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Autumn 2017

PRELIMINARY
HSC AREA OF STUDY: HOPE
ENGLISH

Figure 1. Image from: http://www.lanlinglaurel.com/data/out/136/5152967-feather-wallpaper.jpg.

Teacher Resource | Christina Manawaiti


102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Table of Contents

Stage 6 Preliminary HSC English Module A: Area of Study: Hope .......................................................... 3


The Five Texts: ........................................................................................................................................ 3
Rationale: ................................................................................................................................................ 3
References .............................................................................................................................................. 6
(Hope is a thing with feathers poem by Emily Dickinson, & ............................................................... 9
The Red Tree, picture book by Shaun Tan) ......................................................................................... 9
Lesson 1: Area of Study: Hope ............................................................................................................... 9
Evaluation / Extension ...................................................................................................................... 11
References: Lesson 1......................................................................................................................... 13
(Hopes and Fears, animation by Christian Krupa; & ......................................................................... 14
Perpetual Light, short story by Margo Lanagan) .............................................................................. 14
Lesson 2: Area of Study: Hope .............................................................................................................. 14
References: Lesson 2......................................................................................................................... 17
(And every one was an optimist, Kate Durham,................................................................................ 18
oil and acrylic, 153, 20cm x20cm plates) .......................................................................................... 18
Lesson 3: Area of Study: Hope .............................................................................................................. 18
Appendix A: Lesson 1: Powerpoint: Area of Study: Texts & Contexts .................................................. 21
Appendix B: Teacher Resource: Area of Study: Hope ........................................................................... 26
Preliminary HSC English (Standard) .................................................................................................. 26
Stage 6 Syllabus English Outcomes ................................................................................................... 27
Assessment Tasks:............................................................................................................................. 27
Five Texts – Annotated Resource.......................................................................................................... 28
Emily Dickson (1891). Hope is a thing with feathers. ....................................................................... 28
Shaun Tan, (2001). The Red Tree ...................................................................................................... 30
Christian Krupa (2004). Terra 2050 Episode 4: Hopes and Fears ...................................................... 32
Margo Lanagan. (2004). Perpetual Light (pp. 157-179). ................................................................... 34
Kate Durham (2004). And every one was an optimist. (Figure 7) ..................................................... 35
Lesson Plan 3: Kate Durham: And every one was an optimist .......................................................... 37
Appendix C: Student Worksheets Examples ......................................................................................... 39
Student Worksheet 1: Introduction: Hope concept map ................................................................. 39
Student Information Sheet 2a: Analysing visual texts .......................................................................... 40
Student Progressive Work Sheet 2b: Analysing visual texts ................................................................. 41

17165378 Christina Manawaiti | The Five Texts: 1


102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Student Progressive Worksheet 3a: How to approach a text............................................................... 42


Notice, pattern, contrast, feeling...................................................................................................... 42
Student Progressive Worksheet 3b: How to approach a text .............................................................. 43
Core questions .................................................................................................................................. 43
Student Progressive Worksheet 4: Forms and Features of Texts ......................................................... 44
Similarities & Differences.................................................................................................................. 44
Student Worksheet 4: Links to other texts ........................................................................................... 45
References ............................................................................................................................................ 46
Bibliography .......................................................................................................................................... 49
Images ................................................................................................................................................... 52
Autumn 2017 .......................................................................................................................................... 0
Appendix D: Student Workbook: Area of Study: Hope ........................................................................... 0
Student Resource: Area of Study: Hope ................................................................................................. 2
Preliminary HSC English (Standard) .................................................................................................... 2
Stage 6 Syllabus English Outcomes ......................................................................................................... 3
The five texts: .......................................................................................................................................... 4
Assessment Tasks:................................................................................................................................... 4
Student Worksheet 1: Introduction: Hope concept map ....................................................................... 5
Lesson 1: Emily Dickson (1891). Hope is a thing with feathers............................................................... 6
Student Progressive Worksheet 2a: How to approach a text................................................................. 7
Notice, pattern, contrast, feeling........................................................................................................ 7
Student Progressive Worksheet 2b: How to approach a text ................................................................ 8
Core questions .................................................................................................................................... 8
Lesson 1: Shaun Tan, (2001). The Red Tree ............................................................................................ 9
Student Information Sheet 3a: Analysing visual texts .......................................................................... 11
Student Progressive Work Sheet 3b: Analysing visual texts ................................................................. 12
Lesson 2: Christian Krupa (2004). Terra 2050 Episode 4: Hopes and Fears .......................................... 13
Lesson 2: Margo Lanagan. (2004). Perpetual Light (pp. 157-179). ....................................................... 16
Lesson 3: Kate Durham (2004). And every one was an optimist. ......................................................... 17
Student Progressive Worksheet 4: Forms and Features of Texts ......................................................... 19
Similarities & Differences.................................................................................................................. 19
Student Worksheet 4: Links to other texts ........................................................................................... 20
Resources .............................................................................................................................................. 21

17165378 Christina Manawaiti | The Five Texts: 2


102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Stage 6 Preliminary HSC English Module A: Area of Study: Hope

The Five Texts:

Dickinson, Emily. Hope is the thing with feathers. Video. Read by Claire Danes and signed
by Rachel, aged 9. Poetry Foundation. Retrieved 25 February 2017 from
https://www.poetryfoundation.org/features/video/detail/77372.
Durham, K. (2004). And every one was an optimist. Gabrielle Pizzi Exhibition, Melbourne.
153 panels, 20cm x 20cm. Screenshot from the documentary Hope (2007, 01:40mins),
Steve Thomas (director). Melbourne, Australia: Flying Carpet Films and Gecko
Films.

Krupa, C. (2004). Terra 2050: Episode 4 – Hopes and Fears. (03:00 mins). Vimeo. Retrieved
16 March 2017 from https://vimeo.com/68307309

Lanagan, M. (2004). Perpetual light. In Black Juice. Crows Nest, N.S.W.: Allen & Unwin.

Tan, S. (2001). The red tree. Port Melbourne: Australia: Lothian.

Rationale:

In this Area of Study, the concept of hope is explored in a variety of texts composed at

different times, in various genres, and delivered in a range of modes. Hope operates as an

expression of expectation, trust or confidence, has been personified as one of the three

heavenly graces and can be used ironically (as in ‘no hope)’ (Oxford English Dictionary,

2017). Hope enables universal connections between mankind and nature, life and death,

hardship and triumph, as well as despair tempered with dreams of the future. The five texts

offer an opportunity to make connections between the representation of hope (or no hope) in

various modes and contexts.

Reading and responding to texts is transactional (Watson, 2009) and relational and

dynamic, with each reading having the potential for a new response. The lesson plans

encourage students to personally and collaboratively engage with the texts and provide their

own unique position on representations of hope in their own compositions (English Teachers

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102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Association, 2015). This requires students to ascertain their own personal, cultural and social

text, in conjunction with the internal context of the composer and the external context of the

text (Pope, 2012). To facilitate students engagement with the texts, the Student Workbook

contains the tools to analyse visual texts (Matrix Education, 2013)1 and for the initial analysis

of texts (Pope, 2012).2 As progressive worksheets, each response is added sequentially,

building a progressive picture of critical reading and making connections between texts.

Emily Dickinson’s (1891) lyric poem, Hope is a thing with feathers, is presented both

in written form and in sign language, which gives students the opportunity to broaden their

understanding of ways that meaning is made through abstract, metaphorical and gestural

communication (ACARA, 2016). Dickinson also demonstrates how the imagery and

symbolism of hope is both universal and enduring between nineteenth century and twenty-

first century contexts.

Shaun Tan’s picture book The Red Tree (2001) provides a surrealist representation of

emotions and follows a nameless girl in an aimless narrative. The girl’s struggles through

isolation and powerlessness, depicted by her small figure in large sombre landscapes, is

contrasted by Dickinson’s ‘little bird’ whose tenacity to weather “the storm” (l. 6) and “the

gale” (l. 5) is a testament to endurance. Tan’s images of disaster are replicated in the works of

Krupa (2001): “my greatest fear for the future is environmental destruction; Lanagan (2004):

“It’s a ghost town, a filthy wasteland” (Daphne, p. 169) and Durham (2004): “It was their

hope that drowned them” (Hope, 03:08-03:40). The imagery of adversity is pervasive in all

the texts, but each one also raises hope.

1
Student Workbook: Student Information Sheet 3a and Worksheet 3b.
2
Student Workbook: Student Progressive Worksheet 2a: Notice, pattern, contrast, feeling and Student
Progressive Worksheet 2b: Core questions – what, when, where, how, why and what if?
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102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Christian Krupa’s (2004) animated film, Terra 2050 – Hopes and Fears, explores the

global social, technological, economic and security challenges. Similar to Tan’s images,

hardship and threat are depicted in muted or dark tones: “the future looks a bit dark,” while

images of hope are brighter or rainbow coloured: “people wake up to a world they can

actually live in.” Whereas the world in Margo Lanagan’s short story Perpetual Light (2004)

cannot be lived in and explores themes of death and environmental degradation. The

protagonist, Daphne travels to her grandmother’s funeral through a “treeless plain,” (p. 164)

and towns personified as “a dying collection of buildings like eye sockets and mumbling

jaws” (p. 167), but has a tray of seedlings nestled in the car. The figurative language is

reminiscent of both Krupa’s and Tan’s bleak images, while the seeds are evocative of the red

tree and renewal. This illustrates how different mediums communicate the same concepts.

