Subject Matter The Area of Study explores how a central idea is communicated through a number of different texts. The current focus is ‘The Journey’ via one of three electives:

Physical Journeys

What types of physical journeys exist? What obstacles might be faced as a result of the journey? What kinds of opportunities can travellers gain by the

challenges of making a physical journey? How can such journeys challenge thinking and broaden

understanding of the world and self? Imaginative Journeys

How do imaginative journeys inspire speculation and discovery?

In what ways can the imagination challenge thinking? How can imaginative journeys broaden understanding of the

world and self?

Inner Journeys

What are inner journeys of the mind and spirit? How do inner journeys explore the self in terms of growth? In what ways do inner journeys challenge thinking and provide

new insights and understanding of the world and self?

Journey focus:Within Paper One, regardless of the elective studied, students can be required to focus on the different ways ‘journey’ ideas can be communicated within various texts. This might involve identifying and evaluating:

what type of journey is being represented how composers communicate ideas to their audiences why certain features of the journey are represented.

‘Journey’ Themes Core ‘Journey’ themes and motifs or recurring ideas will be found in many different texts. What is commonly found are ideas about the motivations, challenges and revelations of those who have travelled in some way, either physically, imaginativly or introspectively. The various sections in the exam ask students to identify, describe or evaluate such ideas.

Students must understand and be able to discuss the methods and techiques that have been used to present such ideas. This means thinking beyond the basic details of what is presented in the text. The actual journey that is taken within a text is often only the framework for far more significant changes that take place. These occur in the traveller’s mind and are often marked by changes in their attitude or behaviour which can result from the journey experience itself.The first step in identifying such ideas is to identify basic details that may be evident in the different texts. These can help demonstrate the core themes:

Where location, real or imaginary, named or generalised specifically defined and detailed destination type of place such as rural or urban, primitive or modern

Why reasons behind journey motivational and emotional context for the journey being

madeWhen

timeframe, specific date, ancient, modern, futuristic historical context

How means of transport type and nature of journey itself

Who people involved protagonists of the particular journey being described

What results and significant changes that follow from the journey

Types of Journey Journeys can be great or small, long or short, set in the past or

the present. Significant ramifications can flow from all sorts of journey for

those making it. Physical journeys often involve effort, time and a particular

destination or purpose. Imaginative journeys often involve an intellectual or

imaginative exploration of another time and place. The mind rather than physical effort may be involved.

Inner journeys are more introverted and reflective in nature. Journeys can occur en masse such as those made by refugees,

migrants, disaster victims or soldiers or singular such as that of a marathon runner.

Journeys can be related first or second hand, contemporaneously or afterwards.

Traveller’s Experience The nature of the journey itself can have enormous impact on

the traveller. Destination and means of transport can add to the difficulties encountered as well as how long it takes to complete the trip.

Physical, imaginative and personal aspects of a journey often overlap. Pilgrimages for example, can combine a physical journey with a spiritual purpose and have important emotional consequences. These can alter the traveller’s perception of self and world view.

The journey itself can affect a traveller’s mind, attitudes and emotions.

Personal relationships can be transformed as a result of a journey. Being taken out of ‘normal’ circumstances and comfort zones can have significant consequences on those making a journey.

Understanding of self and the world can shift or alter. Journeys can have both negative and positive results that can

be long-lasting. Travellers are often challenged by the obstacles and problems

they face while on a journey. They can assume new roles not previously associated with them. Disasters for example, can often show people in a new light such as being heroic or cowardly, a leader or a follower.

Journey QuotesQuotes can often improve a response by adding a sense of authority. The following list of quotes might prove useful: Look for one or more that suit the prescribed text that has been studied. They need to be effectively embedded into the conceptual overview of what a journey represents.

The journey is the reward. Chinese Proverb "The most beautiful thing we can experience is the

mysterious." Albert Einstein "A good traveler has no fixed plans, and is not intent on

arriving." Lao Tzu "Do not go where the path may lead; go instead where there

is no path and leave a trail." Ralph Waldo Emerson "When you come to a fork in the road, take it." Yogi Berra "If you don't know where you are going, you can never get

lost." Herb Cohen "Imagination is more important than knowledge. Knowledge is

limited. Imagination encircles the world." Albert Einstein "Imagination has always had powers of resurrection that no

science can match." Ingrid Bengis "As I walk, As I walk

The Universe is walking with me." From the Navajo rain dance ceremony

“When you have completed 95 percent of your journey, you are only halfway there.” Japanese Proverb

“Focus on the journey, not the destination. Joy is found not in finishing an activity but in doing it.” Greg Anderson

“To finish the moment, to find the journey’s end in every step of the road, to live the greatest nuimber of good hours, is wisdom.” Ralph Waldo Emerson

“Let your mind start a journey through a strange new world. Leave all thoughts of the world you knew before. Let your soul take you where you long to be…Close your eyes, let your spirit start to soar, and you’ll live as you’ve never lived before.” Erich Fromm “Phantom of the Opera”

“It is good to have an end to journey toward; but it is the journey that matters, in the end.” Ursula LeGuin

“To get through the hardest journey we need take only one step at a time, but we must keep on stepping.” Chinese Proverb

“Too often we are so preoccupied with the destination, we forget the journey.” Anonymous

“There are no short cuts to any place worth going.” Anonymous

Section 1Comprehension skills are assessed in Section 1. The ten minutes ‘reading time’ should be used to skim read the paper in order to get a basic idea of text types used and the content/focus. A number of stimulus texts are provided, followed by 4-5 questions. These texts will reflect general aspects of journeys that will be physical, imaginative and personal. The individual questions relating to these various stimulus texts will vary in mark value and level of difficulty. This differentiation must be taken into account when writing responses.

The final two questions are normally worth the most marks and therefore require the most detailed analysis. The best answers should demonstrate language flair, in depth evaluation of the texts and detailed reference to texts.

Students will probably be asked to identify the ‘journey’ features represented in these texts and discuss how ideas have been communicated or represented. Correct terminology should be used such as figures of speech, irony, satire or poetic method that is being used. Visual techniques may also be involved relating to image content, size, position, framing and other compositional features of graphic texts. Identifying the level of language or the

targeted audience might be appropriate if it affects the overall style or register. Be specific and clear-cut rather than general and use examples to support points being made.

Reading Time Checklist

Try to ‘spot’ the journey ideas being presented in the texts used in Section 1.

Read the questions carefully, noting what task or action terms such as ‘explain’, ‘identify’ or ‘describe’ are used. Be sure about the question focus.

Note how the questions differ from each other. This prevents repeating yourself once you begin answering the questions. Notice how one question can flow onto another.

Look at the mark value and answer accordingly in terms of length and detail.

Note if any introductory or additional comments or details such as dates, locations or names are given about the texts.

Focus on any key words that are used in the question such as ‘techniques’ to ensure you understand what needs to be answered.

When writing your response, check that you are staying ‘on track’.

Avoid repeating yourself as each section is marked by one person.

Expect to find non-fiction and visual texts. These are likely to be represented in the selection of texts used in this or other sections of the paper.

Writing Skills Students need to demonstrate as much writing flair as they can in this section of the paper. Responses can take a wide variety of forms such as:

- Narratives - Articles - Letters - Journals - Travel reports,

travelogues, guides etc

Students need to be familiar with the basic features of various types of ‘travel’ writing. They could be asked to respond to this type of material in Section 1 or be asked to write in one of these format in Section 2.

