forms a certain style? words and their effects on the
total work.
|f; Building your own style MSlq the evocation of a
r How can you build your own style? sensory experience through
words.
SKILLS ATt
/ Analyse complex concepts and projects into their $t8 sentence structure and
punctuation. e.g.: comple:g
simple, compound, dialogue.
understanding.
/ Use critical-literacy skills to analyse and interpret media
communications.
COMMAND TERMS
/ Apply existing knowledge to generate new ideas,
products or processes. Fnaigsdlbreak down in order to
/ Draw reasonable conclusions and generalizations. or structure. To identify parts
Langruage and literature and relationships, and to
/ Analyse the content, context, language, structure,
conclusions.
technique and style of text(s) and the relationships among
texts. ttdnparelgive an account of
the similarities between two
(or more) items or situationg
referring to both (all) of them
/ Make stylistic choices in terms of linguistic and literary throughout.
devices, demonstrating awareness of impact on an
audience. 0iscuss offer a considered and
balanced review that includes a
t/ Select relevant details and examples to develop ideas.
range of arguments, factors or
/ Write and speak in a register and style that serve the hypotheses.
context and intention.
haloE undenake a systematic
process of discovery.
OTHER Setting Self-expression Context
RELATED tinterprA use knowledge and
CONCEPTS understanding to recognize
trends and draw conclusions
from given information.
Introdueing style
Style is the author's way of communicating their message. AIl authors
have a style, but not all authors'styles are the same. Style is the author's
choice of words, their arrangements in sentences and paragraphs to
express themselves. The style of a text shows how the author perceives
something-an experience or an event-and how they want the reader
to experience this perception.
There are three elements of style that we will focus on in this chapter:
diction, imagery and syntax.
Dlcdon can be explained as the author's choice of words and their effect
on the writing. There are different ways that any particular word can be
read in a text. There is the literal meaning of a word-the one that you
would read in the dictionary definition if you looked it up. This is called
the dcnoffithnrltrudng. Then there are the suggestions and associations
that you might make when you read a word or group of words. This is
called connotative meaning. Several words may have the same literal
meaning while differing signifieantly in their connotation.
luqug is the use of language by the author to evoke a sensory

experience for the reader. This can help a reader visualize a place in a
text, or imagine smells, tastes and sounds.
Sgtttu is the sentence structure and punctuation used in the text.
Expl orrn g elements of style

a
Authors can influence your interpretations about the facts presented

by their choice of wordings and phrases. The stylistic choices that
a writer selects give you certain impressions about the situation,
the speaker and the person spoken to (the audienee). The following
activities will show you how authors of literary works use elements of
style to make readers see what they see. You will explore the elements
of style and analyze famous authors'use of stylistic devices. You will
recognize how the choice of a certain style can deliver a message.
,ti Activitg 1 Exploring elements of stgle
Read the following excerpt from A nimol Form bg Georye 0rwell.

"Now comrades, what is the nature of this life of ours? Let us face it our lives are miserablg
laborioug and shon. We are born, we are given just so much food as will keep the breath in our
bodies, and those of us who are capable of it are forced to work to the last atom of our strengtfu

and the very instant that our usefulness has come to an end we are slaughtened with hideous cnrelty,
No animal in England knows the meaning of happiness or leisure after he is a year old" No animal in
England is free. The life of an animal is misery and slavery: that is the plain truth. But is this simply
part of the order of nature? Is it because this land of oure is so poor that it cannot afford a decent
Iife to thqse who dwell upon it? Nq cornradeg a thousanil times no! The soil of England is fertile
its climate is good, it is capable of affording food in abundanee to an enormously greater number
of animals than now inhabit it. This single farm of ours would support a dozen horses, twenty cows,
hundreds of sheep-and all of them living in a comfort and a dignity that are now dmost beyond our
imagining. Why then do we continue in this miserable condition? Because nearly the whole of the
produce of our labour is stolen from us by human beings. Therg comrades, is the answer to all our
problems. It is summed up in a single word-Man. Man is the only real enemywe have. R.emove Man
from the scene, and the root eause of hunger and overwork is abolished for ever.'
In the followingtable gou willfind a list of examples and prompt questionsthat help Uou to deterrtiine a
text's stgle. IFor example, this could be a lgrica!, flippant, comic, fussg, serious, scientific, plain, fonnal,
vivid, comic, or imaginative stgle.J
Area of communication ls it for a mass audience, is it poetic, is it professional or academic?

Tgpe oftext (genre) ls it a news article, letter, poem, speech, etc.?
Topic What subject the text is about?
Theme What message is the text is trging to conveg? This is usuallg written
as a statement.
Purpose of the text ls it to entertain, persuade or inform?
Context Where and when does the text take place?
Audience Who is the text addressing?
Tone ls there an attitude to the voice used? For example, is the voice
affectionate/ flaVsecure/confused ?
Mood What atmosphere is created bg the writer? E.g.: gloomg, dull

0iction What words are used in the text? For example, short words/ slang words/
formallanguage?
lmagerg What imagerg is created in the text? Are there ang metaphors or similes
that contribute to the imagerg in the text?
Sgntax ls there angthing unusual about the grammar and punctuation

in the text? For example, are the sentences complex or simple?
Are there questions in the text? ls there dialogue?
Usingthetable,ffi*p"-l-qEthe extractandliili6ffitlhowthewriteruses different aspects of stgle

[diction, sgntax, tone, mood, figures of speech, descriptive details etc.] to get his message through
to the reader and reach his aim Ipurpose].
Chapter 12 | Stgle 145

(ii) eroet coNTExTs
? ATL SKILLS
Critical thinking
t Activitg 2 Comparing stules
Read the excerpts from two novels describing difficult journegs

and answerthe questions that follow:
tt D
Difference between
Te*t Oae: Touchhg tlre7ofd$ Joe Simpson descriptive features and
I stumbled through the chaotic maze of boulders and scree*. stylistic features:
I sagged wearily against a boulder,letting my mind run Descriptive features are the
haphazardly over my pain and sorrow. The thirst had become
concrete lar-rguage elements
unbearable. My mouth was dry and I swallowed What litde
writers use to capture a
saliva it produced failed to ease the discomfort. The descent
particular event, experience
had become a confused blur of endless boulder fields, buming
or time.
midday surq and the thirst. My legs felt weighted down and so
weakened I fell repeatedly among the rocks. When loose rocks Stylistic features are the
slipped suddenly under my feet, I found that I had no strengrth choices of Iar-rguage to
to prevent myself fdling. I used t'he axe to steady myselfl and capture the impression of a
occasiondly flung a hand out for support. Fingers slapped particular event, experience
unfeeling against sharp boulders. The sun had failed to revive or time.
any sensation in them and they remained numb and cold.
After an hour I saw the rounded boulder, with water glistening
as it ran over its flank I quickened my pace, feeling a burst of tt D
energy come through me at the thought of water. Term you need to know:
When I reached the hollow at the base of the boulder, and Scree: small loose stones
dropped my rueksack on the wet scree, I saw that there was
not enough water to satisfy my eraving thirst. Carefully I built a catchment area in the gravel at the
base of the rock It filled with tantalizing slowness an4 after suchng a gritty mouthful, was empty
again. I crouched at the rock drinking and waiting and drinking again. There seemed no end to the
amount I could drink
Tert Tbo: flE l"dst RftIE by Thonas Eidson

They had been riding without a break since morning. The afternoon rays of the desert sun burned
into them with a fierceness, but it seemed that nothing would stop the old man and his little horse.
Dot followed on Alice. The mule kept her head tucked in close behind the old mare's rump. Further
back rode Maggie. Clouds of thin dust kicked up, billowing over her, coating her in a muddy film
of perspiration.

The land was dry mostly sand, a place of flash floods and little il
more. Forbidding dunes rose like ocean waves in the distance;
cactus and creosote were closer by. There were lizards and lots of
Brush: undergrowth, small
colinia warblers in the brushr. The terrain wasi sparse pickings and
trees and shrubs.
thirsty. In the distance, in all directions, were tall barren-looking
mountains. Gray: the horse.
The gray pony was beginning to fade badly, stumbling over small things; the heat, the fatigue and
lack of water were taking their toll on her. Dot hcked Alice into a canter and moved dongside the
old man, slowing the mule to a bone-jarring halt. She looked worried.
At rr8 degrees Fahrenheit, Mannito had told her, a man exposed to the desert sun could last a day
i without water. One day. She didnt lcnow how long it was for horses and mules. Maybe more, maybe
less. She gazed off into the distance, watching the air dance in the harsh sunlight, and gruessed the
1
temperature to be rr5 degrees. She and her mother had a little water left, but the animals hadnt
drunk since the previous night.
tVe need water, grandpa. And we need to let the gray rest.'
Answerthe following questions usingthe table above to help gou analgse the stgle of the two telfts.
. What descriptive features do the two texts have in common and what descriptive features
are different?
. What stulistic features make the first text more factuat and the second text fictional?
. Write a comparison of the two stgles. How are theu the same? How are theg different?
(li) etosrt coNTEXTS

3 lnformation
ATL SKILLS
literacg
Use critical-literacy skills to analyse and
interpret media communications.
t Activitg 3 Assess Uour understanding
ffi-@landffi;lthe followingtwo telts.lEiffi)ttre

similarities and differences between the
texts. lnclude comments on the waUs the authors use elements such as structure, tone, images and other
stglistic devices to communicate their purposes.
Text One: TheWave
We sensed f f wos comtng and the others just dropped to the floor to protect themselves. f wos steering
and the whtte water just threw me forttord into the wheel. It was just an unbelievable wove. It ptcked
us up and the boat took off auoss the face of the wave like tt was a surfboard We were absolutely
chargtng ocross thts wave, like I'm talking about literally thumping ocross the water.

But we're tn a 4g-foot, nine-tonne yacht. It's going whaek, whach whack ocross the wave doing l5
maybe zo knots, and I'mhonging onto the wheel, crouched down, waiting for the wave to breok over
I'm thtnktng dn o sp/it se cond, what do I do? Do I try and pull the boat away? Do I let it go straight
us.
ahead and try to steady tt? Do I try and pull up through the back of it or what? Then I realtzed the
yacht was just hongtng in there. I decided I'djusf steer her stratght and let her go the way she wonted
Ihfs is all happening in osplit second I'm crouched down waiting for the wdter to ltterolly engulf us
and then suddenly fm thtnking, God I've got no water around. I've got my eyes and my mouth closed
and there's no water around What's going on?
I opened my and looked up and could see the wave curltng over us. We were literally tn the tube of
eyes
the wave. It was just a phenomenal, unbelievable siruation You could see it breaktng over us, and we
were just staying out of the break Nexf thtng, of course, it caught up with us ond whumphh, tt broke all
over us. Equally quickly it was all gone.
Text T!vo: Helmsmanship
Sreering fs one of the seaman's mosr respo nstble tosfts. A helmsman ts not only requtred to be
familiar wtth the steering qualtties of his shtp and have a complete knowledge of the composs, but is
also required to be obsolutely reliable, trustworthy and capable of concentration. A good, tntelligent
helmsman is highly regarded in every shtp by the master and the officers, and every young sai.lor
should ospire to become a helmsman upon whom officers and pilots con rely tmpltcttly. A mistoke
on the helmsman's part which is nof at once detected, and corrected, can lead, and often has done,
fo dfsosfer.
The success ful helmsman is one who maintains a steady wtth the lecrstpossib le movement of
course
the wheel To this end hts undtvtded attentton is essenfioL lf through tnattentiveness or inexpertence
on the helm's part, a shtp yows from stdefo side of her course, the steering engine ts continually
on the move. Naatrally tt ts better for him if he rurns the wheel a little than if he turns tt a lot.
A conscienttous helmsman wtll only hand over to a relief when

e. manoeuvre hos been completed and the ship has been
lt t
steadted onher course. An tndtcatton of how the vesse/ fs Term you need to know:
steertng, that is, carrytng port or starboard helru steering Helmsman: the person
well or steertng badly, should alwaysbe gtvenby the responsible for steering
man-at-the-wheel to his reltef. If the wheel ts handed a boat.
over.in a proper manner, tt wtll make things easier for
the new helmsman
nrrJtrfmnr
Consider the fo!!owing:
o How did gou feelwhen gou were doingthis aclivitg?
. Have Uou mastered ang skills?
. What are the skills gou feel gou need to work on?
r What are Uou goingto do nextto improve gou Peformance?

(]) etoart coNTExTS
I ATL SKILLS
Critical thinking
their constituent parts and synthesize thern
Writing in the same style

Now that you have explored the features and components that form
a style, you will imitate a style after analyzing it. You will be exposed
to different literary genre with their unique styles. You will explore
descriptive prose highlighting the process of thinking, then look at
creating suspense and investigate the styles of different poetry genres.
When analyzing style there are certain expressions and langmage to be

used. The following table gives you some examples of literary language
to use when answering questions about style. You may want to consult
with your teacher for further explanation of the terms and language
used in this table.
Stglistic feature Examples

The general stgle of r simple the author chooses to portrag his characters or ideas candidlg with few
-
the text chances for misunderstanding
I complex the subject is mang-faceted, so the author's stgle musttrg to capture these
-
aspects, perhaps with figures ofspeech, longer sentences, use ofanalogies, etc.
r literal - the author means to communicate on one level, i.e. he is referring to the
primarg meaning of the words he chooses; he is concerned with the facts; he
exaggerates or embellishes verg little
r - stgle which makes use of figures of speech, metaphorical or rhetorical
figurative
writing. direct - a straightforward, candid, frank form of writing which does not deviate
r involved - stule which tries to take an in-depth look at the subject, exploring feelings
and behaviours
I abstract the author intentionallg stags awag from specifics concentrating on the
-
theoretical rather than the practical
. concrete - the author relies heavilg on specific facts and instances to flesh out his ideas I
r ponderous - heavg and dull

r epigrammatic - containing wise sagings smartlU expressed
r didactic - instructive [teaching] I

r dogmatic - positive, assertive
r colloquial - usingthe vernacular [common speechJ
. pompous - pretentious, affecting a false dignitg
r gushing - without reserve, usuallg without reflection
. cou - a pretense ofbashfulness
a other.....
Mood ofthe text r ironic - the use of words to conveu the opposite of their literal meaning
r humorous - funng,laughable, comical
. gau - merrg, cheerful, jollg
r solemn - deeplg earnest, serious, grave
r wistful - pensive, wishful
r romantic - extravagantlg ideal
r religious - conscientious devotion to topic
l serious - sober, earnest, sincere
r melancholg - thoughtfullg sad
r sad- sorrowful, unhappg, dispirited
r whimsical - oddlg funng
r reminiscent - things remembered
. sentimental - cloging or sickening
r pensive - musing thoughtful
. reverent - showing respect
t sportive - mischievous
r reflective - thoughtful
r somber - gloomg
r sinister - boding evil
r nostalgic - longing for home or countru, or for somethingthat is absent
! other
Paragraph . sequential - organized bU steps or through time
development r spatial - organized through distance or space
r logical - reasoning from one supposition to another
. sgstematic - accordingto a method
r haphazard -to conveu a sense ofconfusion
a other
Sentence structure r short - giving an effect for excitement or speed
r long - characterizes formal stgles, especiallg discussions of ideas, also common in
ction Ii.e., descriptive passages)
fi
r varied in length - figures of speech mag be used in orderto exaggerate ideas

r loose - makes sense if brought to a close at one or more points before the end
r periodic -
makes complete sense onlg when one reaches the end [or period). This
mag add to suspense or varietg

a Para or more parts a sentence the same gram ca
Use for emphasis
r balance, antithesis, inversion, repetition and subordinate construction adds
emphasis to ideas discussed in the passage
r simple and compound sentences lend simplistic tone and stgle; subject is not meant
to be portraged in a complex manner
r complex sentences mag help to conveu a conflict of ideas
r logical connectives between sentences solidifg the argument
I rhetorical questions - used to make the reader supplg additional material forthe
passage, and to motivate reader to consider implications of passage
! other...
Diction r monosgllabic - one sgllable - this stgle mag be used to effect simplicitg or it mag be
r polgsgllabic - two or more sgllables - a more formal, serious stgle which mag make
use of ang of the constructions mentioned previouslg
r archaic -
belonging to ancient times - in this case, the stgle is obviouslg meant to
transport the reader into a different era
. connotative - suggesting more than the plain meaning - a figurative stgle meant to
be emotive or reflective
. rare words - the intent mag be loftg, lighthearted, informative or comparative
r technical and scientific words - serious writing with a referential intent
r slang and colloquialisms - mau be used for humour or for realism
r abstractions - intended to make reader reflect or accept alternate ideas
r dialect words - used to portrag a definite group of people, to conveu realistic flavour
r allusions - formal writing;the author supposes readers can make comparative
judgements
a onomatopoeic words - to conveg realism, a sense of presence, a re-enactment of the
original
r vivid verbs - conveg a sense of action
r alliteration - helps bind phrases and thus thoughts together; lends completeness to
Passage
r vivid imagerg - takes reader awag from commonplace; suggests alternatives
Table 12.1 Using literarg analgsis language

t Activitg 4 using the same stglistic features
The following excerpt is from James Jogce's Ulgsses. lt describes part of the inner conversation of Leopold
Bloom, the main character, as he walks through Dublin in 1904. The novel is considered one of the most
important tvorks of 20m century literature. Before Jogce, no writer of fiction had highlighted the process of
thinking.
IJe crossed of Nossou streef corner and stood before the window of Yeates and Sory pricing the field
grosses. Or will I drop into old Harris's and have a chat with Young Sinclair? Well mannered fellow.
hobably ot his luncl'u Must get those o/d glosse s of mine set right Goerz lenses, srx guineos. Germa ns
making their way everlnthere. Sel/ on easy terms to capture trade. Undercutting. Mtght chance on a
pair in the ratlway lost property offtce. Astontshing the things people leave behind them in trains and
cloak rooms. ttlhat do they be thinktng about! Women too. Incredtble. Lost year twelling to Ennis hod
to ptck up that farmer's daughter's bag and hand tt to her at Limerick junction Unclaimed money too.
There's a ltttle watch up there on the roof of the bank to tesf fhese glasses by.
Efflt Read the excerpt. Usingthe literary analgsis language table to help gou, ansmrerthe
1. What is the general stgle of the text?

2. What is the mood ofthe text?
3. Describe the paragraph development in the ten.
4. Describethe sentence structure in the text.
5. Describe the use of diction in the text.
FFllItf Nowthat gou are aware of the stglistic features used in the text, write gour own passage about gour
thoughts as Uou walkthrough gour hometown. ln gour passage, use as manu of Jogce's stglistic
features as possible
1['j; cloert coNTExTs

I ATL SKlLLS
Creative thinking
Apply existing knowledge to generate new
ideas, products or processes.
t Activitg 5 Creating suspense
EtrD Write a 100-word passage which describes an action thattakes ten seconds to do. For example,
the action could be "opening a door". Add descriptions of the moment and create a full image of
what happens in the ten seconds. Describe who is there, where the action takes place, how it
happens, and the feelings gou have when doingthe action.
Share itwith others and discuss how it can be refined to make it more exciting orgive more impact.

E@ Read the following excerpt fiom the short story contens of the Dead Mon's Pocketbg Jack
Finneg, describing a scene where the narrator is trying to rescue a piece of paper from drifting
through the window.
lffi-algtreltlre stule Finneg uses to desoibe this moment in his passage. You can use the literarg
analgsis language table to help gou.
Turning,he sow a sh,eet of white paper drtfting to the floor ina senes of arcs, and another
sleet, yellow, rnoving towards the window, caught in the dying cunent flowtng through the
narrow opentng. As he wqtched tke paper struck the bottom edge of the window and hung
there for an tnstanl plastired agatnst tfte g/oss and wood Then os the mwing atr sttlled
completely, the curtains swinging back from the wall to hang free agatry he saw the yellow
sheet drop to the window lefue and slide over out of sight.
He ranocross the raom, grasped the bottom of the window and rugged, staring through the
glass. He sow the yellow sheet, dtmly now tn the darkness outstde, lytng on the ornamental
ledge a yard below the winfuw. Even as he watched, it was moving, scraping slowly along
tl;e ledge, pusled by the breeze rhatpresse d steadily against the butldtng wcllL He fteaved
on the wtndow with all his strengtl4 and it shot open with a bang, the window weight rattltng
inthe casing. But the paper wcspost hts reach and,leaning out into the nigh6he watched
it scud sfeo dtly along the ledge to the south half plostered against the butlding wall.
Above the muffled sound of the srreef trafftc far below, he could hear the dry scrape of tts
movement, like a leaf on the pavement.
f{l!I'If Write a passage aboutthe nextten seconds in this description usingthe same stule.
{li} stoert coNTExTs

3 ATL SKILLS
Creative thinking
tti Activitg 6 Exploring poetrg genres
FfllFjll Read andFEl6Elthe five genres of poetrg that foflow.

Emilg 0ickinson wrote
Sonnet renowned narrative
Exeerpt from Sonnet Nurter tS b!/ Willian Shahespeare Poetru.
Shall I compare thee to a summefs day?
Thou art more lovely and more temperate.
Rough winds do shake the derling buds of May,
And summey's lease hath all too short a date.

Sometime too hot the eye of heaven shines,
Chapter 12 | Stgle r53

And often is his gold complexion Ileilu
dimme4 Haikuby Matsu Basho
And every fair from fair sometime

In the cicada's ery
declineg No sign can tell
By chance, ornature's ehanging Howsoon it must die.
course untrimmed.
First day of Spring-
Narratirrcpo€try I keep thinking about-
I Felt a Funeral in my Brainby the end of autmn.
EmilyDichnson Moonless night...
a powerful wind embraces
I felt a Funeral, in my Brairu
the ancient cedars.
And Mourners to and fro
Dont imitate me;
Kept treading - treading - till it it's as boring
seemed as the two halves of a melon.
That Sense was breaking through - The moon so pure

And when they dl were seate4 a wandering monk carries it
aeross the sand
A Service like a
Drum - Kept beating - beating - Haikuby Issa
till I thought Written in Hoshinavillage on a
MyMindwas going numb - spring Kannon festival day:
Andthen I heardthem lift a Box Wind-strewn blossoms-

Buddha gathers secret coins
And creak across my Soul
In a shady.nook
Withthose same Boots of Lead, The gentlewillow,
agairg
Pliant as awoman, tempts me
Then Space -began to toll, Into the garden
As all the Heavens were a BelL Bellyfull of rice eaks
To digest,I go out and
And Being but an EaL
Graft anothertree
And I, and Silencg some strange
Race Wrecked solitary, here - Edward Lear wrote well known
limericks and nonsense poems.
And then a Plank in ReasorL broke
And I dropped down, and down -
And hit a Worl4 at every plunge,

And Finished knowing - then -
Sure to taste sweetly, - is that
poison too?

