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Teaching and learning

Accreditation period Units 1-4: 2023-2027

Unit 1

Unit 1 - Area of Study 1: Reading practices

Outcome 1

On completion of this unit the student should be able to respond to a range of texts through close analysis.

Examples of learning activities

  • Create a reading profile (this can be done electronically in a social media structure; for example, a Facebook page, Insta profile, Twitter account) and describe in written and visual form the literature you enjoy reading and why. Discuss individual profiles and write down what your peers’ reading practices entail; share profiles and compare the diversity in the room. As a class, tally which literary texts and reading practices are popular and why.
  • Analyse texts (based on a list of reading practices provided by the teacher) and explain why this approach is effective when constructing interpretations. Outline your own views and values as readers, linking this to your own cultural beliefs.
  • Explore the differences between an English analytical response and a Literature close analysis response by analysing extracts from two selected sample responses.
  • Assess and analyse three different sample Literature close analysis responses, identifying the key skills (see study design) of close analysis and as a class, construct criteria for close analysis (must be based on the key skills in the study design).
  • Write a close analysis of an extract of a favourite literary work (teachers may want to provide extracts). In small groups or as a whole class, share both the favourite literary extracts and the close analyses. Feedback from teacher and students is based on the close analysis criteria constructed by the class. Redraft responses based on this feedback and set close analysis writing goals, or retain the feedback to be applied in a later close analysis response.
  • Example icon for advice for teachers
    As a class, annotate an extract or short text.
Example icon for advice for teachers

Detailed example 1

Class annotation of a text

Using a selected piece of text:

  • Use different colours to annotate a series of readings.
  • The first reading of the text focuses on comprehension – define any unknown words and write initial questions.
  • In the second reading, annotate anything of significance, justifying these choices in the margins.
  • In the third reading, annotate based on the literary forms, features and language of the text.
  • In the final reading, annotate the ideas and values represented in the text.
  • Share these annotations with one other student and incorporate at least three annotations from them. Also, discuss the initial questions each student had about the text.
  • Reflect on the similarities and differences between these annotations, considering the values underpinning these interpretations.
  • Present initial annotations to the whole class and explain how the thinking about the text changed after exploring another student’s annotations.
  • Write a close analysis based on these annotations; share this response with another student, taking on board some of their ideas.
  • Focus on examining beliefs, values and understandings of a text.
Example icon for advice for teachers

Detailed example 2

Values and beliefs in a text

  • Conduct a book forum and share responses to the text. Focus on examining which beliefs, values and understandings of the world influenced the response to the text.
  • Read and / or watch interviews with the author about the text, or critics reviewing the work. Reflect on and explore ways in which the views presented coincide with, or differ from the views held by the class.
  • Read different viewpoints about the text; for example, extracts from review articles, academic journals or blogs). Place these viewpoints on a continuum that makes clear the degree to which they either agree or disagree about aspects of the text.
  • Individually, explain and justify the perspective of each viewpoint, and write a short comment about the text that can be displayed in the classroom.
  • Reflect on how the initial interpretation changed once reading other viewpoints.

[Note: these activities can be used to review a student’s annotations or full close analysis of a text and to develop annotations or close analysis writing based on other interpretations.]  

  • Select a favourite extract from the text or a favourite short text studied in class. Write and present a close analysis, including detailed annotations.
  • Reflect on the close analysis, explaining particular parts of the text and exploring views and values.
  • Present an interpretation by a fellow student or a critic, analysing how the text has been interpreted, and taking note of the parts that are inspiring and could be drawn into your own analysis.
  • Explain how your interpretation developed after working with another interpretation.

Unit 1 - Area of Study 2: Exploration of literary movements and genres

Outcome 2

On completion of this unit the student should be able to explore conventions common to a selected movement or genre, and engage with the ideas, concerns and representations from at least one complete text alongside multiple samples of other texts considered characteristic of the selected movement or genre.

