For all Queensland schools

2015 Senior External Examination

English Tuesday 27 October 2015

Paper Two Part B — Question book 1:15 pm to 4:25 pm

Time allowed

• Perusal time: 10 minutes

• Working time: 3 hours (Part A and Part B)

Examination materials provided

• Paper Two Part B — Question book

• Paper Two Part B — Response book

Equipment allowed

• QCAA-approved equipment

Directions

You may write in this book during perusal time.

Paper Two has two parts:

Attempt all questions.

All three responses are of equal worth.

Suggested time allocation

• Paper Two Part A: 1 hour

• Paper Two Part B: 2 hours

Assessment

Paper Two assesses the following assessment criteria:

• Knowledge and control of texts in their context

• Knowledge and control of textual features

• Knowledge and application of the constructedness of texts

Assessment standards are at the end of this book.

After the examination session

Take this book when you leave.

• Part A (yellow book): Question 1 — Imaginative and reflective writing

• Part B (blue book): Question 2 — Media: Analytical exposition

Question 3 — Poetry: Analytical exposition

Planning space

Part B

Question 2 — Media: Analytical exposition

In response to the topic below, write about 500 words (excluding quotations).

Topic — Media

Genre: Analytical exposition

Roles and relationships: As a contributor to a media website

Your task: Analyse and evaluate the way a documentary you have studied positions the audience towards a specific aspect of its subject matter.

You should:

• name the documentary and identify the specific aspect of its subject matter you will be exploring

• clearly establish your thesis/central idea

• develop this thesis/central idea using at least three main points

• support these points with evidence from the documentary

• provide a conclusion.

End of Question 2

1

Question 3 — Poetry: Analytical exposition

In response to one of the following topics, write about 500 words.

Either

Topic 3A — Unseen poem

Genre: Analytical exposition

Roles and relationships: As a contributor writing for a literary magazine

Your task: Identify an invited reading of The Past by Oodgeroo Noonuccal and analyse how this invited reading is constructed.

You should:

• identify the subject matter of this poem

• state the invited reading you are going to focus on

• analyse how the poet constructs this reading through the use of:

– poetic devices (imagery, simile, metaphor, personification, mood, tone, etc.)

– foregrounding, privileging, gaps, silences, etc.

The unseen poem is on page 3.

or

Topic 3B — Notified poems

Genre: Analytical exposition

Roles and relationships: As a contributor writing for a literary magazine

Your task: Compare the representation of Australian identity in any two of the notified poems.

You should:

• identify the subject matter of these poems

• analyse how the poets construct their representations through the use of:

– poetic devices (imagery, simile, metaphor, personification, mood, tone, etc.)

– foregrounding, privileging, gaps, silences, etc.

The notified poems are on pages 4–17.

2

Unseen poem

The Past

Let no one say the past is dead.

The past is all about us and within.

Haunted by tribal memories, I know

This little now, this accidental present

Is not the all of me, whose long making

Is so much of the past.

Tonight here in suburbia as I sit

In easy chair before electric heater,

Warmed by the red glow. I fall into dream:

I am away

At the camp fire in the bush, among

My own people, sitting on the ground,

No walls about me,

The stars over me,

The tall surrounding trees that stir in the wind

Making their own music,

Soft cries of the night coming to us, there

Where we are one with all old Nature’s lives

Known and unknown,

In scenes where we belong but have now forsaken.

Deep chair and electric radiator

Are but since yesterday,

But a thousand thousand camp fires in the forest

Are in my blood.

Let none tell me the past is wholly gone.

Now is so small a part of time, so small a part

Of all the race years that have moulded me.

Oodgeroo Noonuccal (1920–1993)

3

Notified poem

Last of His Tribe

Change is the law. The new must oust the old.

I look at you and am back in the long ago,

Old pinnaroo lonely and lost here,

Last of your clan.

Left only with your memories, you sit

And think of the gay throng, the happy people,

The voices and the laughter

All gone, all gone,

And you remain alone.

I asked and you let me hear

The soft vowelly tongue to be heard now

No more for ever.

For me

You enact old scenes, old ways, you who have used

Boomerang and spear.

You singer of ancient tribal songs,

You leader once in the corroboree,

You twice in fierce tribal fights

With wild enemy blacks from over the river,

All gone, all gone. And I feel

The sudden sting of tears, Willie Mackenzie

In the Salvation Army Home.

Displaced person in your own country,

Lonely in teeming city crowds,

Last of your tribe.

Oodgeroo Noonuccal (1920–1993)

4

Notified poem

Metho Drinker

Under the death of winter’s leaves he lies

who cried to Nothing and the terrible night

to be his home and bread. ‘O take from me

the weight and waterfall of ceaseless Time

that batters down my weakness; the knives of light

whose thrust I cannot turn; the cruelty

of human eyes that dare not touch nor pity.’

Under the worn leaves of the winter city

safe in the house of Nothing now he lies.

His white and burning girl, his woman of fire,

creeps to his heart and sets a candle there

to melt away the flesh that hides the bone,

to eat the nerve that tethers him in Time.

He will lie warm until the bone is bare

and on a dead dark moon he wakes alone.

It was for Death he took her; death is but this

and yet he is uneasy under her kiss

and winces from that acid of her desire.

Judith Wright (1915–2000)

5

Notified poem

At Cooloola

The blue crane fishing in Cooloola’s twilight

has fished there longer than our centuries.

He is the certain heir of lake and evening,

and he will wear their colour till he dies,

but I’m a stranger, come of a conquering people.

I cannot share his calm, who watch his lake,

being unloved by all my eyes delight in,

and made uneasy, for an old murder's sake.