The text type required by the question in Section 2 will vary from year to year but students will still be required to show what they have learned about ‘journeys’ and how they can be significant to those who make them. This could include the nature of a journey, the sorts of people who go on journeys, what experiences may be involved when on a journey of some kind, what changes might occur as a result of a journey and so on. In addition, students need to keep in mind that whatever is written must be appropriate to the audience, purpose and context suggested by the question itself as well as any accompanying stimulus, if given.

The question rubric at the beginning of Section 2 tells students that they will be assessed on how well they “organise, develop and express ideas”. Written responses need to demonstrate how well you write in terms of written expression, descriptive language and vocabulary. They should also indicate basic writing ability in terms of text type, characterisation and theme development. Keep in mind that not only what is said but how it is said is important.

Students should already have some ‘journey’ themes and ideas thought out well before the exam. Inspiration is unlikely to come in the middle of the exam itself so preparation is necessary. Avoid using overworked storylines and aim to effectively highlight ‘journey’ motifs by demonstrating:

Logically presented arguments

Understanding of the focus elective and the prescribed text that was studied. Detailed knowledge shown through close reference to texts Effective incorporation of other related texts.

Basic Writing Tips1. Avoid boring the marker by aiming for ideas that will surprise or challenge them rather than using stock storylines.

2. Avoid describing a journey as if it were a road map that simply goes from one place to the next and the next. A chronological, list type approach is probably the most boring kind of ‘journey’ response that can be produced. Focus instead on the traveller or travellers making the journey. Highlight perhaps what the journey means to them rather than just concentrating on the places they go to or the things they do along the way.

3. Physical journeys can be arduous and dangerous or exciting and adventurous but reader interest is often aroused more by the impact such journeys make on the traveller who is making them.

4. Incorporate interesting characters, places and narrative situations. Practice different combinations of ideas and explore the many different journey options that are available to you. Consider the aspects of ‘who’, ‘where’, ‘when’, ‘what’, ‘why’ and ‘how’ about the journey idea that is being presented. A simple idea can be given a twist that gives added interest. Read different types of travel writing for inspiration.

‘Journey’ writing tips

Try using unusual destinations, terrain or situations or showing an unexpected or unusual aspect of what is typical.

Show difficulties or conflicts that arise on the journey. These should be kept credible or the reader will not be hooked.

Use flawed protagonist or anti-hero as the main character. Avoid superficial descriptions or stereotypical or unrealistic traits.

Develop conceptual ideas such as enlightenment, growth, loyalty, courage or sacrifice shown in one of the travellers. Remember that you need to take your reader somewhere, physically, imaginatively or personally.

Incorporate where feasible a plot reversal or twist. Try using first person rather than third person narrative. Use a non-chronological plot line such as using a flash-back

sequence. Highlight how the travellers must struggle to survive in testing

physical or emotional circumstances. Incorporate conflict of some kind such as dialogue between

characters. Develop relationships between characters that develop on the

journey. Focus on a change in status, fortune or attitude in one or more

of the travellers as a result of the journey that is being made. Develop strong journey ‘themes’ within the response. Try to build atmosphere and context.

Incorporate the specific text type features called for by the question format.

Sample Practice Question for Sections One or Two:

Visual Text

Section One

(a) (i) Identify two journey conditions highlighted in the photograph. 2

(ii) Discuss one visual technique that has been used. 2 (b) What is the composer’s purpose? 2

Section TwoQuestion ( 15 marks)

You have just submitted an article for a popular Travel Magazine called The Traveller using the image above as a featured graphic.Write the article you have submitted.You can write in any form you choose.

Sample Narrative TextSample Section 2 Question and Response

Question : Journeys of Life

You wish to enter a creative writing competition for young writers entitled “Journeys of Life”. Write your competition entry. Use any journey idea or concept represented in a related text you have studied as the basis for the beginning or ending of your story. You may write from any point of view you choose.

The family sat in the auditorium of the Sydney Opera House, enjoying the words and rhythms of the music as well as the atmosphere. The band ‘America’ had pulled a broad audience, with people of all ages enjoying the classic oldie; “A Horse With No Name”. To the audience it sounded better in real life than any of them had ever heard before…surpassing the hiss of the radio or the pop of the static on their old vinyl records. For many, it was their favourite song, transporting them back to other times and places, on the wings of memory. Of course the words and the arrangement of the instruments were the same, but somehow it sounded so much richer and more intense in real life. As Dewey Bunnell sang “But the air was full of sound” the melody of the song washed over them, everyone embarked on a journey into their past. Each verse evoking personal experiences and individualised journeys of life.The woman, in her forties, suddenly looked much younger, the stark worry lines etched onto her face smoothed and her presence calmer. The song took her back to the young and carefree days of her youth. She remembered how she would sing along to the words “’cause there ain’t no one for to give you no pain” and found herself doing so again with other members of the audience. No-one cared if they looked ridiculous because they were having too much fun reliving and revisiting the past.

Her husband lost his usual grimness as the fingers on his left hand strummed the notes on an imaginary guitar he used to play years before. It seemed impossible this song could momentarily free him from the worries of family life. He stepped back into his youth, to a time when he had hair and didn’t owe anyone any money. He refused to dwell on images of his guitar in its current state, lying broken in the shed. The music helped tame the demons and worries that beset many in the audience. The auditorium erupted into deafening applause when the song ended. They clapped until their hands became sore, mirroring the words of the song; “my skin began to turn red”. While the present would once more encroach as the notes died away, a momentary release had been enjoyed.

"The longest journey of any person is the journey inward."

Dag Hammerskjvld

Extended Response

Section 3 calls for an analytical, extended response that can take a number of forms. Students could be asked for example to write one of the following:

Speech Feature article Essay Report Interview

Regardless of the text type called for by the question, students can thoroughly prepare for this section of the paper. It involves the skilful integration of information about the prescribed text studied, at least one piece of other related material and one text from the Journeys booklet.

The format of the response can vary but any response will require a synthesis of conceptuaal and textual content, that is clearly expressed. The best responses are articulate with detailed analysis of the texts that are used. There must be evidence of understanding of the ‘Journey’ concept as well as textual insight and perception. Interpretation must go beyond the literal level that is often found in simple study guides.

Students must be aware of how ‘journey’ ideas have been represented and communicated and do more than simply

summarise texts. Section 3 answers need to present ideas that are succinct, amplified by additional detail and well supported by textual reference.

Don’t simply retell the story of the journey. Concentrate on what ramifications it has on the participants.

Demonstrate close knowledge of texts by relevant quotes that are integrated logically into the commentary and not simply sprinkled like confetti throughout.

Ensure that the text type features called for by the question format are evident. Part of the marking criteria will assess this.

If the question asks for at least ONE related text, you do not have to give more but simple reference to another is appropriate if there is sufficient time.

The Prescribed Text should predominate in terms of depth of analysis and length. The other related texts will probably only have 1-2 paragraphs each.

Make your style appropriate to the question context. Remember that your aim is to impress the marker with your

analytical skills. General expression skills should obviously be as polished as they can be.

Focus on the ‘journey’ motifs that is evident within texts as well as any conceptual links between the texts.

By preparing beforehand and writing many, many draft responses, exam time can be spent on writing rather than thinking.