Examples of learning activities

  • Research aspects of a focus genre / movement, looking at different examples from the genre or movement, and looking at different authors in the genre / movement. Produce information sheets / webpages for the use of the class.
  • Respond to teacher-generated questions about the text (either in person, or via an anonymous survey) to establish areas of interest, confusion and understanding. These questions form the basis of each lesson.
  • Design a front cover or advertising poster for the ‘whole text’ under study that reflects an understanding of the genre of the text.
  • Read aloud passages from the whole text for study, or from extracts, exploring how tone and language features affect the creation of mood.
  • Engage in a class discussion exploring the mood of the text and how it is created. Also explore the text’s language features including: figurative language, setting, text structures specific to the form, and vocabulary. Experiment with different ways of reading the extracts aloud in light of these discussions about mood and discuss the effects.
  • Using assigned chapters / scenes from a text, provide an explanation of these chapters or scenes for the class, noting the central events of the chapter / scene, the characters involved, the setting and the style. Identify a quotation from the chapter / scene that exemplifies the genre or movement under study.
  • Collate the information gathered from these presentations and display. Add to these displays through the exploration of the genre or movement. Connections between texts can be made as additional examples are introduced to the class.
  • Find opportunities to explore a whole text, including commenting on the characteristics, assumptions and representations that situate the text within the genre or movement. Connect this to the earlier work on defining and characterising the movement or genre.
  • Make links between this whole text and extracts from other texts (either texts familiar to students or texts provided by the teacher).
  • Comment on similarities and differences between the texts as well as replications and references.
  • Share these insights by recording short podcasts, providing details about a key set of characteristics, assumptions or representations. Make these podcasts available to the whole class.
  • Example icon for advice for teachers
    Explore genre and / or movement of a text.
Example icon for advice for teachers

Detailed example

Explore genre and / or movement of a text

  • Compare texts, looking at similarities and differences and noting these in a Venn Diagram, with a view to establishing features of genre or movement.
  • Produce a study guide about the genre / movement, with hyperlinks to literary and / or cinematic examples of characteristics and features.
  • Hold a hot-seating event with characters or authors – students (or teacher) taking on the role of a character or the author and responding to class questions about the text, genre and style of the writing. Record key insights from the hot-seating activity and add this information to the information already collected and collated.
  • Identify the role that character types play in the genre or movement; for example, the hero, villain, victim, confidant. Other aspects such as setting could also be considered. 
  • Select a certain character and track him / her through the text, selecting, annotating and presenting to the class a passage (or shot) central to the development of this character, and identifying the ways in which the author (or director) established character and made the features of this character vivid for readers (or viewers).
  • Annotate selected extracts or scenes (individually or as a class), focusing on the key characteristics, assumptions and representations evident in the text, and using insights gathered earlier in the unit of study.
  • Write an essay as a class, composing the response together. The focus could be a passage or a pair of passages that have been chosen to reflect aspects of genre, particularly in terms of events, characterisation or setting.
  • Compose a creative response, written in the style of one of the texts (not necessarily the ‘whole text’), either based directly on a character or event in one of the set texts, or developed in the style and genre but not specifically developed from a set text. This response could be either written or oral.
  • Submit a written piece that analyses a passage from the chosen text, reflecting on connections between a creative response and the original text. Include a description or discussion of the genre of the original text and the ways in which the passage and the creative response engaged with the conventions of the focus genre / movement.
  • Present a student-selected text to the class, arguing for its inclusion in the genre / movement.
  • In affirmative and negative teams, participate in a debate with the proposition: This text / these texts should be included in the focus genre / movement. Following DAV rules for debating will help with the preparation.
  • Using a selected passage from the set text (or a text chosen by student(s), students teach the passage to class. This is followed by a writing task with teacher feedback. After this mini-lesson, students write a reflection, explaining what they have learned through the teaching and feedback process.

Unit 2

Unit 2 - Area of Study 1: Voices of Country

Outcome 1

On completion of this unit the student should be able to explore and reflect on the voices, perspectives and knowledge in the texts of Aboriginal and Torres Strait Islander authors and creators.

