S. Battye and D.J. Wort NCEA LEVEL 1 English Workbooks · NCEA LEVEL 1 English Workbooks N C E A L...
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This file licensed for school use only in 2018 Electronic Workbooks S. Battye and D.J. Wort NCEA LEVEL 1 English Workbooks N C E A L E V E L 1 R E S P O N S E S T O R E A D T E X T S 1.10 INTERNAL ASSESSMENT
Transcript of S. Battye and D.J. Wort NCEA LEVEL 1 English Workbooks · NCEA LEVEL 1 English Workbooks N C E A L...
This file licensed forschool use only in
2018
Electronic
Workbooks
S. Battye and D.J. Wort
NCEA LEVEL 1English Workbooks
NCEA LEVEL 1
RESP
ONSES TO READ TEXTS1.10INTERNAL
ASSESSMENT
This file licensed forschool use only in
2018
Electronic
Workbooks
S. Battye and D.J. Wort
NCEA LEVEL 1English Workbooks
NCEA LEVEL 1
RESP
ONSES TO READ TEXTS1.10INTERNAL
ASSESSMENT
Understanding the Standard ……………………………………………1
Training for English AS 1.10 …………………………………………….2
Personal Response Ideas ………………………………………………3
Task 1 - Keep a Reading/Viewing/Listening Log ……………….….4-5
Task 2 - The Six Texts - Your Reading List …………………………….5
Task 3 - Recording the Evidence …………………………………….6-8
Structure of Texts - Viewpoint …………………………………………..9
Task 4 - Personal Response to Viewpoint - ‘Anthem for Doomed Youth’ ..10
Task 5 - Aspects of Language - A Glossary …………………….11-12
What ‘Plot’ Means …………………………………….…………………13
Task 6 - Parts of the Plot ……………………………………………….14
Task 7 - Your Text - Listing Exposition Facts …………………………15
What is a Plot Complication? ………………………………………….16
Task 8 - Recognising Types of Complication ………………………..17
A Definition of Setting ………………………………………………….18
Task 9 - Evoking Atmosphere Through Setting ………………………19
Task 10 - Your Text - Setting and Atmosphere ……………………..19
Task 11 - Personal Response to Setting and Atmosphere ………...20
Task 12 - Setting and Character ………………………………………21
Task 13 - Your Text - Effect of Setting on Main Characters ……..21-22
Task 14 - Personal Response to Setting and Characters ………….23
Task 15 - Your Text - Common Themes and Setting ……………24-25
Task 16 - Personal Response to Common Themes and Setting ….25
Task 17 - Plot, Character and Change ……………………………….26
Task 18 - Plot and Character - Compare and Contrast …………….27
A Turning Point Pyramid ……………………………………………….28
Task 19 - Your Text - A Minor Turning Point Pyramid …………….…29
Task 20 - Your Text - The Major Turning Point Pyramid ……………30
Major Character Development ………………………………………..31
Task 21 - Character Clues from the Author ………………………….31
Task 22 - Character Clues in Your Text …………………………..32-33
Task 23 - The Impact of Minor Characters …………………………..34
Task 24 - Personal Response to Minor Characters …………………35
Finding the Theme ……………………………………………………..36
Task 25 - Your Text - Connecting the Theme and Setting ……...37-38
Task 26 - Your Text - Connecting the Theme and Plot ………………39
Connecting the Theme and the Major Character …………………..40
Task 27 - Changes to the Major Character - A Venn Diagram….…..41
Task 28 - Connecting Themes and Major Characters ………….….42
Significant Connections - Theme and Language Features …………43
Task 29 - Significant Connections - Theme and Language Features …44
Examining the Short Story ……………………………………………..45
Short Story Example - ‘The Doll’s House’ ………………………..46-49
Task 30 - Personal Response to Plot …………………………...……50
Task 31 - Personal Response to Characters …………………..……51
Task 32 - Personal Response to Setting ……………………….…….52
Task 33 - Personal Response to Theme ……………………………..53
Task 34 - Use of Language Features ………………………………...54
Examining a Play - ‘Jigsaw’ ……………………………………………55
Task 35 - Unpacking a Play …………………………………………...56
Task 36 - Personal Response to a Play ……………………………...57
Examining Poetry - ‘The Charge of the Light Brigade’ …………...58
Task 37 - The Language of Poetry ……………………………………59
Task 38 - Unpacking a Poem ……………………….…………………60
Task 39 - Personal Response to a Poem …………………………….61
Task 40 - Your Text - Purpose and Audience ………………………..62