Finally, Kate Durham’s artwork, And every one was an optimist (2004), acts as a

stimulus to raise community awareness of the plight of refugees. 153 plates graphically

represent the victims of a maritime tragedy. Durham’s artwork is inspired by the survival of

Amal Basry, who in turn becomes the subject of a documentary, Hope (Thomas, 2007) whose

director was inspired by Durham’s exhibition. This demonstrates that the intertextual

relationship between composers and responders is evident in many contexts, not just for

examination in the class room. In the documentary Hope, Amal Basry recalls a conversation

with Durham, “I ask Kate, you travel with us? She said no, I just imagine. Your picture talk! I

found a picture, look like me.” Just as Amal Basry finds images speaking to her, touching her

life and the tragedy she experienced, so too is the classroom a space in which texts touch the

lives of students and are interpreted through collaborative ‘talk’ (Williams, 2016). The

intertextuality and universality of the concept of hope is evident in all of the texts.

17165378 Christina Manawaiti | Rationale: 5


102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

References

Australian Sign Language (Auslan) (n.d.) Signbank: Dictionary. Online. Australian Research

Council: Australian Government. Retrieved from

http://www.auslan.org.au/about/dictionary/.

Australian Curriculum, Assessment and Reporting Authority. (2016). V8.3 F-10 Curriculum:

Senior secondary curriculum: Auslan: Rationale. Retrieved from

http://www.australiancurriculum.edu.au/languages/auslan/rationale

Board of Studies Teaching & Educational Standards NSW. Australian Professional

Standards for Teachers. Quality Teaching Council, Sydney: NSW. Retrieved from

http://www.nswteachers.nsw.edu.au/publications-policies-

resources/publications/australian-professional-standards-for-teachers/

Board of Studies Teaching & Educational Standards NSW. (2012). Stage 6 Syllabus English:

Preliminary and HSC courses. Board of Studies NSW.

Board of Studies Teaching & Educational Standards NSW. (2011). Prescriptions: Area of

study, electives and texts. Higher School Certificate 2009-2014.Board of Studies

NSW.

Dickinson, Emily. (1861). Second Series: VI. Hope is the thing with feathers. In Poems by

Emily Dickinson, three series, complete. Mabel Loomis Todd and T.W. Higginson

(Eds.). A Public Domain Book. Ebook edition.

Dickinson, Emily. (1891). Hope is the thing with feathers. Video. Read by Claire Danes and

signed by Rachel, aged 9. Poetry Foundation. Retrieved 25 February 2017 from

https://www.poetryfoundation.org/features/video/detail/77372.

17165378 Christina Manawaiti | References 6


102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Durham, K. (2004). And every one was an optimist. Gabrielle Pizzi Exhibition, Melbourne.

153 panels, 20cm x 20cm. Screenshot from the documentary Hope (2007, 01:40mins),

Steve Thomas (director). Melbourne, Australia: Flying Carpet Films and Gecko

Films.

English Teachers Association & New South Wales Department of Education. (2015). English

textual concepts: process descriptors and progressions. Retrieved from

http://englishtextualconcepts.nsw.edu.au/sites/default/files/process-descriptors-and-

progressions.pdf

Krupa, C. (2004). Terra 2050: Episode 4 – Hopes and Fears. (03:00 mins). Vimeo. Retrieved

16 March 2017 from https://vimeo.com/68307309. Also on

https://www.behance.net/gallery/30915645/TERRA-2050

Pope, R. (2012). Studying English literature and language: An introduction and companion.

(3rd Ed.). New York: Routledge.

Lanagan, M. (2004). Perpetual light. In Black Juice. Crows Nest, N.S.W.: Allen & Unwin.

Matrix Education. (2013). Techniques for analysing a visual text. Retrieved from

https://www.matrix.edu.au/techniques-for-analysing-a-visual-text/

Tan, S. (2001). The red tree. Port Melbourne: Australia: Lothian.

Thomas, S. (Writer, Director, Producer) and Brooks, S. (Producer). (2007). Hope. Flying

Carpet Films and Gecko Films: Melbourne: Australia.Vimeo link:

https://fpdl.vimeocdn.com/vimeo-prod-skyfire-std-

us/01/22/8/200114688/675701972.mp4?token=58b102f8_0xa32f1a0ae5b72b72b664e

af920bc0c8d1b6cfc71&download=1&filename=HOPE.mp4

17165378 Christina Manawaiti | References 7


102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Watson, K. (2009). Reading / reader response theory. In S. Gannon, M. Howie and W.

Sawyer (Eds.), Charged with meaning: Reviewing English (3rd Ed.).Australia:

Phoenix Education.

Williams, L. (2016). Fostering collaboration. In E. Boaz, E. & S. Gazi, (Eds.), The Artful

English Teacher (pp. 21-39). South Australia: Australian Association for the Teaching

of English.

17165378 Christina Manawaiti | References 8


102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

(Hope is a thing with feathers poem by Emily Dickinson, &


The Red Tree, picture book by Shaun Tan)

Lesson 1: Area of Study: Hope


Class: Year 11 Time: 60minutes

Teacher: Objectives for self

 To practise close reading of texts using Pope’s How to approach a text.


 To compare and contrast analysis with visual text.
 To scaffold students to develop skills in building evidence for our compositions.

Syllabus Outcomes for students


Preliminary English (Standard) Outcome: P1, P2, P4, P53

P1. A student demonstrates an understanding of the relationships between composer,


responder, text and context.
P2. A student identifies and describes relationships among texts by:
2.1 identifying similarities in and differences between texts,
2.2 identifying and describing the connections between texts,
2.3 identifying and describing the ways in which particular texts are influenced by
other texts and contexts.
P4. A student identifies and describes language forms and the features, and structures of
particular texts which shape meaning and influence responses.
P5. A student describes the ways different technologies and media of production affect the
language and structure of particular texts.

Materials
Whiteboard / Smartboard / Laptop / student BYOD

Video: Dickinson, Emily. (1891). Hope is the thing with feathers. Read by Claire Danes and
signed by Rachel, aged 9. Poetry Foundation.
https://www.poetryfoundation.org/features/video/detail/77372

Shaun Tan The Red Tree x 8 (groups)

Area of Study: Hope: Student workbook.


Area of Study: Hope: Teacher Resource and Powerpoint.

3
BOSTES NSW. (2012). Stage 6 syllabus English: Preliminary and HSC courses: Preliminary outcomes.
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102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Procedures
Time Organisation Teaching / learning activities
0-5 Whole class Recap previous lesson – concept map of ‘hope’ and ‘no hope,’ including
perceptions shaped within personal, cultural, historical and social contexts;
analysing visual texts and; Reminder: read- Lanagan, Perpetual Light.

5-15 Whole class Introduction: background context Emily Dickinson (1830-1886)


Activity 1: View: “Hope is a thing with feathers” – audio off.
Activity 2: Brainstorm – on whiteboard
 What language form was used?
 What key words/ideas/images did you get from the signs?
Individual [Activity 2b: in your own time]
 Look up the online resource for Australian Sign Language (Auslan)?
http://www.auslan.org.au/about/dictionary/.Go to the dictionary.
Put your words in the search bar and see if the ‘signs’ match.
 Look up “hopeless”. Do you think it looks similar to the sign for
“hope”? What is the connection between the two signs?

15-30 Think, pair, Activity 3: Watch the video again with the audio on and the Dickinson poem
share text open in workbook
 The original poem was written in the late nineteenth century. Has
the meaning of the poem been changed over time?
 Does each form represent hope or an absence of hope?
 What is the same? What is different?
 Is there equivalence between the two forms? (Do both forms
represent the same meaning? Visual and written texts do not
always correspond).
 How is meaning shaped by different modes of delivery?
Activity 4: Worksheet 2a: notice, pattern, contrast, feeling
 Fill in columns for Dickinson.
 Special attention to body language, symbolism.

30-40 Whole class New text: Shaun Tan The Red Tree (2001)
Teacher: Introduction: Context, definition Surrealism – Dali
Teacher: Think a-loud
Give students example of analyzing visual texts
40-50 Think, pair, Activity 5: “Darkness overcomes you”
share With a partner discuss your first impressions.
Fill in Worksheet 3a: Analysing visual texts in workbook.
Now include your responses in Worksheet 2a: How to approach a text.
Share one of your findings with the class.
50-55 Pairs / Activity 6: with a partner start filling out your responses in Worksheet 4 for
Individual Dickinson & Tan.
What are the similarities? What are the differences? Use the Tan’s picture
table in your workbook to note links to Dickinson’s poem.
How is hope depicted in each text?
Last 5 Recap What did you learn?
mins Homework Tonight: finish reading “Perpetual Light.”
Complete Progressive Worksheets 2a/2b/3a & 4 for Dickinson & Tan.
Next class: Animation and short story: bring workbook, Lanagan’s text.

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102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Evaluation / Extension

Multiple modes of communication

Auslan has been identified as a “formal first language” as it fulfils the same functions and
shares many linguistic principles with spoken languages however; oral-aural language and
visual-gestural language do not always correspond in meaning (ACARA, 2016). In giving
students the opportunity to interpret Dickinson’s poem through sign language, they are able
to expand their understanding of different cultural and personal perspectives that shape
meaning (ACARA, 2016). This strategy also meets the requirements of the Australian
Professional Standards for Teachers (APST) by promoting inclusivity for students from
diverse linguistic backgrounds or disability (APST, 1.3, 1.6).