Limerick As it passed mywindow
By Edward Lear
Whistled itself a tune -
There was an Old man with a
bear4
A careless snatch - a ballad -A
ditty of the street -
Who sai4 "It is just as I feared!-
Yet to my irritated Ear
Two Owls and a Hen,
An Anodyne so sweet -
Four Larks and a Wren,
It was as if a Bobolink
Have all built their nests in my
Sauntering this way
beard!
Carolle4 and pausd and carolled -
There was an Old Man of Dundeg
Then bubbled slow away!
Who frequented the top of a tree;
It was as if a chirping brook
When disturbed by the erows, he
Upon a dustyway-
abruptly arose,
Set bleeding feet to minuets
And exclaimed, I'll return to
Dundee.' Without the knowing why!
Tomorrow, night will come again -
Ballade
Heart nof so heavy as mtneby Perhaps, weary and sore -
Emily Dickinson Ah Bugle!Bymywindow
Heart, not so heavy as mine I prayyou pass once more.
Wending late home -

f{f{tl Now that gou have read these poems from different Benres, copu the tabte and fill it out. A few
sections have been started for gou.
Tgpes of poems
Features
Narrative Sonnets Haiku Limerick Ballade
Poetru
Rhgme A strict rhgme
scheme scheme.
The rhgme
scheme of a
Shakespearean
sonnet is ABAB /
CDCD/EFEF/GG

Rhgthms
Alliteration Standard
Irepeating letter sgllabic pattern
or sound at the of five sgllables
beginning of
in the first line,
words]
seven in the
second, and five
in the last.
Historg Japan
& origin Seventeenth
centuru
Length 14lines, can be Short

broken down into from three to 17
four sections lines
called quatrains.
Specialfeatures Uses simple

language and
tells a storg
Famous poets Basho first poet,

then Buson and
lssa.
FFl!['If Choose one of the poems.ndEnEirtge-lits stgte, consideringthe following:

o Gcnru)Structure
o Tonc/naratlve tonGl Chronological order of events; describes an event and fullows
it with an argument; does not emphasize specific events, etc.
o Scttlng
. Speakcr I Diversitg of moods I suntax and diction
o RrrPose/thcmc
o Mood -)Thoughtful, confused, puzzled, competitive, etc.
o lmagerU
. Fitures of spcech ) personification, metaphor or extended metaphor, etc.
. Sound, Repetition, confirmation, assurance,declaration
o Rhume schomc
. Sumbols and ambigultles
. Sgntaxand dlstioh relrted to mood

Eff,!! Now add a new stanza to one of the poems or atternptto write a poem in the same genre.
((!) etoam coNTEXTS

I ATL SKILLS
Creative thinking
Apply existing knowiedge to generate
new ideas, products or processes.
Reflection
. What can you do to become a more efficient and effective
learner?
. How can you become more flexible in your choice of learning
strategies?
. What factors are important for helping you learn well?
Building your own style

The context of a text can affect its level of formality. Different situations
call for different ways of putting words together. The way you write in
academic and scientific settings differs greatly from the way you write
to a friend or someone close to you. The tone, vocabulary and syntax
all change as the occasion changes. This difference in styles of writing
is the difference between formal and informal writing.
Vocabulary in formal settings: Formalwriting uses advanced

vocabulary with fuil words (for
example, "advertisement') instead
of contractions or abbreviations
(for example, "ad" or "advert').
Vocabulary in informal settings: Informal writing uses simple

words using abbreviations and
contractions.
Tone in formal settings: Formal writing uses an impersonal
tone and discusses topics stating
main points confidently and offers
fully supported argnrments.

Tone in informal settings: Informal writing uses an
emotional tone, first or second
person point-of-view, and often
discusses topics with humour.
Sentences in formal settings: Formal writing favors longer, more

detailed sentences to thoroughly
convey a thought. Sentences are
usually in the third person.
Sentences in informal settings: Informal writing favors short,
simple sentences.
Punctuation in formal settings: Formal writing uses conservative

punctuation (e.g., periods,
commas, etc).
Punctuation in informal settings: Informal writing is generous with

abrupt and dramatic punctuation
(e.g., exclamation marks, the
ellipses, the dash, etc).
ttl Activitg 7 Level of formalitg
Eflllfa The following is an excerpt from a short storg. Complete the missing parts in the most
descriptive wag gou can.
A
her
Itke a that
She Whenshe
she reminds me of You could not resist
She andsaid
Efl{tl The following is an excerpt from a potice investigation witness report of the same woman from the
first excerpt. Fillthe missing parts in the most descriptive wag Uou can.
Sue Thomasor! a freelance journalist, testified that the terrorist witnessed in the crime
scene was a woman. She was wearing
Her was that

She was standing when suddenly she her

FFllIiEf lffil gour two descriptions. How are theg the same? How are theg different? How much did
the given context change gour stgle?
()) eroerl coNTExTS

? ATL SKILLS
Critical thinking
generalizations.
t Activitg 8 Writing with stgle
EEf The following are two excerpts from the first chapte r of The Greot Gotsbrl describing the character
of Daisg. Read the extracls and note how the narrative stgle is used-the use of words [diction),
sentences fsgntaxJ and imagerg ffigures of speechJ-to deliverthe message.
Eff,f| Read the first excerpt and answerthe questions that follow.
The only completely stationary object in the room was an enornous couch on which tr,rro
young women were buoyed up as though upon an anchored balloon. They were both in
white. and their dresses were rippling and flutterinq as if they had just been blown back in
after a short flight around the house. I must have stood for a few moments listening to the
whip and snap of the curtains and the groan of a picture on the wall.
The other girf Daisy, made an attempt to rise - she leaned sliqhtlv forward with a
conscientious expression - then she laughed an absurd. charminq little lauglu and I
Iaughed too and came fontrard into the room. "I'm p-paralyzed with happiness." She
laughed again, as if she said something very witty. and held my hand for a momenq
looking up into my facg promising that there was no one in the world she so much wanted
to see. That was a way she had. She hinted in a murmur that the sumame of the,baiancing
girl was Baker. (I've heard it said that Daisy's murmur was only to make people lean toward
he4 an irrelevant criticism that made it no less charming)
Answer the following questions.

. How are figures of speech used?
. How are the underlined sections used to show Daisg in Nick's eges?
fflfiEf Read the second excerpt from the same novel and answerthe questions that follow.
I looked back at my cousin, who began to ask me questions in her low, thrilling voice. It
was the kind of voice that the ear follows up and down, as if each speech is an arrangement
of notes that will never be played again. Her face was sad and lovely with bright things in
it, bright eyes and a bright passionate mouth, but there was an excitement in her voice that
men who had cared for her found difficult to forget: a singing compulsion, a whispered
"Listen" a promise that she had done gay, exciting things just a while since and that there
were gay, exciting things hovering in the next hour.
Chapter 12 | StUle 159

. How are sentences [structure and punctuation)
used in the extractto describe Daisg's voice? QD)wea UNKS
There are many free handouts
. Howdid Scott Fitzgerald create his stgle?
available on the Writing Center
ls iteffective? How? website from the University of North
Carolina (writingcenter.unc.edu).
Click on the tab "Handouts" and select
"Style" under the category "Citation,
Style, and Sentence Level Concerns".
{(}} ctoart coNTExTS

? ATL SKILLS
Critical thinking
generaiizations.
t Activitg 9 Assess Uour understanding: reshaping a piece of work
ln this activitu gou will reshape a piece of work. Yourtask is to adapt and reshape the following short storg
to modifg its stgle. Make the piece of work more vivid bg using better stglistic elements. Add, delete, adapt
or keep anu elements of stgle that would refine this short storg.
And Here We Go Agatn

The swift trotnwent along. Looktng outside the window
I felt as if no years hove posse d; same everything.
The sarne ttme of year with tlwse golden short wl:,r;at
stems alongside the lwrizon It was always in Aprtl
when I hadto travel to Manhattan fo see my family.
First,withths tragedy of my father's sicftness,
then death- Repeated after nto years, by my mother's
suffering andreceivirry the same destiny.
I took a deep sigh and couldn't help memortes
crawlirq down my mind Out of my control, they
brought tedrs to my eyes.
'AmI going there agatn? I askedmyself.

This time, it's my brother. A young mdn with three ltttle ktds and a wife. That's a heavy load to leave
behtnd Being at the some school and untversity we grew up mostly together. We shared lofs of evenfs
I
with all what chtldhotod and youth ttmes hold Even at the age of 4q there is sti// a pdrt tn me that
I
1
1 longs for hispresence.
I
1
i
tl The long loud, horn ofan opposite train stroke my thoughts, to hear someone saying;
1
i
'
"tt's five minutes to Manhattan". The drsrressing scenes faded away, and I took shape
I
to step atthe statton
l

Opentng the door at his house, his three kids stood there; not beyond the height of the table at the
entrancehall.
"Ht aunty" the youngest joyfully said 'Is this for us?' He took the pack of chocolates I got them and
showedme theway tn-
Just the stght of hts tired smtle and hts deep hollow loob I couldnl help rolltng back to my gloomy
remtniscence.Ihtdmy feelings andgave hima smtlebachWe talked,we ate,welaughedandwe
spoke about all walks of life excepf hds cose and what the doctors said
I was curious to know, but I thought I didn't need to ash It was clear in the atmosphere
of the place around us; and I could tell, that somethtng was very muchwrong.
When ihe time came for me to leave, I stood and leaned to put akiss on his forehead
Two tears shone on his face; and I felt my ltfe ttme had shrtveled tn that exact moment.
As if all blessings I had vantshed and were replaced by that painful sorrow that ts still growing
everyday.
I gave htm my back walking to the door. One questton forced itself and kept ringing tn
my hea$'Will I ever get to see Aim again?'
ETfit:IifliIII
. How well do gou think gou approached the piece of writingAnd Here We Go Agoin?
. What was the best amendment Uou made to it? Whg Uou think it is the best?
. What was the amendment that did not make much difference? Whg do gou think so?
o What aspecl of stgle analgsis do gou think gou still need to learn more about?
((]) etoat coNTExTS

I ATL SKILLS
Creative thinking
Summary
The concept of style is central to the subject of language and literature
as it strengthens your understanding of how language affects literature,
and how literature affects language. Exploring the concept of style
offers you the key to unlocking the mysteries of the talent of an author
in a piece of work. By analyzing the manner of how the author uses
words and phrases (language) to convey a view, portray sensations or
deliver a message (literature), you realize and appreciate the author's
style in vividly revealing their thoughts and feelings.

Use the following thinking routine to reflect on the chapter:
Figure 1Z.Z Have gou tried Compass Points
this thinking routine?
E = Excited: What excites you about the concept of style? What's the
upside?
@ W = Worrisome: What do you find worrisome about this concept

What's the downside?
?
N = Need to Know: What else do you need to know or find out about it?
What additional information would help you evaluate things?
S = Stance orSuggestion for Moving Forward: What is your current
stance or opinion on the concept of style? How might you move
forward in your evaluation of this concept?
Referenees
Basho, M. Haikuby Matsu Basho. From: Basho's Narrow Road: Spring
and Autumn Possoges. Rock Spring Collection of Japanese Literature.
Stone Bridge Press. 1996.
Bonwich G. rgS8. Seamanship Handbook. znd ed. G. Philip.

Dickenson, E. (author), Johnson, T. (Editor). tgZ6. The Complete Poems
of Emily Dicktnson. Back Bay Books.
Dickinson, E.I Felt a Funeral in My Broin. From: The Pocket Emtly

Dtckinson. Shambhala Pocket Classics. zoog edition.
Eidson, T. rggS. The Last Rtde. UK. Penguin.
Finney, J. rgS6. Contents of the Dead Man's Pocket. Colliers.
Fitzgerald, F.tgZ+. The Great Gatsby. Penguin Classics, 2oot.

Issa K. (author), Hamill (translator).tgg7. The Sprtng of My Life: And
SelectedHailu. Published by Shambhala; 1st edition.
Joyce, J. tgzz. U/ysses. Published by Create Space Independent
Publishing Platform. zorr.
Lear, E (author), Jackson, H. (introduction). rg5r. Ihe Complete

Nonsense of Edward Leor. Dover Publications.
Mundle, R. zooo. Fatal Storm, the Instde Story of the Sydney-Hobart

Roce. TAB books Inc.
Orwell, G. zoo3. Antmal Farm. Houghton Mifflin Harcourt; rst edition.
Shakespeare, W. Shoft espeore's Sonnefs. Penguin Classics.

New edition rggg.
Simpson, J.tggl.Touchtng the Void. UK. Vintage.

CHAPTER
L3 Intertextuality I KEY CONCEPT FOCUS

CREATIVITY,
co]tIEcil0ils
GLOSSARY
INOUIRY
n Using intertextuality to inspire ereativity
OUESTIONS r How can intertextudity be used to inspire creativity? tEnffi whenacreator/
writer/poet/etc. intentionally
Using intertextuality to create humor or a larger refers to another literary work in
; order to add depth of meaning
message
to their own.
I How can interte*uality be used to create humor or a
larger message? an imitative work
modifying or mocking an
: Creating credibility through literary allusion original work in order to create
r How can intertexuality be used for greater humor.
credibility? Iffi aworkofvisualart,
Iiterature, or music that imitates
SKILLS ATt the style or character of the
Make connections between various sources of work of one or more other
"/ information. artists. Unlike parody, pastiche
celebrates, rather than mocks,
,/ Access information to be informed and inform others.
the work it imitates.
,/ Develop contrary or opposing arguments.
using someone else's
Make unexpected or unusual connections between ideas or words within your own
"/ objects andr/or ideas.
writing/speaking/multimedia
.,/ Propose and evaluate a variety of solutions. without giving that person
credit, thus representing it as
.,/ Use and interpret a range of discipline-specific terms your own in an unprincipled
and symbols.
manner.
,/ Write for different purposes.
,/ Demonstrate awareness of media interpretations
of events and ideas. COMMAND TERMS
Read critically and for comprehension. Evaluate make an appraisal by

"/ up the strengths and
limitations.
,/ Utilize and imitate the tools of another creator.
l5gfi trcrizelcombinedif f erent
.,/ Persuade an audience through propaganda and ideas in order to create new
advertisements.
understanding.
/'Jse sources from recognized conventions.
OTHER Style Character Genre/conventions

RELATEO
CONCEPTS
Chapter 13 | lntertextualitg t83

Introdue ing intertextuality
The Ianguage and literature guide defines intertextuality as;
The connections between one text and other texts, the ways in
which texts are interrelated and the meanings that arise out of their
interrelationship. An overt reference to another text (as in a direct
quote from another text) is also an example of intertextuality.
The first sentence of the definition is often more subtle, though an

entire work often would not be possible without this intertextual
connection. For example, James Joyce may not have developed his
own style of writing without examples from the modernist movement.
Or transcendentalists like Ralph Waldo Emerson would have not had
anything to transcend without the philosophies of John Locke and
In other words, no one creates in a vacuum and
l8th century Calvinists.
all creators become inspired by experiencing other artistic works.
This chapter will focus on the many ingenious ways that modern
writers, artists, cinematographers, marketers, etc. are using the ideas
of others with transparency and achieving extraordinary results.
Intertextual devices that you will focus on include using stocl<
characters and plot lines, allusion, quotations, plagiarism, pastiche
and parody.
Though the term tntertextualttyhas been used in many ways sinee

its nrodern naming by Julia Kristeva in 1966, the concept is definitely
not a new one. Figures r3.r and 13.2 are simple illustrations of how
intertextuality has been used openly by artists for centuries:
Figure 13.1 Example 1: from Homer to the Coen brothers
Homer's 0dyssey, end of the 8th century B.C
t
James Joyce's Ulysses11922 retelling of Homer's 0dyssey set in Dublin, lreland)
t
0h Brother, Where Art Thou?
(Award-winning film released in 2000, which credits Homer as one
of the authors, along with the Coen brothers who made the film, and is
set in the southern U.S. during the Great Depression)

Figure 73.2 Example 2: from John Donne to Metallica
John Uonne poem Medrtatron 1 l' n 1624i " I heretore, send
not to know for whom the bell tolls, it tolls for thee."
T
Ernest Hemingway 1940 novel set in the Spanish Civil War, For Whom the Bell Tolls
t
Metallica song "ForWhom the Bell Tolls" on the Blde the Lightningalbum in 1984
Be aware of the link between intertextuality and plagiarism.I

means using someone else's ideas or words within your own work
(whether this is writing; speaking, or multimedia) without giving that
person credit, attempting to represent their work as your own.
While this can be seen as being intertextual-your words mixed with

someone else's-you will focus upon the command term synthesize-
as great artistic ideas merge into something unique and often quite
entertaining.
Using intertexuality to inspire

creativity
In this topic you will learn about intertexuality in rap music as a way to
create and inspire music and lyrics. Artists in rock and roll jaza blues,
Irish musig bluegrass-virtually any type of music-learn and take
inspiration from each other. Rap music, perhaps more than any othe4 has
long been a genre defined by using a large variety of samples of other
artists'work within rap songs as well as making many ly"""l allusions.
At the time this book was printed, the most sampled song was by a
band called Beside. Their song "Change the Beat (Female Version)"
written in rg8z has been sampled in over L,ooo other songs. In the
Iist of most influential artists there are well-known names like the
Beatles, Jay Z, James Brown and Led Zeppelin. As a more recent
example, Robin Thicke and Pharrell used an old Motown song to
create their hit song "Blurred Lines". C!)wEB LTNKS
You can go to the website
Understanding musieal history is one the best ways of understanding
wwwwhosampled.com to see
music's future. Take a look at the web links to further understand how exactly which songs sampled
one musical genre contributed to the development of another. which beats, Ioops, or lyrics.
Take a look at the Charts
Those who have an in-depth knowledge about the roots of songs are
tab to find out the most
a valuable resource to artists trying to create a new sound. It is said
influential artists and songs.
that "mimicry is the highest form of flattery". Rap music, therefore,
could be said to constantly flatter older artists through allusion, exact
quotations and sampling.
Chapter 13 | lntertextualitg 165
t Activitg 1 Allusions and sampling in music
Look at the examples beloq taken from the song "lntergalactic"-a song performed bg the Beastie Bogs on
their Hello lVostg album in 1998. Listen to the song if gou have access to it and think about the lgrics. Then
answer the questions that follow
Examplcs of intcrtcxtualltg:
JI I
This song is also a great
Also known forthe Flintstone Flop"
.The
example for anyone studying
Flintstone Flop'refers to an episode of The Flintstones in which
rhyme scheme in terms of the
Fred and the gang end up at a teen dance hall. Fred jumps from a
strllcture of the song. This
table and flops bellg first onto the floor. A group of teens sees this
song uses the same scheme
happening and start imitating Fred, promptlg starting a dance craze
in each ver-se in a playful
called the Flintstone Flop.
manner-A, 16, B " 16, C, 16-
"Tammg D getting biz on the crop' r-rsing a wide range of rhyme
Tamra Davis is the wife of Mike D and an accomplished film director in and side rhyme.
her own rightlfiuncmzg, CB4, Billg Modison)."Crop'could referto the
act of 'cropping" which is an editing technique. lt also calls to mind
the popular 1960s device of the "big-time Hollgwood director' CD)wea LtNKs
caricature. This stereotgpe often wore a beret, carried a megaphone You can see many more
or bullhorn, and often carried a riding crop. This tgpe of "shout-out" is examples of intertextuality
in Beastie Boys albums/
a verg frequentlg used intertextualtrick within rap music, giving
songs on the website www
credit to other inspirational artists. beastieboysannotated.com.
"Beastie Bogs known to let the beat... mmm ... drop...'
This intertextual reference actuallg refers to the group's own lgrics, using an exact quote said in the same
manner on the Beastie Boys first album, Licensed to lll, in the song "The New Stgle". ln this wag the band
references their own place in musicat historg while creating a similar effea in a new song.
0uestions:
1. Take one of gour favourite songs fnot necessarilg npJ, do some research, and label as mang instances
of intertextualitg as gou can find.
2. Label ang musical riffs, beats, or samples that have been utilized as well as anu Igrical allusions
or quotes.
3. Explain what the laryer effect of having so mang "shout-outs" to other artists might be.
{i}} etoat coNTEXTS

3 ATL SKILLS
Make connectior-rs between various sources
of information.
Access information to be informed and
inform others.

,ti Activitg 2 A quick thought for further definition
Read this quote from Jason Stephens, professor of the Universitg of Connecticut, and answer the questions
with a partner.
Scholarshtp ts ltke bringing your little rock to the mountain and putttng it on the top of the heap.
0ueetions
o What do gou think Stephens means bg this statement?
. What implications does this have for how gou view new or origina! ideas?
. Global contelit question: ls the concept of sampling just a major part of U.S. rap expression or is this
borrowingand creditingfrom the ideas of others more global?
10; eloat coNTExTs

I ATL SKILLS
Critical thinking
Develop contrary or opposing arguments
I nspi ri ng creativitg : usi ng intertextualitg

to crcate plot elements
When stories were first passed down through the oral (spoken)
tradition instead of being written, there was still a lot of
intertextuality-particularly in the creation of certain plot elements
(setting confl ict, characters).
One of the most common was in the creation of archetypal characters:
character types that occur across cultures and historical periods. Here
are some examples'
. heroes
. tricksters
. damsels in distress
. underdogs
. a shaman or witch doctor
. femme fatales (a woman who seduces men to their demise)
. the male charmer (Don Juan is a famous example)
o a martyr
o the dreamer/artist/poet, or a hermit.