Examples of learning activities

  • Start each lesson with an Acknowledgement of Country, students taking turns with this responsibility, and using quotations from the set texts and multimedia to support these Acknowledgements.
  • Explore the genesis of the Acknowledgement of Country and discuss its value and impact, including ideas about respect and reconciliation.
  • Discuss the title of the area of study (Voices of Country) and explore the significance of ‘Country’ as used in this particular way.
  • Explore the language associated with students’ cultural heritages and the implications of that language. Discuss representation and presentation.
  • Share stories about individual experiences with cultural heritages. Return to these lived experiences when engaging with the textual study.
  • Broaden the discussion to appropriate language for the area of study (and for 21st century Australia generally) with a focus on the implications of different words / phrases used to identify Aboriginal and Torres Strait Islander peoples:
    • First Nations Australians
    • Aboriginals
    • Indigenous Australians
    • Native Australians
    • First Peoples
    • Blackfellas
    • Mob
  • In groups, research the authors of the texts under study to understand their cultural contexts and the way these may affect the content and style of their texts. Present findings to the class.
  • Read / watch a set text, considering particularly a specific area of focus. These might include:
    • ways in which Aboriginal and Torres Strait Islander peoples are presented
    • ways in which racism is explored
    • relationship of people to a landscape
    • significance of family
    • importance of story and storytelling.
  • Teachers determine how the class is supported in this work. The Department of Education website has many tools that can be used to map students’ understanding of ideas through their exploration of a text. Ways in which students can annotate or identify their understanding to reduce cognitive load include:
    • reading poems aloud and then annotating them through discussion
    • teacher reminding students where and when to annotate the poems
    • students finding images to further annotate the poems, then providing a visual representation of their understanding
    • use an organisational tool such as a Lotus Chart to add key ideas as they are identified and elaborated. This can be done as a class, filling in the chart collaboratively.
  • Produce studies of characters from set texts (or extracts) by noting particular language features associated with different characters. Note the vocabulary used and explore how these language features develop the representation of a character.
  • Explore ways in which text structures can develop the representation of character. Select a passage or key scene to annotate structures, language features and vocabulary in the development of story, including setting, characterisation and dialogue. Present these annotated passages / shots to the class for display. The annotations link directly to the focus areas determined for class study and link explicitly to the ways these passages / shots contribute to representation.
  • Example icon for advice for teachers
    Use Aboriginal and Torres Strait Islander art to explore how art can illuminate our understanding of representation.
Example icon for advice for teachers

Detailed example

Aboriginal and Torres Strait Islander art

Teacher:

  • assigns student groups extracts from a range of texts created both by Aboriginal and Torres Strait Islander artists and non-Aboriginal and Torres Strait Islander artists
  • scaffolds the key elements that students should address in the art, including links to the specific area of focus, for example:
    • ways in which Aboriginal and Torres Strait Islander peoples are presented
    • ways in which racism is explored
    • relationship of people to a landscape
    • significance of family
    • importance of story and storytelling.

Students:

  • work together to explore how the art further illuminates an understanding of representation; for example, discussing and comparing the artworks and linking them to a specific area of focus
  • consider other contextual information; for example, when and where a text was produced and who produced it
  • bring in Aboriginal and Torres Strait Islander texts they have enjoyed (including films, television series, games, poems, songs) and explore extracts of these texts to enrich the discussions of the set texts
  • consider changing representations, including language and vocabulary, and how and where Aboriginal and Torres Strait Islander peoples appear in text over time (provided the range of texts enables such a discussion)
  • use these texts (brought in by students) to compare the stories and language with the set texts.
  • Compare stories and storytelling from other indigenous cultures with Aboriginal and Torres Strait Islander stories and storytelling by discussing extracts in class. Groups can lead this discussion and comparative analysis. Other indigenous cultures could include:
  • Individually, or in pairs, advocate for a preferred text to be included in a course, producing short digital presentations in support of the chosen text. In these presentations, focus on the key discussions held in class, and on representation in texts. Focus on a key passage or scene of the text to highlight for the class.
  • Learn about postcolonial theory through a reading (such as the first few pages of Edward Said’s Orientalism) or a video. Examples of videos that describe postcolonial theory include:
  • Teacher scaffolds students’ understanding of this theory through visual representation, annotating key quotes, ensuring students have a shared understanding of this theory before moving on.
  • Discuss postcolonial theory and how it can be used to discuss a text, and considering the wider implications of this theory in light of this area of study.
  • Participate in a whole-class discussion about implications of postcolonialism for understanding the set text, using specific textual examples to support ideas and assertions.
  • Develop a way for this discussion to be meaningfully captured, providing a point of reference for later in the area of study. This could be done by the class agreeing on an annotation of a selected passage or scene from the set text, and having it on display. It could also be achieved digitally.
  • Working in pairs or groups, begin to consolidate an understanding of postcolonialism by developing an interpretation of an extract from a studied text to present to the class. (Teacher can scaffold this by modelling an interpretation of an extract with students posing questions about the process.) Working collaboratively, the class develops and documents a process for annotating and then interpreting an extract from a set text.
  • Collaboratively construct a scaffold to work with postcolonial theory and ideas. For example, develop a set of key quotes and / or definitions about postcolonialism.
  • Apply a developing understanding of postcolonialism to a written analysis of an extract.
  • Teacher assigns a significant passage from a set text, and guides the analysis through focus questions so that students begin to find their voice in this work.
  • Following this scaffolded work, write an interpretation of a set text from a postcolonial perspective, addressing a topic that sits within a specific area of focus (students might choose to write their own topics).
  • Individually or in groups, deliver oral presentations that explore the role of postcolonial thought in the reading of a set text(s). This can be a personal reflection and / or an exploration of the journey taken through the area of study.