Brainstorming is an effective strategy for activating students’ prior knowledge and drawing
upon their own experiences, interests, beliefs or cultural understandings (van Haren, 2016).
I prefer to work with a stimulus to engage students’ interest and introduce the content, for
example, a quote, picture or definition; in this case the Auslan video of Hope is a thing with
feathers.

Think-pair-share – the focus questions in the task enable students to reflect on content,
improve their answers with a partner, compose a written response and then share selected
answers with the whole class. The activity functions as a formative assessment of student
understanding and identifies areas for clarification while also giving students feedback on
their participation hence enhancing their engagement (Keally, 2016). It also acts as an
effective tool for reflexive practice by evaluating the effectiveness of teaching strategies and
allowing for adjustments to suit learners (Keally, 2016).

Group work - Understanding, interpreting and analysing texts is a transactional and


relational process. There is communication between the composer and responder, as in the
Reader Response Theory (Watson, 2009) as well as an exchange of ideas through
interpersonal communication (Williams, 2016). Chadwick (2012) suggests that student
engagement can be enhanced through peer interactivity and student- led learning, hence
the inclusion of multiple group activities in the lesson plans, however it is important

Think a-loud demonstrates the processes and strategic decisions made to interpret and
respond to a text – what I notice, see, feel, ask questions about and understand. Although
this is teacher-led, it assists students in scaffolding their own skills and guides them towards
independence in analysing texts (Howard, 2016).

Use of ICT - According to Thompson 2015) student engagement is enhanced through multi-
modal design hence the selection of texts that are visual, oral, and aural; as well as
representations in multiple genres (poetry, prose, fiction, non-fiction, visual arts) and
various modes (written text, video, animation, artwork, picture book, Auslan).

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102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Extension on lesson

Students who are comfortable with analysing the two texts, will be able to take the time to
include detailed quotes and evidence from each text for deeper analysis and comparison, or
to complete reading Perpetual Light in preparation for the next lesson.

There is also an option to prepare for later assessments, by attempting a higher order
thinking (HOT) task:

Formative Assessment: Visual text: What does hope look like?

 Create a poster, artwork, cartoon, meme, emoticon (or other ideas).


 Write a 100 word explanation for your choices of subject, composition, colour,
symbolism, personal influences, and context.

‘What if’ task? What if ‘hope’ was changed to ‘despair’ in Dickinson’s poem? Would other
words need to change to make meaning? Which ones, and why or why not?

In retrospect:

The objectives and outcomes for the lesson are achievable but I have many questions about
whether I have included too many activities and too much content. Is the timing and
sequencing effective? Is the lesson too ‘full’, did I set too many activities? Since the
worksheets are both progressive and informative, the activities on the surface may seem
onerous, but the students only need to respond to one text at a time. Once there are
multiple texts then the format of Worksheets 2, 3 and 4 facilitate easy comparison for
written responses for formative assessments and later summative assessment.

In addition, I would need student feedback on their understanding of key concepts. If not,
what adjustments should I make? Also, I would reflect upon the students’ level of
participation in group work and engagement with the activities. Are there any adjustments
needed?

In terms of sequencing, I had initially included Kate Durham’s artwork here, but decided to
move it to the last lesson due to the complex nature of content and context.

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102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

References: Lesson 1

Australian Curriculum, Assessment and Reporting Authority (ACARA). (2016). V8.3 F-10
Curriculum: Senior secondary curriculum: Auslan: Rationale. Retrieved from
http://www.australiancurriculum.edu.au/languages/auslan/rationale

Board of Studies Teaching & Educational Standards NSW. Australian Professional Standards
for Teachers. Quality Teaching Council, Sydney: NSW. Retrieved from
http://www.nswteachers.nsw.edu.au/publications-policies-
resources/publications/australian-professional-standards-for-teachers/

Chadwick, J. A. (2012). From the Secondary Section: Green Pens, Marginal Notes: Rethinking
Writing and Student Engagement. The English Journal, 101(5), 15-16.

Howard, D. (2016). Gradual release of responsibility. In E. Boaz, E. & S. Gazi, (Eds.), The
Artful English Teacher (pp. 83-102). South Australia: Australian Association for the
Teaching of English.

Keally, A. (2016). Effective formative assessment in English. In E. Boaz, E. & S. Gazi, (Eds.),
The Artful English Teacher (pp. 130-150). South Australia: Australian Association for
the Teaching of English.

Pope, R. (2012). Studying English literature and language: An introduction and companion.
(3rd Ed.). New York: Routledge.

Watson, K. (2009). Reading / reader response theory. In S. Gannon, M. Howie and W.


Sawyer (Eds.), Charged with meaning: Reviewing English (3rd Ed.).Australia: Phoenix
Education.

Thompson, I. (2015). Chapter 6: Communication, culture and conceptual learning: Task


design in the English classroom. In Designing tasks in secondary education:
enhancing subject understanding and student engagement. Abingdon, Oxon: New
York, NY: Routledge, 2015.

Van Haren, R. (2016). Learner engagement. In E. Boaz, E. & S. Gazi, (Eds.), The Artful English
Teacher (pp. 40-57). South Australia: Australian Association for the Teaching of
English.

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102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

(Hopes and Fears, animation by Christian Krupa; &


Perpetual Light, short story by Margo Lanagan)

Lesson 2: Area of Study: Hope


Class: Year 11 Time: 60minutes

Teacher: Objectives for self

To scaffold learning that enables students to understand how meaning is produced.


To foster effective collaborative learning.
To reflect on teaching strategies and student engagement.

Syllabus Outcomes for students


Preliminary English (Standard) Outcome: P1, P2, P4, P5, P6, P7

P1. A student demonstrates an understanding of the relationships between composer, responder,


text and context.
P2. A student identifies and describes relationships among texts by:
2.1 identifying similarities in and differences between texts,
2.2 identifying and describing the connections between texts,
2.3 identifying and describing the ways in which particular texts are influenced by
other texts and contexts.
P4. A student identifies and describes language forms and the features, and structures of particular
texts which shape meaning and influence responses.
P5. A student describes the ways different technologies and media of production affect the language
and structure of particular texts.
P6. A student engages with a wide range of texts to develop a considered and informed personal
response.
P7. A student selects appropriate language forms and features, and structures of texts to explore
and express ideas and values.

Materials
Whiteboard / Smartboard / Laptop / student BYOD
Hard copies: Match-up task x 8 - Cut-up picture/text for Krupa’s Hopes and Fears
Margo Lanagan, Perpetual Light – student texts.

Area of Study: Hope Student Workbook.


Area of Study: Hope Teacher Resource

Procedures
Time Organisation Teaching / learning activities
0-5 Whole class Recap previous lesson –
 Approaches to a text, analyzing visual texts, comparing texts.

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102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

5-15 Groups 3-4 Activity 1: Warm up: Mix and Match Race
Selected extracts of the transcript and screenshots from Krupa’s Hopes and
Fears, are in two piles on each groups desk.
Stopwatch: Ready…set… go… time the fastest group.
Class feedback - why those choices. What did you notice in the images that
connected with the text? Did you use the ideas in Worksheet 3a?
Did you make notes on Worksheet 3b?

Now, view video: Hopes and Fears. Self-correct.


Put the text and images together in your workbook – this becomes evidence
for compositions later.

15-25 Groups Context: Teacher: background to Krupa.

Activity 2: Students: use ICT – go online and search for context – on political
or global events between 2000-2004.
Did these same events impact on Shaun Tan’s images?

Activity 3: Joint construction.


Discuss in your groups:
What were the themes? Whose voices? What context – when was George
Bush in power? Was there a war or terrorism?
Can you relate to the concerns of the ‘voices’? Why?

25-30 Individual Activity 4: In your workbooks: Complete the following phrase and link your
thoughts to the work of either Dickinson or Tan or Krupa.

My greatest fear for the future is…

My greatest hope is…

30-40 Whole class Guided Reading: Perpetual Light


Class check-in: who has finished reading the short story?
What’s the story about? Who is it about? Where is it set?
First I will demonstrate my thinking processes when I read, then I will guide
you through a piece of text.

Activity 5: Teacher: Read the opening line from Perpetual Light and then
Think out loud for students.

“Somewhere between here and Wagga, the winds were stirring up some
metal” (Daphne, p. 159).

Where does ‘Wagga’ locate the text? In New South Wales but not where
the protagonist lives.
What does ‘stirring up some metal’ imply? Unsettling, disturbance, hard.
What do you associate with metal? Hardness. Technology. Industry.
Machines.
Where else in the text is ‘metal’ used? To describe animals.

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Whole class Activity 6: Class volunteer: Read out loud the first two pages: what kind of
life is Daphne describing?
What new terms are strange, yet familiar? What effect does this have on
meaning.
Gazlight, Wunda Verm, Knowledge Nation, PalmPlot, the Old Girl.
What do these terms mean to you?

40-50 Think, pair Activity 7: Class response: Student volunteer reader: from “Place of many
share possums… (p. 166 – 167).

“It was like a lot of towns I had passed through already this morning, a
dying collection of buildings like eye sockets and mumbling jaws,
grey under a grey sky. Its public buildings repurposed to death,
through phases of gentrification, hippie squat and serious
poorhouse.”

In pairs discuss the language forms used. What techniques are used?
What is the tone? Colour? Use worksheets 2 & 3.
Share one insight with the class.