,ti Activitg 3 Archetgpe team brainstorm
The table that follows has been filled with examples of the trickster archetgpe. !n teams, choose two
archetgpes of gour own and write down as mang examples as Uou can for each, drawing from fairg
tales, music, television, films, novels, etc. Think across music, film, literature, or cartoons and across
cultures.
You can also add more examples to the tricksler archetgpe below if gou would like. See which group can
think of the most examples. More importantlg, think of who can come up with the most creative examples
and offerthe best reasoning behind their choices.
Archetgpc # 1: Ihc trlckstcr
Folk Popular culture Literarg

Loki, Norse god of mischief Bart Simpson Puck inA Midsummer Dreom
African American Brer Rabbit Bugs Bunn!.1 0 in Ihe
Hindu Babq Krishna Daffg Duck Tom
Chinese Monkeg King The Joker from Batman Robin Hood
M usli m folktales- Nasreddi n Captain Jack Sparrow The Weas Twins in Potter
West African Anansi the spider Charlie Chaplin Lazaro the Spanish picaro
Your turn ! Choose tnvo archetgpal characters and see how mang examples Uour group can brainstorm.
Archctgpe # 2:
fuchctgpc # 3:
(i!! etoam coNTExTs

7 ATL SKILLS
Creative thinking
Make unexpected or unusual connections
between objects andf or ideas.

I nspi ri ng creativitg : reGontextua I izi ng
Many stories have been recontextualized to demonstrate similar
themes to a new audience. A good example is William Shakespeare,
whose works have been modified to suit many audiences over the last
5oo years of performance.
William Shakespeare allegedly adapted the story of Romeo and Jultet

from an Italian tragedy that was initially written down in r53o by Luigi
da Porto and translated into an English poem in 156z by Arthur Brooke.
Therefore, the Romeo and Juliet that we are all familiar with was
recontextualized for an English audience from its earliest beginning.
Centuries later the play was converted to a musical in Wesf Side Srory.
In 1968, in one of the many film versions of Romeo and Juliet, Franco
Zeffirelli set the play in its original setting of Renaissance Verona, I
Italy. Though there are more modern versions, the 1996 Baz Luhrmann Look up the different film
version of the play was set in Verona Beaclr, USA, changing the setting productions of Romeo and
eostuming, and some of the action of the play without changing any
Juliet to see how the same
of Shakespeare's language or message. And these are just a few of the
scelles have been set in
many movie re-enactments of the play that have occurred in the history
different contexts.
of cinema.
The photos below show the famous balcony scene in four of its
different settings, each depicted by the set and clothing of the
characters.
And the list goes on, with online video performances raising the
number of versions every day.
Figure 13.3 The balcong scene from Romeo ond Juliet has been
recontextualized mang times.

lnspiring creatiyitg: utilizing a writer's stgle
t Activitg 4 Writing 2 mini-pastiches
The following activitg focuses on the process of writing. m, which is one common wag of learning
and practicing an author's stgle and struclure of writing and therefore improves Uour own abilitg to create.
lf gou have not tried this, it can be an excellent exercise to see if gou reallg understand what an author or
poet has done within their work and to see if gou can applg the tools theg used. The art of pastiche writing
also takes gou completelg through the levels of Bloom's Taxonomg and several important command terms
in three different stages:
Stages forlllriting a Pasticho

. ReadlnB: You must first read the piece, understanding what has been written then analgse the decisions
the author made, the structure theg chose, and the literary device#techniques theg emploged.
o Planning: You need to think of a similar creation that gou would !ike to write gourself.lffilGi6lwhich
tools and literarg devices gou will use from the origina! piece and must plan out Uour creation to
emulate [imitateJ the stgle of the original author. A well-planned pastiche will outline the exact
structural choices and literary devices gou will use priorto beginning as wel! as brainstorming
possible stories gou could tell.
. Create andFgmihcslzcl: This process is at the top of Bloom's taxonomg, as Uou move back and forth
between mimicking another author's stgle and emploging Uour own ideas. Then,Fve-lEirtC)how well
gou have done and reflect on Uour struggles and successes.
EfflD Look atthe stgles of two authors [who shared some aspects in common in whattheg were trging
to conveg) and analgse how a storu can be written using two verg different stgles. Comparing and
contrasting are thinking skills that often help to show a concept more clearlg.
Stgle #1: Ernest Hemingwag's "icebergtheorg', as shown in the short storg Hllls LtkeWhke
Elephonts
lnfluenced bg his journalistic background, Hemingwau uses the "flg on the wall" narration, telling
the story from an objective point of view without entering into the thoughts or internal emotions of
his characters. He feltthat a good writer should not have to explicitlg communicate a character's
underlging thoughts or emotions. lf the writer was telling the storu well through dialogue, action,
and imagerg there might be a lot going on below the surface [hence the icebery metaphor], but
additional detail would be unnecessarg for an attentive reader. He also prided himself on his
precise use of language, using short sentences and minimal description. The lines between
personal experience and fictional writing are often a little blurred in Hemingwag's writing and he
was relucta nt to ad m it that an gth i ng was biographical.
Excerpt frlroaHilb Like Vlhite Eleplwnteby Earmegt Hemingway

The htlls ocross the valley of the Ebro were long andwhite. Onthis side fhere wos no shade
and no trees and the station wos berwee n two lines of rails in the sun Close against the stde

of the statton there was the wcffm shadow of the building and a curtain, made of strtngs
of bamboo beads, hung across fAe open door tnto the bar, to keep out fltes. The Amertcan
and the girl wtth him sat at a table i,n the shade, outstde the building. It was very hot and
the express from Barcelona would come in forty minutes. It sropped at thts junctton for tuto
minutes andwent to Madrid.
What shouldwe drtnk? the gtrl asked She had taken off her hat and put tt on the table.
'It's pretty hot,'the man said
'Let's drtnkbeer.'
'Dos certezas,'the man said into the curtairt
'Btg onesT o woman asked from the doorutay.
Yes. Twobig ones.'
The woman broughnwo g/asses of beer and two felt pads. She put the fek pads and the
beer gloss on the table and laoked at the man and the gtrL The gtrl was looktng off at the
Itne of htlls.
They were white tn the sun and the country was brown and dry.
'They look ltke white elephants,' she satd.
'I've never seen one,' the mdn drank his beer.
'N o, y ou w ouldn't hov e.'
'I mtght have,' the man said Uust because you say I wouldnl have doesn't prove anythtng.'
The girl looked at the bead curtairu 'They've painted somethtng on it' she satd What does
tt say?
Anis del Toro.It's a drtnk.'
'Couldwe try tt7

The man called.'Listen' through the curtain. The woman ccLme out from the bar.
'Four reales.'We want two Ants del Toro.'
Withwater?
'Do you want tt wtth water?
'I don't know,' the gtrl said. 'Is it good with waterT
'It's all right.'
Tou want them with w ater? asked the w omarL
Yes, with :vrtater.'
7t tostes like ltquortce,'the gtrl satd and put the gloss dowru
'That's the way w tth ev erything.'

Yes,' said the gtrL'Everything fosfes of ltquorice. Especially oll the things you've watted so
long for, like abstnthe.'

'Olucutit ouL'
Tou started it' the gtrl said.'I was being amused- I was having a ftne time.'
WelLlet's try andhave afine time.'
Atl rfght. I was trying. I satd the mountatns looked lfke whfte elephants. Wasn't that brtght?
Thatwasbrtght.'
I wanted to W this new drink. Tha* all we do, tsn't it - look dt things and try new drinks?
Tguess so.'
Thegirl looked acro.ss of fhe htlls. 'They're lovely htlls,' sl.r- said 'They don't really look ltke
white elqhanh. fjust mednt the colouring of thetr skin through the trees.'
'should we have another drink?
Allrtght'
The warmwind blew the bead curtatn agatnst the table.
Thebeefs nice andcool,'the man satd
It's lovely,' the girl said
It's really an awfully simple operatiory Jig,' the man satd'It's not really an operation at all.'
The girl looked ot the ground the table legs rested oa
'I know youwouldn't mtnd tt, Jig. It's really not anything.It'sjust to let the air ir"'
The girl didnot say anythtng.
I'll go with you and I'll stay wtth you all the time. TLrcy just let the air in and then it's all
perfecdy natttraL'
Then wl:'ot wtll we do aftert tards?

We'll be fine afterwards. Just like we were before.'
lVhat makes you think so?
That's tl:r- only thtng that bothers us. .[t's the only thing that's rnade us unhappy.'
Use the following questions to make sure gou reallg understand this example of Hemingwag's
stgle.
o What do gou think is the underlging conflict that the couple is facing?
o What does imagerg like the hills, the landscape, the weather orthe rail lines provided tell gou
about the relationship of the two speakers and the situation theg are facing?
. What can be interpreted from the dialogue and the actions of the two characters?
Stglc #2: Spontaneous prose es shown ln Jack Kcrouac's Onthc Rood

nspontaneous
Jack Kerouac dubbed his stgle prose", a stgle that drew upon the stream-of
consciousness stgle of writing trgingto emulate the human thought process, combined with an
absoh.rte disregardforthe usual grammatical, sentencing and paragraphing structures. The goal
was to recreate the often high-powered emotions of the experience being described. Kerouac

writes in the first person point of view through the The 0n the Rood manuscript, showing how
autobiogra phical character of Sal Paradise. 0uite Kerouac's spontaneous prose was written as
the opposite of Hemingwag's attempt to distance a continuous scroll in just 3 weeks.
his emotions from the writing Kerouac seasons

all of his events with his own mood, writing in
an autobiographical stule (though pseudongms
or fictional names were used to make the novel
less autobiographical in the originallg published
versionJ.
From On the Road
But then they danced down the streets lifte

dtngledodtes and I shambled after as I've been
doirW allmy ltfe afterpeoplewha tnterest me,
becouse the only people for me are the mad
ones, the ones who are mad to live, mad to
talbmad to be save4 desirous of anerything
at the same time, the ones vrho never yawn or
say c, commonplace thing but burn, burn ltke
fabulous yellow roman c andle s e xplodtng ltke
spiders ocross fhe stors andinthe middleyou
see fhe blue centerlight and everybody goes
'Aww!"
Trglngthe stgles of Hemlngwag and Kerouac
E]ljllltf Understanding: Make some notes aboutthe stgle of each author:
Major features of Hemingwag's stgle Major features of Kerouac's stgle
EEf! .l Brainstorm possible writingtopics: What stories can Uou tell? See if gou can quicklg write
down 4-5 life experiences that would be worth retelling. This is practice, though this could
lead gou towards a larger piece of writing.
bl tEyelmlwhich story would be the bestto retetl. You will onlg initiallg write half a page so
think about which storg would help gou to focus on the stgle of writing as well as which sne
would be the most personallg interesting.

Em Hanning Uour storu: Write down some keg points about how gou wiltwrite in each author's stgle:
Telling mg storg using Hemingwag's stgle Telling mg storg using Kerouac's stgle
Narrator and point of view: Narrator and point of view:
Major part of gour storg being focused upon: Major part of gour storg being focused upon:
Literarg features gou will use: Literarg features gou will use:
Are gou readg to startwriting? Give it a trg!
(i) etosrt coNTEXTS

? ATL SKILLS
Critical thinking
Propose and evaluate a variety of solutions
Communication
Use and interpret a range of discipline-
specific terms and symbols.
Reflection
1. Where is the line between using another's creativity to inspire
your own and just using another person's ideas?
2. How can a writer use someone else's ideas in a principled
manner? At what point does using someone else's ideas become
plagiarism or academic dishonesty?
g. Are there truly any original ideas that have not been derived from
someone else?
Using intertextuality to ereate

humor or a larger message
As shown in the previous section, many forms of media replay original
stories by recontextualizing and changing some plot elements.
Another take on this recontextualizing is to create m,which
"
has a very different goal than simply changing the setting or telling
roughly the same story with different charaeters. A parody takes key
components of the original work and uses the audience's familiarity
with it to create humor.
Magazines have made a profit from creating parodies of famous
books, movies, politicians and pop culture for many years.
,ti Activitg 5 Parodg in magazines
Part 1
Find a magazine [such as Mad magazine) which displags parodies of well known films or characters on its'
cover and think about the following questions.
1. What are the common elements included in each parodg? QD)wea uNKs
2. What is the goal of each of the magazine covers? For some sample MAD
magazine covers go to
3. Which one of these parodies do gou think is most effective? Whg?
www.madcoversite.com
Part 2
Take a TV show or film of gour choice and sketch or describe a magazine coverthat gou would design. 0r
create gour own parodg, possiblg changingthe name of the movie in the wag that famous film parodies
have done. These include Spocc Bolle laStqrWorc parodg), the Scory tlovtc series, ltonty Pgthon and thc
Holg Groil,and S[oun of the Deod.
([]] eroarl coNTExTs

0 ATL SKILLS
Media literacA
Satire
Satire goes beyond mocking a text or idea for the sake of humor. Satire
takes a philosophy, a literary worh or an art form to try and make a
change in the way that people think or act.
George Orwell's Animal Farm is one of the more famous examples

of satire. Orwell utilized Russian historical figures and events as a
backdrop for a satirist statement about Joseph Stalin and Soviet
communism, using a farm as a setting with allegorical farm animals
used to represent his political views.
Plays upon words and images, particularly in video, have become more
common in the information age, where many people have the tools,
knowledge, and audience for these kinds of statements.
Recontexualizing in modern cartoons

Many modern cartoons have drawn ideas from popular culture, works
of literature, films, other television shows, etc. While the intentions of
the cartoons are not usually to preserve the original message or story
the characters, conflict, setting and themes are borrowed in order to
entertain a well-read or well-viewed modern audience.

,ti Activitg 6 Group presentations of intertextualitg
See below for a list of some of the modern television cartoon takes on classic works of literature. As a warm-
up with a partner, write down what originalwork orworks inspired each cartoon.
Cartoon takes:
. The Simpsons:
nFour
Regrettings and a Funeral',
uThe
Tell-Tale Head"
o Fomilg 6ug:'Chittg Chittg Death Bang"
. South Pork: The Hobbit", "World WarZimmerman"
o Futurumo:'Stench and Stenchabilitg'
. Veggie Toles: "A League of txtraordi narg Vegetables'
Eff,tI .l Form groups based upon gourknowledge of one ofthe examples below.
. Romeo ond Juliet
. The horror movie genre
. StorWorc
. LordoltheFlies
. The historicalwitch trials
It is importantthat everyone in gour

group should be familiarwith gour QD)wea HNKs
chosen example. lf gou do not have
. For the Jultet group: Enter
Romeo and
'(RSC) Romeo and Juliet Part 1" at
ang experience with ang of the above,
www.youtube.com.
a new group should be formed around . For the horror movie group: Look up
something gou do have in common. the script of the film Screom. Whole
seript available at www.imsdb.eom;
b! As a group, think of a work, clip, enter "scream" in the search box.
television episode orfilm made based
. For the Sror ld'ors group: Enter
on the example gou have chosen from
"spaceballs Schwartz seene" at
Step 1 a. You need to look for something www.youtube.com.
that represents intertextualitg. To give . For the lord of the Flies group:
gou some inspiration, look at the web Enter "Simpsons: Das Bus" at
links box for suggestions. For example, if www.youtube.eom.
Uour group is looking atLord of the Flies,

. For the historical witch trials group:
gou might want to use the Simpsons clip
Enter "Monqr Pphon and the Holy
Grail Witch Triai' at www.youtube.com.
given, which references the novel.
t 76 Language and Literature

FFllIiDl Answerthe questions belowto help gou better understand the example Uou are tookingat.
1. What tgpe[s] of intertextualitg does it show? For example, is it a parodg, a satire, a
recontelftualisation, a pastiche or an archetgpe?
2. How much does familiaritg with the originalwork/genre help gou to appreciate what gou are
analgsing? Compare those in the group who have read or studied the originalworkslgenres
and those that have not.
3. lf appropriate, what are some lines and literarg elements that have been included from the
original?
4. lf appropriate, what are the biggest differences from the original?
5. What are some of the specific choicesthatwere used to create humor?
6. Think of some of gour group's own parodg ideas that gou would use in a reproduction.
Eff,f! Prepare a presentation for the other groups, anatgsing the choices that were made and presenting
the intertextualitg in the example that Uour group chose.
The rules forthe presentation are below.

. Create a logical order to gour presentation, being mindful of organization. Use the provided
questions as a starting point, but do not stop there.
. All members of the Broup must take a topic or section or at least present and explain an
example during the presentation.
. No visuals should be used otherthan excerpts from the texUscript gou are using.
()! eloet coNTExTs

I ATL SKILLS
Media literacg

Reflection
1. What is the value of using intertextuality to create humor?
A political or social message?
2. Can you thlnk of any examples not demonstrated in this section

that use intertextuality to create a new message with
a previous idea?
3. How could you use intertextuality in this way in your daily life?
Creating eredibility through

literary allusion
Another way that authors and speakers use intertextuality is to create
greater credibility for themselves by using direct quotations and
subtle allusions to the words, ideas, and structures of other authors
or speakers. For example, no awards ceremony or graduation speech
seems complete without a quotation from a famous coach, athlete,
philosopher, activist, writer, leader etc.
In many of his early novels, author Stephen King began each chapter
he wrote with a quote from pop culture or literature, often from musical
Iyrics or poetry. These quotes would hint at the content of the chapter
and create a mood or setting. At the same time, they also showed the
reader the range of King's literacy. For examplg in the novel Chrisrine
he foreshadows his protagonist's first introduction to a car that would
later possess him (well beyond the normal teenage obsession) by
quoting from Eddie Cochran's song Somethin'Else, shown here. It is
probably not a coincidence that Eddie Cochran died tragically in a car
accident at a young age.
"Hey, Iooky therel
Across the street!
There's a car made just for me,
To own that car would be a luxury...
That car's fine-lookin, man,

That's something else."
Authors do this frequently. Once a reader is aware of it, the device is

recognizable across ali genres. As another example, Robert Frost's
poem "Out, Out-" alludes to Macbeth's famous soliloquy. Numerous

novels and short stories use allusions to classical mythology to
highlight their message. Two common ones are the reference to a very
strong person as being "Herculean" or describing someone who got
carried away with fame as "flying too close to the sun" (this refers to
the story of Icarus and Daedalus). Finally, the entire Percy Jackson
book series is based upon the mythological character of Perseus, son
of Poseidon.
Literary allusions are even more common in every day speech. Have
you ever heard "Big Brother is watching you?" or "That is a Catch-zz
situation"? These quotes refer to George Orwell's novel -2984 and
Joseph Heller's novel Catch-zz.
Political speeches are a wonderful genre for studying just how

emotionally and logically powerful literary allusion and intertextuality
can be.
Figure 13.4 U.S. President Barack Obama

speaks at the Nelson Mandela funeral on
December 10, 2013.
When U.S. President Barack Obama spoke at Nelson Mandela's

memorial on December t-3, 2013, he included allusions to other world
leaders that had helped to conquer systems of racism or oppression,
placing Mandela alongside some of the greatest leaders in history.
He also ensured that he used the leader's ancestral title of. Madtbato
honor what he was often called in his home country. He also used other
words that would have been spoken by the people of South Africa, like
the word Ubuntu-aword used to express the oneness of humanity.
Most importantly, he used a great many quotations from the lifetime of
the deceased leader. This speech and others like it show the power of
literary allusion and intertextuality. Without these elements, the speech
would have Iacked the necessary credibility for such an important
historical moment.

,ti Activitg 7 Speech analgsis
Mang speeches could be evaluated fortheir use of literarg

allusion, butthe I Hove o Dreom speech bg Dr Martin Luther Gi)wea LINKS
You can find the I Have a Dream
King is an excellent example because of its extensive
speech online at: www.archives.gov
use of literarg allusions, as well as rhetorical and poetic or view it on www.youtube.com.
techniques. Once gou have understood this example as a An analysis of the speech can be
class, gou will be able to applg this understandingto other found at sixminutes.dlugan.com.
cultural contexts and speeches and even create gour own. Enter "I Have a Dream analysis" into
the search box.
Read the speech as a class and answerthe questions below.
t. How mang literary allusions can Uou find in the speech?

2. TrU to determine where the allusions came from.
3. Analgse and discuss whatthe effects of these literarg allusions were to King's audience. Also analgse
some of the other literarg devices he emploged fortheir effect.
4. Read the Six Minutes I Hove o Drcom onolgsis online to see how gour analgsis compares with someone
else's. Fag particularattentionto Lesson #3.
1t'j; cloerl coNTEXTS

3 ATL SKILLS
Communication
Reflection
r. What is your own definition of intertextuality?
z. Which literary techniques associated with intertextuality do
you feel most comfortable with at the conclusion of this topic
and chapter? Which ones have you struggled with?
3. What artists are your greatest influences and how are they
reflected in your own personal or cultural expression?
1D,CHAPTER LINKS
See chapter g for more analysis of famous speeches.
Summary
The related concept of intertextuality holds a wealth of opportunity for
young writers and readers. Though the interconnected online world
is rife with temptations for academic dishonesty, it is also filled with
wonderful learning opportunities. This chapter shows that you do not
need to avoid the ideas of others-you should in fact expose yourself to

as many great artists and thinkers as you ca-n, utilizing the ATL tools
oI information literacy, researctL media literaey, and ciitical thinking
to ensure that you can utilize this information for empowerrnent, not
shortcuts.
Referenees
Hemingway, E. The Essenttal Hemtngway. Arrow; New Ed. :.gg5.
Kerouac, J. On the Road. Penguin Classics; Film tie=in edition zorz.
S,tephens, Jason Quoted in Deniloff, C, {Inorigtnal Sins; (Re)

deftning Plagiarisminthe Dtgitaloge. An artiele in BU Today (online
publication): httpy'/www.buedu,/today/a o roy'rnoriginal-sins.

CHAPTER
L4 Purpose I KEY CONCEPT FOCUS

c01{Mu}ilcATroN
GLOSSARY
!NOUIRY Preparing for commentaries/textual analysis
OUESTIONS r How can I make a mnemonic of literary and lingruistic &nffiO to make notes on an
existing text. In this case they
terms work suceessfully for me when doing this type
explore the original critically.
of work?
holtd rarge scare.
Doing commentaries/textual analysis
small scale.
successfully
r How can I develop a systematic approaeh to
-il|Gfl
lffik a cievice or cooe to
help you remember something.
commentaries/textual analysis and combine it with
practice and careful reflection? ilea&Eq not having the
features or characteristics
Seleeting elements to fit your purpose associated with literature -
r How can I successfully combine a variety of oral and often, but not always, factual
dramatic elements in order to communicate clearly? writing
Hradil statement that seems
SKILLS ATt contradictory though on closer
/ Make effective summary notes for studying. examination is true.
/ Read critically and for comprehension.

/ Give and receive meaningful feedback. COMMAND TERMS
/ Organize and depict information logically.
Ilnalgse]break down in order to
Language and literature bring out the essential elements
/ Analyse written texts. or structure. To identify parts
/ Analyse visual texts.
/ Practise close observation. conclusions.
/ Appreciate denotation and connotation (literal meaning tEommentl give a judgment
and implied "reading between the lines" meaning). based on a given statement or
result of a calculation.
RELATED Setting Structure Style
CONCEPTS

Introdueing purpose
If someone said to you, "The King is dead; long live the Kingl" you
might be confused. That is because the statement is actually a ffi
In fact, the statement was one of critical importance and had the
following purposes:
. to demonstrate continuity of government from the dead king to
his successor
. to transfer power instantaneously
. to prevent civil war, disorder or rival claimants to the throne.
In this chapter you will start by learning the skills necessary to
understand and appreciate purpose in the writing of others.
. This is at the ffiffiffi' what is the purpose of this text?
' And trr" ffi: what is the purpose of this choice

of words?
Understanding the purpose of a text is essential in language

and literature.
Figure 74.1 The Lost Sleep of Arthur bg

Edward Burne-Jones [ 1833-1898)
Chapter 14 | Purpose 183

Preparing for commentaries or
textual analysis
One way to consider writers is to think of them as artists with pen and
paper (or laptop). A perfectly produced piece of writing has the right
amount of words; nothing is missing and there is no unnecessary
clutter. In other words, the literature exactly fits its purpose. That
might be seeking to entertain or to describe the wonders of falling in
love or the horrors that prejudice can lead to. Literature is not real life.
gtrt I NTERDtsclPLt NARY Lt N Ks It is an artificial creation and a good writer has to keep the purpose of
The skills that you use in this that writing in mind at all times.
chapter are very useful for
If the text t" I such as a newspaper or magazine article, a
analysing primary sources
in individuals and societies. review or an advertisement, its purpose is equally important. The words
The analysis of the language are working to create meaning too, though perhaps in different ways.
and choices in these
In this topic you will learn how to explore the purpose in a text.
documents will reveal the
purposes of the people who Whether the whole text or just a single word within it, the skills used
wrote them. to find meaning are broadly the same.
In this topic you will look at what is happening on a page or two of
text. Above all, you will analyse the language. Before you start, there's
another important thing to remember: a text can be one of many
different things. It could be a film clip, or a web page. Think of texts
as widely as possible.
Generalcomments
The key to doing well on a commentary or textual analysis is the
amount of planning you do. In other words, take time to organize your
thoughts, so your response has structure to it
A good written response will usually have a structure almost identical

to a formal essay. Your teacher may make some small changes to this,
but essentiallyyou should have'
. hook/beginning to catch the reader's attention
. thesis statement where you explain what the document is
essentially about (its purpose)
. body paragraphs that develop the thesis statement's idea
. topic sentences to introduce each body paragraph
o quotes and references within the body paragraphs that
illustrate your points
. comments on each quote and reference
o transitions linking your ideas and further developing them
. concluding paragraph that restates your thesis strongly, yet
avoids introducing new points.
Treat a commentary or textual analysis with respect. They are not easy
and can't be rushed.
Below tr
" fff to help you to understand commentary and textual
analysis. Knowing the mnemonics is a way of having key language and
Iiterature terms in your head.
The mnemonics contain a range of literary and linguistic terms that

you may find in a text. Ask your teacher to explain these to you if you
are unsure about any of them.
The commentaru and textual analusis mnemonic

For the purpose of the mnemonics, we have broken the terms below
into linguistic and literary features. In realiry they might not fit so
neatly into these eategories.
Analgsing the overall work Analgsing the creator's stgle/technique
CONTEXT LINGUISTIC FEATURES LITERARY FEATURES
G enre
* C acophonic S gmbolism
E ffects [on the viewer) E uphonic H gperbole
T hemes * C olloquial I rong
S etting * ldioms P ersonification
S atire
S tructure
* I magerg *
T one / [Mood) * S imite R frgme [alltgpes of)
A udience 0 xgmoron
N arrator/point of view * H umor A llusion
0 nomatopoeia R hgthm
M etaphor
E uphemism
GETS STAN CECI IS HOME SHIPS R[)AR
Toble 14.2 Mnemonics learn this mnemonic and the words within it

TI Writing a commentarg ortextual analgsis
* The terms marked with an Look at each of the columns in the mnemonics table above more
closely. You can use the prompts below to help you write commentary
asterisk will be present in
or textual analysis.
every excerpt you see.
Context fthe macrol
. What is the relationship between the title of the text and
content?
. Describe the content, main ideas and themes.
. Determine who the intended audience is (don't just say
"everyone').
. What is the point of vie/narrator?
. Is the writing descriptive, persuasive (arguments, editorials,
advertisements, propaganda) or expository (facts and
information)?
. Is the writing subjective (opinions) andfor objective (facts)
comments?
. Are there stated or implied comments?
. What is the register, tone or mood of the piece? Which words
and punctuation help create this tone? Why does the author
use this tone?
. Describe the structure. To help you:
o Short sentences or paragraphs are usually there to make a

passage easier to read or to change the pace.
o Longer sentences and paragraphs may suggest a greater

amount of sophistication.
o Other points of presentation may need a comment, for

example, sub-headings. Any images within the text will need
analyzing in detail.
s Any unusual punctuation to show emotion. This could be an
exclamation mark or question mark or even ellipses (..).
Stgle and technique [the "mioo"l: linguistic and

literary devices
In your commentary or textual analysis, look for the following:
. Does the writer use symbols or literary terms? If so what are
the effects of each?
. What imagery is used? Think of sensory details. We all
remember seeing but what about hearing, touching smelling
and tasting?