Alternative Forms of Responding to AS 1.10 ………………………..63
Crafting a Report for AS 1.10 ……………………………………..…..64
Modelling a Personal Response to Read Texts …………………65-68
Task 41 - Writing Your Report - First Draft ….……………………69-74
Task 42 - First Draft - Teacher Feedback ……………………..…75-76
Student Notes …………………………………………………………..77
Answers to Tasks ………………………...……………………………..78
S. Battye and D. J. Wort
ISBN 978-1-877567-50-6
National Certificate of Educational AchievementNational Certificate of Educational Achievement
Sigma English WorkbookNCEA Achievement Standard 1.10
Responses to Read Texts
Sigma English WorkbookNCEA Achievement Standard 1.10
Responses to Read Texts
List of Contents
NCEA English Workbook AS 1.10 - Responses to Read Texts © Sigma Publications Ltd 2017 ISBN 978-1-877567-50-6 [PDF Workbook V 1.2 : Only for use in NZ schools under a signed user license]
This file licensed forschool use only in
2018Aspects of Language3
Think P.A.M.T
Think PAMT : Purpose, Audience, Message and Techniques. In every piece you read, try to identify what the writer’s purpose or reason is for writing this particular text, who their chosen audience is, what key messages or themes they want to deliver and what techniques (language features) they use to get those messages across to their desired audience. By reading and rereading your selected written texts, you can begin to make an original comment on the writer’s writing style which communicates their viewpoint on their chosen topic.
The Purpose for writing or creating a visual text can be :
To entertain; To inform; To express feelings; To persuade; To affect the reader’s feelings; To pass on a message; To make contact; To explore an idea;
The Type of Audience for your presentation or product can be :
Children, Teenagers, Adult, Men, Women, Sports people, or people with an interest in a specific to a genre (type) of visual text.
The Message contained in your presentation or product can be :
Class distinction determines our treatment of others, The concept of beauty is created by big business, Animal cruelty must be exposed. (These are examples only, the topic is your choice.)
The Techniques can include : the use of imagery (e.g. metaphor), the use of visual language, (e.g. colour, layout, fonts), or the use of film techniques (e.g. close up camera work).
Personal Response Ideas
❑ As you work through the various examples and exercises in this workbook you will be specifically asked about your reaction to texts, but you should include what you thought and felt in most of your answers. Your ideas matter because you are required to make a personal response to the texts. This shows you have perceptive understanding - you will need to show this to get an Excellence grade.
❑ Your feelings matter. How did you feel about the settings? Were they pleasant, strange, exciting, threatening, exotic, or disgusting? How did you feel about the plot? Was it dramatic, convincing, tense, surprising, mysterious, or funny? How did you feel about the characters? Did you care what happened to them? Did they seem like people you know? Did one seem like you?
❑ Your ideas matter. In fact, they matter more than your feelings because they can change you and change the way you see the world. This is as true of fiction as it is of non-fiction. One writer once was asked what the difference was between fiction and real life. His answer : ‘Only fiction has to make sense’. It is because it makes sense that a true idea can be found in a made-up story.
❑ Because texts such as novels, plays and biographies are long, they have room for more than one idea. (Sometimes authors are stunned when people tell them what messages they got out of the text, simply because they never deliberately put those ideas in.)
Some ideas belong to a particular time and place. Uncle Tom’s Cabin belonged to, and had messages about, the time of slavery in America. The Whale Rider belongs to, and has messages about, Maori society in modern New Zealand.