Those dark-skinned people who once named Cooloola

knew that no land is lost or won by wars,

for earth is spirit, the invader’s feet will tangle

in nets there and his blood be thinned by fears.

Riding at noon and ninety years ago,

my grandfather was beckoned by a ghost —

a black accoutred warrior armed for fighting,

who sank into bare plain, as now into time past.

White shores of sand, plumed reed and paperbark,

clear heavenly levels frequented by crane and swan —

I know that we are justified only by love,

but oppressed by arrogant guilt, have room for none.

And walking on clean sand among the prints

of bird and animal, I am challenged by a driftwood spear

thrust from the water; and, like my grandfather,

must quiet a heart accused by its own fear.

Judith Wright (1915–2000)

6

Notified poem

William Street

The red globes of light, the liquor-green,

The pulsing arrows and the running fire

Spilt on the stones, go deeper than a stream;

You find this ugly, I find it lovely.

Ghosts’ trousers, like the dangle of hung men,

In pawnshop-windows, bumping knee by knee,

But none inside to suffer or condemn;

You find this ugly, I find it lovely.

Smells rich and rasping, smoke and fat and fish

And puffs of paraffin that crimp the nose,

Or grease that blesses onions with a hiss;

You find it ugly, I find it lovely.

The dips and molls, with flip and shiny gaze

(Death at their elbows, hunger at their heels)

Ranging the pavements of their pasturage;

You find it ugly, I find it lovely.

Kenneth Slessor (1901–1971)

7

Notified poem

One Tuesday in Summer

That sultry afternoon the world went strange.

Under a violet and leaden bruise

The air was filled with sinister yellow light;

Trees, houses, grass took on unnatural hues.

Thunder rolled near. The intensity grew and grew

Like doom itself with lightnings on its face.

And Mr Pitt, the grocer’s order-man,

Who made his call on Tuesdays at our place,

Said to my mother, looking at the sky,

‘You’d think the ending of the world had come.’

A leathern little man, with bicycle-clips

Around his ankles, doing our weekly sum,

He too looked strange in that uncanny light;

As in the Bible ordinary men

Turn out to be angelic messengers,

Pronouncing the Lord’s judgments why and when.

I watched the scurry of the small black ants

That sensed the storm. What Mr Pitt had said

I didn’t quite believe, or disbelieve;

But still the words had got into my head,

For nothing less seemed worthy of the scene.

The darkening imminence hung on and on,

Till suddenly, with lightning-stroke and rain,

Apocalypse exploded, and was gone.

By nightfall things had their familiar look.

But I had seen the world stand in dismay

Under the aspect of another meaning

That rain or time would hardly wash away.

James McAuley (1917–1976)

8

Notified poem

My Country

The love of field and coppice,

Of green and shaded lanes,

Of ordered woods and gardens

Is running in your veins.

Strong love of grey-blue distance

Brown streams and soft, dim skies —

I know but cannot share it,

My love is otherwise.

I love a sunburnt country,

A land of sweeping plains,

Of ragged mountain ranges,

Of droughts and flooding rains.

I love her far horizons,

I love her jewel-sea,

Her beauty and her terror —

The wide brown land for me!

The stark white ring-barked forests,

All tragic to the moon,

The sapphire-misted mountains,

The hot gold hush of noon.

Green tangle of the brushes,

Where lithe lianas coil,

And orchids deck the tree tops

And ferns the warm dark soil.

Core of my heart, my country!

Her pitiless blue sky,

When sick at heart, around us,

We see the cattle die —

But then the grey clouds gather,

And we can bless again

The drumming of an army,

The steady, soaking rain.

Core of my heart, my country!

Land of the Rainbow Gold,

For flood and fire and famine,

She pays us back three-fold.

Over the thirsty paddocks,

Watch, after many days,

The filmy veil of greenness

That thickens as we gaze …

An opal-hearted country,

A wilful, lavish land —

All you who have not loved her,

You will not understand —

Though earth holds many splendours,

Wherever I may die,

I know to what brown country

My homing thoughts will fly.

Dorothea Mackellar (1885–1968)

9

Notified poem

Why we didn’t go away on the long weekend

Let us go away for the weekend he said

out of the city

into the high country

after all we went to england to see the snow

and didn’t — you arrange it

rang up trains — waited 6 hours for some one

to say hullo — rang up again to enquire times/

bookings etc. meanwhile

governments rose/fell there were 2 coups, 1½

rebellions, a revolution — nearly — the

president died — long live the king.

Knowing we had to get up early

we stayed up late arguing.

Slept

beyond the alarm into morning the train

went without us full of imagination he

booked a plane.

Rang taxis to take

us to airport — no answer — they (the taxis)

probably defected to russia/china.

Above

the city heard the plane singing into the

high country and the sound of tourists trudging

into the snow with cars

o Kosciusko

for you they come walking

At home with wet feet sludgy

hearts we sat around a radiator

hating each other slowly

Colleen Burke (1943– )

10

Notified poem

There is a Place in Distant Seas

There is a place in distant seas

Full of contrarieties:

There, beasts have mallards’ bills and legs,

Have spurs like cocks, like hens lay eggs.

There parrots walk upon the ground,

And grass upon the trees is found;

On other trees, another wonder!

Leaves without upper sides or under.

There pears you’ll scarce with hatchet cut;

Stones are outside the cherries put;

Swans are not white, but black as soot.

There neither leaf, nor root, nor fruit

Will any Christian palate suit,

Unless in desperate need you’d fill ye

With root of fern and stalk of lily.