Unit 2 - Area of Study 2: The text in its context

Outcome 2

On completion of this unit the student should be able to analyse and respond to the representation of a specific time period and / or culture explored in a text and reflect or comment on the ideas and concerns of individuals and groups in that context.

Examples of learning activities

  • Learn the outcome’s key terms (social, historical and cultural context, ideas and concerns) by responding to statements (Agree / Disagree / Philosophical Chairs) about your own culture (for example, It is normal for young people to want to travel the world).
  • List at least three ideas and/or concerns about yourself and / or the world around you and compare these to those of a fellow student. Discuss how these ideas and concerns affect your lives, and how what you read or see can challenge your own social and cultural context.
  • Example icon for advice for teachers
    Discuss and analyse a text in class.
Example icon for advice for teachers

Detailed example

Discuss and analyse a text in class

Students reflect on a text they have recently read; for example, a text read in class in a previous area of study, or year, or a popular show on TV, or on streaming services.

Teacher gives the following instructions:

  • Choose a text that connects with earlier conversations in class, and which represents a context that you can discuss fluently.
  • Make sure you identify with the text.
  • Introduce the text to the class through your own context by discussing particular features and moments in the text that might be considered contentious in the light of your contemporary views.

Describe to the class the text’s cultural, historical and social context and how it endorses, challenges or leaves unquestioned aspects of its context. Use evidence to support statements made.

  • In pairs, summarise and analyse extracts from the texts with regard to the social, historical and cultural context(s).
  • Present the key ideas about these readings to the class, making explicit links between the author, context and text.  
  • Research the historical, social, cultural, economic, political contexts of the set text and present findings in a linear timeline that establishes links between certain real events and the narrative of the text; for example, the events / personalities in the French Revolution and the events in Dickens’ ATale of Two Cities.
  • Research the author of a text and identify biographical factors (historical, social, economic, political) that might have had an impact on the context of the text. Using the research, construct an extended piece of writing adopting the role of the author and speculating about the writer’s ideas and concerns. This could take the form of a monologue / speech, a letter to a publisher, an interview or diary entry.
  • Identify possible links between the author’s personal and / or contextual experiences and those narrated in the text. Use evidence from the text to support these links; for example, Kenneth Branagh’s childhood experiences and his film Belfast. Present this as a creative Facebook, Twitter or Instagram profile and / or Snap Chat video.
  • In groups, work with chapters / scenes from a text or with poetry. Each group develops a chronological chart of the ideas and concerns of the text, inferred by examples of the language. Use a Google doc or other electronic format so that members of each group can contribute to the chart. If this is not available, work with large pieces of paper that can be displayed in the classroom.
  • Create a chart of the cultural or social institutions that can be identified in a text, either directly or indirectly. Identify the author’s ideas and concerns about these institutions both through their representation and their influence on the narrative; for example, the different ways in which religion is presented in Jeanette Winterson’s Oranges are not the only fruit.
  • Identify words and sentence constructions from a text that are particular to the time in which the text is written. Research the selected language, identify its meaning and function within the context of the text, and then find its modern or cultural equivalent.
  • Develop a character chart that explores the ways an author has created and used character(s) to explore particular ideas and concerns. In these profiles, the ideas and concerns of characters should be established through explicit textual evidence and compared to the ideas and concerns of the text’s context. They can also be compared to students’ own current, contemporary context.
  • Imagine and construct an interview with a character from a text. Create the character’s answers using the views and values on particular ideas and concerns that are evident in the text.
  • With characters from a text allocated to individual class members, create a panel made up of these characters (in a forum setting). Other class members question the characters about their views on certain social, cultural and historical concerns. ‘In character’, the panel members answer and debate the questions according to how they are portrayed in the text.
  • Explore the language used to define characters and relationships in the text, considering how the author’s choice of structure and form reveals nuance of character (including through dialogue).
  • Write creatively by reimagining or reconstructing a selected section or event in the text and using the language (including imagery) of the text to create interior monologues or dialogue between characters.