Use evidence from the text to support points that are made Use key quotes from the various texts to highlight their

relationship to each other and to the question. Demonstrate knowledge of texts by referring to key scenes,

stages or aspects. Deal with specifics rather than make simplistic, generalised statements.

Demonstrate effective language control Use precise and concise vocabulary to articulate ideas and

knowledge Use the appropriate style, tone, register and text type

features that are required by the question. Avoid personal pronouns such as I think, Instead say It can be

seen, or clearly Avoid colloquialisms or slang

Use the composer’s full name or surname rather than their first name

Refer to the text title in inverted commas Source material properly Use appropriate terminology Keep on track, remembering to make direct reference to the

question at least three times throughout the response. Ensure that all the texts specified within the question have

been included Do not leave yourself short of time for Section 3. It is the most

challenging section of the paper and cannot be rushed.

Sample Question: The impact of journeys can often outlast the time it takes to make them. Explore this idea with reference to the prescribed text studied, at least one related text and one text from the BOS Journeys booklet.

Sample Response 1 Focus - Physical Journeys – Prescribed Text-Skrzynecki

The impact of a physical journey can last much longer than the journey itself. Various text demonstrate this, including Robert Frost’s poem The Road Not Taken, several of Skrzynecki’s poems that are set for study, Palin’s written diary of his Sahara journey and Poole’s article The Place Where God Died . These fiction and non-fiction texts offer insight into why the impact of journeys can be so powerful and long-lasting. Physical journeys can be very important in people’s lives for travel has the potential to broaden understanding and extend a person physically, emotionally and intellectually. The writer Miriam Beard noted that “Certainly, travelling is more than the seeing of sights; it is a change that goes on, deep and permanent, in the ideas of living.”

Such ideas are evident in Frost’s well-known poem from the Journeys booklet. He depicts man’s universal journey through life by using a journey motif about choosing which road to take. First person narrative is used to posit the belief that choosing the right road in the woods or in life itself has significant consequences. “I shall be telling this with a sigh” indicates the emotional impact of choosing only one of the possible directions that could be taken. His assertion; “I took the one less traveled by,” highlights the satisfaction that has been generation by following his own non-conformist path through life, which has allowed him to learn about the world first hand and so broaden his outlook. He offers a philosophic challenge to the reader that invites us to reflect and assess our own life journeys.

Peter Skrzynecki’s poems use migrant experiences to speculate on cultural journeys that can impact on families long after they have left their homelands. Immigrants at Central Station – 1951 is set after the family’s internment in the Migrant Hostel in Parkes. It shows various migrant families in transit once more, nearing the end of their migratory journey. There is a pervading sense of disorientation that captures the sense of things being unfamiliar and unnerving. A bleak and depressing mood is established by the cold morning; “The silence, the cold, the benevolence of empty streets”. Such details stress the uncertainly of their future although the word ‘benevolence’ implies that the ‘streets’ mean them no overt harm.

Parkes had been crowded, stressful and challenging with people trying to get their bearing, find security in an atmosphere of chaos, transition and anonymity. In this poem, the “train’s whistle” represents a departure from that stage of their lives with new farewells to fellow migrants trying to find ‘home’. There is no turning back and this knowledge is obvious in their facial anxiety while reference to ‘Rain’ symbolizes the hardship and sadness they feel by reference to tears. Space itself becomes effectively personified, heightening the sense of vulnerability and emotional fragility.

Physical closeness is emphasized by Skrzynecki use of run-on lines. The harsh simile of “cattle brought for slaughter” can be seen as a metaphor of Jewish people during World War II being brought to their deaths. It also implies the closeness of the immigrants on the station platform being similar to the crowded conditions on abattoirs trains. The

juxtaposition of the pigeons and immigrants exemplifies freedom of the birds and how they have settled in. “Cutting us off from the space of eye sight” is used to denote the blindness of the immigrant’s future. The personification of time in the couplet “While time ran ahead,” also alerts us to the fact that their journey’s end is not only uncertain but life long.

The lasting effect of the journey is also evident in “Feliks Skrzynecki.” The poem is a paean praising the life that Feliks has lived. This poem shows the long lasting impact of their physical journey to a new land and life on both the second generation of the family. The new culture is foreign to Feliks so he creates his own world and Skrzynecki uses a simile and allusion that Feliks “Loved his garden like an only child.” By “walking its perimeters” he has surrounded his small private world. Life is foreign but ironically, the child finds the father’s Polish friends ‘foreign’ and even admits that he; “forgot my first Polish word”. Metonymy is used to represent the loss of language and show the impact on father and son. The symbolism of Hadrian’s Wall denotes the course of adolescence taking Skrzynecki “Further and further south” towards Australian and English culture. Skrzynecki is trying to express how his family has journeyed to Australia but he has continued the journey and approached a truly Australian cultural self. This is much like the journey of life that Frost explains.

Another journey that significantly impacts on the traveler who makes it, is Michael Palin’s “Sahara.” His 2001 account of a journey he took through the Sahara in the northwest of Africa. Not only had a lasting impact upon him but also upon the people reading his story. Michael Palin’s journey through the Sahara has allowed him to see other people and experience their cultures. In a refugee camp in Smara, Palin quoted the people as saying that this “cheerless landscape is only a temporary resting place on the journey back to their homeland.” This would have left Palin wondering if they ever made it home. The essence of refugee camps is also brought out in Skrzynecki’s poetry. To allow the reader to feel the full impact of the journey Palin uses multiple adjectives that embody the true Saharan experiences, for example “…sun-bleached, rubble-strewn wilderness…”. This lets the reader observe and have a small taste of what the Sahara is really like.

Melanie Poole also brings forward the experiences of others. Poole’s “The Place Where God Died” retells the story of the Osmani’s escape from Kosovo. After their arrival in Australia, their physical journey was interrupted by their placement in detention. Here is another key relationship between refugee’s and migrants, which are expressed in Skrzynecki’s poems. The impact of this journey was that Gizele Osmani changed her thinking and expressed her loss of faith in the Australian government: “I can never forgive the Australian Government.” Furthermore Gizele’s children were affected by their experience in the detention centre, “Now the children wake up in the night screaming thinking that guards are by their beds.” The technique of using realistic description by Poole makes clear the impression that life in a detention centre has made. This article gains sympathy for the detainees.

Physical journeys certainly provide insights into the world, which often change people’s expectations. Frost, Skryznecki, Palin and Poole make evident such changes in their use of language and description as they describe the impacts of physical journeys. It is at the end of the journey that you can appreciate how they have evolved as people. As Ursula K. LeGuin so elegantly put it “It is good to have an end to journey towards, but it is the journey that matters in the end.”

When making reference to other related material in the exam, it is unlikely that any more than 250-300 words can be spared to do so. As a rule, there is no need to refer to more than two. This makes it very important to prepare polished paragraphs prior to the exam itself. If a link can be made to the prescribed text and the chosen item/items from the BOS Journeys booklet, all the better. By clarifying the important points that need to be made in lengthier responses such as those that have been given as samples in earlier sections of this book, it is easier to adapt the information to suit the question that is actually asked.

Lnks with ORTs will be made in the extended response in Section 3. Regardless of what type of text is chosen, the aim must be to focus on the journey motif that is explored within it. Reference should be made to the methods used to represent and communicate the main ideas to the audience. The most commonly used related texts include the following:

Films Poems Songs Short Stories Articles Television Documentaries

Songs

Imagine by John Lennon

Imagine there's no heaven,It's easy if you try,No hell below us,Above us only sky,Imagine all the peopleliving for today...