Some ideas don’t just belong to a particular time and place; they are true in all times and places. You might think Shakespeare’s The Merchant of Venice has ideas about Venice and merchants and things that went on centuries ago. It does. But it also has ideas about loyalty, religious intolerance, racial prejudice and revenge - all these things never go out of date. Ideas like these are called universal.
❑ You may have to explain why a text is worthwhile because of its ideas. Here is a simple checklist, completed for Bronte’s Story by Steven Bib, that will let you prove that your text’s ideas are valuable. This is called validation.
✓ Are the ideas true? (Bronte is a survivor of anorexia ; it’s her biography.)
✓ Are the ideas important? (They could mean the difference between life and death.)
✓ Are the ideas relevant? (If you are a teenager, the at-risk group is you, your peers, siblings and friends.)
© Sigma Publications Ltd 2018
NCEA English Workbook AS 1.10 - Responses to Read Texts © Sigma Publications Ltd 2017 ISBN 978-1-877567-50-6 [PDF Workbook V 1.2 : Only for use in NZ schools under a signed user license]
This file licensed forschool use only in
201817 Focus on Plot
1 Match the following types of plot complication that these writers use to attract interest, with the blurbs from a range of popular novels. There are two examples for each type of complication. The first has been done for you.
Task 8 Recognising Types of Complication
mystery
surpriseconflict
Finn is sent away to an exclusive boarding school to remove him from the small-town gossip machine. But there’s someone who knows Finn’s secret… Blackmail and lies … will Finn ever face the truth?
Snakes and Ladders by Mary-Anne
Scott
The whale rider was Kahutia Te Rangi. Ancestor of the people of Te Tai Rawhiti, he travelled from Hawaiki, the place of the Ancients, to the East Coast of New Zealand. Then there was Kahu. The first great-grandchild of the whanau, she was loved by all her relatives except the one whose love she needed most - her great-grandfather.
The Whale Rider by Witi Ihimaera
A fifteen-year-old girl named Tamar inherits a box containing a sequence of clues and coded messages from her grandfather. From the past another Tamar emerges - a man involved in the terrifying world of resistance fighters.
Tamar by Mal Peet
A murdered body is discovered on a farm, packed in a bale of wool and Roderick Alleyn must find a wild, woolly killer.
Died in the Wool by Ngaio Marsh
Stanley Yelnats has had awful luck his whole life: he’s overweight, kids tease him, his family is poor, and now he’s accused of a crime he didn’t commit! Stanley blames his great-great grandfather for stealing a pig from a gypsy who put a curse on Elya and all his descendants.
Holes by Louis Sachar
Nine year-old Bruno has been moved from a comfortable home in Berlin to a house in a desolate area where there is nothing to do and no one to play with. Until he meets Shmuel, a boy who lives a strange parallel existence on the other side of the adjoining wire fence.
The Boy in the Striped Pyjamas By John Boyne
After the sinking of a cargo ship the only survivors from the wreck on a solitary lifeboat are a sixteen-year-old named Pi; a hyena, a zebra, a female orang-utan and a 450-pound Royal Bengal tiger.
Life of Pi by Yann Matel
Life inside the ship is not as Maryam dreamed, and she is faced with the unthinkable : obey the leaders and very likely die, or turn her back on every belief she once held dear.
The Crossing by Mandy Hager
suspense
© Sigma Publications Ltd 2018
NCEA English Workbook AS 1.10 - Responses to Read Texts © Sigma Publications Ltd 2017 ISBN 978-1-877567-50-6 [PDF Workbook V 1.2 : Only for use in NZ schools under a signed user license]
This file licensed forschool use only in
2018
© Sigma Publications Ltd 2018
32 Focus on Character
1a) Identify a character from a chosen text.
Title of Text : ………………………………………………………………………………………………………………………………………
Author/Director : ……………………………………………………. Character : ……………………………………………………..……..
b) Character Brainstorm. Complete this table with your ideas.
Task 22 Character Clues in Your Text
Character Profile
Write notes about three key moments in the text when the character reveals themselves by their actions,relationships, decisions, words or inner conflicts.