50-55 Individual Where in the text is a sense of hope given? How is it symbolized? How is it
similar or different to Krupa, Tan and Dickinson? Are there connections
between the texts? Use the progressive worksheets to guide you.
Last 5 Recap What did you learn?
mins Homework Tonight – complete composition. Update Worksheets 2, 3 & 4 for today’s
texts. What are the common ideas? Compare how meaning is made in the
texts so far. What is similar? What is different? – Is there a worksheet for
that?

Evaluation / Extension

This lesson builds and extends on the skills students learnt from the previous lesson. Students should
now be familiar with analysing responses to texts and begin making connections between texts.
There are a few new strategies used here not evaluated in Lesson 1. The warm up task is a fun way
to get students interpreting visual texts.

Guided reading is a scaffolded strategy for gradually building students abilities to interpret texts
(Howard, 2016). In this instance selected extracts from Perpetual Light are used to exemplify
Lanagan’s figurative language use. The Think-out-loud task (Activity 5) allows students to witness my
thinking processes when approaching a text, then a small task is given to allow them to process how
language is used in the making of meaning (Activity 6). The paired task (Activity 7) allows for a
collaborative analysis. Next students attempt a passage which uses personification to evoke a sense
of desolation and degeneration (Activity 7) to deepen their analysis.

Extension task: What links can you make between the four texts so far? Where in Perpetual Light is
a sense of hope given? How is it symbolized? How is it similar or different to Krupa, Tan and
Dickinson? Are there connections between the texts? Use the progressive worksheets to guide you.

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In retrospect:

Like lesson one, this lesson feels a bit jammed for time. Strategies such as think-pair-share and think-
aloud have been evaluated previously. The scaffolded activity is an example of a gradual release
activity to develop students’ analysis skills while giving them some agency in how texts are
interpreted (Howard, 2016). The Match up game is a good warm up task to hone skills learnt
previously. Again, I would use student feedback to gauge degree of engagement and understanding
and make adjustments as necessary.

References: Lesson 2

Howard, D. (2016). Gradual release of responsibility. In E. Boaz, E. & S. Gazi, (Eds.), The
Artful English Teacher (pp. 83-102). South Australia: Australian Association for the
Teaching of English.

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(And every one was an optimist, Kate Durham,


oil and acrylic, 153, 20cm x20cm plates)

Lesson 3: Area of Study: Hope


Class: Year 11 Time: 60minutes

Teacher: Objectives for self

To be sensitive to responses to confronting texts.


To recognise how to use textual evidence in literary analysis.
To practice close reading of texts in a collaborative and supportive environment.

Syllabus Outcomes for students


Preliminary English (Standard) Outcome: P2, P9, P10, P13

P1. A student demonstrates an understanding of the relationships between composer, responder,


text and context.
P2. A student identifies and describes relationships among texts by:
2.1 identifying similarities in and differences between texts,
2.2 identifying and describing the connections between texts,
2.3 identifying and describing the ways in which particular texts are influenced by
other texts and contexts.
P4. A student identifies and describes language forms and the features, and structures of particular
texts which shape meaning and influence responses.
P5. A student describes the ways different technologies and media of production affect the language
and structure of particular texts.
P9. A student assesses the appropriateness of a range of processes and technologies in the
investigation and organisation of information and ideas.
P10. A student analyses and synthesises information and ideas from a range of texts for a variety of
purposes, audiences and contexts.
P13. A student reflects on own processes of learning.

Materials
Whiteboard / Smartboard / Laptop / student BYOD

Durham, K. (2004). And every one was an optimist. Gabrielle Pizzi Exhibition, Melbourne. 153 panels,
20cm x 20cm. Screenshot from the documentary Hope (2007, 01:40mins), Steve Thomas (director).
Melbourne, Australia: Flying Carpet Films and Gecko Films.

Video: Hope, documentary (2007). Steve Thomas (writer, director, producer). 00:-03:59 minutes.

Area of Study: Hope Student Workbook.


Area of Study: Hope Teacher Resource

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Procedures
Time Organisation Teaching / learning activities
0-5 Whole class Recap previous

5-15 Whole class Option 2: Activity 1: Responding: Whole class: And every one was an
optimist

Onscreen – Interactive whiteboard or BYOD devices – view Durham’s


And every one was an optimist – brainstorm – What has happened?
Where did it happen? How did it happen? Why? Who are the subjects?
How are they positioned? What do the colours symbolise?

Evaluate response using Progressive worksheets: 2, 3, & 4.


Share. Be sensitive to responses.

15-30 Whole class Activity 2: Context: view extract from documentary Hope (Thomas,
2007).

30-45 Think, pair, Imagery: Does the metaphor of “the little bird” (l. 7) match with the
share image of Amal at sea? What is similar? What is different?
 Is the little bird’s survival of “the gale” and “the storm” on “the
strangest sea” similar or different to Durham’s paintings or
Amal’s story of survival.
 Does Dickinson’s use of “chilliest land” and “strangest sea”
evoke a sense of the experience of refugees attempting to get to
Australia? How? In what way?
 What does “chilliest land” mean – welcome or unwelcome?
Does “strangest sea” give you a sense of being in unknown
waters with unknown dangers or safe and warm.
 Is Dickinson saying that hope is ‘warm’ or ‘chill’?
 Is Durham saying that hope is ‘warm’ or ‘chill’?

45-55 Quote: Amal Basry:

“I look to the colours, to the water. I ask Kate, ‘you travel with us?’
She said ‘no, I just imagine.’ Your picture talk. I found a picture,
look like me. Look like my eyes in the darkness. Look like my eyes
when I believe I am going to die.” (Hope, 07:12-07:58).

How did the artist imagine and represent an event she was not a
participant in? What is this sensitivity called?
What does “Your picture talk” mean?
Why are the words “every” “one” separate? How does that affect the
meaning?

Last 5 Recap What did you learn?


mins Homework Tonight… Complete Progressive Worksheets 2, 3, 4.
Next class: bring workbook – composing responses to connecting texts.

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Evaluation / Extension

This text is the most confronting and possibly difficult to view given the current debate about the
treatment of refugees.

Extension Task: What is your response to Amal’s statement? How does it fit with the concept of
hope in the other texts?

“I ask my God, why am I still alive?”

“I said, maybe I still alive, because maybe I’m going to tell the world what happened to us. I
am going to tell the story of our boat. I am going to tell the tragedy of Iraqi people, why we
escape from our country. I want to explain why we travel by this boat. There is no way. There
is no choice. We must travel by boat” (Hope, 08:38-09:12).

In retrospect:

TEACHING NOTES: In two minds on how to approach this: Either, put the context first then
the artwork, or allow students to give initial response to artwork then give context.
I chose Option 2: Student response first then give context. Given the importance of developing
students’ uniques responses to texts both in the Stage 6 Syllabus (BOSTES, 2012) and academic texts
(Pope, 2012 and Michaels & Gold, n.d.), I have taken the risk of exposing the students to the images
first and allowing them to work through responses.

Take note of students’ response to Kate Durham’s artwork. Is it too confronting or upsetting? If so,
consider replacing with another text, or focussing on different elements.

Links between texts: Sample answer

For Lesson 3:

The intertextuality of hope is evident in Dickinson’s tenacious ‘little bird,’ which speaks to a
nameless girl who finds hope in a red tree, and Daphne’s experience of death which is
softened by her efforts to grow seeds; and Krupa’s fearful respondents who see hope in the
stars, and an artist who becomes an activist. Hence, hope is “just as you imagined it would
be” (Tan, 2001); “hope never stops” (Dickinson, 1891), it is a pathway “to paradise”
(Durham, 2007); a place you “can actually live in” (Krupa, 2004); and it comes “seemingly
out of nothing and for no reason” (Lanagan, 2004).

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Appendix A: Lesson 1: Powerpoint: Area of Study: Texts & Contexts

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Contexts
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Contexts
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

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Contexts
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Contexts
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Contexts
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Appendix B: Teacher Resource: Area of Study: Hope


Preliminary HSC English (Standard)

Rubric:4 This Area of Study requires students to explore the ways in which the concept of
hope is represented in and through texts.

Perceptions and ideas of hope, or the absence of hope, vary. These perceptions are shaped
within personal, cultural, historical and social contexts. A sense of hope can emerge from
the connections made with people, places, groups, communities and the larger world. Within
this Area of Study, students may consider aspects of hope in terms of experiences of escape
and survival, desire and expectation, despair and failure, trust versus disbelief in the future.
These contexts may also impact on notions of identity, relationships, acceptance and
understanding.

Texts explore many aspects of hope, including the potential of the individual to enrich or
challenge a community or group. They may reflect the way attitudes to hope are modified
over time. Texts may also represent choices not to feel hope, or barriers which prevent hope.

Perceptions and ideas of hope in texts can be constructed through a variety of language
modes, forms, features and structures. In engaging with the text, a responder may experience
and understand the possibilities presented by a sense of hope, or the exclusion of hope from
the text and the world it represents. This engagement may be influenced by the different
ways perspectives are given voice in or are absent from a text.

In their responses and compositions students examine, question, and reflect and speculate on:

 how the concept of hope is conveyed through the representations of people,


relationships, ideas, places, events, and societies that they encounter in the prescribed
text and texts of their own choosing related to the Area of Study
 assumptions underlying various representations of the concept of hope
 how the composer’s choice of language modes, forms, features and structures shapes
and is shaped by a sense of hope
 their own experiences of hope, in a variety of contexts
 the ways in which they perceive the world through texts
 the ways in which exploring the concept and significance of hope may broaden and
deepen their understanding of themselves and their world.