. Is there satire, humour or irony? Make sure you explain these
points in sufficient detail.
. Is the language formal or informal?
. What is the level of vocabulary-complex or simple?
Comment in detail on the effects of similes and metaphors
you find.
. Describe the imagery and its impact.
. Does the writer use colloquialisms, slang or idioms? Why?
. Can you see any plays on words, puns, or double meanings?
. Is there any biased language?leomlneni)on this and use it to
develop your answer. Example: freedom fighters (positive),
insurgents (neutral), terrorists (hostile).
t Activitg 1 How to annotate a text
!n orderto write a commentarg orte)ftual analusis, gou need to f.ffithe text gou are analgsing.
Forthis activitg gou need to choose a text. This mag be something Uou are reading in ctass, or gourteacher
mau alreadg have one planned.
You wil! need a selection of different coloured pens, a pencil, and a highlighting pen.
Having a range of different pens and highlighting

pens makes annotating easier.
Chapterl4 | Purpose Le?

Read the telft paragraph bg paragraph. Think before Uou annotate.
. 0nlu annotate words and phrases. Avoid colouring in whole

blocks of text as this will not help gou. Q)wea UNKS
There are many systems for
. Develop Uour own code; for example, circling a word means
annotation. For example, go
one thing underlining means something else. to www.youtube.com, then
. Have the mnemonic in mind as gou go, noting down ang search for annotating text.
terms Uou mau wishto use later.
. You can ask gourself questions to reflect on and make a decision later, such as, 'ls this ironic?"
. Keep asking gourself, "Whg did the writer/creator of the text do that.- whg did theg do this?" as Uou go.
(!)! otoat coNTEXTS

0 ATL SKILLS
Communication
Make effective summary notes for studying
t Activitg 2 Using mnemonics
ln this activitg gou will plan and write a commentary ortextual JI D
analgsis based on a text Uou are using in class.Yourteacherwilltell If you are doing a
gou beforehand which text to use. commentary/textual
To help gou complete this activitU, gou will need to use the analysis under exam
commentary/textual analgsis mnemonic above and the information conditions, make sure you
about writing a commentary or textual analgsis. write out the mnemonics
out or-r lir-red paper, before
Eff,lf Using gour mnemonics, read the text very carefullg a few times. you even look at the
question.
Eff,fJ Annotate the text using the skills Uou used in the previous
activitg. Underline or highlight interesting sections or keg words.
You can do this whether Uou are working on paper or on a screen.
Eff,fJ Rememberthatthe text[s) chosen will have much material for comment. !f gou have gaps then
gou might have missed something. Re-read the text and check again.
Eff,!! When gou have all Uour notes, start planning gour commentary or textual analgsis essag. 0nce gou
have a plan in place, try to wdte a srongthesis statement that includes gour infurmed opinions about
the text lf gou cannot do this Uet, Uou are not readg to leave the planning stage Uet.
Eff,fJ Now gou are readg to write gour commentarg/textual anatgsis
As gou write, cross outthe annotations gou have made on the text, one at a time. This wag gou
will ensure gou include all of gour ideas in gour answer.

Proofread gour work for claritg. Correct careless TI D
errors bg reading again.

Can you make useful references to other
Make sure gou have used a mature vocabularg texts you know?
and the correct structure.
,
Lists, like mnemonics, can never be complete.
There are more literarg terms outthere and Commentaries/textual analysis are
there is alwags something else to comment difficult and can seem frustrating; it is easy
on. Keep gour eges open as a commentaru or to miss things. We therefore recommend:
tenua! analgsis is also about gour powers of . practice frequently
observation. . be persistent
Ultimatelg, the commentarg/textua! analgsis
. After your work is returned to you,
tests gour abilitg to think independentlg. review it carefully; reflect carefully on
your teacher's comments. Learn from
your errors, make adjustments and keep
doing what is already going right.
(i! etoalr- coNTEXTS

? ATL SKILLS
Organize and depict information Iogically
Reflection
1. Explain how clear you are on the difference between reacting to
the text as a whole and reacting to a tiny part of it, such as just one
word or phrase (the micro and the macro).
2. How long did it take you to learn the mnemonic?
3. Explain what advantages you gain by having the mnemonic in

your head.
Suecessful eommentaries or
textual analyses
Now that you have considered how to open up a text, there is no
substitute for creating one. In this topic you will work as a class,
analysing the text individually then coming together to discuss it
carefully line by ling section by section.

t Activitg 3 Writing commentaries
The reading room in the British Museum
Write a commentarg or textual analgsis on the following extract from the novel lhree Men in o Boot [1889J
bg Jerome KJerome:
I remember going to the Brttish Museum one day to read up the treatment for some sltght ailment
of whtch I had a touch - hay fever, I fancy if wos. I got down the book, and read all I came to read;
and the\ tn an unthinktng moment, I idly turned the leaves, and began to tndolently study diseoses,
generally. I forget which wos the first distemper I plunged into - some fearfuL devastating scourge,
I know - o.nd before I had glanced half down the ltst of "premonitory symptorns," it was bome in
upon me that I had fatrly got tt.
I sat for awhile, frozenwtthhorror; ond then, in the /istlessness of despair,I again turned over the
poges. I came to typhoid fever - read the symptoms - discovere d that I had typhoid fever, must have
had tt for rnonths without knowing it - wondered what else I had got; turned up St Vitus's Dance -
found as I expected, that I had that too, - began to get interesfed tn my cose, and determined to
stft it to the bottont, and so started alphabettcally - read up ague, and learnt that I was sickening
for it, and that the acute stage would commence in about another fortntght. Bright's dzseose, -I wos
relteved to find,I had only in a modtfted form, an{ so far as that wos concerne{ I might live for
yeors. Cholera I had, wifh severe complications; and di.phtherta I seemed to have been born witlu
I plodded conscientiously through the n^tenty-six lefters, and the only malady I could conclude
I had not got was housemaid's /<nee.
I fek rather hurt about thts at first; it seemed somehow to be a
of slight. Why hadn't I got
sort
housematd's knee? Why thts invidious resentatton? After awhtle,however,less grasping feelings
prevailed I reflected that I had every other known malady in the pharmacology, and I grew less
selfish and determtned to do wtthout housematd's [nee. Gout, tn ifs mosf maltgnant sfoge, tt would
appear, had seized me wtthout my being awdre of it; and zymosis I hod evtdently been suffering
with from boyhood. There were no more diseases offer zymosis, so I concluded there was nothing
else the matterwithme.
I sat and pondered. I thought what an interesttng cose f must be from a medical point of vtew, what
an acquisitton I should be to a closs/ Students would have no need to '7talk the hospttals," tf they
had me. I was a hospital tn myself. All they need do would be to walk round me, and, after that, take
their diploma.

Then
I
I wondered how long I had to live. I trted to examtne myself.
felt my pulse. I could not at first feel any pulse at all. Then, all
t f
of a suddery it seemed to start off. I pulled out my watch and Terms you need to know:
ttmed it. I made tt a hundred and forty-seven to the mtnute. Indolently: Iazily.
I trted, to feel my heart. I could not feel my heart. It had Ailment, distemper,
stopped beating. I have since been induced to come to malady, scourge: different
the opinion that it must have been there all the ttme, and words used her to describe
must have been beating, but I cannot account for tt. sicknesses and diseases.
I patted myself all over my front, fromwhat I call my St Vitus's dance... zymosis:
watst up to my head and I went abtt round each side, a long list of diseases.
and a little way up the back. But I could not feel or hear a slight: a snub, an insult
anythtng.I tried to look qt rny tongue. I stuck it out as Invidious: causing anger or
far as ever it would gq and I shut one eye, and tried to
resentment in someone.
examine itwtththe other.I couldonly see the ttp, and
the only thing that I could gotn from that was to feel
more certainthanbefore that I had scarlet fever.
I had walked into that readtng-room a happy, heahhy man. I crawled out a decreptt wreck.
Here are some guiding questions to help Uou frame gour answer:
.
il D
What is the purpoge of this tgpe of writing?

A normal pulse for adults
. Explore the narrator's character fullg.
is 6o to roo beats per
. Explain howthe humourworks.
minute.
. [Co'mmE'n0on the importance of social ctass in this extract.
(i) orcelr- coNTExTs

3 ATL SK!LLS
Communication
Organize and depict information Iogically.
t Activitg 4 Globalization
ln this activitg, Uou'!ltru a differenttgpe of commentarg/teltual analUsis.
Compare and contrast the fo!lowing two tens. These are differing views on globalisation, both from the USA.
Note that the first te)ft gives a definition of globalisation at the beginning.
Text 1
The simple defi.nitton of globaltzafion is the interweaving

of markets, technology, tnformation systems, and
telecommunications networks tn away that is shrinktng
the world from a stze medium to a size small. It began

decades ago, but aecelerated dramatically over the past
to years, as the prtce of computing power fell and the
t D
world becatne an ever-tnore densely interconnected place. Terms you need to know:
People resisf this shift - see, for example, the GSprofests The GB protests of zoor
of zoot (one of the bloodtest uprisings in recent Europedn or the recent rioting in
htstory) or the recent rioting in Pittsburgh at Pittsburgh at this year's G20
this ye ar's G zo conference4ec ause they think it primarily conference: protests seekir-rg
benefits big business elftes to the detriment of everyone else. to change tl-re current rnodel
But globalization dtdn't ruin the world-it iust flattened it. of globalization.
And on balance that can benefit everyone, especially the poor. Flattened it: rnade
Globalizationhas pulled milltons of people out of poverty in comrnunication easier /made
India and Chino, and muhiplted the size of the global middle
distarice iess of a problem for
c/css.Ir has raised the global standard of livtng faster thanthat
cor-nrurinication.
at any other time tn the history of the worl{ and it is supporting
astoundtng growtlu Allworld economic activitlt wasvalued at gz
trillion tn tg1o. That's equal to how much growth took place over
just the past decade, evenincluding the recent downtttrr"
Whatever peoplet fears of change, globalizatton ds here to
stay-and, if properly managed, it will be a good thing.
Tcxt 2
Listen to the track 6lobo iisation [Scene of the Cine) bg dead prez.
Studg their lgrics on globalisation atthe web linkgiven.
@lwea uNKs
Go to www.azlyrics.com and
Somc lgilcs crqlalncd: enter "Globalisation (Scene
of the Crime)" into the search
U ncle Sam: a wau of refening to the USA box.
Hall iburton... Chevron: larye multi-nationa! business corporations You will flnd the track on
wwwyoutube.com if you
COVBIT: SeCret enter the same title into the
search box.
"Pop the hammer...': fire a gun
gentrification: when wealthg people graduallg move into an area and the poorer people move out
Here are some guiding questions to help gou frame gour answer:
r What are the purposes of both these texts?
. FullU explore the language used in both texts.
. FinlFlthe song using poeticterms.
. Discuss the tone of both enrElc{s.

A commentarg or textual analgsis of this tgpe also needs thq use of transitions of comparison and
t
1
transitions of contrast such as:
I
I
Comparison Contrast
. a
i
I
similarlg however
I ! likewise ! Uet
t in the same wag r on the other hand
! bg the same token r nevertheless
.i
! nonetheless
i
a at the same time
. afterall
t though
I on the contraru
a in contrast
l r notwithstanding
(€i) oroelr- coNTExTs

Globalization and sustainabilitU
0 ATL SKILLS
Communication
The last of these texts shows that commentary/textual analysis is

not just about exploring "classic" literature texts. Once you have
the analytical skills that come from the mnemonic you have already
covered, you can explore any text. Here are two visual texts to explore.
For these aetivities, not every term in the mnemonics is relevant.
t Activitg 5 Visualtexts
Choose the image orthe video belowto analgse.
lmage
4D)wea uilKs
Analyse the following image:
Here are some questions to help gou frame Uour answer: http:// www.pixelTT.com then
search for "Banksy peace". The
. What is the purpose of this telrt?
image is called War and Peace.
. Explore the postures of both soldiers fullg.
. lAffilFlthe colours used. Analyse the following video:
. Discuss the wag the sgmbol is presented. www.youtube.com/ then search
for "Photoshop by Adobe".

Vidco t D
Here are some guiding questions to help gou frame gour answer: Adobe (from the video in
o What is the purpose of this text? this activity) is a graphics
o How is the sense of a beautg/fashion video created at first? editing program.
. lFnalF.|the language used in the voice over and the music.
. Discuss the wag the wag 'Adobe' is pronounced.
()) etoert coNTEXTS

3 ATL SKILLS
Communication
Reflection
1. Why is continual practice important when doing a commentary or
textual analysis?
2. What is the difference between a commentary or textual analysis

on one text and a commentary or textual analysis on two texts?
3. How does analysing a text help you discover its purpose?
Now it's time for some creative work about purpose.
Seleeting elements to
fit your purpose
Hundreds of years agq storytelling was one of the main forms of
entertainment. Storytelling with music was considered even better.
A good storyteller, just like a good writer, chose their words carefully
and their characters smoothly fitted the role assigned to them.
,ti Activitg 6 Storgtelling warm-up
ln this activitg, gou will pick up this semi-forgoften art of storgtelling and present itto an audience to
entertain them.
Startthis activitg with an improvisation icebreaker. Yourteacherwi!! divide gou into groups and assign
gou a theme. lt mag be based on something Uou have been working on recentlu, as this will allow Uou to
use prior knowledge to give gour improvisation greater depth.

When gou have gour improvisation readg, present it to the class. Explain gour improvisation in as much
detail as lou cer:
. WhU did gou put those characters in that contexVsetting?
. WhU did theg do whattheg did?
. Whg did theg sag whattheg said?
o What was the purpose of gour piece?
Now invite feedback from the class on what theg got out of your improvisation.
. . Was gourpurposecleartothem? lfnot,whg not?
. Was evergthingtheg needed as an audience there forthem to understand gour
Presentation clearlg?
. Was there anU unnecessarg material or clutter?
After this activitg, reflect on gour feedback as a group. Now present gour work again. How does it
improve? How are the purpose and the techniques gou used to getthere better?
That was a warm-up. Now forthe real thing!
()! oloat coNTEXTS

I ATL SKILLS
Communication
Give and receive meaningful feedback.
,ti Activitg 7 Your storg
Just as in Chapter 17, about self.expression, where creativitu will be

defined in more detail, Uour storu needs to have certain structural
and creative elements:
@I) lmrnDlsctPLtNARY Lr N Ks
There are two elements that
. A gripping opening -
hookthe reader from the start you should consider that
. A seftinB - this must be convincing or intriguing eould heighten the quality of
i
. A plot - the storg should have a logic to it; a plot your story:
with a twist is great too . Music - will adding certain
. Conflict of some kind - to add excitement instruments at certain
o Characters - theg should act like real people, have moments give your story
appropriate names; the audience should believe in added emotional depth?
them, and even more importantlg, care about them If so, where?
. The purpose - what messaBe are gou trgingto . Theatre - how can
conveu to gour reader begond entertainingthem? costumes, sound effects
. The ending/resolution - evergthing should combine and/or changes in lighting
at the finish of gour work, as it should have been make your presentation :
workingto this point allthe wag through. Again, more effective?

no clufter, orvita! information left out.
I

As noted before, gourteacherwill decide who
Jzv TAKE ACTIoN
gour audience is.
What if your audience has no one from
Present gour storg at least once to gour class and your school? Can you taiior this activity to
receive construc{ive feedback from Uour peers before become part of a service activity, where you
are linking to children or adults as part of a
uou Present to gourtarget grouP. service learning project?
{(}} etoart coNTExTS

I ATL SKILLS
Communication
Give and receive meaningful feedback
Reflection
t. What is the difference between doing something purely within the
class group and having an external audience to perform for?
2. How can focusing on your own creative work allow you to get a
greater appreciation of purpose?
Summary
in everyday English, the purpose is the reason for which something is
done. In language and literature, purpose is defined as the "intent" or
"author's choices". Through this chapter you have analysed the choices
of others and made your own decisions about them in your own
creative work. Now consider the following:
. How and why would your storytelling piece change if you were
presenting it to people from a completely different culture?
. How and why would your storytelling piece change if you were
presenting it to elementary school children?
References
Frie dman, Thomas. zoto. G lob ali zatio n. Retrieved tr om, httpy'f zo to.
newsweek.c omf top-tof mo st-overblown-fears/globalization.html.
Jerome, K. r88g. Three Men in a Boat. Bristol: Arrowsmith, 1889.

CHAPTER
15 Context I KEY CONCEPT FOCUS

c0ililEcTr0l{s
GLOSSARY
INOU!RY Context and its effect on style
OUESTIONS r How can we interpret a text, using the three levels; the ffiffii
bywhich the
amethod
of
meanings
text level, the sentence level and the word level?
unknown words may be
Context and literature obtained by examining the
parts of a sentence surrounding
I Does literature always deal with feelings? Can
the word.
literature live in a materialistic world? Why? Why not?
article that presents
Context clues a newspaper's opinion on an
r How can reading between the lines increase our issue.
understanding of a text and help us reach conceptual

ideas?
tr# words that
bring the writing context closer
to the reader, they magnify the
SKILLS ATL feelings, clarify the ideas. They
/ Analyse complex concepts and projects into their differ according to purpose,
constituent parts and synthesize them to create new audience, tone and type of
understanding. writing.
{ Use appropriate strategies for organizing complex

information.
COMMAND TERMS
./ Demonstrate awareness of media interpretations of
events and ideas. lEEillgive a detailed account
including reasons or causes.
/ Make connections between various sources of
information. lnterpret use knowledge and
understanding to recognize
/ Gather and organize relevant information to formulate
trends and draw conclusions
an argument.
from given information.
/ Make inferences and draw conclusions.
Lang,uage and literature
/ Analyse the effects of the creator's choices on an
audience.
/ Organize opinions and ideas in a sustained, coherent and
logical manner.
/ Make stylistic choices in terms of linguistic, literary and
visual devices, demonstrating awareness of impact on an
audience.
OTHER Setting Self-expression

RELATED
CONCEPTS
Chapterl5 | Context 197

Introdueing eontext
In a book called How to Get a 2:t tn Media Communicatton and
Cubural Srudies, Noel Williams writes:
Context is one of those words you will encounter again and again,
without anyone offering anything like a useful definition. it is
something of a catch-allword usually used to mean "all those
things in the situation which are relevant to meaning in some
sense, but which I haven't identified."
He goes on to say that confexr is typically used to refer to one or more

of the following:
. the context (other words used recently; the kind of language in
use, such as questions or answers, or greeting or insult)
r the physical situation (time, place, speaker, setting etc)

r the knowledge and beliefs of the participants in the
communication (such as whether one person thinks the other is
laeking in knowledge, or when both participants think they are
working towards an agreement)
e the historical circumstances leading up to the communication.
Context and its effeet on style

The style used in a text cannot be seen in isolation from the context it
is used in. This means that the language used is directed by the context
it is used in.
In this topic you will look at how style is affected by context, in
particular when comparing editorials and formal essays. Although
editorials and formal essays can share the same purpose, the different
context they are used in changes the style used in each.
Editorials
e" iffifl is an article that presents opinion on an
a newspaper's
issue. Editorials are meant to influence public opinion, promote critical
thinking and sometimes cause people to take action on an issue.
Editorials can have four main aims:
r. To explatn or interpret: To explain the way the newspaper covered a
sensitive or controversial subject. School newspapers may explain
new school rules or a particular student-body effort like a food drive.