Personal Response to Character
Write notes in a personal response to the three key moments identified in the Character column highlighting what the
moments make you think about and how youfeel about the character’s behaviour.
The first moment is when . . .
The second moment is when . . .
The third moment is when . . .
The first moment makes me think about or feel . . .
The second moment makes me think about or feel . . .
The third moment makes me think about or feel . . .
Task 22 continues on next page
NCEA English Workbook AS 1.10 - Responses to Read Texts © Sigma Publications Ltd 2017 ISBN 978-1-877567-50-6 [PDF Workbook V 1.2 : Only for use in NZ schools under a signed user license]
This file licensed forschool use only in
201862 Responding to Texts - Purpose and Audience
1a) Choose ONE text to focus on and explain what you think is the most likely reason (purpose) that the writer had for choosing to write about this topic and to explore the themes they wrote about in the text. You may use your previous work in this workbook to help you construct an answer and develop your reasoning.
Text Title : ………………………………………………………………………………………………………………………………………..
Author / Director : …………………………………………………………… Text Type : ………………………………………………….
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Task 40 Your Text - Purpose and Audience
When writers begin to write a novel, non-fiction book, play, or poem they always consider the potential purpose of the work and the audience they have in mind for the written text.
The Purpose for writing a text can be :
● To entertain ● To inform ● To express feelings ● To persuade ● To affect the reader’s feelings ● To pass on a message ● To make contact ● To explore an idea
The Audience for a work can be :
● Children ● Teenagers ● Adults ● Men ● Women ● Sports people
or people with an interest in a specific to a genre (type of writing) e.g. Science Fiction, Fantasy, Fishing, Cooking, Gardening, Gaming, Sport, History, Romance, Crime, Craft, Biography, or Theatre, Film and Television.
b) Choose ONE text to focus on and explain what you think is the most likely audience that the writer had in mind for this text. You may use your previous work in this workbook to help you construct your answer and develop your reasoning.
Name of your chosen text : …………………………………………………………………………………………………………………...
Author / Director : …………………………………………………………… Text Type : ………………………………………………….
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© Sigma Publications Ltd 2018
NCEA English Workbook AS 1.3 - Unfamiliar Written Texts © Sigma Publications Ltd 2017 ISBN 978-1-877567-26-1 [PDF Workbook V 1.2 : Only for use in NZ schools under a signed user license]
NCEA LEVEL 1EnglishWorkbooks
NCEA LEVEL 1
STUD
IED WRITTEN TEXTS1.1
NCEA LEVEL 1
FORMAL WRITING
1.5
NCEA LEVEL 1
STUD
IED VISUAL OR ORAL TEXTS1.2
NCEA LEVEL 1
CREATIVE WRITING
1.4
NCEA LEVEL 1
UNDE
RSTA
NDING VISUAL / ORAL TEXTS1.11NCEA LEVEL 1
RESP
ONSES TO READ TEXTS1.10
NCEA LEVEL 1
INFO
RMATION LITERACY SKILLS1.9
NCEA LEVEL 1
CONN
EC
TIONS ACROSS TEXTS1.8NCEA LEVEL 1
CREA
TE A VISUAL TEXT1.7
NCEA LEVEL 1
CONS
TRUCT & DELIVER ORAL TEXT1.6
NCEA LEVEL 1
UNFA
MILIAR WRITTEN TEXTS1.3EXTERNAL EXTERNAL EXTERNAL
INTERNAL INTERNAL INTERNAL
INTERNAL INTERNAL INTERNAL
INTERNAL INTERNAL
Class access to the following Level 1 achievement standard PDF workbooks is available only to New Zealand schools under a signed user license with Sigma Publications. Individual students may buy these workbooks via the i-Rite app store. Go to the e-book page on the Sigma website for more information.
Electronic
Workbooks
About the AuthorSusan Battye is an experienced teacher of English and Drama who has taught at secondary schools in Westland and Auckland. The creator of e-media resources for Media Studies, Drama and Dance, Susan’s many English and Drama textbooks are used widely in both New Zealand and Australian primary and secondary schools.