4
Adapted from BOSTES, English Stage 6 Prescriptions: Area of Study, (2009-2014) p. 10.
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Stage 6 Syllabus English Outcomes

P1, P2, P4, P5, P6, P7, P9, P10, P13 (2012, pp. 25-27).

P1. A student demonstrates an understanding of the relationships between composer,


responder, text and context.
P2. A student identifies and describes relationships among texts by:
2.1 identifying similarities in and differences between texts
2.2 identifying and describing the connections between texts
2.3 identifying and describing the ways in which particular texts are influenced by
other texts and contexts.
P4. A student identifies and describes language forms and the features, and structures of
particular texts which shape meaning and influence responses.
P5. A student describes the ways different technologies and media of production affect the
language and structure of particular texts.
P6. A student engages with a wide range of texts to develop a considered and informed
personal response.
P7. A student selects appropriate language forms and features, and structures of texts to
explore and express ideas and values.
P9. A student assesses the appropriateness of a range of processes and technologies in the
investigation and organisation of information and ideas.
P10. A student analyses and synthesises information and ideas from a range of texts for a
variety of purposes, audiences and contexts.
P13. A student reflects on own processes of learning.

Assessment Tasks:

What do students produce (compose) to demonstrate their learning and understanding?

A written text – composition – extended response


 a poem about hope, or
 a letter to your adult self about the state of the world, your place in it and your hopes /
dreams for the future; or
 a letter to the Prime Minister of Australia about the treatment of refugees.

A visual text that depicts the concept of hope for example,


 cartoon, poster, artwork, portrait / self-portrait, diorama, meme, or
 multimedia short film clip – ask your classmates what hope means to them,

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Five Texts – Annotated Resource

Emily Dickson (1891). Hope is a thing with feathers.


(Poem = text + video + Auslan5)

Emily Dickinson (1830-1886) is a 19th century American poet who


liked to challenge poetic conventions by “experimenting with
expression” and “making the abstract tangible.”6 Dickinson’s
education reflected the 19th century focus on sciences and Christian
beliefs (although she resisted becoming a Christian). Emily’s interest Figure 2: Emily Dickinson, age 16
(Courtesy of Amherst College
in poetry emerged during college and she was a prolific writer in her
Archives and Special Collections).
later years, although her work was unpublished until four years after
her death.7

Emily Dickinson’s deceptively simple poem “Hope is a thing with feathers” (1861) is the
framework in which the Area of Study concept of hope is explored and connected to twenty-
first century texts. Dickinson uses the metaphor of a bird’s wings to bring the abstract idea of
hope into the reality of everyday life.

VI. HOPE.

Hope is a thing with feathers


That perches in the soul,
And sings the tune without the words,
And never stops at all,

And sweetest in the gale is heard;


And sore must be the storm
That could abash the little bird
That kept so many warm.

I’ve heard it in the chilliest land,


And on the strangest sea;
Yet, never, in extremity,
It asked a crumb of me.

Emily Dickinson.

The poetic form is known as common measure, with a rhyming structure ABAB with
alternate 4 stress (tetrameter) and 3 stress (trimeter) iambic (stressed / unstressed meter) lines.
It is a meter of the hymn and ballad. Many of Emily Dickinson’s poems are written in

5
Auslan = Australian Sign Language. Retrieved from http://www.auslan.org.au
6
Poetry Foundation. Emily Dickinson: Biography. Retrieved 25 February 2017 from
https://www.poetryfoundation.org/poems-and-poets/poets/detail/emily-dickinson
7
Ibid.
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common measure8 – including Hope, with the exception of a double stress emphasis on
“hope” in the first line.

Dickinson draws a relationship between the human and non-human with the spiritual:
“Hope is a thing with feathers / that perches in the soul” (ll. 1-2),
and a universal linguistic understanding:
“And sings the tune without the words,” (l. 3),
combined with a sense of eternity:
“And never stops at all,” (l. 4).

The drawing together of a common understanding of hope through the metaphor of the “little
bird” (l. 7) is further explored through the tenacity to survive “the gale” (l. 5) and “the storm”
(l. 6), as well as alienation: “the chilliest land” (l. 9) and danger: “on the strangest sea” (l. 10).

In the video of “Hope” nine year old Rachel ‘signs’ the poem. In the Australian Curriculum,
Auslan has been included to “broaden students’ understanding that each language is an
integrated, evolving system for the framing and communication of meaning; and encourages
understanding of the role of language as an expression of cultural and personal identity and a
shaper of perspectives.”9 Auslan has been identified as a formal first language:
Signed languages fulfil the same functions as spoken languages in meeting the
communicative, cognitive and social needs of a group of human beings. However, the
modalities of a visual-gestural language like Auslan and those of an aural-oral
language like English are markedly different. Although signed and spoken languages
share many linguistic principles, the visual-gestural modality results in some unique
features of signed languages not found in spoken languages.10

Figure 3. Poetry Foundation. Retrieved from


https://www.poetryfoundation.org/features/video/detail/77372

8
Glossary. https://www.poetryfoundation.org/resources/learning/glossary-terms/detail/common-measure
9
http://www.australiancurriculum.edu.au/languages/auslan/rationale
10
http://www.australiancurriculum.edu.au/languages/auslan/introduction
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Shaun Tan, (2001). The Red Tree

Shaun Tan is a West Australian author, artist and film maker, well
known for his surrealist illustrated texts that challenge social,
political and historical subjects.11 The Red Tree is a compilation of
pictorial metaphors for emotions. The book has no discernible
narrative. The main protagonist is a nameless young girl who
appears in every picture as “a stand in for ourselves.” Tan paints
images that “express possibilities of shared imagination” and yet the
images express ways that approximate familiarity but also evoke a
sense of strangeness and alienation. The girl seems helpless and
Figure 4: Cover. Image from overwhelmed but finds hope at the end of her journey. Tan’s images
https://upload.wikimedia.org/wiki
pedia/en/e/ed/The_Red_Tree_(Sh are ripe for analysis and juxtaposition with the other selected texts.
aun_Tan_book_cover).jpg

Darkness overcomes you

Links: Basry “look like my eyes in the darkness;”


Durham – “It was their hope that drowned them.”
Krupa – “everything goes dark.”
Dickinson – contrast – ‘hope never ends’
The world is a deaf machine

Links: Lanagan – “I had a functional car, safe seed tray,


bloodstream swimming with antibodies” (p.145).
Krupa – “My greatest fear…is that we allow intelligent machines
to take over.”
Nobody understands

Links: Durham – raising awareness, isolation, alienation.


Krupa – people are isolated

Then all your troubles come at once

Links: Durham – the sinking of the SIEV X.


Lanagan – the funeral, finances, health.
Krupa – environment, terror, war.
Dickinson – gale, storm, strangest sea, chilliest land.

11
Shaun Tan: About me. Retrieved from http://www.shauntan.net/about.html
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Sometimes you wait and wait and wait…

Links: Durham – “look like my eyes in the darkness (Basry)


Lanagan – length of time to grow seeds.

Just as you imagined it would be

Light / vector highlights tree.


Girl central. Happy facial expression.
Vibrant colour – red tree contrast dull room, symbolises hope.

Links:
Dickinson – “hope never stops.”
Durham – “they wanted to get to Australia…to paradise.”
Lanagan – “Would they all twelve prove viable, their stalks
strengthening, their greened emerging, thickening, bunching,
seemingly out of nothing and for no reason, vibrating slightly in
their rows?” (p.179).
Krupa – “people wake up to a world they can actually live in.”

Activity: Use Information Sheet 3a: Analysing Visual Texts

Fill in: Worksheet 3b: Analysing Visual Texts – for Dickinson & Tan.

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Christian Krupa (2004). Terra 2050 Episode 4: Hopes and Fears

Background: Christian Krupa is a visual artist / animator / director. In conjunction with the
team from Schroomstudio, a series of 4 short films were produced from the interviews of
over sixty people with a broad range of backgrounds and ages. The interviews were edited
and compiled thematically under ‘Environment, Humans, Technology and Hopes and Fears.
The effect is a form of audiovisual stream of consciousness that gives a snapshot of the
individual, community and global concerns for humanity and what it means to be human.
The images below have been captured from Episode 4: Hopes and Fears

Put the text and images together in your workbook – this becomes evidence for compositions later.

Image (screenshots) Voice over transcript (extracts)


“I don’t think we ever thought about the future …we had two
world wars and we just didn’t have any time to think…”

“The future looks a bit dark”


“It’s going to be dim…and dangerous.”

“I think it’s just a fashion of the times…bomb scares.”

“My greatest fear for the future is environmental destruction.”

“My greatest fear…is that we allow intelligent machines to take


over.”

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“… that people have lost touch”

“My greatest hope…is for the survival of the species and the
planet”

“…have some more collective reasoning about how to make the


world a bit better.”

“We do still have the rainforest…we switch to more clean


renewable energy.”
“People wake up to a world they can actually live in.”

“…the rush towards defining ourselves as human beings…not


just consumers.”

“We are conscious…forms…of…stardust.”

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Margo Lanagan. (2004). Perpetual Light (pp. 157-179).

Award winning author, Margo Lanagan, won multiple Australian


literary awards for young adult fiction for the short story
anthology, Black Juice. In Perpetual Light, the protagonist
Daphne is notified by her mother of her grandmother’s funeral.
The setting is a future, imagined New South Wales that is
polluted, toxic, and environmentally degraded. Human immunity
is declining, financial hardship is endemic and nature is in need
of recruits to regenerate. Lanagan’s use of figurative language,
particularly the repeated metaphor of ‘metal’ suggests an
unnatural landscape of hard emotions and adversity:

“Somewhere between here and Wagga, the winds were stirring up


some metal” (p. 159, first sentence).