There missiles to far distance sent

Come whizzing back from whence they went;

There quadrupeds go on two feet,

And yet few quadrupeds so fleet;

There birds, although they cannot fly,

In swiftness with your greyhound vie.

With equal wonder you may see

The foxes fly from tree to tree;

And what they value most, so wary,

These foxes in their pockets carry.

There the voracious ewe-sheep crams

Her paunch with flesh of tender lambs,

Instead of beef, and bread, and broth,

Men feast on many a roasted moth.

The north winds scorch, but when the breeze is

Full from the south, why then it freezes;

The sun when you to face him turn ye,

From right to left performs his journey.

Now of what place could such strange tales

Be told with truth save New South Wales?

Richard Whately (1787–1863)

11

Notified poem

A Mid-Summer Noon in the Australian Forest

Not a bird disturbs the air,

There is quiet everywhere;

Over plains and over woods

What a mighty stillness broods.

Even the grasshoppers keep

Where the coolest shadows sleep;

Even the busy ants are found

Resting in their pebbled mound;

Even the locust clingeth now

In silence to the barky bough:

And over hills and over plains

Quiet, vast and slumbrous, reigns.

Only there’s a drowsy humming

From yon warm lagoon slow coming:

’Tis the dragon-hornet — see!

All bedaubed resplendently

With yellow on a tawny ground —

Each rich spot nor square nor round,

But rudely heart-shaped, as it were

The blurred and hasty impress there,

Of a vermeil-crusted seal

Dusted o’er with golden meal:

Only there’s a droning where

Yon bright beetle gleams the air —

Gleams it in its droning flight

With a slanting track of light,

Till rising in the sunshine higher,

Its shards flame out like gems on fire.

Every other thing is still,

Save the ever wakeful rill,

Whose cool murmur only throws

A cooler comfort round Repose;

Or some ripple in the sea

Of leafy boughs, where, lazily,

Tired Summer, in her forest bower

Turning with the noontide hour,

Heaves a slumbrous breath, ere she

Once more slumbers peacefully.

O ’tis easeful here to lie

Hidden from Noon’s scorching eye,

In this grassy cool recess

Musing thus of Quietness.

Charles Harpur (1813–1868)

12

Notified poem

The Mitchells

I am seeing this: two men are sitting on a pole

they have dug a hole for and will, after dinner, raise

I think for wires. Water boils in a prune tin.

Bees hum their shift in unthinning mists of white

bursaria blossom, under the noon of wattles.

The men eat big meat sandwiches out of a styrofoam

box with a handle. One is overheard saying:

drought that year. Yes. Like trying to farm the road.

The first man, if asked, would say I’m one of the Mitchells.

The other would gaze for a while, dried leaves in his palm,

and looking up, with pain and subtle amusement,

say I’m one of the Mitchells. Of the pair, one has been rich

but never stopped wearing his oil-stained felt hat. Nearly everything

they say is ritual. Sometimes the scene is an avenue.

Les Murray (1938– )

13

Notified poem

Debbie & Co.

The Council Pool’s chockablock

with Greek kids shouting in Italian.

Isn’t it Sunday afternoon?

Half the school’s there, screaming,

skylarking, and bombing the deep end.

Nicky picks up her Nikon

and takes it all in, the racket

and the glare. Debbie strikes a pose.

In a patch of shade a grubby brat

dabbles ice-cream into the cement.

Tracey and Chris are missing,

mucking about behind the dressing sheds,

Nicky guesses. Who cares?

Debbie takes a dive. Emerging like a

porpoise at the edge of the pool

she finds a ledge, a covered gutter,

awash with bubbles and chlorine’s

chemical gossip. Debbie yells there,

and the rude words echo.

The piss-tinted water slaps the tiles.

Debbie dries off, lights a smoke,

and gazes at her friends fading out

around the corner of a dull relationship

and disappearing.

Under the democratic sun

her future drifts in and out of focus —

Tracey, Nicky, Chris, the whole arena

sinking into silence. Yet this is almost

Paradise: the Coke, the takeaway pizza,

a packet of Camels, Nicky’s dark glasses

reflecting the way the light glitters on

anything wet. Debbie’s tan needs

touching up. She lies back and dozes

on a terry-towelling print of Donald Duck.

She remembers how Brett was such a

dreamboat, until he turned into

somebody’s boring husband. Tracey

reappears, looking radiant. Nicky

browses through an Adult magazine.

Debbie goes to sleep.

John Tranter (1943– )

14

Notified poem

Suburban

Safe behind shady carports, sleeping under

the stars of the commonwealth and nylon gauze …

Asia is far off, its sheer white mountain-peaks, its millions

of hands; and shy bush-creatures in our headlamps

prop and swerve, small grass under the sprinklers

dreams itself ten feet tall as bull-ants lumber

between its stems — pushing

towards Sunday morning and the motor-blades …

Safe behind lawns and blondwood doors, in houses

of glass. No one throws stones. The moon dredges

a window square. Chrome faucets in the bathroom

hold back the tadpole-life that swarm in dams, a Kelvinator

preserves us from hook-worm. But there are days,

after drinks at the Marina, when dull headaches

like harbour fog roll in, black cats give off

blackness, children writhe out of our grip;

and only the cotton-wool in medicine bottles stands between us

and the capsules whose cool metallic colours

lift us to the stars. In sleep we drift

barefoot to the edge of town, pale moondust flares between our toes,

ghosts on a rotary-hoist fly in the wind …

under cold white snow-peaks tucked to the chin, we stare

at an empty shoe like Monday …

Sunlight arranges itself beyond our hands.

David Malouf (1934– )

15

Notified poem

Aboriginal Australia

To the others

You once smiled a friendly smile,

Said we were kin to one another,

Thus with guile for a short while

Became to me a brother.