2. To critictse: These editorials constructively criticise actions,
decisions or situations while providing solutions to the problem
identified. The immediate purpose is to get readers to see the
problem, not the solution.
g. Topersuade: Editorials of persuasion aim to immediately see
the solution, not the problem. From the first paragraph, readers
will be encouraged to take a specific, positive action. Political
endorsements are good examples of editorials of persuasion.
!. To praise: These editorials commend people and organizations for
something done well. They are not as common as the other three.
Strueture
Editorials can be organized in three paragraphs framed by an
introduction and a conclusion. Each paragraph addresses a point
connected to the thesis statement in the introduction.
The introduction usually contains an attention grabber and the thesis

statement at the end, middle or beginning of the introduction.
Editorials can be organized in different ways, with short paragraphs

each addressing a point, then two lines after each paragraph stressing
the point or concluding ideas.
Grammar and style

. Usually semi-formal, having a clear tone of sarcasm,
seriousness, humor, aggression, ete.
. This tone is clearly marked by the use of
that are usually heavy.
. Most of the time the language is emotive; the piece is trying to
win over the reader.
o Sentences are a mix of all types, but the sequence of sentences
again clarifies the point the author wants to make.
For example, you may find a rhetorical question or questions, then
short sentences, then a long simple sentence followed by a complex
sentence and so on, to bring the point through.
Chapter 15 | Context 199

t Activitg I Exploring editorials
Read the following editorial and answerthe questions that follow.
GraduationDteamsre New York Times article by CareyMulligan

We were caught between exhilarution (excitement) and deepatr Qnisery) on Tuesday as we
watched more than Soo young people in caps and gowns gather tn a park o Few steps from the
United Sfotes CapitoL It was a graduation- but it wasn't. There were awards. but no diplomas.
And while there was talk of bright futures, the speeches hrere threaded with notes of impati,etrce
(amoyance) and deftance (rebelltousness) and made clear that
They were mllying (gathering) to
support DreamAct,a in Congress open a path to cttizenshtp for undocumented
htgh school graduates who complete two years of college or military seryice. Ihese students came here
as minors,hitcled(elichdd) to their parents'a$timtlons (artition) for obetterltfe. But once they
graduated from htgh school, they found thetr chotces restricfed Qimtted) to the same dead-endiobs
and shadowed lives that thetr parents ltve.
since it wos first introduced in zool weldcd

tnrecentyeors to comprehensive tmmtgrationrcform(dcvehpment)bitls Qtstd that
have gone nowhere. The all-or-nothing comprehensive strategy holds that if rrbtparttsan (follower)
tmmtgratton btll doesn't contain the rtght mix of sweeteners like the Drearn Act to ofreet (make up
for) lwd-lfrte (forceful) enforcement measures, it won't attract enough votes to poss.
g/ruas-rootg frommore than a dozen

stotes who talhed (gathercd) on Tuesday shore that hope, but they also know they are running out
of ttme. They are getting older and their window of eltgtbiliy $uttabtlty) for reltef ts clostng. One
speaker, Waber Laro, zB, who groduated from college with honors, was caught by immigratton tn
Mtamt.He is scheduledto be dcported (aanupo*ed) to Buenos Aires on July 6.
Just to talk with him and hts fellow advocates who came up with htm from Florida is to
They are from Argentinq, Brazil, Colombta, Peru
They allwentto communtty college. But they are here illegally, they got no financial aid or
tn-state tuition (they paid $8oo per closs, dnsfeod of gzSo) or loans or work-study jobs. They want
to go into tnternational relattons, psychology, chemtst4t, engineering, mass communtcations,
polittcal sctence. But one is a handyman; the orhers work in restaurants and as church volunteers.
The drive to Washington took them 18 hours. They looked tired, solemn, deftant, hopeful tn the way
young people have thatbanishes (thrcw out) qnicisnt (suqpicion). They seemed innrcdul,rlw
(disbelievhq) that a messoge they grew up with - work hard, stay tn school, study and you will
succeed - does not apply to them.
0ucstions
1. What do gou think makes this tgpe of writing an editorial? Support with evidence from the text.
2. What is its purpose? Support with evidence from the text.
3. What is the tone? Support with evidence from the text.
4. What is the function of the shaded sentences?

5. The underlined words are idiomatic expressions. Divide them in the categorg theg belong to using the
followingtable:
Similes/Metaphors Repetitions 0pposites Strong, colorfulwords
5. The words in bold in the editorial are formalwords. Their less formal sunongm has been put in brackets
beside them. The followingtable contains those words in the sgnongms column. Fillthe antongm
column bg finding antongms [opposites) of both the formal and the less formal words:
Sgnongms Antongms
More formal Less formal More formal Less formal
exhilaration excitement
despair miserg
impatience ann0uance
rallging gathered
hitched clich6d
aspirations ambition
restricted limited
welded connected
reform development
bills lists
bipartisan follower
offset make up for
hard-line forceful
grass-roots working class
advocates suPp0rters
incredulous disbelieving
banishes threw out
cgnicism suspicion
deported transported

7. A text fwritten or spoken) is explored at three levels:
. The text level: where gou identifg its purpose, author, audience, situation, and/or genre that specifies
the text outline [structure] and its tone.
. The sentence level: where gou specifg the tgpe of sentences used to serve the ten's conte)ft: passive
or active, complex or simple, use of questions, imperatave, reported speech, etc.
. The word level: where Uou think aboutthe idiomatic expressions that fit Uourtext: tgpe of adjectives,
verbs, level of formalitg, figures of speech, etc.
You can use a table like this one with ang text to help gou analgse a text. Use it to analgse the editorial.
Text level Sentence level Word level
Tgpe oftext: Tgpe ofsentences: Adjectives:
Context:
Purpose: Verbs used:
Audience: Tgpe ofconhectors:
0utline:
ldiomatic expressions:
Tone:
(ii) etoert coNTExTs

? ATL SKILLS
Critical thinking
Formalessaus
The social purpose of a formal essay is to express opinion, discuss an
issue, analyse an issue or find solutions for a problem.
Stnrcture
Introduction
. Attract the reader's attention
. Thesis statement
Main body
. Paragraph r:
o Idea One in a topic sentence
o Rest of the paragraph sentences to develop the idea:
o Giving examples, giving reasons, facts, etc.

. Paragraph 2,
o Idea Two in a topic sentence
o Rest ofthe paragraph sentences to develop the idea:
o Giving examples, giving reasons, facts etc.

. Paragraph 3:
o Idea Three in a topic sentence
o Rest ofthe paragraph sentences to develop the idea:
o Giving examples, giving reasons, facts etc.

Conclusion
o Restate opinion
o Future projection
Grammar and style

It is a formal piece of writing with impersonal language with the
following: passive, advanced vocabulary formal connectors, no
abbreviations, complex and compound sentences, and no phrasal verbs.
t Activitg 2 Exploring forma I essa gs
Read the essaU andliniEffiilthe text to answer the questions that follow.
T'he Real Meby Rebeeca Hueg-Aahmore
Eachyear an increasino number of Americans make this a trip to an operating room or surgtcal
suite for cosmetic surgery. Ftgures vary. dependtng on the types of surgery tncluded, but the number
of procedures per year now exceeds 1 millioru and may be as htgh as z million-Do these increasing
figures make sense inthe American cubural context?
Medta coverage reflects the fascination

andthe unease at same time, arttcles in just the past two years in The Chronicle of Htgher
EducatioryNewsweefr, National Geographtc, Vogue, and Parade magaztnes, as wellos newspopers
ranging from The New York Times and The Philadelphia Inquirer to free neighborhood,weeklies and
supermarket tabloids.l,t/htle these articles record the increasing number of surgeries performed they
olso odvise carefulness, includtng examples of fotled or fatal surgery andwarning about unqualified
practtttoners.

Intoday's
sociefy, as our growup,they tndny tn One mclny femoles is
to be tall, thtn, and beautiful; for men, the obstacle is to be muscular and good looktng. The reality
is, in rare coses is that even true. To most, tn order to achieve this image, they must undergo plastic
surgery. The tmprovement of self esteem and self worth that fhese surge ry create, pcss thern os
accepted procedures tn the Amertcan society. the correlation of beauty with heahh and tndivtdual
hoppiness encourages Americans to choose to alter their appearance through surgery. Thus the
surgeory by altering physical features that mark the patient as different, allows the patient to "pass"
as amember of the desiredgroup.
Americahos always
supporttng new technologies. technologtes helped constructing different medtcal
equtpment enabltng sergeonfs to perform complicated operattons with desirable outcomes that were
unattainable before.Sdnce the resu/rs were mostlypositlve more Americons storfed acknowledging the
tdeo. Moreovet these advances decreosed the expenses of cosmettc surgery in generaL For example
the price of a nose job that cost a fortune tvrenty years agq is avatlable today for an affordable price
formany.
In concluston, beauty, however defined, affecfs onet srofus crs o person in a society. In American
culd.rre, the emphasts on individualtty and self-definition makes "self" perceptton especially
trnportant. Add to thts the American admtration for o,ll things medtcal makes cosmettc surgery
appropriate rtean for finding or creattng the authentic self It provtdes a cularally meaningful setttng
in which self-tronsformation c an b e perforrne d
0ucetlone
1. Substitute the formalwords underlined with more informal ones:
increasing
varu
exceeds
alter
obstacle
underyo
performed
aiding
acknowledging
unattainable
constructing
2. What makes this a formal essag? Support with evidence from the text.
3. How is it structured? Support with evidence from the text.
4. How formal is the text? Support with evidence from the text.

5. What is the function of the shaded sentences?
6. flntod;nthe essag using the tabte. Refer to Activitg 1, Ouestion 7 for an explanation of exploring
tert at three levels.
Tgpe oftext: Tgpe ofsentences: Adjectives:
Context:
Purpose Verbs used:
Audience:
Tgpe of connectors:
0utline:
ldiomatic expressions:
Tone:
(€i) stoem coNTExTs

3 Criticalthinking
ATL SKILLS

t Activitg 3 Assess gour understanding
This activitg will help gou to practise the skills gou have developed in this topic.
Ffllltf Reflect on Uour editorial bg filling out the following post writingtable. Answerths reflqqttve
questions and reconsider gour piece of writing.

Who is gour audience?.......... Highlight on the editorial gour What are the tUpe of adjectives ,
attention grabber [sentence). used? [positive, negativeJ Whg?

What is the purpose?
Ie nte rta i n i n g/i nfo rm ative/ What tgpes of sentences are
persuasiveJ used?
What is the context? [who are Iquestions, short, long complex Angthing gou want to express
gou/where is it published?) & compound, short simple, about verbs?
dialogue etc.)
Whattone is used? [gour 1. ..............

attitude towards the topicJ whg?
How about nouns?
2. .............
How do gou know? [words used
whg?
to stress it)
3. .............
ldiomatic expressions [fi gures
whg? of speech, idioms, phrasalverbs,
How did gou outline (organize) ,
Uour text?
4. ............. etc.)
r Highlight gourthesis whg?

statement and the topic
Check if gou have anu run-on
sentences of each paragraph
sentences, and write them again
in the editorial.
correctlg.
r How are the ideas developed
How varied are Uour sentence
in each paragraph?
structures? [Are all sentences
[chronological, cause & starting with a subject?J
effect, examples, facts, etc.)
ls gour level of formalitg

consistent?
Tgpe of connectors:
To what extent is gour editorial

authentic?
How can gou make it more

authentic?

. Where is the weakest part in gour editorial?
o How can gou improve it?
. Do gou think gou would get a good mark for gour editorial?ffifrilfilwhg.
([)] otoalr coNTExTs

3 ATL SKILLS
0rganization
Use appropriate strategies for organizing
complex ir-rformation.
Reflection
Consider your personal learning strategies:
. What can you do to become a more efficient and effective
Iearner?
. How can you become more flexible in your choice of learning
strategies?
. What factors are important for helping you learn well?
Context and literature

The concept of context in literature can be clarified through the study
of different literary works, investigating how their contexts shaped
their ideas. This topic explores the concept of context by studying a
number of different kinds of literary works from the United States at
the beginning of the zo'h century and examining how this era shaped
the reflection of the 'American Dream" in literature.

t Activitg 4 loring the "American Dream"
The following article was written about the BYU Museum ,

of Art'slmencon Dreoms exhibit.The article is divided Wl-rat is tlie "Anrelic-an Dreanr"?
into trro sections forthis activitg; each seclion has It is a set of icl..als ol frec-clorn.
questions.
eqtrllity', oppo rttrnit ir.s ancl
success. Chancc-s ale oprcrr lirr'
fffiI!fil! Read the first part of the article and ans-werthe eve ryone baserl otr hat'd w,rrli,
question that follows. rectaldless of social class or
AnerlcanDrcorns by Ryan B. Ucllvaia CoZ) circunrstanct s at birth.
The Museum of Art's new exhibit explores

ever-evolving ideas about America and its people.
CD)wea LINKs
ON JAN. zq 1961, John F. Kennedy uuered his You can search for more
now-famous line'Ask not what your country can about the American Dream
do foryou-askwhat you can do foryour country." on the Library of Congress
website: www.loc.gov.
Less famous is what the poet Robert Frost said next.
After concluding the president introduced Frost,
who was to read a poem he had written for the occasion.
Taking the podium, the 87-year-old poet squinted into the glare from new-fallen snow
on the Capitol groundg unable to make out the poem in front of hirn Improvising Frost
recited from memory "The Gift Outright" a poem he had written some 20 years earlier.
The landwos ours before we were the land's.
She wos our land more than a hundredyears

Before we were her people. She wos ours
In Massachusetts, in Virgtnta,
But we were England's, still colontals,
Possessing what we sttll were unpossessed by,
Possessed by what we now no more possessed
Something we were wtthholding made us weak
Until we found out that it was ourselves
We were withholding from our land of living,
And forthwith found salvation in sunender.

Such os r+re hrere we gave ourselves outright
(The deed of gift was many deeds of war)
To tlre land vaguely realiztng we snt ard
But still unstorie4orfless, unenhanced
Such os she was, suchos she would become.

The sweep of Frost's poem is the sweep of Americanhistorg-promises giving rise to boldness, violence,
westward expansion and new beginnings. lt contains elements that, together, give us our sense of the
"American Oream,'howevervague or evolvingthat notion mag be.
0ucstlon
Do gou agree with the author of this article? Whg? Whg not?
ffifflfilff Read the rest of the same article bg Rgan B. Mcllvain and answerthe ques-tions that follow.
AmertcanDreams,the BYU Museum of Art's newexhibit from its permanent collection

of American art, tracks variations on this theme. Through the visual expressions of
rSth-, rgth-, and eoth-century artists, the exhibit demonstrates the changing and at times
conflicting ideas of America and what it is to be American. Exploring broad themeg
the exhibit is split into three parts: the Dream of Eden, American Aspirationq and
Envisioning America. With rrS pieces on display at a timg works will rotate in and out of
the exhibit during its five-year run. More than zoo works will be part of the presentation.
This article presents a sampling of the paintings and sculptures in the exhibit, coupled
with the words of leaders, writers, and poets about Amerie4 "such as she was, such as
she would become."
EnvisioningAmeriea
Pereeptions of American identity derive in part from its founding stories, which are at
times confirmed and at times challenged by the realities of American life. In their works,
American artists suggest various roles for the nation-from the inheritor of classical
Western ideals to a bastion of freedom to a crucible of unresolved tensions.
I olways constder the settlement of Amertca with reverence and wonder, as the opening
of a grand scene and design tn provtdence, for the illumtnotton of the ignorant and the
emanctpati.on of the slavtsh part of mankind all over tlrc eartL
-John Adams (1735-1826)

The gap between ideals and actualities, betuteen dreams and achievemenfs. . . is fhe rnost
consptcuous, conttnuous landmark in Amertcan history . . . not because Amertcans achieve
Itttle, but becouse they dream grandly. The gap ts a standing reproach to Americans; but
ttmarksthemoffas aspecialandsingularly admtrable communtbt dmong theworld's
peoples.
-George F.Will G.tg+r)

AmericanAapiratione
Long tied to attainment-of refinemenq comfort,leisure, beauty-the American Dream
has been a motivating force throughout the nation's social strata. That dream has been
perpetuated through artists' depictions of the fashions, material goodg and entertainment
enjoyed by the upper classes of society.
Conspicuous consumptton of valuable goods is a means of reputabiltty to the gentleman

of leisure.
-Thorstein Veblen (r8SZ-rgzg)

theDreamof Eden
For many settlers of America, the land seemed an endless frontier, a pristine wilderness
of pastoral simplicity and limitless opportumry.As that frontier diminished and the
land's native peoples were displaced, however, the longing for a lost Eden became a
broad theme in American consciousness and art.
For this is what Amenca is all about. It is the uncrossed deserf and the unclimbed rtdge.
It ts the star that is not reached and the haryest that is sleeptng tn the unplowed ground
-Lyndon B. Johnson (r9o8-73)
We know that the white man does not understand our woys. One portion of land ts the
so;me to him as the next, for he is a stranger who comes in the night and takes from the
land whatever he needs. The earth ds not his brother, but hts enemy, and when he has
eonquered tt, he moves on-
-Chief Seattle (t286-t866)
0ucations
When and how do gou thinkthe "American Dream" started?
What helps the American dream revive? How did the context of the 1920s revive it?
([]] eroarl coNTExTs

0rientation in time and space
? ATL SKILLS
Media literacg
t Activitg 5 The settingof The Greot Gotsby
Examine the advertisements from the summer of 1922 and 0ak Grove Beach advertisement.
read the quotes from lhe Greot Gotshg that follow [written in TskG
OEgon Clty csr
2g Mn6r
South of
L9z?l.Then answerthe queslions that follow.

.
to Oek Grcvc
SWIIII
Ifl TIU Ti'ILIAIIEEE IT
MilwNki.
Advertisements: Oak Grove Beach

Ner Brthlng Equlpnr.nt-N.w Brth HoilsFEntlrG P.rk Il..
Oak Grove Beach offered more to visitors than just u
n6r.d, BGlulifl.d, R.bullt lnd Light.d, Prehimcd by cvctrbodt
PORTLAND'S FINEST
swimming. Forexample, NewYear's Eve in 1923 was BATIIING BEACH
advertised with the promise of "lots of noise, good music". DallY
DANCING
The Pavilion and cottages were constructed to draw visitors Wcdnadry ond 8.ttrrdry ErcnlnS
.nd Surdty Aftcrn@n und Nlght
all gear round. Cclcbralo tjrc
4th of JULY
()ak Grove Beach
Fun Flrcworb Frellc
WAITB CAENIYAL
and Svlmnlrg Cotrt6t!
Bcruty Paredc
Cr.r6lng Anunnatr
ud

1922 American Rolls-Rogce automobile Fashionable dresses in L9?2 women's
advertisement. fashion advertisement.
rsqax*!'rEtilrl E
Dr-..fir a.&irarLx tr*
Tln Rgd'ie;tor tkEba,&.t*
&&Eh*au *r-f rhih
-drl&idlt aw&
hLd&bd&
LrUttu+'.
dadhm(Fft
,E.Fdnth- tu
rbf, llr}.nnr.d.llil
dt.q-rrdryry
ROLLS-ROYCE
Mril hv..uFirdiEdr.n@ Tbr qi-
d tun d dq-k.iq d6 d iijlR th.rrl,
,illd dihds nd. r.d ryld .hry .f r.G
FnilErhq rI h DoE dlt .rd MoBi6ll,
EFiGd,ii*dcidq
&n.!, dkrrF ofrdnrd.
ei#twlGlrrd
Jazz violinist Herman Curtis and his band were providing entertainment
Advertisement for jazz violinist Herman
at the Chinese Temple in Grand Rapids. The Chinese Temple was under Curtis and his band.
public scruting as earlg as Januarg of 1921, as police arrested and
imposed heavg fines on Uoung dancers for "improper and indecent'
dancing.
J AZZ
TOWN
B,EST.IN
#,ffi'm.Sg1ilE$'H
td lrb U, GllLtr
0uotes from lhe Greot6otsbg: . 00f |torF Arn" r'' fL "llt
o Nick Gatsbg believed in the green light, the orgastic future that
gear bg gear recedes before us. lt eluded us then, but that's no
matter - tomorrow we will run faster, stretch out our arms
,'i##b
farther... And one fine morning - So we beat on, boats against
the current, borne back ceaselesslg into the past. P.188
. Daisg: I hope she'll be a fool - that's the best thing a girl can be in this world, a beautiful little fool. P.24
. Jordan: Wel!, I don't care. He gives large parties, and I like large parties - theg're so intimate.
Small parties, there isn't ang privacg. P.56
. Daisu: Open anotherwindow. lt is too hot.
Nick There aren't anu more.
'
Daisg: Then telephone for an axe. P.132
. Nick Theg were careless people, Tom and Daisg. Theg smashed up things and people, and then
retreat back into their moneg and theirvast carelessness. P186
0uestions
. What are the most stand-out or unusual ideas of this era?
. What reasons can there be for presentingthese ideas this way? Whg did theu start?
. How does this era seem to us looking back from the present dau?
. To what extent does the surrounding culture and environment drive people's actions and behaviours?
(ii! croert coNTExTs

? lnformation
ATL SKILLS
literacg
Make connections between various sources
of information.
Chapter 15 | Contexr ?tl

t Activitg 6 Assess Uour understanding
Write a !iterary analgsis essag supportingthe following

statement. You will need to concentrate on the main features CE INTERDtsctPLtNARY LtNKs
Context is also a related
of literarg works in US between the gears 1920 and 1922.
concept in Individuals and
Support gour ideas with reasons and examples. Societies. If you have been
Statcment:
studying, for example, post-
World War t in history, then
"Literarg works can see what people cannot see. Theg are a you can make a eonceptual
magnified reflection of life." connection between this task
and your history lesson.
{(,3} e toalt coNTEXTS

? ATL SKILLS
Critical thinking
Gather and organi.ze relevant information to
formulate an argument.
Reflection
Consider what you learned in this topic by asking yourself the
. What did you understand about the topic?
. What don't you yet understand?
. What questions do you still have?
Context elues
Our understanding of most of what we read depends on our ability to
use the context to decode both explicit (clear) and implicit (suggested)
messages. Sometimes authors do not make their ideas explicit: we have
to read between the lines to get what they mean. Other times the word
is there, but it is too difficult to understand. In these cases, you use the
context to understand. You can use the words and phrases around the
word in question to make sense of a text.
Tgpes of context clues

There are different types of g#fltf|. Some words are explicitly
defined in the same sentence or the sentence after, while others

are implicitly understood from the holistic (overal) meaning. The
following are some of those types with examples:
. Synonym: A word that gives the same meaning is used in
the sentence.
Example: David is tond of tedious, boring films.
. Antonym: A word (or more) that has the opposite meaning is
used to elarify the meaning.
Example: Although some men are loquacious, ofhers hardly
talk at all.
. Explanation: The explanation of the unknown words is
explained either in the same sentence or in the sentence after.
Example: The natives were hostile when the settlers
approached their village. They lined up across the road and
drew their weapons.
. Examples: specific examples to define the word
Example: The bird's appetite is voracious. In one day he
ate plenty. TI I
. Cause and effect: Through the implicit meaning of the Contert cltres are hiuts thi-rt
sentence the word is clarified. the atithor gives to lielp clefine
Example: Since no one came to the first voluntary work a difficult or trntrstrirl word.
session, attendance for the second one is mandatory for all the The ch,rc. may ilppear witl'rin
members. the same sentence as tl-re word
How you infer meanings of words in literature can make all the to which it refors, or it nray
difference in the interpretation of the significance of events and ideas. follow in a preceding sentence
Context clues can be synonyms, comparison and contrast, definition or Context cltres are also used
descriptiory association, series, setting cause and effect, mood or tone, to help readers get a generai
or just an inference. The following activities will help you understand rneanir-rc1 frorn the text.
how context clues work.
t Activitg 7 Using context clues to read between the lines
The following excerpt has some implicit meanings and messages. Read the text, then answer the questions
to practice reading between the lines.
T'lw Real Thing ? W Alaa Hacksnen
One of the mosf succes sful commercial producfs eyer launched is soid to have come about as the
result of a mistake. In lSgQ Jacob's Pharmacy in Atlantq Georgta, was selling a ne/ye tontc known as
'Trench Wine Cola - Ideal Nerve Tontc". By accidentally addtng ftzzy water insteod of s tillwater to
the recipe, o pharmacist called John S. Pemberton tnvented what has today become the most popular
soft drink in the world: Coca-Cola Along wtth its closest rival - Pepsi - which appeared on the market
three years later Coke has enjoyed phenomenal success worldwide, particularly tn the past ftfty years.
Indeed old Coke bottles and "ltmited edltion" cctns cctn often fetch constderab/e sums from collectors,
and there are evenstores whtch deal exclustvely in Coke products and memorabilia.