Animals are described as scarce, machine-like and suggest a hybrid mutation: “…sometimes
he lost his head and ate half, and brought us the rest, the light gone out of their eyes and the
mechs and bio-springs trailing. This one was possumish and shrewish – a jumper, but with
its jumping mechanism cracked” (p.165).

In describing a male lyre-bird’s display during a mating dance: “He tipped his tail up and
over his head, drawing and shivering it along the ground, watching her from within. The
sound was feathers, but also metal- very light rich rustly metal” (p. 171).

The landscape is desolate and townships are personified as aging degenerating humans, the
effect links the land and people as mutually suffering.

“But Greville? There’s nothing there! It’s a ghost town, a filthy wasteland-” (Daphne,
p.159). “It was like a lot of towns I had passed through already this morning, a dying
collection of buildings like eye sockets and mumbling jaws, grey under a grey sky. Its public
buildings repurposed to death, through phases of gentrification, hippie squat and serious
poorhouse” (pp. 166-167).

There are allusions to intergenerational decline, but like Dickinson’s ‘little bird,’ the
metaphor of birds is used often to suggest toughness: “tough old birds,” (p. 167); endurance:
“old immunities” (p. 167) and fertility: two pages describing the mating dance of the lyre bird
(pp. 170-172).

Daphne’s mother and surviving Aunt Pruitt have a level of toughness: “They liked to think
they were tough old birds, they don’t mind getting out to pee in the poisonous dark” (p. 167).
“We’ve got a lot of old immunities,” Auntie Pruitt was always saying” (p. 167).

Lanagan gives an extended description of her childhood experience with her grandmother
when they witnessed the mating ritual of the lyre bird (pp. 170-172). The passage is full of
colour, onomatopoeia “Py-eep, pip. Py-eep, pip,” ‘Fl’hup!”

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Kate Durham (2004). And every one was an optimist. (Figure 7)

Kate Durham is an artist who creates jewellery, sculpts and paints.


Durham’s work is motivated by her activism for the rights of
refugees and the tragedy of the sinking of a refugee vessel in
international waters between Indonesia and Australia in 2001.
Durham’s exhibition in turn was the inspiration for director Steve
Thomas who made the documentary, Hope (2007, 1:44:15).
Thomas tells the story from the perspective of survivor, Amal
Basry. Amal (whose name means ‘hope’ in English) was one of
nearly four hundred refugees mainly from Iraq who were escaping
the harsh regime of Saddam Hussein.
Figure 5: Image from
“It is estimated that 146 children, 142 women and 65 men lost
https://i.vimeocdn.com/vod_poster
/135390_310x459.jpg
their lives when their boat sank” and of 45 survivors, 7 made it to
Australia (Marriner, 2007, p. 2).12 The circumstances surrounding the vessel known as the
SIEV-X13 are controversial and impacted by the political context of the times, including the
Australian Government’s changes in family reunion policy for refugees and the volatile
public debate surrounding people smuggling and asylum seekers as “boat people” and “queue
jumpers” (Maclurcan, 2006, pp. 4-5).

Durham’s artworks feature throughout the film. In an interview for the making of the
documentary, Durham explains being drawn to re-create the tragedy of the sinking of the
SIEV X because “it wasn’t documented…and paint is obviously a hopeless document.
Nothing I’ve got in my paintings is anything like truth…it’s a stimulus for people’s
imaginations.”14 In the film, Durham goes further to express the risks associated with hope:

“They wanted to get to Australia… to


paradise…they didn’t even get half way across the
ocean.” “They were punished, almost, for their
hope. It was their hope that drowned them”
(Durham: Hope: 03:08-03:40).

Kate Durham dedicates the exhibition, And every


one was an optimist (2004) to Amal Basry. The
screenshot of Durham’s 153 plates depicting the
victims15 is the product of her empathic imagining Figure 6: Image from
http://www.hopedocumentary.com.au/hope/im
of the tragedy and her own feelings of senseless ages/paint03.jpg

12
Katy Marriner, (2007), Hope: A study guide (Australian Teachers of Media (ATOM) and Don Maclurcan,
(2006),The Sinking of the SIEV X (2nd ed.) Secondary Schools’ Case Study Committee. Both texts are available as
artefacts and listed in the Bibliography, but will not be copied for submission to Turnitin.
13
Suspected Illegal Entry Vessel – unknown.
14
Interview, http://www.hopedocumentary.com.au/hope/kate-interview.htm
15
Permission has not been sought to use Kate Durham’s artwork, however the use is for academic purposes
only and not for reproduction and as such meets ‘fair use’ copyright requirements (Australian Copyright
Council, 2014).
17165378 Christina Manawaiti | Five Texts – Annotated Resource 35
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

loss. Durham eventually completed 353 plates, one for each victim, and did a subsequent
exhibition of all artworks in 2006.

The use of Amal Basry’s real-life experience puts into context the concept of hope, the
consequences of taking risks and the tragedy that can unfold. For the purposes of textual
comparison, the full documentary has not been included only the opening sequence (Hope,
2007, 00:00-03:59) with a focus on Amal’s initial hope for reunion with her husband and a
new life for herself and her son.

Amal spent 22 hours in the ocean holding the body of dead woman. She recounts the
experience with haunting reality and simple terms.

“Big wave push me up from my son, to the


other side. I still remember my son he told me,
“Mum, maybe I see you in paradise.” I tell him
“Please, don’t lose the hope…maybe someone
going to save us.” (Hope, 05:02-05:16).

Amal Basry recalls her response to Kate


Durham’s exhibition. Figure 7: Image from
http://www.hopedocumentary.com.au/hope/ima
“I look to the colours, to the water. I ask Kate, ges/paint02.jpg
‘you travel with us?’ She said ‘no, I just
imagine.’ Your picture talk. I found a picture, look like me. Look like my eyes in the
darkness. Look like my eyes when I believe I am going to die.” (Hope, 07:12-07:58).

“I ask my God, why am I still alive?”

“I said, maybe I still alive, because maybe I’m going to tell the world what happened to us. I
am going to tell the story of our boat. I am going to tell the tragedy of Iraqi people, why we
escape from our country. I want to explain why we travel by this boat. There is no way. There
is no choice. We must travel by boat” (Hope, 08:38-09:12).

Postscript: Amal Basry and her son both survived and reunited with her husband. Amal was
able to go overseas to reunite with her extended family once she had a permanent Australian
visa. She died from cancer during filming.

Tenacity / Endurance / Everlasting:


Amal: “don’t lose hope…maybe someone going to save us.”
Dickinson: “Hope (l. 1) .../ never stops at all” (l. 4).

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102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Lesson Plan 3: Kate Durham: And every one was an optimist

TEACHING NOTES: In two minds on how to approach this: Either, put the context first then
the artwork, or allow students to give initial response to artwork, then give context.

Option 1: Activity: Responding: Whole class – watch Hope (4 mins) and view Durham’s
artwork. Evaluate response using Information Sheet 4a: Analysing visual texts and fill in
Worksheet 4b: for Durham’s artwork.

Option 2: Activity: Responding: Whole class: Onscreen – Interactive whiteboard or BYOD


devices – view Durham’s And every one was an optimist – brainstorm – What has happened?
Where did it happen? How did it happen? Why? Who are the subjects? How are they
positioned? What do the colours symbolise? Evaluate response using Information Sheet 4a:
Analysing visual texts and fill in Worksheet 4b: for Durham’s artwork.

Then give context with Hope documentary and quotes from Kate Durham and Amal Basry.

Composing: Formative Assessment: Written response: 100-150 words:


 Respond: As Amal Basry says “your picture talk.” How does Durham’s artwork
“talk” to you? What is represented in 153 plates that cannot be said with just one?

Composing: Formative Assessment: Written response: 200-250 words:


 How does Durham’s visual text connect with the Dickinson’s poem? You can use
Dickinson’s written text or Auslan version.
 Are the ‘signs’ or symbolism similar or different?
 How is hope shown? Give quotes. Refer to the images.

Possible responses: Links to Hope is a thing with feathers

Imagery: Does the metaphor of “the little bird” (l. 7) match with the image of Amal at sea?
What is similar? What is different?
 Is the little bird’s survival of “the gale” and “the storm” on “the strangest sea” similar
or different to Durham’s paintings or Amal’s story of survival.
 Does Dickinson’s use of “chilliest land” and “strangest sea” evoke a sense of the
experience of refugees attempting to get to Australia? How? In what way?
 What does “chilliest land” mean – welcome or unwelcome? Does “strangest sea” give
you a sense of being in unknown waters with unknown dangers or safe and warm.
 Is Dickinson saying that hope is ‘warm’ or ‘chill’?
 Is Durham saying that hope is ‘warm’ or ‘chill’?

17165378 Christina Manawaiti | Five Texts – Annotated Resource 37


102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Figure 8: Durham, K. (2004).And every one was an optimist. Dedicated to Amal Basry survivor of the SIEV X October 2001. Gabrielle Pizzi Exhibition. 153 panels, 20cm x 20cm. Screenshot
from Hope (2007, 01:40mins), Steve Thomas (director). Flying Carpet Films and Gecko Films: Melbourne: Australia.