Unit 3

Unit 3 - Area of Study 1: Adaptations and transformations

Outcome 1

On completion of this unit the student should be able to analyse aspects of a text, drawing on close analysis of textual detail, and then discuss the extent to which meaning changes when that text is adapted to a different form.

Examples of learning activities

  • Cast the focus text, using contemporary stars and explaining choices. It is also possible to use Disney characters as the casting pool, or anime figures, or Transformers.
  • Develop scores for extracts of the text and explain and justify the musical choices made.
  • Make posters of the film version of the text, quoting from the original text to explain and support artistic choices.
  • Write a short blog-style review of the text, including discussion of genre (perhaps making explicit links to the Unit 1 genre study if this is relevant).
  • Perform extracts from the focus text and reflect on the differences between these performances and the original. It is also possible to animate an extract of the original text.
  • In groups, produce three-minute elevator pitches for the film version of the original text and present these to the class.
  • Teacher assigns a critical reading through which to consider the original text, and provides time and support for exploration of this reading. In small groups, students develop an interpretation and deeper understanding of the text.
  • Present three-minute elevator pitches for a film version of the text, explaining how this version emphasises the interpretation of the text in the assigned reading.
  • Research and read reviews of the original text, and of the adaptation, presenting summaries of this material to the class (for example, on a shared class OneNote or Google Doc).
  • Example icon for advice for teachers
    Compare a passage of text with an adaptation of the text.
Example icon for advice for teachers

Detailed example

Comparing text and adaptation

  • Choose a passage from the text, which is considered significant, and annotate this carefully, using different colours for different style features.
  • Annotate screen shots of the adaptation (or extracts, if the adaptation is not a film) aligned with the passage, identifying key elements or features.
  • In small groups, write paragraph responses to the identified passages, exploring the significant style features and analysing form. Present these to the class, using posters, PowerPoint or other digital presentation.
  • Discuss ideas and exploration of the selected passages in the original text as well as ways in which decisions were made about the writing – exploring language decisions and structure.
  • As a class, write paragraph responses comparing significant moments in the original text with moments in the adaptation, noting the way form affects content and the communication of meaning.
  • Keep a vocabulary list of verbs, adverbs and adjectives appropriate to the text and also the adaptation, noting overlaps and points of difference in the language that could be used to describe and analyse each text.
  • Using research conducted previously on the two texts (through exploration of reviews and potentially author / creator interviews or articles), present a hotseat interview between the author of the original text and the creator of the adaptation, asking questions about the goals of each. The hotseat interview can focus on a particular passage in the case of the original text and on scenes in the adaptation so students can engage with the goals and intentions through the language and / or the features of the text.
  • Develop a list of language that is useful in both close analysis and in comparative work. This list can be built throughout the year and compiled through a shared format; for example, a list developed on a pinboard or a shared Google doc.
  • Consolidate the work completed so far to develop paragraphs in response to passages. Develop and refine a model for close analysis. Using and adapting the model, write a passage analysis of the original text, focusing on three key moments in the narrative.
  • Consider the corresponding moments in the adaptation and begin to develop a sustained comparative response. Teachers can develop a model for this, using previous student work developed through the exploration of the texts, and can add to the word lists being developed for both close analysis and comparison.
  • Choose one extract from the original text and write a comparative response that discusses the way this moment was presented in the adapted text.

Unit 3 - Area of Study 2: Developing interpretations

Outcome 2

On completion of this unit the student should be able to develop interpretations of a set text informed by the ideas, views and values of the set text and a supplementary reading.