Imagine there's no countries,It isnt hard to do,Nothing to kill or die for,No religion too,Imagine all the peopleliving life in peace...

Imagine no possesions,I wonder if you can,No need for greed or hunger,A brotherhood of man,Imagine all the peopleSharing all the world...

You may say Im a dreamer,but Im not the only one,I hope some day you'll join us,And the world will live as one.

http://www.merseyworld.com/imagine/lyrics/imagine.htm

Student ResponseIn “Imagine” John Lennon journeys through an imaginary world, inviting his listeners to join him in a different place. Here there is no war, religion, possessions or conflict. “Nothing to kill or die for”. Lennon, a high profile singer, challenges our perspectives and ideas of our current world. He speculates what could be by repeating the trigger word “imagine” and by using evocative images that are expressed colloquially to reach a broad audience. In this idealistic world contemplated by Lennon, there is a pervading sense of peace, unity and understanding; “a brotherhood of man”. Contemporary ideas and values regarding; “religion….greed….hunger” are queried by the possibilities of an alternative world. “Imagine” impacts on our attitudes and alters our perceptions.

Lennon’s lyrics invite us to think about alternatives to the current world situation. He asks us to ponder what could take its place. He arouses our interest and attention by appealing to our emotions. He suggests that it is achievable, that all we have to do is to “imagine”. Listeners are encouraged to become involved. In every verse there is a line that reinforces the potential to change the world because; “it’s easy if you try”.

Lennon’s speculative journey is philosophical and intellectual, a journey into the listener’s imagination. We are taken beyond the present into the future, to another way of living. Different social codes are suggested, that are free of the dogma associated with ‘heaven’, ‘hell’ or ‘countries’. The outcome and significance of even attempting this imaginary journey is the possibility of creating something closer to ‘heaven’ on earth where everyone can; “live as one”.

Sample Song Text

A Horse With No Name by America

On the first part of the journeyI was looking at all the lifeThere were plants and birds and rocks and thingsThere was sand and hills and rings

The first thing I met was a fly with a buzz And a sky with no clouds The heat was hot and the ground was dry But the air was full of sound

{Refrain}

I been through the desert on a horse with no name It felt good to be out of the rain In the desert you can remember your name Cause there ain't no one for to give you no pain (la la la...)

After two days in the desert sun My skin began to turn red After three days in the desert fun I was looking at a riverbed And the story it told of a river that flowed Made me sad to think it was dead

You see...

{Refrain}

After nine days I let the horse run free Cause the desert had turned to sea There were plants and birds and rocks and things

There was sand and hills and rings The ocean is a desert with its life underground And a perfect disguise above Under the cities lies a heart made of ground But the humans will give no love

You see, ... (Refrain) www.Yimpan.com (http://www.yimpan.com

This well known song makes use of many of key journey themes already identified throughout this book. The journey described within the song is divided into three main stages:

Specific Journey Motifs

Opening line implies that this is a journey of several parts or stages The traveller is journeying over a landscape that is full of ‘life’ in terms of ;

‘plants and birds and rocks and things’. The physical quality of the environment are described including that it is

hot, sandy but also full of sounds The refrain tells us that it is a desert. This is obviously different to the

traveller’s normal environment because it refers to the absence of rain and people.

The journey lasts nine days The traveller experiences freedom and a sense of release during his

desert sojourn The Journey ends when the desert crossing has been completed and the

sand gives way to ‘sea’. Depicts the changes that have occurred to the traveller as a result of his

journey experiences. References are made to ideas of ‘freedom’ and open spaces that are

found to be therapeutic. The journey through the desert allows the burdens of present life to be

shed. Innate hazards that accompany long, distances on the open road are

highlighted. It implies the thrill of going to new places and seeing new things. The narrator engages the listener as an average individual, typical in his

desire to get away, find release and meaning in his life. Getting back to nature is a stereotypical fantasy shared by many and the

benefits of this are depicted within the song.

Techniques - How the singer convey impressions about the journey?

Use of first person narrative “I” to give a personal tone and perspective to the lyrics.

Listing things that are seen, heard or experienced on the journey emphasises that the traveller is relating to his environment and that the trip is having a sensory impact. He is alert to the world around him, perhaps seeing things in a new light or gaining new insight or inspiration.

The language is colloquial in style and casual in tone; ‘a fly with a buzz’. This relaxed style of expression helps engage the audience. It is conversational and open in the way it relates what the singer feels and thinks.

There is a sense of paradox about the landscape that is being crossed. The singer observes that it is ‘hot’ and ‘dry’, yet offsets this discomfort with the phrase, ‘But the air was full of sound’. This implies that the harshness of the terrain and environment has positive connotations. Appearances versus reality is a theme that is developed later in the lyrics.

The use of anonymity is effective in that it helps reinforce the representational qualities of such a journey. Here the traveller, who remains unnamed, crosses an unnamed desert on a horse ‘with no name’. This namelessness stresses what the man is trying to shed and in so doing what he is seeking to find. The desert crossing becomes a personal expedition to find himself and perhaps explore the fundamental meanings of life. It is similar to the urge that drove Robyn Davidson on her trek across the Australian desert or the satisfaction that Huck and Jim find on their river journey down the Mississippi.

There is a return to phrases used in the opening verse of the song; ‘plants and birds…….’ This repetition implies that a restorative cycle has been achieved. The journey has had the power to rejuvenate the traveller. Setting the horse free is indicative of the newfound freedom the narrator feels.

The metaphoric illusion to disguise and false impressions that was begun in the opening stanza is elaborated in the last.

‘ The ocean is a desert with its life underground And a perfect disguise above’ The sense of freedom from despair created by the phrase; ‘Cause there

ain't no one for to give you no pain’ is echoed in the final verse; But the humans will give no love’. There has been an alteration however because now the traveller seems better equipped to deal with that reality of the ‘normal’ world.

The journey has had a healing effect on the traveller. He has made contact with nature and shed many of the impositions of the false and unnatural world that man tends to exist in.

Direct references to the listener; ‘You see…” helps build rapport between the singer and his audience.

Fast Car by Tracy Chapman

Another contemporary song that traces journeys that have both negative and positive outcomes is “Fast Car”. Here the travel vehicle is a car rather than a spaceship and instead of depicting a journey that heralds a scientific step forward for mankind, the women in this song is fleeing a life that she finds suffocating. She is an escapee from poverty and social impoverishment. This song graphically depicts her urban context, establishing the motivations for her wanting to speed off in the fast car of the song’s title. It has a very different style to “Space Oddity” but it similarly engages the audience’s empathy in the plight of the narrator. We gain entry into the singer’s mind and can identitfy with the feelings explored within the lyrics.