What could possibly dccount for the amaztng success of Coca-Cola? How hos this combination of
carbonated water, sugar, actd and flavourings come to symbolize the American woy of life for most
of the world? After all even the manufacturers could hardly descrtbe Co[e os a healthy product since
tt contotns relattvely hi.gh amounts ofsugar (admtttedly not the case with Diet Coke whtch contoins
arttftcto.l sweeteners znstead of s ugar) and phosphortc acid, both of whtch are known to damage teetlu
One explanation moy be found in the name. The origtnal rectpe tncluded a flavouring from the coca
plant and probably included small amounts of cocaine (an addtcttve substance), but since the early
part of thts century o,ll traces of cocatne have been removed However, Coke Qtke all cola drtnks) also
includes a flavourtng from the cola tree; cola extract contains caffeine, whtch ts a sttmulant, and the
Coca-Cola company adds extra caffeine for good measure. While caffetne is not thought to be an
addictive substonce tn itself, there is constderable evidenee that over a pertod of ttme the consumptton
of caffeine has to be increased in order for tts stimulattng effect to be maintained, and so sales of Coke
perhaps benefit os o resu/f.
A more likely reason for the endurtng populartty of Coke may, however, be found in the company's
enviable marketing sfrotegies. Over the yeors it hos come up with some of the most memorable
commercials, tunes, s/ogons and sponsorship in the world of advertistng, variously emphasizing
tnternationalharmony,youthfulness and a carefree ltfestyle. Few other companies (arguably including
Pepsr) have been able to match such marketing trtcks so consisten tly or effectively. As suggested
earlter, the influences of Amertcan culture are evident just about everywhere, and Coca-Cola has
somehow come to represent aviston of the Untted States that much of the rest of the world dreams
about and lookup to. Perhaps drinktng Coke brings people that little bit closer to the dream
I
0uestlons
1. !n paragraph 1, "cans can often fetch considerable sums" has the same meaning as:
a) Coke is quite expensive in some parts of the world
b) collectors consider carefullg how much theg are paging for a can of Coke
c) some collectors will onlg drink Coke in exclusive stores
dJ certain Coke cans are worth a lot of moneg as collectible items
2. "Coke has enjoged phenomenal success", paragraph 1, suggests the writer:

a) thinks that the success of Coke is verg strange
b) believes that the success of Coke has been impressive
cJ rather disapproves ofthe success of Coke
dJ considers the success of Coke to be undeserved
3. ln the last sentence of the passage the writer meantthat:

aJ most people would like to live in America
b) mang people wish for a lifestgle like theg imagine most Americans have
cJ drinking Coke reminds a lot of people of visitingAmerica
dJ living in the United States is a bit like living in a dream

4. ln paragraph 1, the writer points out that:
a) Coke is so popularthat some shops sell nothing else
bJ onlg certain people are allowed to enterthe most poputar Coke stores
cJ some stores can successfullg sell Coke at higher prices
dJ Coke is so popular that some shops onlg setl goods with the Coke label
5. The sentence "Few other companies [arguablg including Pepsi] have been able to match such
marketing tricks" means that:
a) Pepsi and a few other companies have had better marketingthan Coca-Cola
bJ the Coke compang has been more successful in marketingthan most otherc
c) some companies have copied Coca-Cola's marketing strategies verg effectivelg
d) no other compang has been as successfu! as Coca-Cola in marketing its products
6 . iJust about evergwhere" in paragraph 4 is closest in meaningto:

al in a lot of countries
b) in everg part of the world
c) in a majoritg of places
d) in almost everu part of the world
?. ln the last sentence of paragraph 2, the writer implies that:

a) it is easg forthe companu to argue that Coke is a healthg drink
bJ he/she considers Coke to be unhealthg as a drink
c) the compang believes Coke is not an unhealthg product
d) Coke is, in fact, quite a healthg drink
8. 'llong with its closest rival - Pepsi" paragraph 1 refers to the fact that:
a) Coke and Pepsiworkverg closelg together
b) Pepsi is Coke's onlg competitor
cJ Coke and Pepsi are competitors in the same market
d) Coke and Pepsi between them keep rivals out of the market
9. In the second sentence of paragraph 2, the writer seems surprised that:

a) something so normal could have such importance
bJ allthe ingredients can be found in most countries
cJ most of the ingredients are not verg healthg
d) Coke must be so easg to produce
10. Which of the following statements aboutthe passage is true?

a] Cocaine and caffeine are addictive substances.
b) At least one of the ingredients of Coke is addictive.
cJ The stimulating effect of caffeine is reduced overtime unless consumption of it is increased.
d) The Coca-Cola compang has graduatlg increased the amount of caffeine it puts in Coke.
(li) etoalr. coNTExTS

? ATL SKILLS
Communication
Chapter 15 | Context 2!,5

t Activitg 8 Using context to clarifg meaning
Macbeth's sollloqug
After Macbeth discussed his crime with Ladg Macbeth, he was sitting alone when an invisible dagger
appeared to him. ln the famous excerpt that follows he speaks to himself, questioning whether it is real.
Read the passage, paging special attention to the words in bold, then complete the table.
Is this a dagger which I see before me,
The handle toward my hand? Come, Iet me clutch thee.

I have thee not, and yet I see thee still.
Art thou not, fatal vision, eensible
To feeling as to sight? or art thou but
A dagger of the min4 a false creatior5

Proceeding from the heat-oppressed brain?
I see thee yet, in form as palpable
As this which now I draw.
Thou merehall'st me the way that I was going;
And such an instnrment I was to use.
Mine eyes are made the fools o'the other senses,
Or else worth all the resq I see thee still,
And on thy blade and dudgeon gouts of bloo4
Which was not so before.
Now complete the table.
Word Part of speech What do gou think it means? What were gour clues?
art thou
fatal
sensible
palpable
marshall'st
g0uts
([]] etoart coNTExTs

o ATL SKILLS
Communication

Reflection
Consider your learnirrg by asking yourself the following questions:
. Can you identify strengths and weaknesses of your personal
learning strategies?
. Do you demonstrate flexibility in the selection and use of
learning strategies?
. What new skills, techniques and strategies of effective learning
did you develop?
Summary
The concept of context can be explored from different angles. In this
chapter you examined how context can give meaning by shaping the
style of a text and defining its genre. When viewing the concept of
context through literature you studied historical background and how
it structures the themes and ideas of literary works. Context also was
identified as giving clues to discover implicit and explicit meanings
in a text.
Reflect on the chapter by considering the following:
What did I GANE?

G Generate and write down all the ideas and thoughts that you
learned in this chapter.
A Cirele ideas that appeal to you.
N Form a nest by connecting those ideas.
E Elaborate on how you see those connections.
Referenees
Hacksman, AIan. The realthtng? Article published in Good
Housekeeping Magazine.
Huss-Ashmorg R. Spring rggg. "The Real Me: Therapeutic Narrative in
Cosmetic Surgery." Expeditton Magazine. Vol4t, number L.
Mcllvain, R. Fall 2006.'American Dream s!' Brtngham Young tJniv erstty

Magaztne.
Mulligan, C. zoog. Extract from an editorial GraduationDreomg The
New York Times. Retrieved from: http y'/wwwnytimes.eom,/z o og / o6 / z 4/
opinionf z4wedz.html.
Shakespear e, W. M acb e th. zo oo. Extract taken f rom: httpy'/www.

shakespeare-oniine.com,/plays/macbeth,/soliloquies/isthisadagger.html.
Williams, N. zoo4. How to get a z:1 tn Medta, Communtcatton and

Cukuralsrudies. Sage Publications; rst ed.
CHAPTER
16 Audience imperatives I KEY CONCEPT FOCUS

C0Ml,lUlllCAT!Oil,
CREATIVITY
GLOSSARY
INOUIRY I How audience members respond
OUESTIONS r How do we respond as members of an audience? afilm or piece of
writing a goal of factually
How creators reach different audienees representing an issue, topic, or
I situation.
r How do ereators reach different audiences?
m informatiory
f Reaching the intended audience especially of a biased or
r How do we identifu the tools used to reach audiences? misleading nature, used
to promote or publicize a
SKILLS ATL particular political cause or
point of view.
./ Use intercultural understanding to interpret
communication. m a form of language
associated with a certain social
,/ Use a variety of speaking techniques to communicate
with a variety of audiences. situation.
,/ IJse critical-literacy skills to analyse and interpret media ffi trustworthy.

communications.
,/ Analyse complex concepts and projects into their
COMMAND TERMS
understanding. rcl€ata to evolve from one's own
Identify trends and forecast possibilities. thought or imagination,
,/
as a work or an invention.
,/ Use a variety of media to communicate with a range of
audiences. lTiscudl offer a considered and
balanced review that includes
,/ Compare, contrast and draw connections among (multi)
a range of arguments, factors
media resources. or hypotheses. Opinions
Langruage and literature or conclusions should be
presented clearly and supported
,/ Analyse the effects of the creator's choices on an audience.
by appropriate evidence.
,/ Make stylistic choices in terms of linguistic, literary and
visual devices, demonstrating awareness of impact on an
audience.
OTHER Purpose Character Structure

RELATED
CONCEPTS
2!8 Language and Literature

Introduction to audience
imperatives
The IB MYP curriculum guide for language and literature defines
audience imperatives as;
an umbrella concept to refer to whomever (the reader, the

listener, the viewer) a text or performance is aimed at, and the
characteristics, impact or desired responses created.
The following experiment will test your awareness of audience
imperatives.
,ti Activitg 1 Sponta neous conversations
Followthe steps and answerthe questions that follow.
Eff,lI Find a partner.
Em Take turns respondingto each of these conversational situations. These are spontaneous
conversations so gou will have no time to prepare-just respond to the best of gour abilities.
Each section will last roughlg 60 seconds.
. Student 1: Speak as if to a gounger student at gour school about challenges theg will face
when theg're gour age.
. Student 2: Speak as if to a large audience of adults about a major world issue.
. Student 1: Speak as if in a job interview responding to the question: "What are gour biggest
strengths?"
. Student 2: Speak as if with one of gour friends about what gou are going to do this weekend.
. Student 1: Speak as if to gour mother or father about what gou did at a friend's house last
weekend.
. Student 2: Speak as if with a senior member of gour communitg about what things were like
when he/she was gourage.
0uestions:
1. What are some other situations gou face in gour dailg life that could have been included in
this activitg?
2. Do gou feelthat gour responses were representative of how most people would respond, or
are there unique wags that someone in gour familg, gour culture, or gour school would need to
respond that others might not be aware of?
3. How did gour audience change the wau that Uou responded? What specificallg changed?
4. Thinking about question 3, did gou use ang of these language ftatures?
a. W [a form of language associated with a certain social situationt:
l. Colloquiallanguage/slang
ii. Polite phrases or grammatical structures.
Chapter 16 | Audience imperatives 219

b. Ang differentvocabularg (tne Uoag of word options in a language)
c. Non-verbal communication: bodg language, shown through arm or hand position, facial
expression, ege contact, gestures, and posture
5. What audience(s) do gou usuallg write for online?
()) etoart coNTExTs

3 ATL SKILLS
Communication
Use intercultural understanding to interpret
communication.
communicate with a variety of audiences.
How audienee members respond

Audiences in the world of the 21"t century face amazing challenges.
According to Dr. Martin Hilbert in a zott Science Magazine article,
The averageperson in 2oo7 was transmitttng the tnformatton
equivalent of six newspopers each day and receiving i74
newspdpers of data (much of that reflected invtdeo and photos).
Also, aecording to the New York Times,
Yankelovich a market research firm, estimates that a person livtng

in d city 30 yedrs ago saw up to 2,ooo od messoge s a day, compared
wtthup to S,ooo todoy.
Both of these studies were conducted in zooT when the use of mobile
devices was much less frequent!
With so much information availablg improving and utilizing the ATL

skills of Information and Visual Literacy has become very important.
,ti Activitg 2 What do gou believe?
Fundrrlslng .dvcntbemcnts
Followingthe tsunami disasterthat decimated Japan in 2011, mang well-intentioned individuals from
across the globe watched emotional news reports showing the mass destruction. Theg immediatelg sought
to donate relief funds. However, with thas amount of aid being handed out so quicklg, some dishonest and
corrupt individuals used the opportunitg to create false charities and to intercept audiences bg predicting
their behaviors, and colleaed moneg fortheir own personal use. Stories of the scams hufithe abilitg of
honest .nd tm agencies to collect new funds that woutd have been given bg peopte if theg were not
frightened of being s-windled.

EFllIfa Flscnsslas a group. 0o gou thinkthe following
advertisement is trustworth g? How could gou make CD)wea uNKs
To find out more go to
sure? What strategies would gou use to checkthe
www.theguardian.com and enter
authenticitg? "Red Cross Tsunami donation scam"
I
AS SEEN ON TV! I
i
!
:
i
j
l
a
Tlunami Hits Japan

I
deptlr satellite intagery of Japan's biggest ever recorcled tsunan'ti. Use
See irr
:
i
Google Earth to tr.rck.rnd expore the devitst<ttion th.tt is h.-rppenirrg around
the P.rcific. History is happerrinq now ancl yoLt (.rn follor,v it all with us.
ReaFTime Earthquake lmagery
* See in-depth earthquake images

I See the devastation caused to cities
+ Real time updates of seismic activity
See it all here
fhe BloirWitch Projea

The followingwebsite alongwith the associated videos posted on itwas spread
1998 untilthe release of the film footage in 1999. ThisffifEfry
film the college students
set outto make focused originallg on the legend of the BlairWitch. Howeve6 it ended up beingan
unfi nished documentarg about themselves and their disappearance.
Eff,f! As a group, access the web linkthat follows, viewthe video

footage (be sure to consult gourteacher firstf and ansrver @ilwea UNKS
the accompanging questions. The link to the documentary
materials that were
0uegtlone discovered can be found
1. Do gou believe thatthe storg of Ihe BtoirWitch Projea here: www.blairwitch.com.
is true?
2. lf it were true, how would gou approach the viewing of
the documentary? Would Uou wantto see it?

3. lf it were not true, how would this affect gour viewing of the film? Would gou want to see it?
4. What evidence can gou find that would lead Uou toward either conclusion?
F.Trrrfirnr
. As a strongglobalcitizen and communitg leader, howwould gou establish credibilitg and
inspire an audience if gou were responsible for setting up a charitg or organization? Keep in
mind that gour audience is alreadg inundated with dailg advertisements and communications
from vadous companies and charities.
. How could gou make gour oryanization stand out as reputable and honest?
('j! e loart coNTExTs

Scientific and technical innovation
I ATL SKILLS
How ereators reach different

C5))wfi LINKS
audienees
See Juian Friedmann's TEDx As Julian Friedmann mentions in his TED Talk "The mystery of
Talk at www.youtube.com. storytelling", the formula for reaching an audience in theatre and film
Enter "The mystery of has not changed much since Aristotle wrote Poettcs in 335 BCE:
storytelling" into the search
box. The section relevant to
1. Create sympathy
this topie starts at 6 minutes z. Show pain
and 55 seconds and ends at
t2 minutes and rB seconds. 3. Create a catharsis or a major release of emotions that is therapeutic
for humans
One major aspect of writing has changed dramatically since Aristotle's

time. Previously, only the most talented and educated of scholars
and artists created material that reached a large audience, with very
few exceptions.In today's world, however, anyone who has access
to a computer can become published and anyone with a phone
can potentially record, photograph, or tweet something of artistic,
historical, or social merit.
With so much opportunity, it is important to know how to develop

the mindset and the skills necessary to reach your goals as well as
knowing some of the tools that are being used to influence you as an
audience member.

,ti Activitg 3 ldentifging goals for 5 writers and 10 personal projects
To discuss what an artist's effect is on an audience, gou should first understand what goaltheg are trging
to achieve. Read the quotes from different writers and the example ideas for MYP personal projects to
determine their goal.
For each example, identifg the creator's goal. What are theg trging to accomplish?
ls their goal:
1. to factuallg recount or inform
2. to persuade/sell
3. to entertain?
0rder of activitg:
. Ihink Write down gour own answers with a quick note whg gou feelthe wag gou do.
. Pair with a classmate and come to an agreement on what gou think the correct answers
are and whg.
. Share Uour answers with the whole class in a discussion.
5 quotcs fiom writers

t. Here ts a populattoa low-class ond mostly foreigy hanging always on the verge of staryatton and
dependent for its opportunities of life upon the whim of men every bit os brutal and unscrupulous os
the old-time slove drivers...
z. Our economic role tn thts culture of consumerfsm fs to be little more than walktng appetites that
serve fhe function of maintaining our economy's throughput (ouput). Our psychological state
is comparable to that of drug addicts needtng a fix: buying things doesn't really make us hoppy,
except perhaps for a moment after the purchase. But we do tt over and over dnywdy.
g. Gotherye rosebuds whtleye may,
Old Ttme is sti// a-flying:
Andthts same flower that smiles to-day
To-morrow will be dytng.
4. Bayern Munichbecame the ftrst team to advance to a Chompions League final it fs hosting,
beating Real Madrid g-t on penaky ktcks Wednesday night when Schweinste iger converted the
final shot after Sergio Romos slied hts over the oossbar.
5. Sehool Challenge: the power of kids

For the past five years, school kids around the world have been reinventing Ryan Hreljact sfxyear-
old dream and making it their owru With imagination leading the way, and the can-do attttude
shared by ktds everywhere, they work from September until World Water Day in March They work
for other kids who only dream of havtng clean water to drtnk and washrooms in their schools.
10 Personal Profect products
1. A cookbook of familg recipes.
2. A pamphlet explainingscoliosis and howto detect it.
3. A website to convince tourists to visit a countrg for its tourist destinations.
4. A novel about a dragon who grows up believing she is a duck.

5. A comedg night or fashion show oryanized to raise moneg for a charitg.
5. A business proposal submitted to a philanthropist to gain financial support for building an orphanage or
boarding school in Palestine.
7. A 3-song album created to inspire people to donate time and moneg to building homes forthe homeless.
8. Documentary film about a women's shelter.
9. A YouTube video showing people how to do a varietg of juggling and ball-handling tricks with a football
or soccer ball.
10. Astudent standing in a roundabout for rush hour during a given week, holding up a sign showing
how mang auto accidents had occurred on that street in a gear, then determining if traffic accidents
decreased.
(i]) otoart coNTExTs

3 lnformation
ATL SKILLS
literacg
t Activitg 4 Pantomania
The following is an extract from a Personal Project

productwritten in 2013 bg Colegio Franklin Delano @rwEB LTNKS
Roosevelt MYP 5 student Tracie Horsington. Read the If you are unfamiliar with the English
pantomime genre, search www.youtube.com
extract and answerthe questions that follow.
and enter "What is an English Pantomime?"
Cinderella
Deme: (Io audience) Are you here for the party? I'm afraid you're a tad early. Why don't you help
me with something? Alright, I need someone to look after the cake...the one I made special for
the prince's birthday. I am putting the cake right here and will leave for a minute to ensure the
preparations are complete. I want you to yell thief" if someone tries to take the cake alright?
(Pause) Good.
(Lester enters and tries to steal cake, reacts to audienee cdling'Thief!" and hides behind
Dame afterthey enter)
Dane: Where?
@ane reacts to audience shouting "Behind you!" then tums to see lester)
Dame: Whyyou litde...get back here!
(Dane chases legter with a rolling pir5 both exig Prince enters)
King: There you are, my boy. Are you excited for the party tonight?
Princq Of course, father. I just wish mother were here to see this.
King: I lorow sor! she would have loved to be here too. I met her at a party just like this...
Prinee: Really?

King: Yes.It was love at first sight. She was so beautiful...I knew she was the one. (pause) But no use
bringing up those sad memories, tonight is going to be spectacular. I ensured that every fair lady in
the land has been invited to this party...I hope you choose wisely.
Singexits)
Prince: He did what? I cant believe it...well actually I can, that is just what I would expect from
father. I really dont want a huge celebratioru just the two of us. And all of those screaming girls,
fighting over me, trylng to take pictures of me to put on Instagram and Facebook...this is going to be
an absolute nightmare...and it's not like I'm going to fall head over heels in one night, right?
@ince exits)
Blackout
Scene g
(Lights go up to see Cinderella on stage alone)
Cinderella: What shall I do? I really want to go to the party, but I have no invitation, no dress, and all
of these chores to do. (Sighs) I guess there is no hope for me.
(Fairy Godmother floats down from the ceiling and lands behind Cinderella)
Fairy Godmother: (Taps Cinderella on the shoulder) Why, there is hope for you yet.
Cinderella: Who are you? And how did you get in here? Stepmother loeked the door.
Feiry Godmot}er: I am your fairy godmother. I got in here with magic.
Cinderella: You have got to be kidding. Magic? That's impossible
FairyGodmother: No, indeed it is not. Observe.
(Fairy Godmother points magic wand at a wilted flower po! the wilted flower is instantly replaeed
with a beautiful bloom by a stagehand)
Cinderella: Impressive.
Fairy Godmother: Thank you. Now, you shall magieally be wearing a spectacular gown that came
out of nowhere.
(Stagehand re-enters with a dress and puts it over Cinderella)
Cinderella: Amazing.
Fairy Godmotfier: (Takes shoes from a stagehand) Oh, and here are the shoes that match; you cant
have a dress with shoes that dont match.
Cinderelle: Thank you, these are amazing.

Fairy Godmother: Now, you shall have an elegant high-elass limo take you to the party.
(An old beaten up car cut-out appears, carried by stagehands)
Cinderella: An elegang high-class limo?