Examples of learning activities

  • Identify the key conventions of the text’s form. For example, for a play, identify conventions such as character, costumes, props, stage directions and so on. Develop a list of key conventions for the text selected for this area of study. The key conventions can be drawn from students’ ideas and understandings. (Teachers can add to the list if key conventions are missed; for example, conventions which are unfamiliar to students or are complex and need to be explained and explored.)
  • Write initial thoughts about how the text being studied presents and challenges these conventions. Collate these initial thoughts and display or share. Continue to add to and develop this understanding throughout the unit.
  • Participate in a class Line Debate to argue which conventions are the most important in the text and why.
  • Explore the form’s context. For example, if the set text is a Shakespearean play, begin researching the styles of theatre that were popular during Elizabethan England and where Shakespeare and his play fit into this context. Research some of Shakespeare’s contemporaries and begin identifying the similarities and differences between Shakespeare and these other playwrights, in terms of style and ideas.
  • Determine the historical, social and cultural context of the set text and develop an exploration appropriate to that context.
  • Read or watch a range of contextual readings and / or videos about the text’s cultural, social and historical context in class and discuss. Take this opportunity to define ideas or events that are unfamiliar or complex.
  • Using a Lotus Chart where specific ideas and concerns about the text are identified, navigate through the contextual resources and fill in each square based on the key ideas.
    a diagram with contextual resources boxes
  • Reflect on this exploration and identify key connections and differences between the ideas gathered. Share ideas with peers, adding to the Lotus Charts based on discussions.
  • Conduct a discussion about views and values. This could be a refresher and connected to work completed in Units 1 and 2 or it could be a new exploration.
  • Define and discuss the key terms of views and values and explore the implications of what they could mean when applied to both text and to reader.
  • Create and / or review these views and values as readers and note views on the text’s key ideas as identified in the Lotus Chart.
  • Discuss these views and values to refine understandings about them.
  • Identify, through readings, interviews and / or videos about the author, as well as evidence drawn from the text, the key views and values of the author.
  • As the reader, compare personal views and values with the author’s views and values, identifying key similarities and differences.
  • Consider the characters’ views and values, identifying key moments in the text where these views and values are most evident.
  • Represent these ideas on a Tri-Venn where the views and values of the reader, author and characters are explored.
  • Use the work completed on views and values to prepare and present a close analysis of the key moments identified through exploration of views and values.
  • Consider the text’s literary form, features and language and how this expresses particular ideas relevant to both the text’s context and the author’s views and values.
  • Select the supplementary reading for use in your internal assessment.
  • Example icon for advice for teachers
    Read a supplementary text and complete an analysis.
Example icon for advice for teachers

Detailed example

Supplementary text and analysis

  • Students read one supplementary text relevant to the set text.
  • The table below can be used to assist with analysing the reading:

  • IDEAS
    What ideas are discussed in the essays? (Embed quotes for key terms)
    VIEWS
    What viewpoints or theoretical perspectives / frameworks are presented through this discussion?
    (Marxist, Structuralist etc.)
    VALUES / ASSUMPTIONS
    What are the assumptions and values underlying these viewpoints / perspectives
    EVALUATION AND INTERPRETATION (EVIDENCE)
    Critique and evaluate these viewpoints. Present your own interpretation using evidence from the novel to support your views

    Viewpoint from essay (embed quote(s))

    My interpretation (evidence from novel, embed quote(s))

    Viewpoint from essay (embed quote(s))

    My interpretation (evidence from novel, embed quote(s))

    Viewpoint from essay (embed quote(s))

    My interpretation (evidence from novel, embed quote(s))

    Viewpoint from essay (embed quote(s))

    My interpretation (evidence from novel, embed quote(s))


    • For extra support, read and explore the supplementary reading as a class.
    • Return to the skills of close analysis to explore the supplementary reading and use the table to interrogate the ideas, views and values of the reading. This will also support a deeper understanding of the reading.
    • Return and review an earlier close analysis presentation of the set text. This work can be done in groups, where students read and review one another’s work. Alternatively, the teacher can develop a separate close analysis of a key moment from the set text and use that as a model for the re-reading and reviewing.
    • Consider, in the re-reading and reviewing of the earlier close analysis, how the close analysis can be enhanced or revised based on the supplementary reading. Take time with this work, resisting the temptation to replace ideas drawn from the text with ideas from the supplementary reading.
    • Students and teachers work towards incorporating the ideas drawn from the supplementary reading into the close analysis.
    • Encourage challenges to the supplementary reading as well as acceptance of it.
    • Teacher models re-reading and reviewing, offering opportunities for students to attempt their own re-reading and reviewing of their earlier work. Students present their work to the class (individually or in groups), discussing how the reading has developed and changed the initial interpretation.  
    • Repeat this exercise with other passages or key moments from the text to further strengthen capacity to draw both from the set text and supplementary reading to develop an interpretation.
    • Using a second supplementary reading, take this opportunity to deeply engage with and explore the reading.