Fast Car By Tracy ChapmanYou got a fast carI want a ticket to anywhereMaybe we make a dealMaybe together we can get somewhere

Anyplace is betterStarting from zero got nothing to loseMaybe we'll make somethingBut me myself I got nothing to prove

You got a fast carAnd I got a plan to get us out of hereI been working at the convenience storeManaged to save just a little bit of moneyWe won't have to drive too farJust 'cross the border and into the cityYou and I can both get jobsAnd finally see what it means to be living

You see my old man's got a problemHe live with the bottle that's the way it isHe says his body's too old for workingI say his body's too young to look like hisMy mama went off and left himShe wanted more from life than he could giveI said somebody's got to take care of himSo I quit school and that's what I did

You got a fast carBut is it fast enough so we can fly awayWe gotta make a decisionWe leave tonight or live and die this way

I remember we were driving driving in your carThe speed so fast I felt like I was drunkCity lights lay out before usAnd your arm felt nice wrapped 'round my shoulderAnd I had a feeling that I belongedAnd I had feeling I could be someone, be someone, be someone

You got a fast carAnd we go cruising to entertain ourselvesYou still ain't got a jobAnd I work in a market as a checkout girlI know things will get betterYou'll find work and I'll get promotedWe'll move out of the shelterBuy a big house and live in the suburbs

You got a fast carAnd I got a job that pays all our billsYou stay out drinking late at the barSee more of your friends than you do of your kidsI'd always hoped for betterThought maybe together you and me would find itI got no plans I ain't going nowhere

So take your fast car and keep on driving

You got a fast carBut is it fast enough so you can fly awayYou gotta make a decisionYou leave tonight or live and die this way

Sample Student Response

Contemporary negro singer Tracy Chapman uses her musical talents to tell the story of a young woman, struggling to cope in a world of poverty, broken families and alcoholism. She dreams of a better life; a chance to “be someone, be someone” and her boyfriend’s “Fast Car” and title of the song, offers a quick escape. Metaphoric images of beckoning freedom are found in phrases such as; “Just ‘cross the border”, “speed so fast I felt like I was drunk”, “city lights lay out before us”. A familiar scene of social oppression, drudgery and hopelessness is depicted but in a way that engages our sympathy.

The narrator’s plight is expressed colloquially, giving credibility and insight so we recognise the drunken father who lives; “with the bottle that’s the way it is”, the selfish husband; “drinking late at the bar” and the stoic wife and mother who vividly remembers her; “plan to get us out of here” in a car; “fast enough so we can fly away”. Time moves on, marked by a change in tense and we listen as sacrifice and hope is replaced by resignation; “I got no plans I ain’t going nowhere/So take your fast car and keep on driving.” Juxtaposing past and present, dreams and reality, the instincts of flight and fight show she has grown while her fellow passenger has duplicated the cycle and stagnated.

“Space Oddity” – David BowieGround Control to Major TomGround Control to Major TomTake your protein pillsand put your helmet on

Ground Control to Major TomCommencing countdown,Engines onCheck ignitionand may God’s love be with you.

[spoken]Ten, nine, eight, seven, six, five, four, three, two one, lift off.

This is Ground ControlTo Major Tom.You’ve really made the gradeand the papers want to know whose shirts you wear.Now it’s time to leave the capsuleif you dare.

This is Major Tom to Ground Control.I’m stepping through the door,and I’m floatingin a most peculiar way.And the stars look very different today.

For here,Am I sitting in a tin canFar above the world.Planet Earth is blueAnd there’s nothing I can do.

Though I’m past One hundred thousand miles,I’m feeling very stillAnd I think my spaceship knows which way to go. Tell my wife I love her very muchShe knows.

Ground control to Major TomYour circuits dead,there’s something wrong.Can you hear me, Major Tom?Can you hear me, Major Tom?Can you hear me, Major Tom?Can you hear me, Major Tom?Can you…

Here am I floatinground my tin can.Far above the moon.Planet Earth is blueAnd there’s nothing I can do.

Space Oddity: ORT ‘JOURNEYS’

The concept of physical journeys is a major theme in the song “Space Oddity” by David Bowie. The lyrics tell a story of a journey to space that began with hope, but ended with pain and human sacrifice. It is a tragic tale of the dangers that journeys bring, and the many challenges that come hand in hand with the adventure of travel and exploration. Physical journeys are a major theme in the song “Space Oddity” by David Bowie.

TECHNIQUES USED:The composer uses many techniques to develop an undercurrent of impending doom and negativity.

The countdown serves to foreground the concept that once a journey has began, it must run its course.

The danger of the journey is reflected in the emotive and challenging term, “If you dare”.

Human sacrifice and the acceptance of mortality and death, is echoed when Major Tom admits that “there is nothing I can do”. His emotional realization reinforces the ‘ultimate’ sacrifices that are made for the greater good of human development and exploration.

The musical switch signifies the point of ‘no return’ – where the journey becomes dangerous.

Link To Topic:

The song is a representation of the ‘negatives’ of journeys. It highlights that dangers of travel, exploration and development. You will contrast and compare this text with “Travelling Shoes”, as examples of a ‘positive journey’ and a ‘negative journey’.

Poetry

“Travelling Shoes”

By Lenore Horowitz

I’ve put a lot of miles on these shoesand they show it.I’ve crossed desserts,climbed mountains,slogged through rainforests,mostly in the dark,when I couldn’t seewhere I was headed.I even swam in oceans.Flew in clear, cold winds

in these shoes,with their custom arches,cantilevered heelsto protect against missteps and downfalls.

Somehow I went a distanceI needed to go,found some things I was looking forwithout knowing why.When I put them onor take them off,I see how far I’ve comein these travelling shoes,but only tracesof where I’ve been.

March 24, 2001

“Travelling Shoes”: The poem “Travelling Shoes” describes the positive effects and individual growth brought about by physical journeys. It is a wonderful example of the mental and emotional growth and maturity that RESULTS from a physical journey.

TECHNIQUES: The composer uses the metaphor of her ‘travelling shoes’ to explore her

achievements and development. She has “crossed desserts, climbed mountains, slogged through rainforests”, all of which depict great endurance and physical struggle.

The inner journeys that have resulted from her physical expeditions are highlighted when the author realizes that she “went a distance”, one that she “needed to go”, where she “found things” she didn’t know she was looking for.

The poem is a clear example of how physical journeys can impact and influence the inner journeys that often are intricately connected.

Rich, poetic and emotive language is used throughout the poem to describe her journeys. The audience is able to picture the journeys in their minds.

Imagery is used to describe the deserts, mountains, rainforests etc. 1st person is used to show that this is a personal and reflective account of a

physical journey.

Link to Topic:

This poem is a wonderful example of the ‘positives’ that are associated with journeys. It highlights that growth, development and experience that journeying can give. When discussing this text, you must remember to discuss the techniques that are used, and how it links to the topic.

If using this text in your exam, discuss in it terms of the positive effects of physical journeys. Compare and contrast it to SPACE ODDITITY, explaining how they highlight the positive and negative elements of physical journeys.

Possible Film ORT’s for Physical Journeys

Road to Perdition Apollo 13 Ice Age Shrek Thelma and Louise

Master and Commander Lord of the Rings – Fellowship of the Ring Amistad Rabbit Proof Fence Stand by Me Beneath Clouds Japanese Story Braveheart A Bug’s Life Cast Away Dances with wolves The Horse Whisperer Paradise Road Star Wars Rain Man Saving Private Ryan Seven Years in Tibet Life is beautiful Gallipoli The Shiralee

Journey: Area of Study – BOS booklet “The Journey”

Text 1: Robert Frost, ‘The Road Not Taken’ This is amongst the most popular texts referred to. Remember this

when deciding on the best text to use within your extended response.