Fairy Godnorthen Well, you cant always get what you want... (Ciaderella climbs in) I'll handle the
chores. And sweetie, remember your stepmother will be back here at eleven tonight, so I advise you
to come home before then...
Ctnderells Hold on, what happened to her coming home at midnight? ([o audience) Figrures I'd get
the strict fairy godmother...
0ucstlons
. What are some of the tools the creator utilizes to get the audience more involved?
. What are some of the tools used for creating humor?
o What is the effea of having the audience involved in this manner?
. Whg do gou think children enjog this tgpe of performance? How are traditional plags different?
. What do gou think Tracie's Personal Project goal was?
Just as there are certain tools that are repeated for audience familiaritg in English pantomimes, there are
also tools that are used in advertising narrative writing and virtuallg ang other genre that comes to mind.
The keg is to leam these tools, develop the vocabularg and conceptua! background necessary to identifg
them and then learn howto applg them.
(ii) oroert coNTExTS

I ATL SKILLS
Criticalthinking
QDlwee LTNKS Reaching the intended audienee

Search for the video
When speakers or advertisers create a message, they use different
"Propaganda Transfer
Technique" at techniques to convince or persuade their audience, an author uses
www.youtube.com. different tools to entertain her or his audience. The following table
shows some examples of these techniques:
Tgpe oftechnique Definition Example

Emotionalappeal Seeks to have an emotional effect on
the intended audience. Emotions might
include fear,love, patriotism, sgmpathg, or
basicallg ang emotion that can be utilized
to prompt some sort of action.
Propaganda techniques I Continued J

Bait and switch Mang adverts will use this technique,
featuring a deal that is too good to be true
to inspire an audience to come into their
shop. When the audience comes, the
original product has alreadg been sold
out, but a new one, with a lesser deal, is
available.
Shown Realitg
Ba ndwagon Makes an audience feel like "evergone
is doing it" and theg should join in or
feel left out.
JOIN
TODAY
{l'}
!f
Glittering Grand statements that sound reallg l'm Loving it!

generalities impressive, but do not sau angthing 0pen happiness!
factual. lmpossible is nothing
Name ca!!ing Often used in politics, this technique

insults a candidate directlg bg giving them
some tUpe of negative label. This technique
borrows from the narrative text tgpe,
as it seeks to negativelg characterize a
candidate or product.
Plain folks Used to make an audience feel like a

person or product is normal, down-to-earth
and evergdag.
Testimonia! Uses a famous personalitg to sell a

rel'.
producVperson.
' 'tr
E ,\
t.
(Continuedl

Transfer Connecting a person or product to a better-
I
known person or product, inspiring a similar
Ir
emotional response.
r/ I ) I
!
I
I a
t.{
ll
t ,i-. i
Card stacking Onlg presenting one side of an argument A soft drinks compang states that theg are
and intentionallg leaving out information "low sodium", without discussing other dietarU
from the other point of view. areas, like calories.
L01t IN stI
l!nl IT
Faultg cause-effect This technique suggests that because B A leader of a countrg is blamed for rising
follows must cause B even though the
A, A gas prices as soon as he comes into office
2 are not logicallg connected. even though there was a major world issue
that actuallg caused the event.
(ContinuedJ
t Activitg 5 Propaganda quiz
Usingtherutechniquesandexamplesfromtheprevioustable,categorizeeachslogan,
description or advertisement that follows by the tgpe of propaganda technique being used. Each tgpe of
propaganda technique covered in the table is used once.
1. A teenager wants to spend the night at a friend's house. He tells his parents that his friend's parents will
be home, foryettingto mention that there is a partg across the street with no parents.
2. 'Yes we can!"
3. "The best children's film since Iog Story!
4. A truck advertisement shows an unknown man in blue jeans and a white t.shirt leaning on their product
in front of his farm.
5. Michael Jordan is shown in a trainer/sneaker advert.
6. 'Heart disease went down significantlg during_'s [insert name of health official) term in office."
[This information is used in an election without mentioningthe new heart medication that came on the
market during this time.J

7. the car dealership theg tell gou that
A specific car is on sale for a greatlg reduced rate. When gou go to
the vehicle advertised has alreadg been sold, but that there are other cars Uou should look at. These
cars do not have the same sale offen
8. A politician refer: to an opposing candidate as'a waffler'-someone who cannot make up her mind or
stick to her convictions.
9. An advertisement shows a large group of people marching down the street toward a banner showing
the name of an insurance compang.
10. A car advertisement shows a bad automobile [car) accident aboutto happen, complete with screeching
tires. The car's new safetg features help avoid the accident.
([]] eroart coNTExrs

3 lnformation
ATL SKILLS
literacg
,ti Activitg 5 Looking at audiences from a non-literarU point of view
Successfu! businesses alwags do market research to determine what their audiences want. As
entrepreneur.com states, the number one rule before opening a business is
Do your market reseorch Just becauseyou build it or sell tt doesnl necessarily mean dnyone wtll buy
tt. The fdrst essenfi al step is fo reseorc h your potential market. Who needs what you are offertng?
Yet mang MYP students introduce their Personal Project products to their audience veru late in the process,
leaving little time for evaluation or improvement towards reaching their goa! and creating an experience that
is different to the authentic world outside of school.
Activitg directions: ln groups, gou will read and respond to the case studg on how Sesome Street became a
popular children's television show. Then use the Forbes magazine article to help gou to devise a business plan
with an intended audience.
HowSegomeStreet reached its audience and can hclp gou reach goult
Efl{ta Watch the video of Malcolm Gladwell reading a segment

of his book lhe Tipping Pointto a bookstore audience QE)wee LINKs
(see web !inks). Then answerthe questions that follow.
S""r"t www.youtube.com for
"How Little Things Can Make
The segment from 13 minutes and 38 seconds to a Big Difference: Malcolm
20 minutes and 45 seconds in the clip given discusses Gladwell on Sociological
Changes (zooo)".
the process of makingSesome Street, the classic
children's program that has been running since 1969.
It talks about the keg audience research that was done
priorto its public release.

0ucstlone
1. What do gou think Malcolm Gladwell means when he talks about "stiqkiness'?
2. ln gour own words, what research did the makers of Sesome Street do to better understand its
audience?
3. What major change did the producers make prior to the release of the show?
4. What did theg learn about their audience that caused them to make that change?
, Em Creatingastlckgbusinessplan
Silentlg brainstorm on this topic: What are
some needs within gour communitg? QE)wee LtNKs
For a useful article about forming a business
[Using a blank piece of paper, evergone in plan, go to www.forbes.com and enter
gourgroup writes simultaneouslg all of the "Step 6 For A Successful Startup: Know Your
possible products and services Uou think Audience" into the search box.
Uour communitg needs.J
Communitg need Example
Services
Products
Eff,f] Evaluation: Which of the ideas has the greatest demand within gour communitg? Which idea is
most needed? [Give evergone in gour group 3 votes. You can spend all 3 votes on one idea or
spread them out across different ideas.)
Eff,!! Upskilling: Nowthat gou have selected the need gou wish to address, what skills will gou need to
utilize or develop in orderto run this business?
FFlllifll Target audience: What tgpe of audience are Uou focusing upon? Think of demographic information
( ge n d e r, socia l, e co n o m i c, stu d e nts/p a re nts/c h i d re n
I
l.
Eff,f! Make a business plan: Similarto the Sesome Street example, what are some strategies gou would
devise to reach gour goal based on Uourtarget audience? How could gou testto make sure that
gour audience is interested in gour producl?
0uestlons:
1. How did the collaborative strategies [silent brainstorming and 3 votes) gou used in this
activitg work? What were their strengths and limitations? What other collaborative strategies
could gou have used?
2. This section focused on how creators reach their audiences and introduced some of the tools
and decisions that a conscientious creator makes.IDIsEEE|with someone else, either in gour
class or in gour communitg, a time where gou have intentionallg tried to reach an audience
and the keg decisions Uou made to reach gour goal.

1[]; oroanr- coNTExTs
Scientific and technical innovation
? ATL SKILLS
Critical thinking
I
I
Identify trends and forecast possibilities.
t Activitg 7 Final summative application of the concept of audience
Choose from one of the project options that follow, designed il D
to reach the goal of demonstrating insightful understanding Presentation: Include visuals to show
of the concept of audience. All of the choices culminate in understanding of the needs of your
a S-minute oral presentation. Your teacher can give gou audience. If you place words on slides
more information on how gou will be assessed, aswell as avoid using more than a sentence or
help gou with ang terminologg used in the oral presentation a small paragraph. Never use your
options. presentation as a script-visuals are only
0ral Presentatlon Optlons: for your audience. If you require a cue
card, keep it in your hand and make it
o An analusis of how 2-3 comedlc writcre or
buliet-pointed rather than sentences so
comedians create humor in their videos/movies/
that you are not tempted to read and will
writing/stand-up performances. Example: A
better communicate non-verbally with
comparison of how Montg Pgthon,Adam Sandler,
your audience.
and Louis C.K. create humor, discussingthe
Focus: Make sure you focus on the
differences in their historical audiences.
concept of audience in your thesis.
. A sociological and llngulstlc lnvestlgatlon into
Make sure you state specificaliy who
register and communication in gour communitg.
the intended audience is (the reader,
This projea would require observation and tracking
listener, or viewer), the impact or
the usual register, non-verba I communication,
desired response created, and the tools/
phrases, vocabu lary, colloquialisms, gramma q and/
terminology used to bring out that
orvocaltone used within a varietg of situations
response.
within Uour communitg. The presentation would
present 3-5 differenttupes of interaction and
howthe change in audience changes the tgpe of
communication involved.
. An inquirU imo the tools used to crcete ompathu or persurde an audience in a film, short storg, TED
Talk, poem, song/album, novel, or work of non-fiction. Possible resources to refer to are shown below
fwhich gou could research further onlinef , but there is no limit to resources in this topic. There is an
abundance of literarg, cinematographg, and rhetoricalterminologg and tools that are utilized in each.
!
I
o This t Believe
i
o NPR's Storg Corps
i
o Sarah Kag's kegnote address atthe Madrid lB Regional Conference
\
l o professional storgtelling in the ghost storg genre

i

. An lnvcstlgrtlon lnto propaganda and advertislngtechniquce used for a specific audience
and their overall effects. Example: You could focus on gender or health issues, stereotgpical
representations of a certain demographic group, definitions of beautg, political propaganda, etc.
. A business plan analgels: Utilize someone who has recentlU puttogether a business or marketing
plan. Break down the major decisions made bg the companU and their intended effects. Example:
You couldFISG'lthis as a presentation forshareholders, collaboratingwith a local businessto
analgze the effects of a marketing plan theg are implementing for a specific audience. (students
choosingthis topic should ensure thattheg are organizingthe information, though the compang
mag provide it.J
F.llFlllilTir,tr
1. How did gou organize Uour time and make steps to choose, research, organize, and prepare for gour
oral presentation?
2. Whatwere some of gour examples of perseverance, emotional management, and/or
self-motivation?
3. What specific ATL skills did gou improve through this project? How are Uour skills better now than
theg were before? What do gou better understand about gourself orthe world nowthat you have
completed the projecl?
4. Using Howard Gardner's Multiple lntelligences chart, which project did gou choose? Did gou learn
angthing useful about what gour strongest intelligences might be? How can gou applg this personal
understanding to new academic and personal challenges?
Analytic
Logical Rhythmic You may want to discuss

smart) (music smart)
this intelligences chart with
Uqukffc llaturalist a teacher or a partner, then
(word smart) (nature smart)
apply it to the project you have
undertaken.
lmrncrcrrl lntapersonal
lpeople qmartl (self smart)
lnteractive
lGnsrdntic
Existential
{body smart}
Visual
(picture smart) lntrospective
() eloall coNTExTs ? ATL SKILLS

All global contexts applg Critical thinking
Communication
Use a variety of media to communicate with
a range of audiences.

ar
DUmmary
Shakespeare's quote from Macbeth,'All the World's a Stage", has
never been truer. Anything that you record or that others record of
you, any photo you post, update you make, or email you send quickly
reaches an online audience and becomes your electronic persona
(personality). If you consciously think about the audience that is
viewing your information, you can control how the world perceives
you, including the universities, employers, and less ethical individuals
that might be looking.
Anyone can now publish without the help of a publisher and can
become a "viral" success overnight. And anyone can make a difference
by keeping in mind the best and most appropriate ways to reach
intended audiences.
Regardless of whether you decide to seek out an audience yourself, you

will be a member of a day-to-day target audience. It is important that
you evaluate the goal of the creators you encounter, analysing the tools
they use and what their effects have been. If you are more aware, then
practicing and improving the affective skills of delayed gratification
and overcoming distractions will be easier and you will make more
informed personal choices. With so much possibility and distraction,
these skills have become 21"t century audience imperatives.
Referenees
Anon. 2ot2. Bayern Munich reaches CL final. ESPN Soccer website, The
Associated Press. Retrieved fromt httpy'fespn.go.comr/sports/soccer/
story/ J id/ I 85568+/ zorz-uefa-champ ions-league-bayern-munich-
beats-real-madrid-play-chelsea-f inal.
Herriclq R. rg83. To the Virgtns, to Make Much of Ttme.In The Norton

Anthoogy of Poetry. WW.Norton; Later Printing edition.
Hibbert, M., Lopez, P. zorr. "The Worlds Technological Capacity to

Storg Communicate, and Compute Information." Science Magoztne.
Retrieved from: httpy'/www.sciencemag.org/conten t/ ggz/ 6oz5/ 6o.
Homer-Dixon, T. 2oo8. The Upside of Down: Catastrophe, Creativttlt,

and the Renewal of Ctviltzation. 1"t ed. Island Press.
Horsington, T. zo6. Personal Project. Colegio Franklin Delano
Roosevelt, Peru.
Lewis, S. zoor. The Jungle, Dover Thrift Editions.
Mintzer, Rich, 2oo9, Entrepreneur.com. Retrieved from:

www.e nt rep re neur,c o m,/a rticlef z o zto 6.
Story L. zoo7. Anywhere the Eye Con Seg lt's Likely fo See an Ad.
Article by New York Times. Retrieved from' httpy'/www.nytimes.
com/ zo o7 f or/r5,/business/media,/r5everywhere.html.
CHAPTER
L7 Self-expression I KEY CONCEPT FOCUS

CREATIY!TY
INOUIRY
OUESTIONS
I
r
The graphic novel
What are the essential components of a graphic novel?
Creative writing
m
GLOSSARY
a plot device to hook

the reader. The idea is to leave
them in suspense so they will
I read on.
r What key elements and techniques must be combined
in effeetive creative writing? m to come together in a
perfect fit or combination.
I Creative writing: poetry
I What are the key elements and techniques that must
ffi saying that has its own
" meaning rather than
separate
be eombined in order to create your own sonnet? one that is clear from the words
that make it up. For example,
SKILLS ATt "caught red-handed" means
,/ Evaluate evidence and arguments. being caught in the act of doing
something. Having red hands
,/ Use critical-literacy skills. is unimportant and completely
,/ Communicate information and ideas effectively to unrelated to the literal meaning.
multiple audiences using a variety of media and formats.
ffif atemporaryname
,/ Read critically and for comprehension. for something.
,/ Write for different purposes.
,/ Give and receive meaningful feedback.
COMMAND TERMS
,/ Understanding and appreciating graphic novels. miwa break down in order to
.,/ Using and interpreting a range of discipline-specific or structure. To indentify
terms and symbols. parts and relationships, and to
/ Creating original works and ideas.
conclusions.
OTHER Character Setting Strueture Style Theme tElQi-oE undertake a systematic
RELATED process of discovery.
CONCEPTS
Introducing self-expression
Self-expression essentially means expressing your personaliry
feelings, beliefs and ideas. It is something that writers treasure. For
example Ralph Waldo Emerson eaptured the urge for creativity in the
following way: "None of us will ever accomplish anything excellent or
commanding except when he listens to this whisper which is heard
by him alone." The playwright, Oscar Wilde, put it differently. He
was famous for his sense of humour and made the following witty

comment: "I may not agree with you, but I will defend to the death your
right to make an ass of yourself." The urge for self-expression is an
essential part of being human; moreover, there are thousands of forms
of human self-expression. Some fall elsewhere on the school timetable
Figure 77.7 Eggptian hieroglgphics,
such as in design, the arts, sport or dance.
the Bageux Tapestrg and Trajan's
Forms of self-expression vary according to the culture in which we column
Iive and our individual values. The practice of self-expression is an
important part of a balanced life. As the father of modern psychology,
Sigmund Freud, once said, "IJnexpressed emotions will never die. They
are buried alive and will come forth later in uglier ways." Therefore,
not having a creative side can lead to a more stunted,limited life. This
chapter focuses on two important parts of self-expression: first, the
appreciation of the writing and the use of images of others and second,
your own original creative writing.
The graphie novel

In this topic you will explore self-expression by analysing Deograttas:
A Tale of Rwanda (First Second Books, 2006), a graphic novel written
and drawn by Jean-Philippe Stassen that tells the story of the Rwandan
Genocide of rgg+ through the eyes of an adolescent boy, Deogratias,
and those who live around him.
@, tNTERDtsctPLtNARY LtN KS
ln gour individuals and societies classes, gou will come across the related
concept of conflict.
Chapter 17 | Self-expression 235

t Activitg 1 Exploring the nove!
This activitg requires Uou to read the graphic nove! Deogrotios: ATole of Rwondo.@the graphic novel
and considerthe following points considerthe following points. lnclude the introduction,From the 0epths at
some point in gour reading.
Here are some words to give gou contelrt.
Gcnoclde: the sgstematic murder of an ethnic or racial group.

Hutu: the laryest ethnic group in Rwanda.
lnterahrmwc: an extreme, racist Hutu militia who tgpically armed themselves with machetes.
Tutsl: the second laryest ethnic group in Rwanda and the targets of the Genocide.
Iwa: an African people of unusuallg short height, sometimes also called pggmies. Theg were not Tutsi and
were very few in number Uet were also targeted duringthe Rwandan Genocide.
Uruagwa: a beer made from fermenting bananas.
Duringrerdlng
This story istold in the novel's present, duringthe Genocide and priorto it; therefore flashbacktechniques
are frequentlg used. First, focus on the techniques used bg the artist:
. How do gou know when Deogratias is in the present orthe past?
o How do the cartoon borders change depending on the time that image is set in?
. How much actualviolence do gou see and how much is suggested through facial expressions?
After reading
After gou have read the graphic novel, consider character:
o Hero, villain, victim: To what erctent do each of these words fit Deogratias?
. Research the name Deogrotios.ln what wags do gou considerthis name wett chosen? Could gou
considerthe name ironic? Justifg ang comments Uou make with evidence.
. How sgmpatheticallg are the missionaries presented?
For these points and all future comments, justifg gour comments with evidence.
(]) eront coNTExTs

Fairness and development
3 Criticalthinking
ATL SKILLS
Evaluate evidence and arguments
t Activitg 2 Literarg techniques
!n this activitg gou will focus on the literarg techniques used in Deogrotios:Alole of Rwondo.
At one point in the storg the graphics suggest that Deogratias turns into a dog. Do gou believe he actuallg
turns into a dog? !s it all in his head? Is it sgmbolic in some wag, and if so, how?
. Considerthe motif of poison. !n which diftrent wags is this present in the graphic novel and to what effect?
. Consider the portragal of animals and animal-like behaviour. What is the work truing to sag through this?

lf gou have read the entire novel, answerthe following questions about the theme. Justifg Uour comments
with evidence.
o Towhat elrtent is justice served bg the end of the graphic novel?
. What is suggested aboutthe role of western countries in the Rwandan Genocide?
. Consider,the wag the word cockmoch is used bg certain characters. What does this work sag
about racism?
. What is said about madness?
o What is said aboutthe surviva! instinct?
Epm each of these questions to begin workingtowards one of the assessmenttasks forthe unit:
To what extent do the writey's style and t}e artist's techniques combine effectively to create a
powerful message in Deogratias: A Tale of Rwanda?
Your teacher will choose the format in which gou will present gour work, and give gou advice as ts how it will
be assessed.
;lV TAKE ACTION
At the end of World War Two and the horrors of the Nazi concentration camps, the victorious
powers agreed to a convention (an understanding) designed to stop genocide ever happening
again. Yet genocide has happened several times since. Find out about the most recent examples
of genocide or attempted genocide.
tli! otosrt coNTEXTS

Fairness and development
o lnformation
ATL SKILLS
literacA
Use critical-literacy skiils to analyse and
interpret media.
t Activitg 3 Analgsing graphics programs
You have been studgingDeogratios: AToleof Rwondo in orderto analgse how a storgline and visual images
combine. Considerthis section fromDeogmtios: ATole of Rwando. Even a small part tells its own story.
J&TAKE ACTT0N
Taking action also involves coming to a moral judgment about something. Find out more about the
Rwanda Genocide. In particular, why did foreign powers not stop it? Who do you think is to blame
for allowing the killings to continue?
You are now going to tell a story of your choice with a compelling message. You will be using a
piece of open source software. Some examples are given in the web links box.
ChapterlT I Self-expression 297

ClTlwee LINKS
Examples of open source graphics programs available online,
www.toondoo.com Toondoo
learnenglishkids.britishcouncil.org/en Search for "make your own comic strip"
www.makebeliefscomix.com/Comix Makebeliefscomix
www.bitstrips.com/create/comic Bitstrips
ln the first part of this activitg gou will analgse these and other graphics programs available on the web.
Eff,lf Grrphlc Program Surveg
Outof 10,where 10 is excellentand 1 isterrible,f6-ffi6lgourselected gnphic progmms

forthe following:
o VarietU of backgrounds available in the progrdm
o Varietg of characters available in the program
Write down ang other obsenrations and an paragraph-long assessment of the qualitg of this program.
What is gour overall assessment of this program? [Give a mark out of 10.)
After this, choose a program and begin the next task.
Em Phnnlng
Creating a work like Deogrotios: ATole of Rwondo takes mang months of work. You do not have
time in gour language and literature classes to work on something so ambitious.
Yourtask isto choose an Engtish Iana present

Ql]lweaLtNKS
it as a storg in an exciting and compellingwag,
Try the following websites to seleet
using a combination of images and storgline. your idiom:
To select gour idiom go to one of the following www.idiomsite.eom
websites suggested in the web links box.
idiomsrepository.blo gspot.eom
English has so mang idioms so evergone in gour Search for "lists of idioms" in
class should be able to select a different one. alphabetical order on www.
myenglishpages.com.
Answerthe following questions to help gou to Go to www.wikipedia.org and search
create gour plan: for "list of English-language idioms"
1. What settingwill I use to illustrate this idiom?
2. Who willthe characters be? fHave just a few.J
3. Whatwill each character's personalitg and motivation be?
4. Howwill the storgline develop?
Settingthe scene + Problem/conflict --+ Resolution + ldiom explained
5. Artistically, howwill gou distinguish between the characters?

Once gou have had gour plan approved bg gourteacher, gou are readg to begin.
Yourteacherwill give gou feedbackthroughoutthe creative process. This mag be ongoing during
class time, or Uour mau review a first draft of gour work.
(); ctoant coNTExTS

0 ATL SKILLS
Personal and cultural expression Media literacA
Cornrnnr-ricate inforrnation and ideas
effectively to multiple audiences using a
variety of media and formats.
Reflection
1. What impact did Deograttas: A Tale of Rwando have on you?
How moved were you by the story?
2. What skills did you learn in making your own comic strip?
3. To what extent do you consider graphic novels as literature?
Creative writing
One of the best ways you can explore self-expression is though creative
writing. In this topic you will analyse a short story by a famous author
and, just as you did for Deogratias: A Tale of Rwanda,you will then
work on your own creative writing.
t Activitg 4 The short storg
!nthis activitg gou will consider an extract from the short storg The Secret Life of WolterMittg. Read the
extract, written bg humorist James Thurber in 1939, and answer the questions below.
'lVE HE going through!" The Commander's voice was ltke thtn ice breaking. He wore hts full-dress
uniform, wtth the heavily bratded white cap pulled down raktshly over one cold gray eye. 'We can't
make il sir. Ir's spoiling for a hurricane, tf you ask me." "I'm not asktng yoti, Lteutenant Berg," said the
Commander. "Throw on the power lights! Rev her up to S1oolWe're going through!" The poundtng
of the cylinders tncrease& ta'pocketa'pocketo-pocketa-pocketa-pocketa. The Commander stared at
the ice formtng on the pilot window. He walked over and twfsted a row of compltcated dials. "switch
on No. 8 auxiliary!" he shouted "switch on No. I auxiltary!" repeated Lieutenant Berg. "Full strength
in No. g turret!" shouted the Commander. "Full strength in No. g turret!" The crew, bending to thetr
vorious fosLs in the huge, hurtltng eight-engtned Navy hydroplane, looked at each other and. grtnned.
'The Old Mon'll get us through," they satd to one another. "The Old Man atn't afraid of hell!" . . .