Then you swamped my way of gladness,

Took my children from my side,

Snapped shut the lawbook, oh my sadness

At Yirrkala’s plea denied.

So, I remember Lake George hills,

The thin stick bones of people.

Sudden death and greed that kills,

That gave you church and steeple.

I cry again for Worrarra men,

Gone from kith and kind,

And I wondered when I would find a pen

To probe your freckled mind.

I mourned again for the Murray Tribe,

Gone too without a trace,

I thought of the soldier’s diatribe,

The smile on the Governor’s face.

You murdered me with rope, with gun,

The massacre my enclave,

You buried me deep on McLarty’s run

Flung into a common grave.

You propped me up with Christ, red tape,

Tobacco, grog and fears,

Then disease and lordly rape

Through the brutish years.

Now you primly say you’re justified,

And sing of a nation’s glory,

But I think of a people crucified —

The real Australian story.

Jack Davis (1917–2000)

16

Notified poem

End of Question 3

End of Part B

End of Paper Two

Hunting Rabbits

The men would often go hunting rabbits

in the countryside around the hostel —

with guns and traps and children following

in the sunlight of afternoon paddocks:

marvelling in their native tongues

at the scent of eucalypts all around.

We never asked where the guns came from

or what was done with them later:

as each rifle’s echo cracked through the hills

and a rabbit would leap as if jerked

on a wire through the air —

or, watching hands release a trap

then listening to a neck being broken.

Later, I could never bring myself

to watch the animals being skinned

and cleaned —

excitedly

talking about the ones that escaped

and how white tails bobbed among brown tussocks.

For days afterwards

our rooms smelt of blood and fur

as the meat was cooked in pots

over a kerosene primus.

But eat I did, and asked for more,

as I learnt about the meaning of rations

and the length of queues in dining halls —

as well as the names of trees

from the surrounding hills that always seemed

to be flowering with wattles:

growing less and less frightened by gunshots

and what the smell of gunpowder meant —

quickly learning to walk and keep up with men

that strode through strange hills

as if their migration had still not come to an end.

Peter Skrzynecki (1945– )

17

Ass

essm

ent

stan

dar

ds

der

ived

fro

m t

he

En

gli

sh S

enio

r E

xter

nal

Syl

lab

us

2004

Qu

esti

on

2 —

Med

ia:

An

alyt

ical

exp

osi

tio

n

Crit

erio

nA

BC

DE

Kno

wle

dge

and

cont

rol o

f tex

ts in

th

eir c

onte

xts

The

cand

idat

e ha

s de

mon

stra

ted

know

ledg

e th

at m

eani

ngs

in te

xts

are

shap

ed b

y pu

rpos

e, c

ultu

ral c

onte

xt a

nd s

ocia

l situ

atio

n by

:

•exp

loitin

g the

patte

rns a

nd

conv

entio

ns of

the s

pecif

ied

genr

e to a

chiev

e cult

ural

purp

oses

•emp

loying

the p

atter

ns an

d co

nven

tions

of th

e spe

cified

ge

nre t

o ach

ieve c

ultur

al pu

rpos

es

•in t

he m

ain, e

mploy

ing th

e pa

ttern

s and

conv

entio

ns of

the

spec

ified g

enre

to ac

hieve

pa

rticula

r cult

ural

purp

oses

•une

venly

using

the p

atter

ns

and c

onve

ntion

s of th

e sp

ecifie

d gen

re to

achie

ve

cultu

ral p

urpo

ses

•occ

asion

ally u

sing s

ome

conv

entio

ns of

the s

pecif

ied

genr

e to a

chiev

e som

e pu

rpos

es

•sele

cting

and s

ynthe

sising

su

bstan

tial, r

eleva

nt su

bject

matte

r

•sele

cting

and u

suall

y sy

nthes

ising

cons

idera

ble

relev

ant s

ubjec

t matt

er

•sele

cting

suffic

ient r

eleva

nt su

bject

matte

r•s

electi

ng so

me re

levan

t su

bject

matte

r•s

electi

ng so

me su

bject

matte

r tha

t rela

tes to

the t

ask

•inte

rpre

ting a

nd in

ferrin

g fro

m inf

orma

tion,

ideas

, arg

umen

ts an

d ima

ges i

n gre

at de

pth

•inte

rpre

ting a

nd in

ferrin

g fro

m inf

orma

tion,

ideas

, arg

umen

ts an

d ima

ges i

n dep

th

•inte

rpre

ting a

nd ex

plaini

ng

infor

matio

n, ide

as, a

rgum

ents

and i

mage

s

•inte

rpre

ting a

nd ex

plaini

ng

some

infor

matio

n, ide

as an

d im

ages

•sub

stanti

ating

opini

ons w

ith

well-b

alanc

ed an

d rele

vant

argu

ment

and e

viden

ce

•sub

stanti

ating

opini

ons w

ith

relev

ant a

rgum

ent a

nd

evide

nce

•sup

portin

g opin

ions w

ith

relev

ant a

rgum

ent a

nd

evide

nce

•sup

portin

g opin

ions w

ith a

little

argu

ment

and e

viden

ce•s

tating

opini

ons

•exp

loitin

g the

way

s in w

hich

the w

riter’s

role

and

relat

ionsh

ips w

ith re

ader

s are

aff

ected

by po

wer,

distan

ce

and a

ffect.

•esta

blish

ing th

e write

r’s ro

le an

d con

trollin

g the

way

s re

lation

ships

with

read

ers a

re

influe

nced

by po

wer, d

istan

ce

and a

ffect.