Two roads diverged in a yellow wood,And sorry I could not travel bothAnd be one traveler, long I stoodAnd looked down one as far as I couldTo where it bent in the undergrowth;Then took the other, as just as fair,And having perhaps the better claim,Because it was grassy and wanted wear,Though as for that, the passing thereHad worn them really about the same,And both that morning equally layIn leaves no step had trodden black.Oh, I kept the first for another day!Yet knowing how way leads on to way,I doubted if I should ever come back.I shall be telling this with a sighSomewhere ages and ages hence:Two roads diverged in a wood, and I —I took the one less traveled by,And that has made all the difference.

by Robert Frost

Regrets he can not travel both paths but must choose only one.

Choice is difficult to make, he first ponders and reflects.

Terms ‘wood’ and ‘undergrowth’ & ‘grassy’ imply not well used & therefore more

Both are unspoiled “no step had trodden black.” Apostrophe ‘Oh’

emphasises his emotional input. Builds up to the subsequent term ‘sigh’.

More colour imagery-‘black’ has negative overtones.

Hyphen- stresses the pause & the decision making it reflects.

Colour imagery ‘yellow’ implies autumn-

Repetition “ages and ages” gives added emphasis to decision made & its significance to the way he has led his life.

Simple poem that explores many complex ideas and issues. The concept of journey is used to metaphorically represent the basic choices in life that all people face, regardless of time or place.

The choice between “two roads” and the impacts of this decision is explored in for main stages throughout the poem. The audience traces the thought processes of the character, understanding and emphasising with his decision and doubts.

The tone of the poem is very conversational and inviting. Unembellished and basic language is used rather than figurative language, and the pace

of the poem is skilfully controlled by punctuation methods such as semicolons, colons, exclamation marks and hyphens.

Imagery is used to reinforce the time frame and setting of the poem, and also to emphasise the sense of doubt and regret that only ‘one’ road can be taken.

Inversion in the line, “long I stood’ stresses the amount of thought and deliberation that the poet is giving to his decision.

The use of the apostrophe, “Oh”, foregrounds his despair at not being able to travel both roads.

Sample Paragraph – ROAD NOT TAKEN

“The Road not Taken” is a simple poem that explores many complex ideas and issues. The concept of journey is used to metaphorically represent the basic choices in life that all people face, regardless of time or place. The choice between “two roads” and the impacts of this decision is explored in for main stages throughout the poem. The audience traces the thought processes of the character, understanding and emphasising with his decision and doubts. The tone of the poem is very conversational and inviting. The poet is able to communicate with the reader on a very personal level. It immediately becomes clear, with the use of ‘I’, that this is a very deep personal reflection. Unembellished and basic language is used rather than figurative language, and the pace of the poem is skilfully controlled by punctuation methods such as semicolons, colons, exclamation marks and hyphens. Imagery is used to reinforce the time frame and setting of the poem, and also to emphasise the sense of doubt and regret that only ‘one’ road can be taken. Inversion in the line, “long I stood’ stresses the amount of thought and deliberation that the poet is giving to his decision. The use of the apostrophe, “Oh”, foregrounds his despair at not being able to travel both roads. This is further reinforced by the exclamation mark. The poem, “The Road Not Taken” is an inspirational poem, as it emphasises and foregrounds the message that by taking the least trodden path, the experience will be richer in scope and opportunity.

Text 2: The Ivory Trail

Texts 2-Kelleher, Victor, ‘The Ivory Trail’, Cover

Text: Author’s name: The author’s name is capitalized and centrally located mid page, but off to the left –

attracts the eye The front is rough edged rather than smooth – visual cue to the action style of the novel

Sand ripples creatively blends middle image segment to the one below.

Upturned, youthful eyes lends an enigmatic feel to the cover-sense of discovery & speculation.

The title implies African continent & idea of exploration.

Silhouetted temples-lends a foreign, exotic feel to the cover.

Warm colours of red, yellow & orange fuse & blend different compositional elements.

Superimposed images-visual tracking across and down the page.

Phrase links bright and shadowed sections.

Evocative use of dark shadows which fuses various components together into one unified graphic image.

Stark white – contrast with colourHeading:

Different font is used for tile - capitals size increases with each word – builds tension – emphasises the word “trail” “Ivory” – natural connotations. Physical environment “Trail” – hints that journeys that have elements of danger and are primitive are traveled

on foot. Implies natural terrain rather than an elegant or civilized locality yellow tone provides a strong contrast to the white of the author’s name

Teaser/Phrase: upper and lower case white different font presents a statement, which invites the audience to ponder the meaning sinister overtone – although a journey will take place, but no ending will be reached –

something ominous will happen negative elements: “Not” at the beginning. The word “all” indicates that something

about ‘this’ journey will be intriguing balance is achieved by the placement of the text - top right, middle left, bottom right –

Gutenberg flow. The staggered placement of texts and font styles/sizes adds to the sense of pervading

menace Text = signposts of information which are enriched by the background

Graphics: 3 main headings are mirrored by 3 key graphics which are merged together to form a

continuous background text and images create clues. The blurb is general – the image is distant. The author’s

name – a full face/middle distance. Title – close up of a face. Colour – linking motif. The red/burnt orange tones connect form and substance into one

fluid whole. Contrast between light and dark creates a sense of mystery. Silhouettes and shadows

are juxtaposed by brightly lit areas (face of the sphinx) the central section of the image places the text in Egypt and foregrounds the images of

pharaohs, tombs and past luxury. The vivid white makes this the central section of the cover

the darkness of the bottom right hand corner is offset by the pale lemon of the title – this draws our attention away from the past images, into the human world – the face

we take the angle and direction of the stare to mean that this person is staring up at the sphinx. The face is androgynous, yet non-threatening and young. The upward tilt of the head creates a sense of wonder and awe – reinforce the youthful nature of the human

indirect gaze – submissive - distant eyebrows are lost in the sand/shadow. The ripples denote a physical journey or the

passing of time. The slight hint of hair draws our attention to the topmost image the domed buildings hint at another culture – a figure can be seen, but it is indefinite

and abstract. It is backlit by the sun which creates a peaceful image of beauty and culture

the colour imagery blends the three graphics and increases the sense of passion, adventure and mystery.

Layout: the primary vector line from the eye, to the pyramid to the blurb. However, there are

many vector lines which make sure that no space is wasted on the page – eye gaze; sand ripples; pyramid, text; sunlight.

The three graphics hint at both the traveler and the different stages of their journey The graphics also imply self growth, development and discovery. The publisher’s colophon in the top left hand corner is sufficient to identify the book as a

‘puffin’ publication Layout creates a smooth transition and flow from one place to another

Collage effect seamlessly blends the images on the cover

Sample Paragraph: The Ivory Trail

“The Ivory Trail” is a visual text and a complex representation of the concept of journeys. All three perspectives of physical, imaginative and inner journeys are evident in the text. Visuals are overlapped and merged by means of colour and natural elements of sky, sea and sand. Numerous visual techniques have been used to attract the reader’s attention and to give a sense of mystery and ambiguity. Language and font is creatively used to reinforce the connection with physical journeys. The rough edged font is used to give a visual cue to the possible subject of the novel, while the capitalised lettering and centralised position of the author’s name attracts the audience’s attention. The progressive size increase of the novel’s heading adds emphasis to the word, “TRAIL”, which is a term that implies the dangers associated with physical journeys. The teaser, located in the top right hand corner, provides the audience with a mysterious bait, hinting that no destination will be reached for this traveller. The balance achieved by the placement of text, top right, middle left and bottom right, allows the eye to travel over the whole page, following the hidden vector lines from left to right, top to bottom. The graphics further reinforce the connection with journeys. The images of the sphinx and pyramid offer a time frame, geographical location and historical link, while the extreme close up of the figure’s eyes, give rise the sense of awe and amazement, often linked to travel, experience and discovery. Colour is used as a linking motif. The suffused red and burnt orange tones skilfully connect images and font, into one visual representation. The layout of the text uses fluid vector lines to direct the reader’s eye across the whole of the page. There is a fluidity attained by the placing of text and graphics, ensuring that the reader’s attention is captured and held. The layout, graphics and text are all used to create a flawless and intriguing visual representation of journeys.