'AIot so fast!You're drtvtng too folst!" said Mrs Mitty.'What are you drivtng so fast forT
"HmmT said Waker Mitty. He looked at his wife, tn the seatbesfde him, wtth
,ho"k"d
osfonishment She seemed grossly unfamtlian like a strange woman who hod yelled at him tn a
crowd'Youwere up to ftfty-ftve," she said.'Youknow I don't like to go more than forty. Youwere
up to fifty-five." Walter Mitty drove on toward Waterbury in stlence, the roaring of the SNaoe
through the worst storrn in twenty years of Navy flytng fadtng in the remote, inttmate airways
of hts mtnd 'You're fensed up agatn" said Mrs. Mitty. "It's one of your days. I wish you'd let
Dr. Renshaw look you over."
Waber Mitty stopped the car in front of the butldtng where his wtfe went to have her hatr done.
"Remember to get those oyershoes while I'm havtng my hair done," she said. "I don't need overshoes,"
said Mttty. She put her minor back into her bag.'We've been all through that" she satd getting out of
the car. 'You're not a young man any longer." He raced the engine a little. Why don't you wear your
gloves? Have you lost your glwesT Waher Mttty reached in a pocket and brought out the gloves. He
put them on, but after she had rurned and gone tnto the butldtng and he had driven on to a red ltght,
he took them off olgatn "Pick tt up, brother!" snapped o cop os the light chonged, and Mttty hastily
pulled onhis gloves and lurched ahead. He drove around fhe sfreers atmlessly for o time, and then he
drove past the hospttal onhis way to the parktng lot.
..'It's the millionaire banket Welltngton McMillaru" satd the pretty nurse. 'YesT satd Waber Mitty,
.
removtng his gloves slowly. 'lVho has the caseT "Dr. Renshaw and Dr. Benbow but there are two
specio/dsts here, Dr. Remtngton from New York and Dr. Pritchard-Mitford from London- He flew over."
A door opened down a long, cool corridor and Dr.Renshow came out. He looked distraught and
haggard "Hellq Mttty," he said "We're having the devtl's own ttme with McMtllan, the millionaire
banker and close personal friend of Roosevelf. Obsrreosis of the ductal tract. Tertiary, Wish you'd take
a look at hin:,"'Glad to," said Mitty.
In the operating room there were whispered introducttons: "Dr. Remingtory Dr. Mitty. Dr. Pritchard-
Mttford" Dr. Mitty." "I've read your book on streptothricosis," soi d hitchard-Mitford shaktng hands.
'A brilltant performance, str." "Thank yot+" satd Walter Mitty. 'Dtdn't know you were in rhe Sfo res,
Mttty," grumbled Remington- "Coals to Newcostle, brtngtng Mttford and me up here for a terttary."
'You are very kin{" satd Mttty. A huge, complicated machine, connected to the operating table, wtth
many rubes andwires, began dt thts moment to go pocketa-pocketa-pocketa "The new anesthetizer ts
givtng away!' shouted an intern- "There ts no one tn the East who knows how to fix tf' "Quiet, men!"
satd Mitty,in alow coolvoice. He sprang to the machine,whtchwas now going pocketa-pocketa'
queeppocketa-queep. He began ftngertng delicately a row of glistentng dtals. "Gtve rne a fountain
pen!" he snapped Someone handed him a fountain pen- He pulled a fauby ptston out of the machine
and inserted the pen in its place. "That will hold for ten minutes," he said "Get on wtth the operatiort
A nurse hurried over andwhispered to Renshaw, and Mttty sol4, the man nrn pale. "Coreopsis hos set
try" satd Renshaw nerlously. "If you would take over, Mittyf Mitty looked at him and at the craven
ftgure of Benbow, who dranh and at the grave, uncertain faces of the two great specioldsrs. "If you
wisb" he said They sltpped a white gown on hina he adjusted a mask and drew on thin g/oves; nurses
handedhtm shining . ..

'tsack it up, Mac!! Look out for that Buick!" Walter Mitty jammed on the brokes. 'Wrong lane, Mo.c,"
said the parking-lot attendant,looking dt Mttty closely. "Gee. Yel1" muttered Mitty. He began I
cautiously to back out of the lane marked Extt Only!' 'I-eave her sit there," said the attendant,
*I'll
put her away." Mitty got out of the co;r. "Hey, better leave the key." "Oh," satd Mttty, handing the man i
the ignition key. The attendant vaubed into the car, backed it up with inso/enr sli ll" and put it where it
belonged l
I
They're so damn cocky, thought Waker Mitty, walking along MoinSrree4 they thtnk they know n
everythtng. Once he had med to take his chains off outside New Mtiford and he had got themwound
around the axles. A man had had to come out tn a wrecktng car and unwind them, a young, grtnning :
garogematu Since then Mrs. Mitty always made him drtve to a garage to have the chains taken off
The next time,he thought,I'llwear my right arm tn a sling; they won't grin dt me then I'llhave my 1l
!
right arm in a sling and they'Il see I couldnl possibly take the chains off myself. He kicked at the slwh
I
on the sidewalh "Overshoes," he satd to htmself, and he began looktng for a shoe store. i
I
Whenhe came out intotlre Sfreef agairy with the overshoes in abox under his arrry Waker Mitty began i
to wonder what the other thing wos his wife had told him to get. She hod told hira twice before they i
l
ser ouf from thetr house for Waterbury. In away he hated these weekly trips to town-he was always
getting something wrong. Neenex, he thought, Squibb's, razor blades? 1
No. Tooth paste, toothbrush, bicarbonate, Carborundurn, inittative and

TI I
referendum? He gave tt up. But she would remember tt. 'Where's the
what's-its- nameT she would o.sk. "Don't tell me you forgot the
what's-its-name." A newsboy went by shouting something about the Rakishly: dashingly,
Waterburytrial. carelessly.
Hydroplane SN2o2: an
. . . ?erhaps thts wtll refreshyour memory." The Dtstrtct Attorney
aircraft that can land on
suddenly thrust a heavy automatic at the quiet figure on the wifness
the sea.
stand. "Have you ever seen this before?'Waker Mitty took the gun
and examined it experdy. "Thts is my Webley-Vickers So.8q" ho said Overshoes: a cover worn
calmly. An excited buzz ran oround the courtroorn- The Judge rapped over a shoe to protect it
for order. 'You are a crack shot with any sort of firearms, I belteveT from rain or snow damage.
said the District Attorney, tnsinuattngly. "Objection!" shouted Mitty's Obstreosis of the
attorney.'We have shown that the defendant could not have fired the ductal tract, tertiary,
shot. We have shown that he wore hts right arm tn a sling on the ntght streptothricosis,
of the fourteenthof July." Waher Mitty raisedhishandbriefly andthe coreopsis: severe medical
btckering attorneys were stilled.'With any known make of gur4" he conditions that are chosen
said evenly, "I couldhave ktlled Gregory Fttzhurst ot three hundred to establish these doctors
feet wtth my left hand" Pandemonium broke loose in the courtroom. as experts in their fields.
A woman's scream rose above the bedlam and suddenly a lovely, Carborundum: something
dark-hatred girl was in Waher Mitgls arms. The Dtstrict Attorney
abrasive to sand an object
struck at her savagely. Wtthout rtstng from his chatr, Mttty let the man
to a smooth surface,
have it on the potnt of the chin- 'You rntserable cur!" . . .

'Puppy biscuit" saidWalter MiW.He stoppedwalktng andthe buttdings of Waterbury rose up out of
the mtsty courtroom and surrounded htm again- A woman who was passing laughed "He satd 'Puppy
biscuit"' she soid to her compantoru "That man said PupW btscuit' to htmself!' Walter Mitty hurrted
on- He went into an A. l not the ftrst one he came to but a smaller one farther up the streef. "I want
some biscuitfor small,young dogs,"he satdto the clerh'Any specialbran{ str? Thegreofestpisfo/
shot in the world thought a moment. "It says 'Pupptes Bark for It' on the box," satd Walter Mttty.
His wife would be through at the hatrdresser's in ftfteen minutes' Mitqt saw tn looking at his watch
unless they had trouble drying tt; sometimes they had trouble drytng it She didn't ltke to get to the
hotel first, she would want him to be there waiting for her as usual. He found o big leather chair in
the lobby, factng a window, and he put the overshoes and the puppy biscuit on the floor beside tt.
0uestions
What do gou notice about the main character? How did the writer create this effect? What did the
writer add to the storg to make gou notice this?
What do Uou notice about minor characters? How did the writer create this effect? What did the
writer add to the storg to make gou notice this?
What do gou notice about the setting? How did the writer create these effects? What did the
writer add to the storg to meke gou notice this?
What do gou notice about the message/ How did the writer create this effect? What did the
theme? writer add to the storg to make gou notice this?

(ii) e roglr- coNTExTs
0 ATL SKILLS
Communication
Figure 17.2 Are gou readg to

Creative writing: some get started? T
D
basic tips u
Refer back to Chapter t4,
Now begin to plan out your own s
s Purpose, for a bulleted
creative piece.
Iist of the elements of
Below are some points to consider. Read a story.
them carefully as they lead into the next
assessed activity.
Bon't tell them, Your most important task is to entertain the reader. A reader wants to be active. Theg want
show them to figure things out for themselves, wherever possible. For example, look at two different
wags of saging the same thing:
"Get out of here!" she shouted angrilg.
"Get out of here!" Herfoce reddened. She wos shoking uncontrolloblg.
ln the second example there is a picture for the reader to imagine, so theg get involved,
whilst the first is a simple, blunt statement.
Also:
. Be clear.
! Trg to avoid clich6s: overused phrases that lack imagination
Experiment Trg to stretch gourself. lnclude more adjectives, similes and metaphors. Use a thesaurus.
Research . Write about something that gou know well, or have researched thoroughlg. Otherwise,
Uour storg it will not be convincing.

r Tie up all loose ends. Make sure Uou finish the different aspects of the storg; leave no
gaps.
Point of view Towrite Uour storg gou need to consider the best wag to tell it. Who should be the
narrator? What is the best wag to get Uour message across? Here are three of the most
common options:
1. First person narrator: tell the storg from inside someone's head. E.g., "lf gou reollg wont
to heor it, the first thing gou'll proboblg wont to know is where I wos born, ond whot mg
lousg childhood wos like ..."
2. Third person narrator: reveals a character's perceptions from the third person. E.g.,
"Hole knew, before he hod been in Brightontvvo hours,thottheA meontto killhim...i'

3. Third person omniscient: a godlike narratorwho reveals what all characters are
thinking and feeling.E.g.,"ltwos the best of times, it wos the worst of times ..."
Some things to consider about point of view:

. Make sure that first person narrators onlg know things that theg can perceive for
themselves.
! Third person omniscient is an old.fashioned wag of writingto manU.
! Avoid "mind hopping"-being inside too mang heads.
. Consistencg of narrative stgle is keg.
Hooks The three examples in Point of View above are also good examples of the wags famous
writers have tried to "hook", or grab, their reader's attention with strong opening
sentences.
a Howdoeseach ofthese hookswork?
. What will gours be?
t Activitg 5 When gou can show it, don't tell it
Change the sentences below into something creative, imaginative

and exciting.
For example, gou might change
'l'm thinking of killing mgself'

to
'To be or not to be, that is the question.'
Someone leaving his or her love might sag
'Goodbge, l'm going home now."
or
'Parting is such sweet sorrow."
The sentences below are in uryent need of first aid. Rescue them!
1. Jos6 felt reallg, reallg frightened.

2. Tatiana was very, verg angrg.
3. The dogwas so, so hungrg.

4. After the bullet hit him it hurt verg, verg, verg badlg.
5. The disease was spreading around her bodg. She was concerned.
6. Rashid had not washed for dags. lt did not feel nice.
7. Nothingwas happeningthere. ltwas boring.
8. She was with him. Diana was jealous.
9. Mei had not slept for dags and so she was tired.
10. 'l'm goingto get Uou," said the man in a wau that was reallg quite aggressive
(()! otoru coNTEXTS

3 ATL SKILLS
Communication
Write for different purposes
,ti Activitg 6 Creative writing: oral task
The sltuation
You want to get gour short storg published, so Uou approach a small publishing compang. Theg tell gou to
meet the editorial board and "sell" Uour storg to thern. You will speak for four to five minutes and aftenrards
take questions and comments. lnclude the following eight essential elements in gour presentation:
o gripping opening: how gou will hookthe readerfrom the staft
. setting
r plot or storgline
. who the narrator is: first person narrator, inside someone's head; third person narrator, revealing a
character's perceptions from the third person; orthird peftion omniscient, a godlike narrator
. conflicl of some kind
. characters' names and who theg are
. themes - what message uou are truingto conveg to uour readers
. # so editorial board does not know what finallg happens until theg read the storg
When Uou are not presenting:
A!! members of the class and the teacher act as the editorial board, asking questions and offering advice on
how to develop the storu: things to do, things to avoid, etc. After gou finish Uour presentation, make notes
on anu advice gou receive.
After gou complete gourfirst draft, swap Uourstorg with a classmate for more feedback. Use the following
chart to record gour thoughts on the short storg Uou are reading and then share gour ideas and comments.
Peer editing and creative writing: gour impressions
At the top of the page write the author's name and the ftfffi.
Help gour classmates with constructive comments that will lead to a polished final piece. Comment on
the following and cite the specific paragraphs as Uou discuss them:

The beginning and the hook Does this piece grab gour attention and make gou want to read more?
Which parts capture Uour interest? Can gou see wags to add excitement?
The setting: Does it convince gou? ls it realistic?
Characterisation: How are the characters? 0o theg stand out in some wag? How? 0o gou need more on
them? How orwhg?
What themes or ideas have been developed so far?
The ending: Does it convince gou? 0o gou like it? ls there a twist or a surprise? Did the storg end how
gou thought it would? Whg or whg not?
ls there enough description/imagerg? What would gou like described in more detail?
ls there anUthing confusing that needs clarifging?
Describe the overalltone of the storg.
What else would gou like to sag? Also, note ang language, verb, punctuation or grammatical points that
gou would like to see checked.
At some point, gour teacher wil! want to see gour draft in order to give gou feedback before grading the task.
F.TIITililMI
l. How mang of the eight essential elements in a storg do gou feelthat gou got right?
2. Explain what worked in gour storg for each of the eight essential elements.
(l; cloat coNTExTS

0 ATL SKILLS
Give and receive meaninqful feedback.
Creative writing: poetry

Just as you did for short stories you will analyse and write sonnets in this
topic. When completing a textual analysis of a sonne! you will focus on
aspects that are not present in shon stories, such as rhyme and structure.
In a form of poetry such as a sonnet, precise rules of construction must
be followed. Part of your job is to determine what these are.
Sonnets were first created in Italy in the medieval era. In the :-6th
century they had spread to England, and they continued to be popular
in the rTth century though as free verse became increasingly popular
among poets, they became less common. Nevertheless, they make
appearances from time to time in the work of modern poets.

t Activitg 7 Analgsing sonnets
Critical thinking
Read the following sonnets carefullg. You willFnClUEolthem in the same wag Uou responded to terts in
Chapter 14. Referto the mnemonic from that chapterto help gou, and answerthe questions that fo!low the
sonnets. Ask gour teacher if gou are not clear about the literarg terms used in the questions.
Deatlr, be not proudbyJohn Donne

Death,be not proud, though some have called thee
Mtghty and dreodful, for thou art not so;
For those whom thou thinkst thou dost overthrow
Dte nol poor Death nor yet cdnst thou ktll me.
From rest and sleep, which but thy pictures be
Much pleasure; then from thee much more must flow
And soonest our best men with thee do go
Rest of rheir bones and soul's deltvery.
Thou art slave to Fate, Chance, kings, and desperate mert
And dost with poison, war, and sickness dwell,
Andpopptes or charms canmake us sleep aswell
And better than thy stroke. Why swellst thou then?
One shorr sleep past,we wake eternally,
And deathshallbe no more; Death"thou shak dte!
When, in disgirace with fortune and men's qTee byWilliam Shaltespeare.
When" tn dtsgrace with fortune and men's eyes,
I all alone beweep my outcast stdte
Andtrouble deaf heavenwtthmy bootless cries
Andlookuponmyself and curse my fate,
Wtshing me ltke to one more richinhope,
Featured ltke him, like htm wtth frtendspossess'{,
Destring this man's ort and that man'sscope,
Wtthwhat I most enjoy contentedleast;
Yet in these thoughts myself almosf despiszng,
Haply I think on thee, and then my state,
Ltke to the lark at break of day arising
From sullen eartl4 sings hymns at heaven's gate;
For thy sweef love remember'd suchwealthbrings
That then I scorn to change my state with ktngs.
0uestions
1. Make a list of the words that gou do not know and find their definitions.
2. Find the rhgming pattern for both poems. Note thatthe pronunciation mag have changed slightlg since
these sonnets were written.
3. Count the number of sgllables in each line of each poem.
4. Comment on the rhgthm and tone of both poems.

5. Look for personification (giving human characteristics to somethingthat is not human), irong, altusion
and euphemism fusing soft or indirect language in place of strongerwordsJ in the poems.
6. Comment on the imagerg that is particularlu striking and describe the effect it has on gou.
([]] oroerr- coNTEXTS

3 ATL SKILLS
Communication
,ti Activitg I Writing gour own sonnet
!n this activitu gou will create Uour own sonnet.
EEEII writlng gour 8onnet
When writing poetru considerthe following:
. rhgme - the rhgme pattern that gou will follow

. themes - message Uou truingto conveu
r imagerg - images need to match the themes
. tone/mood - needs to match the themes
o narrat0r/point of view - perspeclive
the storg is Presented from [See the section on short
stories for the different tgpes of narrators.)
. characters/setting/confl ict - optional
o endin/resolution - evergthing should dovctal! work's finish, and evergthing should have
been workingto this through entire storg
FFE:EI Asscssing gour sonnet
After gou complete gour first draft, swap gour sonnet with a classmate for more feedback. Use
the following chart to write out gour thoughts on the sonnet Uou are reading and then share gour
ideas and comments.
Peer editing and poetrg: gour impressions
At the top of the page write the author's name and the poem's working title.
Help gour classmates with constructive comments that will lead to a polished final piece.
Comment on the following and cite the specific lines as gou discuss them:
The beginning: Does this piece grab gour attention and make Uou want to read more? How
does it gain gour interest? 0r, can gou see wags to add excitement?
Characterisation: lf there are characters, how are theg developed? Do theg stand out in some
wag? How? Do gou need more on them? How or whg?
What themes or ideas have been developed so far?

The ending: Does it satisfg gou? Do gou like it? ls more needed? Whg or whg not?
ls there enough description/imagerg? What would gou like described in more detail?
ls there anUthing confusing that needs clarifging?
Describe the overalltone of the poem.
What else would gou like to sag? Also, note ang language, verb, punctuation or grammatical
points that gou would like to see checked.
At some point, Uour teacher will want to see Uour draft in order to give gou feedback before
gradingthe task.
NEI]TI|ITilT
1. Explain gour choices for placing or not placing rhgme in gour poem.
2. lf gou were writing a rationale for gour poem, what would it sag?
(i! stoalr- coNTExTs

0 ATL SKILLS
Write for different purposes.
tr)
Dtrmmary
You have worked on three forms of self-expression. Thanks to human
invention and advances in technology, there are other ways of self-
expression that have not been covered in this chapter but have been
explored in other chapters in this book. Consider the following
activities in earlier chapters.
. Making a video in the chapter on theme (Chapter ro) can easily
be considered as creative.
. The activities on improvisation and storytelling for purpose
(Chapter r4) are other forms of self-expression.
. To what extent does creativity bring balance and health to you
personally?
Referenees
Donne J- Death, be not proud. The Poetry Foundation.http://www.
poetryfoundation.org/p oemf tZ 8863.
Thurber, J. zoo8. The Secret Life of Waker Mi.tty. Creative Education.
Shakespeare, W When, in disgrace wtth fortune and men's eyes. The

Poetry Foundation . http//www.poetryfoundation.org/p oemf tZ 4BSZ.
'lhe lB mag use a vadetg of sources In its wotk and checks infurmation to
vedfg accuracg and ar.rthenticitg, particularlg when using communitg-based
knowledge sources such as Wkipedia.Ihe lB respecG the principles of
intellectual propertg and makes slrenuous efrrts to identifg and obtain
permission befure publication fmm dglrts holders of all copgright material
used. The lB is grateful forpemissions Gceived br matedal used in this
publication and will be pleased to corect anu erors oromissions atthe
earliest opPortunhg.
This publication mag cont in web addrcsses of webshes created and

maintained bg other public and/or private organizations. The lB provides links
to these sites fur information puryoses onlg.Ihe presence of a link is not an
lB endorsement of the site and the lB is not rcsponsible forthe cont€nt of
exteinal intemet sites. When gou copg a linkto an ouBide website, Uou are
subjectto the priracg and securitg policies ofthe ownemi/sponsors ofthe
outside website[s).Ihe lB is not responsible forthe information collection
pftlctices of non-lB sites. You are rcmihded thatwhile ellweb addresses
reftrenced in this publication were corect atthe time of writing links can
quicklg become obsolete and we are unable to guanntee thatlinkswill
continue to remain active. We apologize if gou find that a particular link no
longerworks.

ffifft*,'',
Lan UA e
Li terature
lB Skills is an innovative new series of resources for gears 4 and 5 of the MYP.
These resources aim to:

r introduce students to keg r develop interdisciplinarg r help students to
and related concepts that are skills
and disciplinarg understand keg features
relevant within and across the the
that are essential to of the MYP-global
subject areas both
understanding of contexts, approaches to
concepts and subject learning [ATL), inquirg and
t content reflection.
Longuoge ond Literoture: A Proctical Guide includes a wide range of engaging topics grounded in the
relateil concepts. Each chapter is designed to deepen conceptual understanding and to allow students
to practice the skills that theg will need to reach the highest level of the assessment criteria.
Also available in the lB Skills series:
{!*'l {g*,r F,13*

lndividuals
& S^s[h[es Mathematics 5CENCES
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visit: ibpublishing.orglibskills
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tsBN 978-1 -91 0r 60-02-2
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.,Jil ;'',llrlii.

ISBN: 978-1-910160-02-2 http/,vww.westmichmusichgsericalsocietg.com/eg; p221 Japan Tsunami

2. Introducing key eoncept 1: communication I

4. Introducing key concept !: ereativity 22

5. Introducing key concept 4: perspective 27

6. Genre and conventions 33

Topic a: Exploring a theme in anicles 46

Topic r: Exploring openings and their functions 56

Topic z: Exploring structure in poetry 6z

Topic a: Walking and talking your way through strueture 68

Topic 1: Narrative point of view 75

Topic 2: Can I trust the narrator? 8o

Topic !: Bringing different points of view together 8+

Topic 1: A personal approach to characterisation 93

10. Theme 108

Topic r: Theme in video 109

Topic zr Theme in literature 113

Topic a: Theme in propaganda Lt7

11. Setting 722

Topic r: The role of setting in communieating character 124

Topic z: Exploring the role of setting in establishing context 13o

Topic a: The function of setting in creating mood and

Language and Literature lll

Topic t; E:ploring elements of style L44

Topic e: Writing in the same style 149

Topic a: Buildingyour ownslyJe L57

13. Intertextuality 163

Topie I Using interte:*uality to inspire creativity 165

Topic a Using inter.texn:dity to create hurnor or a larger message L74

Topic !: Creating credibility through literary allusion tl8

Topic a: Selecting elements to fit your purpose vlg4

15. Context LgV

Topic t: Context and its effect on style 198

Topie e: Context and literature ?'e7

Topic a: Context clues 2L2

16. Audienceimperatives 2L8

Topic L How audience members respond ?,20

Topie z: How creators reach different audienees 222

Topic a: Reaching the intended audience 226

L7, Self-expression {34

Topic z: Creatirze writing 239

Topic a; Creative Writing: poetry 246;

lv Language and Literature

(ii) eroet coNTExTs

Language and Literature y

3ltilltot" ,,"0^, contexts, each topic and activity includes

J& TAKE ACTI0N

These boxes suggest practrcal applications of a topic or activity

Cg) tNTERDtsct PLTNARY LtN KS

vl Language and Literature

Chapters z to 5 take each of the key coneepts and explore them in

Chapter 1| lntroduaion to lB skills t

Structure Setting Context

Point of view Stgle Audience imperatives

Inquiry learning can be frustrating. There is not always a "right"

2 Language and Literature

making connections through concepts across different

The objeetives eovered

Criterion A Analqsing Maximum 8