17165378 Christina Manawaiti | Five Texts – Annotated Resource 38


102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Appendix C: Student Worksheets Examples

Student Worksheet 1: Introduction: Hope concept map

•community values
•national values
social •political values
•laws, regulations, institutions

•Industrialisation
•Suffragette movement
•Trade Union movement
historical •War
•Politics
•Revolution
•Scientific developments

•religious belief
•political beliefs
•family values
personal •prejudice
•gender

•language
•values and beliefs
cultural •customs
•special celebrations

Thinking about Hope – famous quotes

“Once you choose hope, anything's possible.” Christopher Reeve.


“Optimism is the faith that leads to achievement. Nothing can be done without hope and
confidence.” Helen Keller.
“We must accept finite disappointment, but never lose infinite hope.” Martin Luther King.
“Hope smiles from the threshold of the year to come, whispering, ‘It will be happier.’”
Alfred Lord Tennyson.

Whole class brainstorm – synonyms for hope / hopeful and no hope / despair / hopelessness.

Groups: List any social, historical, personal or cultural considerations that may affect the
interpretation and representation of hope and draw on concept map.

Students write: What does hope mean to them?(These are just general ideas for the introductory
lesson prior to introducing texts and commencing assignment lesson plan task - CM)

17165378 Christina Manawaiti | Appendix C: Student Worksheets Examples 39


102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Student Information Sheet 2a: Analysing visual texts16

Angle / The same camera shots and angles relevant to film. Close ups, extreme close ups,
framing medium shots, long shots, tilted up or down shots etc.

Body Facial expressions, gestures, stance or position – can convey the attitude,
language and feelings or personality of the individual shown. Take note of the directions of the
gaze subject’s eyes.
Composition What is included is deliberately placed (also applies to what is omitted). Consider
all inclusions and omissions e.g. surroundings, objects, clothing etc.
Colour, Hue, In black & white images examine the use of contrast, light and darkness. In a
and Tone17 colour image, colours are used to signify feelings and evoke a response e.g.
red=passion, anger, hell, vitality, etc. blue = peace, harmony or coldness.
Contrast The arrangement of opposite elements (light and dark, large and small, rough
and smooth) to create interest, excitement or drama.
Omissions What has been deliberately left out.
Orientation, Relates to framing and angle: is the responder positioned above the image
Point of view (looking down), below or at eye level?
Positioning Consider which objects have been placed in the foreground, middle ground or
background.
Rule of thirds Divide and image into thirds from the top and sides and look at the placement of
people and/or objects. An object in the top third is usually empowered whereas
anything in the bottom third is disempowered.
Salience That part that your eyes are first drawn to in the visual. Colour, image and layout
determine what the salient image is.
Symbolism The use of an image to represent one or more (often complex) ideas.

Vectors The line that our eyes take when looking at a visual. Composers deliberately
direct our reading path through the vectors, e.g. if all the subjects are tall, long
and upright our eyes follow straight vectors that lead to the top of the frame.
This could make the subject seem powerful or inflexible.

16
Matrix Education. (2013). Techniques for analysing a visual text. Retrieved from
https://www.matrix.edu.au/techniques-for-analysing-a-visual-text/
17
Also see Colour Associations in Boaz, E. & Gazis, S. (Eds.). (2016). Figure 5.5: Reading visual language: Colour
associations (p.93). In The Artful English Teacher. Australian Association for Teaching English.
17165378 Christina Manawaiti | Student Information Sheet 2a: Analysing visual texts 40
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Student Progressive Work Sheet 2b: Analysing visual texts


Dickinson, Hope is a thing with Durham, And every one was an Krupa, Hopes & Fears, Tan, The Red Tree (picture
feathers (poem) optimist (artwork) (animation) book)
Auslan version
Angle / framing

Body language /gaze

Composition

Colour, Hue, and Tone18

Contrast

Omissions

Orientation, POV

Positioning

Rule of thirds

Salience

Symbolism

Vectors

18
Also see Colour Associations in Boaz, E. & Gazis, S. (Eds.). (2016). Figure 5.5: Reading visual language: Colour associations (p.93). In The Artful English Teacher. Australian
Association for Teaching English.
17165378 Christina Manawaiti | Student Progressive Work Sheet 2b: Analysing visual texts 41
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Student Progressive Worksheet 3a: How to approach a text19


Dickinson, Hope is a thing with Durham, And every one was an Krupa, Hopes & Fears, Tan, The Red Tree (picture
Notice, pattern, feathers (poem) optimist (artwork) (animation) book)
contrast, feeling
Notice – what stands
out? Image, POV, layout,
sounds, familiar or
strange.

Pattern – What is
repeated or similar?
Words with similar sound
or look.

Contrast – what varies or


is different? Words,
changes in POV, conflict,
ways of seeing the world.

Feeling – mood,
atmosphere, tone.
Personal/impersonal,
formal/informal, positive
or negative, simple or
difficult?

19
Pope, R. (2012). 2.1 Initial Analysis: How to approach a text. In Studying English Literature and Language: An introduction and companion. (3rd Ed.).
17165378 Christina Manawaiti | Student Progressive Worksheet 3a: How to approach a text 42
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Student Progressive Worksheet 3b: How to approach a text20


Dickinson, Hope is a thing with Durham, And every one was an Krupa, Hopes & Fears, Tan, The Red Tree (picture
Core questions feathers (poem) optimist (artwork) (animation) book)
Auslan version
What do you need to
know more about?
Terms, definitions.

What kind of text is it?


Poetry – ballad, lyric
poem; prose - short
story, novel, comedy,
tragedy, sci-fi; Visual –
animation, artwork,
video, image.
When and where is the
text located in place and
time? Within text and
outside of text.
How precisely is it done?
Visual texts see analysis
sheet. Written – word
use, structure,
punctuation, cohesion.
Why was it written and
why do you respond as
you do?
What if the text were
changed – in some way
similar yet different?

20
Pope, R. (2012). 2.1 Initial Analysis: How to approach a text. In Studying English Literature and Language: An introduction and companion. (3rd Ed.) (pp.84-86).
17165378 Christina Manawaiti | Student Progressive Worksheet 3b: How to approach a text 43
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Student Progressive Worksheet 4: Forms and Features of Texts


Similarities & Differences21
Dickinson, Hope is a Tan, The Red Tree Krupa, Hopes and Fears Lanagan, Perpetual Light Durham, And every one
thing with feathers was positive
Protagonist Anonymous: Little bird / Anonymous: Nameless Un-named: Over 60 Daphne, young woman Un-named Iraqi refugees –
hope little girl. interviews from a range of distanced from family. victims and survivors of
backgrounds and ages. boating tragedy.
Setting / context 19th Century – scientific Turn of the century. Post 20th-21st Century. War, Set in future polluted NSW. 21St Century, refugee crisis,
revolution, education for 9/11. Terrorism. Fear. terrorism, violence, Ongoing public debate on political debate, community
women industrialisation, Alienation, depression, environmental degradation, climate change and awareness, political
technology, industrial pollution, consumerism, sustainability. Extinction of activism.
development. fear, technology, collective species. Low immunity.
hope.
Action Endures storm and gale. Episodic, no discernible Visual montage that Attends grandmother’s Viewer / audience in an art
Tenacity. Selfless. story line, but there is expresses predominantly funeral in rural polluted exhibition. Passive observer.
Unconditional. progression from fears for the future, with area. Movement from
adversity to hope. some elements of hope. protected area to danger.
Language Poetic, lyrical, regular Figurative. Common language. Spoken Colloquial -“Bob’s your Colour, form, perspective,
rhythm and metre. dialogue. uncle” (p.161). Figurative. composition.
Imagery and ‘the little bird’ Alienation, isolation, Dark, sombre colours black - Nature linked to technology Sombre ocean colours, dark,
symbolism ‘strangest sea’ powerlessness. fear; muted orange and – survival linked to despairing.
‘chilliest land’ Renewal through nature greens – environment in technology/medicine/protec Hope vs hopelessness.
‘hope never stops’ and collective action. decline, bright blues, ted habitats.
selflessness rainbow = hope.
Performance Uses metaphor to realise Pictorial montage of Stream of consciousness. As a vision of the future that As a stimulus to cultural and
abstract concept. Links emotions. Visual / aural is polluted and degraded. social awareness of the
spiritual, human/non- correspondence in meaning. Links human/non-human. plight of refugees.
human.
Production / staging Auslan in online video Picture book – surrealist Animation Short story in anthology Artwork – 153, 20cm x 20cm
and anthology of images and Black Juice plates. Art exhibition.
published works. corresponding text.

21
Boaz, E. & Gazis, S. (Eds.). (2016).Figure 1.10: Similarities and differences table (p.18). In The Artful English Teacher. Australian Association for Teaching English.
17165378 Christina Manawaiti | Student Progressive Worksheet 4: Forms and Features of Texts 44
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Student Worksheet 4: Links to other texts

Dickinson, Hope is a thing Tan, The Red Tree Krupa, Hopes and Fears Lanagan, Perpetual Light Durham, And every one was
with feathers positive

“hope never stops” Emerging from adversity. “We are all stardust.” Renewal: Hope comes “Paradise” = survival.
Links: Links: “We can have a world you can “seemingly out of nothing and Dickinson’s little bird and ocean
Durham’s images of the ocean. Durham actually live in.” for no reason.” imagery.
Lanagan’s perpetual light – Lanagan Links: the red tree last page. Links: Krupa’s fears.
Survival through adversity. Krupa Daphne’s seedlings. Dickinson: self less, extremity. Tan’s disaster strikes.
Dickinson Hope through adversity.
Anonymity: little bird Anonymity: nameless girl Anonymity: nameless voices Contrast: Daphne is a named Un-named victims of tragedy.
(until the credits at the end, but character.
still no way to identify which
voice goes with which name).