“Wind in the Willows” – Characterisation

Text 3: Grahame, Kenneth, The Wind in the WillowsExtract from Chapter 2

He led the way to the stable-yard accordingly, the Rat following with a most mistrustful expression; and there, drawn out of the coach house into the open, they saw a gipsy caravan, shining with newness, painted a canary-yellow picked out with green, and red wheels.

'There you are!' cried the Toad, straddling and expanding himself. 'There's real life for you, embodied in that little cart. The open road, the dusty highway, the heath, the common, the hedgerows, the rolling downs! Camps, villages, towns, cities! Here to-day, up and off to somewhere else to-morrow! Travel, change, interest, excitement! The whole world before you, and a horizon that's always changing! And mind! this is the very finest cart of its sort that was ever built, without any exception. Come inside and look at the arrangements. Planned 'em all myself, I did!'

The Mole was tremendously interested and excited, and followed him eagerly up the steps and into the interior of the caravan. The Rat only snorted and thrust his hands deep into his pockets, remaining where he was.

It was indeed very compact and comfortable. Little sleeping bunks— a little table that folded up against the wall— a cooking- stove, lockers, bookshelves, a bird-cage with a bird in it; and pots, pans, jugs and kettles of every size and variety.

'All complete!' said the Toad triumphantly, pulling open a locker. 'You see— biscuits, potted lobster, sardines— everything you can possibly want. Soda-water here— baccy there— letter- paper, bacon, jam, cards and dominoes— you'll find,' he continued, as they descended the steps again, 'you'll find that nothing what ever has been forgotten, when we make our start this afternoon.'

'I beg your pardon,' said the Rat slowly, as he chewed a straw, 'but did I overhear you say something about "we," and "start," and "this afternoon?"'

'Now, you dear good old Ratty,' said Toad, imploringly, 'don't begin talking in that stiff and sniffy sort of way, because you know you've got to come. I can't possibly manage without you, so please consider it settled, and don't argue— it's the one thing I can't stand. You surely don't mean to stick to your dull fusty old river all your life, and just live in a hole in a bank, and boat? I want to show you the world! I'm going to make an animal of you, my boy!'

'I don't care,' said the Rat, doggedly. 'I'm not coming, and that's flat. And I am going to stick to my old river, and live in a hole, and boat, as I've always done. And what's more, Mole's going to stick me and do as I do, aren't you, Mole?'

Toad:

Highly descriptive details such as colour

Details are itemised to give a very clear visual picture of the scene

Toad’s enthusiastic nature is evident in his tone and vocabulary

Reference to a third character helps define the others by comparison

The term “we” is the first direct hint that he automatically expects Rat to accompany him

Rat’s body language and snorting refusal to move shows his lack of enthusiasm for Toad’s caravan

Direct speech adds immediacy

‘mistrustful ’is emotive

Rat’s icy politeness is is stark contrast to Toad’s racy enthusiasm

Journey phrases “show you the world”.

Italics give readers a very clear idea about Rat’s tone of refusal.

Toad tries to goad Rat into agreement – expects to get his way

Forceful character who is used to getting his own way Exuberant, excited, assertive manner Encourages the idea of exploration and discovery Epitomises all the positive attributes of travel and holidaying Jaded / bored with his life Seeking change, adventure, discovery Impatient

Ratty: Conservative, afraid of change Unimpressed by Toad’s idea Dull, bored, tiresome Opposite to Toad – wants to stay in his “hole in a bank” Like the comfort, security and familiarity of his home

Mole: Mole is described as, “Tremendously interested and excited” by the prospect of

travelling Caught in the middle between Toad and Ratty Less rigid that Ratty, but more practical and logical that Toad.

TECHNIQUES: CHARACTERISATIONIt is the characters in the text that are used to highlight the pro’s and con’s of physical travel and journeys.

Ratty and Toad represent both the positive and negative aspects of journeys. Toad describes journeys as being full of “Travel, change, interest and excitement!” He is jaded with his life at present and seeks “real life”.

Graham manipulates language to emphasis and reinforce the fervour of Toads character. He is determined to make Ratty see his point of view. The humourous pun, “I’m going to make an animal out of you, my boy!” clearly depicts the stubborn streak in his character.

Ratty, however reflects the opposite perception on journeys. He is described as “stiff and sniffy” and is comfortable to stay in his “old river” and lives “in a hole”. He refuses to be caught up in the excitement of the moment and does not care to uproot himself for uncertainty and travel.

Ratty’s character shares many qualities with Gwen in “Away”. Both are reluctant to take a ‘real’ journey and are resistant to change or development.

LANGUAGE

Emotive language is used in the text to reflect the emotions felt by the characters. Dialogue is used to represent the different views and personalities of the characters.

Toad is very positive in his language, while Ratty tends to be very negative and pessimistic.

Descriptive language is used to describe the caravan. It is very bright and is called a ‘gypsy’ caravan, which has connotations of exploration, freedom and travel.

A journey motif is referred to repeatedly throughout the text.

Sample Paragraph - Wind in the Willows

This well-known children’s classic highlights and explores many central ideas

about ‘Journeys’. It compares and contrasts the positives and negatives that are

associated with physical journeys. By using animal figure, the author is able to

represent many human traits and characteristics, while the parable approach allows

Graham to satarise human flaws, foibles and shortcomings with humour. Many

positive connotations of journeys are explored throughout the text. The excitement,

sense of adventure and the expectation of enjoyment and discovery are evident in

Toad’s buoyant nature and attitude. He encourages Ratty to leave the confines of his

environment to ‘see’ the world, however Ratty prefers the familiarity and safety of his

‘Hole in the bank”. Toad sees journeys as things of excitement and new knowledge,

where Ratty looks on it with apprehension and disdain. He is not impressed with

Toad’s wanting to show him “the world!” The text therefore explores the contrasting

pressures of staying and going and the importance of what is new against what is

familiar. The language techniques used in the text highlight and emphasis the journey

motif that is explored. Dialogue is used to differentiate between the characters, by

colouring their attitudes and beliefs. Emotive language such as,

“snorted…triumphantly…and imploringly” help create a realistic atmosphere. Direct

speech is also used to humanise the characters and make them stereotypical

representations of human traits.

Text 4: Atwood, Margaret, ‘Journey to the Interior’Journey Motifs Used:

The mind is an inner world that can be challenging and treacherous Inner journeys take courage and different sorts of road maps to those

used by those exploring physical terrain The journey inwards offers insight and personal growth

Poetic Techniques used: Descriptive language Unusual metaphors Evocative imagery and symbolism Use of the senses

Sample Polished ParagraphAtwood’s monologue traces a journey into the poet’s mind. This is likened to a physical exploration of wilderness that is both inspiring and dangerous. She blends the physical and metaphysical in order to discover the meaning of identity and nationhood. Symbolism and imagery describe the different signposts into her ‘heart of darkness’. This is depicted as a “vacant wilderness” where words are "pointless", because in this mental landscape, no one can hear you scream and “only some have returned safely”.