•esta

blish

ing th

e write

r’s ro

le an

d main

tainin

g the

way

s re

lation

ships

with

read

ers a

re

influe

nced

by po

wer, d

istan

ce

and a

ffect.

•gen

erall

y esta

blish

ing th

e wr

iter’s

role

and s

ometi

mes

maint

aining

the w

ays

relat

ionsh

ips w

ith re

ader

s are

inf

luenc

ed by

powe

r or

distan

ce or

affec

t.

•ide

ntifyi

ng th

e write

r’s ro

le an

d mak

ing so

me us

e of

relat

ionsh

ips w

ith re

ader

s.

18

Qu

esti

on

2 —

Med

ia (

con

tin

ued

)

Crit

erio

nA

BC

DE

Kno

wle

dge

and

cont

rol o

f tex

tual

fe

atur

es

The

cand

idat

e ha

s de

mon

stra

ted

know

ledg

e of

app

ropr

iate

ness

of t

extu

al fe

atur

es fo

r pur

pose

, gen

re, a

nd re

gist

er b

y:

•exp

loitin

g the

sequ

encin

g and

or

ganis

ation

of su

bject

matte

r in

stage

s

•seq

uenc

ing an

d org

anisi

ng

subje

ct ma

tter lo

gicall

y in

stage

s

•in t

he m

ain, s

eque

ncing

and

orga

nising

subje

ct ma

tter in

sta

ges

•occ

asion

ally s

eque

ncing

and

orga

nising

subje

ct ma

tter in

sta

ges

•mak

ing di

scer

ning u

se of

co

hesiv

e ties

to em

phas

ise

ideas

and c

onne

ct pa

rts of

tex

ts

•con

trollin

g the

use o

f co

hesiv

e ties

to co

nnec

t ide

as an

d par

ts of

texts

•usu

ally l

inking

idea

s with

co

hesiv

e ties

•m

aking

laps

es in

linkin

g ide

as

with

cohe

sive t

ies•l

inking

some

idea

s with

co

njunc

tions

•exp

loitin

g an e

xtens

ive ra

nge

of ap

t voc

abula

ry•s

electi

ng, w

ith oc

casio

nal

lapse

s, a w

ide ra

nge o

f su

itable

voca

bular

y

•usin

g suit

able

voca

bular

y•u

sing b

asic

voca

bular

y•u

sing a

narro

w ra

nge o

f bas

ic vo

cabu

lary

•com

bining

a wi

de ra

nge o

f cla

use a

nd se

ntenc

e str

uctur

es fo

r spe

cific

effec

ts,

while

susta

ining

gram

matic

al ac

cura

cy

•con

trollin

g a w

ide ra

nge o

f cla

use a

nd se

ntenc

e str

uctur

es, w

hile g

ener

ally

maint

aining

gram

matic

al ac

cura

cy

•usin

g a ra

nge o

f clau

se an

d se

ntenc

e stru

cture

s with

oc

casio

nal la

pses

in

gram

matic

al ac

cura

cy

•usin

g clau

se an

d sen

tence

str

uctur

es ac

cura

tely i

n pla

ces,

but w

ith fr

eque

nt gr

amma

tical

lapse

s in

subje

ct–ve

rb ag

reem

ent,

conti

nuity

of te

nses

and

pron

oun r

efere

nces

•usin

g a na

rrow

rang

e of

claus

e and

sente

nce

struc

tures

with

freq

uent

gram

matic

al lap

ses t

hat

impe

de un

derst

andin

g

•sus

tainin

g con

trol o

f pa

ragr

aphin

g and

a wi

de

rang

e of p

unctu

ation

•sus

tainin

g con

trol o

f pa

ragr

aphin

g and

a wi

de

rang

e of p

unctu

ation

•con

trollin

g par

agra

phing

and

punc

tuatio

n, su

ch as

co

mmas

, apo

strop

hes,

capit

als an

d full

stop

s

•usin

g par

agra

phing

and

punc

tuatio

n acc

urate

ly in

place

s, bu

t with

freq

uent

lapse

s

•usin

g som

e pun

ctuati

on,

thoug

h not

para

grap

hing

•con

trollin

g con

venti

onal

spell

ing.

•con

trollin

g con

venti

onal

spell

ing, w

ith oc

casio

nal

lapse

s.

•usin

g con

venti

onal

spell

ing, in

the

main

.•u

sing c

onve

ntion

al sp

elling

, wi

th fre

quen

t laps

es.

•usin

g som

e con

venti

onal

spell

ing, b

ut lap

ses i

mped

e un

derst

andin

g.

19

Qu

esti

on

2 —

Med

ia (

con

tin

ued

)

Crit

erio

nA

BC

DE

Kno

wle

dge

and

appl

icat

ion

of th

e co

nstr

ucte

dnes

s of

te

xts

The

cand

idat

e ha

s de

mon

stra

ted

know

ledg

e of

the

way

s in

whi

ch te

xts

are

sele

ctiv

ely

cons

truc

ted

and

read

by:

•tho

roug

hly ex

amini

ng ho

w dis

cour

ses i

n tex

ts sh

ape a

nd

are s

hape

d by l

angu

age

choic

es

•exa

minin

g how

disc

ourse

s in

texts

shap

e and

are s

hape

d by

lang

uage

choic

es

•exp

lainin

g how

disc

ourse

s in

texts

shap

e and

are s

hape

d by

lang

uage

choic

es

•ide

ntifyi

ng so

me w

ays

langu

age c

hoice

s are

shap

ed

by di

scou

rses

•eva

luatin

g how

cultu

ral

assu

mptio

ns, v

alues

, beli

efs

and a

ttitud

es un

derp

in tex

ts

•exa

minin

g how

cultu

ral

assu

mptio

ns, v

alues

, beli

efs

and a

ttitud

es un

derp

in tex

ts

•ide

ntifyi

ng an

d exp

lainin

g ho

w cu

ltura

l ass

umpti

ons,

value

s, be

liefs

and a

ttitud

es

unde

rpin

texts

•ide

ntifyi

ng so

me of

the w

ays

cultu

ral a

ssum

ption

s, va

lues,

belie

fs an

d attit

udes

unde

rpin

texts

•som

etime

s ide

ntifyi

ng so

me

attitu

des a

nd be

liefs

in tex

ts

•mak

ing su

btle a

nd co

mplex

dis

tincti

ons w

hen e

valua

ting

repr

esen

tation

s of c

once

pts

and o

f the r

elatio

nship

s and

ide

ntitie

s of in

dividu

als,

grou

ps, ti

mes a

nd pl

aces

•mak

ing fin

e dist

inctio

ns w

hen

evalu

ating

repr

esen

tation

s of

conc

epts

and o

f the

relat

ionsh

ips an

d ide

ntitie

s of

indivi

duals

, gro

ups,

times

and

place

s

•mak

ing br

oad d

istinc

tions

wh

en id

entify

ing an

d ex

plaini

ng re

pres

entat

ions o

f co

ncep

ts an

d of th

e re

lation

ships

and i

denti

ties o

f ind

ividu

als, g

roup

s, tim

es an

d pla

ces

•mak

ing ge

nera

l dist

inctio

ns

when

iden

tifying

re

pres

entat

ions o

f con

cepts

an

d of th

e rela

tions

hips a

nd

identi

ties o

f indiv

iduals

, gr

oups

, time

s and

plac

es

•mak

ing ve

ry ge

nera

l dis

tincti

ons w

hen i

denti

fying

re

pres

entat

ions o

f con

cepts

an

d of th

e rela

tions

hips a

nd

identi

ties o

f indiv

iduals

, gr

oups

, time

s and

plac

es.

•tho

roug

hly an

alysin

g how

re

ader

s/view

ers a

re in

vited

to

take u

p a po

sition

in re

lation

to

the te

xt an

d dem

onstr

ating

wi

th su

btlety

and c

omple

xity

the po

sition

s/he

adop

ts as

a re

ader

/view

er.

•ana

lysing

how

read

ers/

viewe

rs ar

e inv

ited t

o tak

e up

a pos

ition i

n rela

tion t

o tex

ts an

d clea

rly de

mons

tratin

g the

po

sition

s/he

adop

ts as

a re

ader

/view

er.

•ide

ntifyi

ng an

d exp

lainin

g wa

ys re

ader

s/view

ers h

ave

been

invit

ed to

take

up a

posit

ion in

relat

ion to

texts

an

d bro

adly

demo

nstra

ting

the po

sition

s/he

adop

ts as

a re

ader

/view

er.

•rec

ognis

ing an

d des

cribin

g so

me w

ays r

eade

rs/vie

wers

have

been

invit

ed to

take

up a

posit

ion in

relat

ion to

texts

.

20

Qu

esti

on

3 —

Po

etry

: A

nal

ytic

al e

xpo

siti

on

Crit

erio

nA

BC

DE

Kno

wle

dge

and

cont

rol o

f tex

ts in

th

eir c

onte

xts

The

cand

idat

e ha

s de

mon

stra

ted

know

ledg

e th

at m

eani

ngs

in te

xts

are

shap

ed b

y pu

rpos

e, c

ultu

ral c

onte

xt a

nd s

ocia

l situ

atio

n by

:

•exp

loitin

g the

patte

rns a

nd

conv

entio

ns of

the s

pecif

ied

genr

e to a

chiev

e cult

ural

purp

oses

•emp

loying

the p

atter

ns an

d co

nven

tions

of th

e spe

cified

ge

nre t

o ach

ieve c

ultur

al pu

rpos

es

•in t

he m

ain, e

mploy

ing th

e pa

ttern

s and

conv

entio

ns of

the

spec

ified g

enre

to ac

hieve

pa

rticula

r cult

ural

purp

oses

•une

venly

using

the p

atter

ns

and c

onve

ntion

s of th

e sp

ecifie

d gen

re to

achie

ve

cultu

ral p

urpo

ses

•occ

asion

ally u

sing s

ome

conv

entio

ns of

the s

pecif

ied

genr

e to a

chiev

e som

e pu

rpos

es

•sele

cting

and s

ynthe

sising

su

bstan

tial, r

eleva

nt su

bject

matte

r

•sele

cting

and u

suall

y sy

nthes

ising

cons

idera

ble

relev

ant s

ubjec

t matt

er

•sele

cting

suffic

ient r

eleva

nt su

bject

matte

r•s

electi

ng so

me re

levan

t su

bject

matte

r•s

electi

ng so

me su

bject

matte

r tha

t rela

tes to

the t

ask

•inte

rpre

ting a

nd in

ferrin

g fro

m inf

orma

tion,

ideas

, arg

umen

ts an

d ima

ges i

n gre

at de

pth

•inte

rpre

ting a

nd in

ferrin

g fro

m inf

orma

tion,

ideas

, arg

umen

ts an

d ima

ges i

n dep

th

•inte

rpre

ting a

nd ex

plaini

ng

infor

matio

n, ide

as, a

rgum

ents

and i

mage

s

•inte

rpre

ting a

nd ex

plaini

ng

some

infor

matio

n, ide

as an

d im

ages

•sub

stanti

ating

opini

ons w

ith

well-b

alanc

ed an

d rele

vant

argu

ment

and e

viden

ce

•sub

stanti

ating

opini

ons w

ith

relev

ant a

rgum

ent a

nd

evide

nce

•sup

portin

g opin

ions w

ith

relev

ant a

rgum

ent a

nd

evide

nce

•sup

portin

g opin

ions w

ith a

little

argu

ment

and e

viden

ce•s

tating

opini

ons

•exp

loitin

g the

way

s in w

hich

the w

riter’s

role

and

relat

ionsh

ips w

ith re

ader

s are

aff

ected

by po

wer,

distan

ce

and a

ffect.