    Unit 4

    Unit 4 - Area of Study 1: Creative responses to texts

    Outcome 1

    On completion of this unit the student should be able to respond creatively to a text and comment critically on both the original text and the creative response.

    Examples of learning activities

    • Teacher assigns chapters from the set text (or stories or poems) and develops a presentation that explains the important events, introductions or developments of key characters, and indicates where there are gaps or silences that could be explored or developed in a creative response. Students ask questions and make connections with the work they have completed on the set text. This bank of ideas is retained collectively so that students can return to it or add to it as they work through the area of study.
    • Choose a striking image from the set text and illustrate it, creating a class display of illustrated quotations.
    • Inspired by the imagery, create individual artworks. Alternatively, select from images that best illuminate the imagery from the set text.
    • Discuss the illustrated quotes and the ways new ideas can be generated from the interpretations of others.
    • Select a favourite passage from the set text and share this with the class, reading aloud from the passage, and indicating significant features of style.
    • Example icon for advice for teachers
      Modelling a close analysis
    Example icon for advice for teachers

    Detailed example 1

    Modelling a close analysis

    Teacher selects a passage and, drawing on the work from the class to date – including the illustrated quotations and the presentations about key aspects of the text – models a close analysis for students.

    Students:

    •  engage with this modelling, suggesting ways through the passage and making connections between language features, meaning and an interpretation
    • identify an extract which is important in terms of their creative response and annotate it
    • select a passage they are interested in exploring creatively and write a close analysis of it. (Teacher may choose to set this passage.)
    • Select a page from the set text and perform a statistical analysis of the extract, counting the number of words in each sentence, the number of sentences in each paragraph, and establishing the balance of direct speech and narration. Online tools such as Using English may be useful because they can do the basic analysis on overall word count and word count per sentence.
    • Create a generalised numerical observation about the author’s writing from the class data (these can later be used when replicating the author’s style in individual work).
    • When responding to a short story or poetry collection, consider how an alternative order of the stories or poems might affect a reader’s understanding of them.
    • Research the author of the set text and ‘get to know’ them. If they are alive, they might have a Twitter account, or it might be possible to attend an author presentation. Some contemporary Australian authors will even respond to student questions. If they are not alive, there might be letters or a biopic that can be read or watched. Or, they may have written other texts and extracts from them can be read.
    • Attend a writing workshop or watch a TedTalk (or similar) presented by an author (not necessarily of the set text) to learn more about the processes associated with creative writing. Two examples of TedTalks by contemporary authors discussing writing and finding an authentic voice include Maxine Beneba Clarke and Nnedi Okorafor.
    • Role-play characters from the set text with follow-up activities.
    Example icon for advice for teachers

    Detailed example 2

    Role-play characters from the set text

    • Assume the role of a character from the set text and attend a simulated cocktail party event, chatting with other (students) characters.
    • As you chat, make note of (or record) the dialogue in order to increase the authenticity of the direct speech in your writing.
    • Record and moderate – halting conversations to ask questions and to tease out language choices.
    • Use large pieces of paper pinned to the classroom walls to make notes as you speak with other (students) characters, if something occurs to you during the role-play.
    • After the role-play, return to these notes as prompts for discussion and exploration of insights.
    • As a follow up, ask questions about any parts of the text that continue to be challenging or puzzling. These can be posted to an online space or can be part of the note-taking done during the author event.
    • Discuss these questions in class and use them as the basis of creative work.
    • In groups, experiment with creative writing activities. For example:
      • Take a line from the set text and in five minutes, write the next five lines. Read aloud these short stories in class.
      • Take a line from the set text and use each word to begin a new sentence. Read aloud the results in class and discuss.
    • Play a game of Consequences. At the top of the page, write a sentence that draws on the characters and / or settings from the original text. As the game continues, apply understanding of character, setting and style of the text. Read aloud the results and explore ideas raised from the game.
    • In pairs, write short creative paragraphs to be read to the class, ensuring that they are written in the style of the author of the set text.
    • Write cards to and from characters in the set text. These could be birthday cards, thank you notes, or love letters etc.
    • Produce and share illustrations or front covers for your own stories, and explain the significance of these to the class.
    • Plan and compose creative responses to the set text. Share these with peers and invite their feedback.
    • Present evocative readings of individual creative responses to the class.
    • Collate and publish creative responses written by the class (either in hard or soft copy) and publish some in the school newsletter or magazine.
    • After composing the creative response, write a passage analysing responses to a chosen passage.