Her inner journey is largely uncharted, ‘inaccessible’ and unexplored. Freedom to move is limited because here a “compass is useless” and there are no; ‘reliable charts’. Here the traveller can easily become lost, distracted; ‘walking in circles’. The nuances of spoken speech with its truncated sentences and pauses are used to mirror a mental stream of consciousness. Ideas become fused into concepts of discovery and exploration. The journey becomes one of ‘self’, sharing a complex landscape that invites reflection and wonder.

Sample Student ResponseMargaret Atwood takes her reader on an inner journey of sinister new worlds that are mental rather than geographical. Her trip of discovery requires dangers to be overcome for compasses, maps and signposts are useless. The traveller is challenged at every turn and can easily lose their bearings and end up “walking in circles again” . In this place, no-one can hear you scream.

Imagery and symbolism create a complex enviroment where things are not what they seem. Insight is only achieved by exploring what lies hidden in the wilderness beyond. Some people read the poem only on the superficial level of a physical journey but the inner, metaphysical journey that is also described offers understanding of self and the world of the mind.

Text 5: Walker, Renay, ‘Blood on the Tracks’

Journey Motifs Used: The ‘road film’ genre is explored and put into context A particular film that uses a journey motif is analysed Recurring journey motifs such as ‘signposts’, ‘pathways’, ‘crossroads’ and

so on are defined and used to review the qualities of the film The insights and personal growth that are often highlighted in such ‘road

movies’ are examinedReview Techniques used:

Comparitive analysis with other ‘road films’ Journey metaphors used to review film Key aspects of the film discussed Objective and evaluative tone Personal assessment reached

Sample Polished ParagraphRenay Walker evaluates the film ‘Beneath the Clouds’ as an example of a ‘Road Movie’. She defines this term and shows how the road metaphor has been used to present a film “narrative of personal identity”. By looking at a number of important films, both contemporary and classic, she outlines how films often portray a story of personal growth, self-awareness and self-knowledge. The road becomes the vehicle or ‘pathway’ that allows this process to take place.

This film being reviewed presents a ‘rite of passage’ that makes it more than just a ‘rudimentary’ road film. Road metaphors such as ‘path’, ‘passage’, ‘crossroad’, ‘route’ and ‘sign post’ are used as emphasis. She explains how ‘road’ or journey films often show the protagonist reaching a new ‘understanding’ of themselves as a result of what they have experienced on the road. She praises the film’s innovative approach “to blaze its own trail within Australian cinema” while putting the film into a broader genre context.

Sample Student Response

Physical journeys often have emotional and mental consequences as highlighted by the ‘Beneath the Clouds’ film review by Renay Walker. She shows why this is an excellent example of a ‘Road Movie’ where the travellers are challenged by their journey experience ‘en route’. Their perspectives of self and their position in the world undergo change because of the “pathway” they take which allows them to reach a new level of “understanding”. Typical journey metaphors such as “passage”, “crossroad” and “sign post” are used to emphasise how in road movies, the road becomes the instigator of change and personal growth.

Text 6: Journeys over Land and Sea’, from Voyages, A Smithsonian Libraries Exhibition

Journey Motifs Used: The worlds of the explorer are examined through artefacts from the

exhibition The motivations for the different types of journeys made ‘over Land and

Sea’ being displayed by the Smithsonian Library are discussed The various challenges that travellers once faced are highlighted on the

screenshot taken from the Library Website. This uses graphic images as well as text to show some of the journeys that the exhbition is presenting.

Screenshot Techniques used: Informative language that also serves to advertise the exhibition for

people who might be potentially interested in attending Historical overview gives a context for the Library exhibition which is

being described Pictures taken from contemporary maps are used to generate visual

interest

Sample Polished Paragraph

This factual and informative screenshot highlights the relationship between journeys and the expansion of knowledge. The site is also interactive which has broader audience appeal. The various motivations that drive man into the unknown are discussed as is the importance of exploration in history and the connection between science, trave as well as new political, military and commercial opportunities. The site highlights the inspirational and fascinating nature of travel and the forces of fear, greed and wonder that have motivated people to go; ‘beyond their own boundaries’. The image of the sea beast stresses how much was ‘unknown’ and dangerous. Specimens ‘from the natural world’ provided a wealth of material to classify, organise and catalogue. An increasing body of information that was made by ‘historians, ecologists, scientists, and many others’ was also being formulated as a result of these exploratory journeys.

Sample Student Response

Throughout history, mankind has been inspired by the desire to explore and discover new worlds and things; to go beyond known ‘boundaries’ for reasons of trade and exploitation. Finding new places has broadened man’s knowledge and understanding. The associated difficulties that are highlighted by the Smithsonian Exhibition Website speak of a different time when seamen spoke of monsters of the deep and maps gave little guidance of what lay ahead.

Such journeys back in time demonstrate the courage and boldness required by travellers of yesteryear. The images of things that are included amongst the library exhibits give the website

browser some idea of what to expect. Modern visitors to this exhibition can only imagine the hardships of making such journeys into the unknown.

Text 7: Geok-lin Lim, Shirley, ‘The Town Where Time Stands Still’Journey Motifs Used:

The mind is an inner world that can be challenging and treacherous Inner journeys take courage and different sorts of road maps to those

used by those exploring physical terrain The journey inwards offers insight and personal growth

Poetic Techniques used: Descriptive language Unusual metaphors Evocative imagery and symbolism Use of the senses

Sample Polished Paragraph

This text attempts to define what has motivated people to travel throughout the centuries. The fundamental compulsion is described as something ‘subtler’ and more ‘unconscious’ than the desire for profit or pleasure which she dismisses as base. It is ‘the search for the genii loci’ or spiritual protector. The simple pleasures gained from being on holiday are transient in comparison. She speaks of a more spiritual journey, a desire to find meaning and purpose that remains even when the place itself is left.

She speaks of the more imaginative and purer’ sense of traveling that promotes internal transformation. Places can have the power to inspire awe, wonder, salvation and reconciliation. Pilgrimages throughout the ages have acknowledged the spiritual awakening or blessing that is often associated with sacred places that somehow touch the soul. The spirit can be rejuvenated and hope restored by taking a journey. It is this recuperative and restorative ability for a traveller’s ‘internal psychology’ that is the focus of this short extract.

Sample Student Response

This extract from a work written by Shirley Geok-lin Lim highlights the speculative and imaginative nature of journeys. Historically, man has always been inspired to travel by many different things. What the writer emphasises however is that fundamental to people from all times and all cultures, is the desire to be somehow bettered by making a journey to another place. Awe and excitement from what is seen or experienced often leads to positive change. The ‘genii loci’ that she speaks of may have more relevance in older, more pagan communities who still believe in sacred sites but it still relates to a sense of place. Readers can still identify with the mystical connection to place that can occur to the modern traveller. It is not only the destination that can inspire awe but the process of getting there as well as the exciting expectation of what will be found on arrival. She highlights the spiritual growth and rejuvenation that can result from travel. This highlights the relevance of the Taoist saying, “The Journey is the reward.”