•esta

blish

ing th

e write

r’s ro

le an

d con

trollin

g the

way

s re

lation

ships

with

read

ers a

re

influe

nced

by po

wer, d

istan

ce

and a

ffect.

•esta

blish

ing th

e write

r’s ro

le an

d main

tainin

g the

way

s re

lation

ships

with

read

ers a

re

influe

nced

by po

wer, d

istan

ce

and a

ffect.

•gen

erall

y esta

blish

ing th

e wr

iter’s

role

and s

ometi

mes

maint

aining

the w

ays

relat

ionsh

ips w

ith re

ader

s are

inf

luenc

ed by

powe

r or

distan

ce or

affec

t.

•ide

ntifyi

ng th

e write

r’s ro

le an

d mak

ing so

me us

e of

relat

ionsh

ips w

ith re

ader

s.

21

Qu

esti

on

3 —

Po

etry

(co

nti

nu

ed)

Crit

erio

nA

BC

DE

Kno

wle

dge

and

cont

rol o

f tex

tual

fe

atur

es

The

cand

idat

e ha

s de

mon

stra

ted

know

ledg

e of

app

ropr

iate

ness

of t

extu

al fe

atur

es fo

r pur

pose

, gen

re, a

nd re

gist

er b

y:

•exp

loitin

g the

sequ

encin

g and

or

ganis

ation

of su

bject

matte

r in

stage

s

•seq

uenc

ing an

d org

anisi

ng

subje

ct ma

tter lo

gicall

y in

stage

s

•in t

he m

ain, s

eque

ncing

and

orga

nising

subje

ct ma

tter in

sta

ges

•occ

asion

ally s

eque

ncing

and

orga

nising

subje

ct ma

tter in

sta

ges

•mak

ing di

scer

ning u

se of

co

hesiv

e ties

to em

phas

ise

ideas

and c

onne

ct pa

rts of

tex

ts

•con

trollin

g the

use o

f co

hesiv

e ties

to co

nnec

t ide

as an

d par

ts of

texts

•usu

ally l

inking

idea

s with

co

hesiv

e ties

•m

aking

laps

es in

linkin

g ide

as

with

cohe

sive t

ies•l

inking

some

idea

s with

co

njunc

tions

•exp

loitin

g an e

xtens

ive ra

nge

of ap

t voc

abula

ry•s

electi

ng, w

ith oc

casio

nal

lapse

s, a w

ide ra

nge o

f su

itable

voca

bular

y

•usin

g suit

able

voca

bular

y•u

sing b

asic

voca

bular

y•u

sing a

narro

w ra

nge o

f bas

ic vo

cabu

lary

•com

bining

a wi

de ra

nge o

f cla

use a

nd se

ntenc

e str

uctur

es fo

r spe

cific

effec

ts,

while

susta

ining

gram

matic

al ac

cura

cy

•con

trollin

g a w

ide ra

nge o

f cla

use a

nd se

ntenc

e str

uctur

es, w

hile g

ener

ally

maint

aining

gram

matic

al ac

cura

cy

•usin

g a ra

nge o

f clau

se an

d se

ntenc

e stru

cture

s with

oc

casio

nal la

pses

in

gram

matic

al ac

cura

cy

•usin

g clau

se an

d sen

tence

str

uctur

es ac

cura

tely i

n pla

ces,

but w

ith fr

eque

nt gr

amma

tical

lapse

s in

subje

ct–ve

rb ag

reem

ent,

conti

nuity

of te

nses

and

pron

oun r

efere

nces

•usin

g a na

rrow

rang

e of

claus

e and

sente

nce

struc

tures

with

freq

uent

gram

matic

al lap

ses t

hat

impe

de un

derst

andin

g

•sus

tainin

g con

trol o

f pa

ragr

aphin

g and

a wi

de

rang

e of p

unctu

ation

•sus

tainin

g con

trol o

f pa

ragr

aphin

g and

a wi

de

rang

e of p

unctu

ation

•con

trollin

g par

agra

phing

and

punc

tuatio

n, su

ch as

co

mmas

, apo

strop

hes,

capit

als an

d full

stop

s

•usin

g par

agra

phing

and

punc

tuatio

n acc

urate

ly in

place

s, bu

t with

freq

uent

lapse

s

•usin

g som

e pun

ctuati

on,

thoug

h not

para

grap

hing

•con

trollin

g con

venti

onal

spell

ing.

•con

trollin

g con

venti

onal

spell

ing, w

ith oc

casio

nal

lapse

s.

•usin

g con

venti

onal

spell

ing, in

the

main

.•u

sing c

onve

ntion

al sp

elling

, wi

th fre

quen

t laps

es.

•usin

g som

e con

venti

onal

spell

ing, b

ut lap

ses i

mped

e un

derst

andin

g.