    Unit 4 - Area of Study 2: Close analysis of texts

    Outcome 2

    On completion of this unit the student should be able to analyse literary forms, features and language to present a coherent view of a whole text.

    Examples of learning activities

    • After discussing the set text, take the appropriate place on a continuum (between Agree and Disagree) in response to a statement or provocation about the text. (Example: ‘Sylvia Plath's poetic life is one long battle between these two forces: the oblivion of death and the responsibility of life.’  (Andrew Spacey)). Make a note of the position taken and complete this activity again at the end of the outcome, reflecting on how and why responses have changed. Alternatively, discuss the statement / provocation to clarify responses; display it in the classroom and revisit it throughout the outcome.
    • In groups, complete a contextual readings jigsaw where each group explores one of the following aspects of the text’s context based on readings, videos and / or websites provided by the teacher:
      • Historical context
      • Social and cultural context
      • Biographical context
      • Reader responses to the text at the time of publication
      • Contemporary reader responses to the text.
    • Read and view these resources and select the most relevant and interesting parts to share with the whole class. Each group presents to the class and teaches them about their context while all students fill in a Context Anchor Chart where they record their peers’ findings. After each ‘lesson’, take the time to reflect and record how each presentation has affected your thinking about the text.
    • Create a Facebook, Instagram or Twitter page on behalf of the author, highlighting their historical, social and cultural context as well as their views and values relevant to the key ideas in their text. Incorporate specific textual detail to justify some of the author’s social media posts.
    • Using relevant resources, such as contextual readings, complete a template where the key ideas in the text are written in statements on a social media platform. Imagine how the author would respond – what would their retweet be?
    • Analyse critical material about the text (critical essays, reviews, literary theory etc.) and then review how these views would change, develop or enhance your own response. Further rewrite a single-passage analysis based on this material.
    • Example icon for advice for teachers
      Continue work on close analysis from Unit 3.
    Example icon for advice for teachers

    Detailed example

    Continue work on close analysis

    The aim of this unit of work is to reflect on close analysis work from Unit 3 and develop it further.

    Teacher:

    • models at least one approach on how to write a close analysis, linking this model to the previous unit.

    Students:

    • evaluate their approach to close analysis based on the summative assessment’s criteria
    • participate in the creation of a whole-class step-by-step approach to close analysis. (This must include the skills as outlined in the VCE Literature Study Design.)
    • display the close analysis in class for future reference. (This is a working document to be developed throughout the unit based on the  close analysis writing.)

    Teacher:

    • uses a gradual release model to implement a whole-class approach to close analysis with a passage from the text.

    Students:

    • complete the work in class using a real-time approach, which allows them to see whether anything could be developed further.

    When the close analysis of one passage is complete, students individually comment on it via post-its or Google Docs and consider how it can be improved (and also what works), using both their knowledge of the text and their upcoming SAC criteria. 

    Note: This whole-class close analysis approach should also be a working document where changes can be made throughout the year.

    • Teacher provides students with specific passages to closely analyse (either giving students choice or choosing the appropriate passage for the student). Note: This first close analysis for this outcome should be about building confidence as writers.
    • Students present their close analysis to the class, reading their writing out loud. The class listens and writes comments and questions based on the close analysis criteria.
    • Share responses to each other’s writing, following a respectful sharing protocol: while feedback is given, the student who presented cannot speak but must write down the feedback and any questions and / or comments they have can be shared at the end of this feedback discussion.
    • Teacher provides opportunities for students to improve close analysis based on feedback.