22

Qu

esti

on

3 —

Po

etry

(co

nti

nu

ed)

Crit

erio

nA

BC

DE

Kno

wle

dge

and

appl

icat

ion

of th

e co

nstr

ucte

dnes

s of

te

xts

The

cand

idat

e ha

s de

mon

stra

ted

know

ledg

e of

the

way

s in

whi

ch te

xts

are

sele

ctiv

ely

cons

truc

ted

and

read

by:

•tho

roug

hly ex

amini

ng ho

w dis

cour

ses i

n tex

ts sh

ape a

nd

are s

hape

d by l

angu

age

choic

es

•exa

minin

g how

disc

ourse

s in

texts

shap

e and

are s

hape

d by

lang

uage

choic

es

•exp

lainin

g how

disc

ourse

s in

texts

shap

e and

are s

hape

d by

lang

uage

choic

es

•ide

ntifyi

ng so

me w

ays

langu

age c

hoice

s are

shap

ed

by di

scou

rses

•eva

luatin

g how

cultu

ral

assu

mptio

ns, v

alues

, beli

efs

and a

ttitud

es un

derp

in tex

ts

•exa

minin

g how

cultu

ral

assu

mptio

ns, v

alues

, beli

efs

and a

ttitud

es un

derp

in tex

ts

•ide

ntifyi

ng an

d exp

lainin

g ho

w cu

ltura

l ass

umpti

ons,

value

s, be

liefs

and a

ttitud

es

unde

rpin

texts

•ide

ntifyi

ng so

me of

the w

ays

cultu

ral a

ssum

ption

s, va

lues,

belie

fs an

d attit

udes

unde

rpin

texts

•som

etime

s ide

ntifyi

ng so

me

attitu

des a

nd be

liefs

in tex

ts

•mak

ing su

btle a

nd co

mplex

dis

tincti

ons w

hen e

valua

ting

repr

esen

tation

s of c

once

pts

and o

f the r

elatio

nship

s and

ide

ntitie

s of in

dividu

als,

grou

ps, ti

mes a

nd pl

aces

•mak

ing fin

e dist

inctio

ns w

hen

evalu

ating

repr

esen

tation

s of

conc

epts

and o

f the

relat

ionsh

ips an

d ide

ntitie

s of

indivi

duals

, gro

ups,

times

and

place

s

•mak

ing br

oad d

istinc

tions

wh

en id

entify

ing an

d ex

plaini

ng re

pres

entat

ions o

f co

ncep

ts an

d of th

e re

lation

ships

and i

denti

ties o

f ind

ividu

als, g

roup

s, tim

es an

d pla

ces

•mak

ing ge

nera

l dist

inctio

ns

when

iden

tifying

re

pres

entat

ions o

f con

cepts

an

d of th

e rela

tions

hips a

nd

identi

ties o

f indiv

iduals

, gr

oups

, time

s and

plac

es

•mak

ing ve

ry ge

nera

l dis

tincti

ons w

hen i

denti

fying

re

pres

entat

ions o

f con

cepts

an

d of th

e rela

tions

hips a

nd

identi

ties o

f indiv

iduals

, gr

oups

, time

s and

plac

es.

•tho

roug

hly an

alysin

g how

re

ader

s are

invit

ed to

take

up

posit

ions i

n rela

tion t

o tex

ts.

•ana

lysing

how

read

ers a

re

invite

d to t

ake u

p pos

itions

in

relat

ion to

texts

.

•ide

ntifyi

ng an

d exp

lainin

g wa

ys re

ader

s hav

e bee

n inv

ited t

o tak

e up p

ositio

ns in

re

lation

to te

xts.

•rec

ognis

ing an

d des

cribin

g so

me w

ays r

eade

rs ha

ve

been

invit

ed to

take

up

posit

ions i

n rela

tion t

o tex

ts.

23

Acknowledgments

Oodgeroo Noonuccal ‘The Past’, David Malouf ‘Suburban’ and Jack Davis ‘Aboriginal Australia’, in P McFarlane and L Temple (eds), 1996, Blue light, clear atoms: Poetry for senior students, Macmillan Education Australia Pty Ltd, Melbourne.

Oodgeroo Noonuccal ‘Last of His Tribe’, Judith Wright ‘Metho Drinker’ and‘At Cooloola’, Kenneth Slessor ‘William Street’, James McAuley ‘One Tuesday in Summer’, Les Murray ‘The Mitchells’, John Tranter ‘Debbie & Co.’ and Peter Skrzynecki ‘Hunting Rabbits’,in J Tranter and P Mead (eds), 1991, The Penguin Book of Modern Australian Poetry,Penguin Books Australia, Melbourne.

Dorothea Mackellar ‘My Country’ and Colleen Burke ‘Why we didn’t go away on the long weekend’, in S Hampton and K Llewellyn (eds), 1986, The Penguin Book of Australian Women Poets, Penguin Books Australia, Melbourne.

Richard Whately ‘There is a Place in Distant Seas’ and Charles Harpur ‘A Mid-Summer Noon in the Australian Forest’, in J Kinsella (ed), 2009, The Penguin Anthology of Australian Poetry, Penguin Group Australia, Melbourne.

Every reasonable effort has been made to contact owners of copyright material. We would be pleased to hear from any copyright owner who has been omitted or incorrectly acknowledged.

© Th

Copyr

ManaPublisEmail

Que& APO BoLevel 7T + 61F + 61

www.

e State of Queensland (Queensland Curriculum and Assessment Authority) 2015

ight enquiries should be made to:

ger hing Unit

: publishing@qcaa.qld.edu.au

ensland Curriculumssessment Authorityx 307, Spring Hill QLD 4004 Australia, 154 Melbourne Street, South Brisbane

7 3864 0299 7 3221 2553

qcaa.qld.edu.au