For Lesson 3:

The intertextuality of hope is evident in Dickinson’s tenacious ‘little bird,’ which speaks to a nameless girl who finds hope in a red tree, and
Daphne’s experience of death which is softened by her efforts to grow seeds; and Krupa’s fearful respondents who see hope in the stars, and an
artist who becomes an activist. Hence, hope is “just as you imagined it would be” (Tan, 2001); “hope never stops” (Dickinson, 1891), it is a
pathway “to paradise” (Durham, 2007); a place you “can actually live in” (Krupa, 2004); and it comes “seemingly out of nothing and for no
reason” (Lanagan, 2004).

17165378 Christina Manawaiti | Student Worksheet 4: Links to other texts 45


102

References

Australian Sign Language (Auslan) (n.d.) Signbank: Dictionary. Online. Australian Research

Council: Australian Government. Retrieved from

http://www.auslan.org.au/about/dictionary/.

Australian Curriculum, Assessment and Reporting Authority. (2016). V8.3 F-10 Curriculum:

Senior secondary curriculum: Auslan: Rationale. Retrieved from

http://www.australiancurriculum.edu.au/languages/auslan/rationale

Board of Studies Teaching & Educational Standards NSW. Australian Professional

Standards for Teachers. Quality Teaching Council, Sydney: NSW. Retrieved from

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resources/publications/australian-professional-standards-for-teachers/

Board of Studies Teaching & Educational Standards NSW. (2012). Stage 6 Syllabus English:

Preliminary and HSC courses. Board of Studies NSW.

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study, electives and texts. Higher School Certificate 2009-2014.Board of Studies

NSW.

Chadwick, J. A. (2012). From the Secondary Section: Green Pens, Marginal Notes:

Rethinking Writing and Student Engagement. The English Journal, 101(5), 15-16.

Dickinson, Emily. (1861). Second Series: VI. Hope is the thing with feathers. In Poems by

Emily Dickinson, three series, complete. Mabel Loomis Todd and T.W. Higginson

(Eds.). A Public Domain Book. Ebook edition.

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Dickinson, Emily. (1891). Hope is the thing with feathers. Video. Read by Claire Danes and

signed by Rachel, aged 9. Poetry Foundation. Retrieved 25 February 2017 from

https://www.poetryfoundation.org/features/video/detail/77372.

Durham, K. (2004). And every one was an optimist. Gabrielle Pizzi Exhibition, Melbourne.

153 panels, 20cm x 20cm. Screenshot from the documentary Hope (2007, 01:40mins),

Steve Thomas (director). Melbourne, Australia: Flying Carpet Films and Gecko

Films.

Durham, K. University of Queensland – Siev X series. Retrieved from

https://katedurham.com/university-of-queensland-tiles/

English Teachers Association & New South Wales Department of Education. (2015). English

textual concepts: process descriptors and progressions. Retrieved from

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progressions.pdf

Howard, D. (2016). Gradual release of responsibility. In E. Boaz, E. & S. Gazi, (Eds.), The

Artful English Teacher (pp. 83-102). South Australia: Australian Association for the

Teaching of English.

Krupa, C. (2004). Terra 2050: Episode 4 – Hopes and Fears. (03:00 mins). Vimeo. Retrieved

16 March 2017 from https://vimeo.com/68307309. Also on

https://www.behance.net/gallery/30915645/TERRA-2050

Lanagan, M. (2004). Perpetual light. In Black Juice. Crows Nest, N.S.W.: Allen & Unwin.

Matrix Education. (2013). Techniques for analysing a visual text. Retrieved from

https://www.matrix.edu.au/techniques-for-analysing-a-visual-text/

17165378 Christina Manawaiti | References 47


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Michaels, W. & Gold, E. (n.d.). Episode 1: As time goes by. METAphor (pp. 90-99). English

Teachers Association, NSW.

Poetry Foundation. Emily Dickinson: Biography. Retrieved 25 February 2017 from

https://www.poetryfoundation.org/poems-and-poets/poets/detail/emily-dickinson.

Pope, R. (2012). Studying English literature and language: An introduction and companion.

(3rd Ed.). New York: Routledge.

Tan, S. (2001). The red tree. Port Melbourne: Australia: Lothian.

Thomas, S. (Writer, Director, Producer) and Brooks, S. (Producer). (2007). Hope. Flying

Carpet Films and Gecko Films: Melbourne: Australia.Vimeo link:

https://fpdl.vimeocdn.com/vimeo-prod-skyfire-std-

us/01/22/8/200114688/675701972.mp4?token=58b102f8_0xa32f1a0ae5b72b72b664e

af920bc0c8d1b6cfc71&download=1&filename=HOPE.mp4

Thompson, I. (2015). Chapter 6: Communication, culture and conceptual learning: Task

design in the English classroom. In Designing tasks in secondary education:

enhancing subject understanding and student engagement. Abingdon, Oxon: New

York, NY: Routledge, 2015.

Watson, K. (2009). Reading / reader response theory. In S. Gannon, M. Howie and W.

Sawyer (Eds.), Charged with meaning: Reviewing English (3rd Ed.).Australia:

Phoenix Education.

Williams, L. (2016). Fostering collaboration. In E. Boaz, E. & S. Gazi, (Eds.), The Artful

English Teacher (pp. 21-39). South Australia: Australian Association for the Teaching

of English.

17165378 Christina Manawaiti | References 48


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Bibliography

Australian Sign Language (Auslan) (n.d.) Signbank: Dictionary. Online. Australian Research

Council: Australian Government. Retrieved from

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“hope” Retrieved from http://www.auslan.org.au/dictionary/words/hope-1.html

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Fiske, A. (2007). An interview with Margo Lanagan. Journal of Adolescent & Adult Literacy,

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Glossary. Poetry Foundation. Retrieved from

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dickinson-hope-is-the-thing-with-feathers-1891/

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The Poetry of Emily Dickinson. National Endowment for the Arts (NEA). Retrieved from

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clocks-meaning.html

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102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Images

Black Juice, cover. Image from https://s3-ap-southeast-


2.amazonaws.com/assets.allenandunwin.com/images/small/9781865088266.jpg

Cover wallpaper – feather. Image from http://www.lanlinglaurel.com/data/out/136/5152967-


feather-wallpaper.jpg

Emily Dickinson, age 16. Courtesy of Amherst College Archives and Special Collections.
http://www.literaryhistory.com/19thC/Public_Domain_Photos/Dickinson.jpg

Hope, poster. Retrieved from https://i.vimeocdn.com/vod_poster/135390_310x459.jpg

Kate Durham. And every one was an optimist.

Woman in the water. Image from


http://www.hopedocumentary.com.au/hope/images/paint04.jpg

Amal Basry. Image from


http://www.hopedocumentary.com.au/hope/images/paint03.jpg

All images. http://www.hopedocumentary.com.au/hope/images/paint01.jpg

Eyes in the water. Image from


http://www.hopedocumentary.com.au/hope/images/paint02.jpg

Shaun Tan (2001). The Red Tree.

Cover. Image from


https://upload.wikimedia.org/wikipedia/en/e/ed/The_Red_Tree_(Shaun_Tan_book_co
ver).jpg

Darkness overcomes you. Image from http://www.shauntan.net/books/red-tree.html

The world is a deaf machine. Image from


https://i.ytimg.com/vi/wAsEq6EG8jE/maxresdefault.jpg

Sometimes you wait and wait and wait and nothing. Image from https://s-media-
cache-ak0.pinimg.com/736x/a2/67/2c/a2672c4d0d080d5821896f5d1d0a7a7f.jpg

Terrible fates are inevitable. Image from http://usebin.org/image/226fb667-d3ac-fc0f-


809c-19cc0186ed30/kb_sp8-tan_shaun-terrible_fates_are_inevitable.jpg

Then all your troubles come at once. Image from


http://www.smashthehsc.com/uploads/3/0/8/2/30822773/9811250.jpg

Salvadore Dali. ( ). The persistence of memory. Image from


http://www.dalipaintings.com/images/paintings/the-persistence-of-memory.jpg

17165378 Christina Manawaiti | Images 52


102

Appendix D: Student Workbook: Area of Study: Hope


Autumn 2017

PRELIMINARY
HSC AREA OF STUDY: HOPE
ENGLISH

Figure 9. Image from: http://www.lanlinglaurel.com/data/out/136/5152967-feather-wallpaper.jpg.

Teacher Resource | Christina Manawaiti


References 0
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Contents
Student Resource: Area of Study: Hope ................................................................................................. 2
Preliminary HSC English (Standard) .................................................................................................... 2
Stage 6 Syllabus English Outcomes ......................................................................................................... 3
The five texts: .......................................................................................................................................... 4
Assessment Tasks:................................................................................................................................... 4
Student Worksheet 1: Introduction: Hope concept map ....................................................................... 5
Lesson 1: Emily Dickson (1891). Hope is a thing with feathers............................................................... 6
Student Progressive Worksheet 2a: How to approach a text................................................................. 7
Notice, pattern, contrast, feeling........................................................................................................ 7
Student Progressive Worksheet 2b: How to approach a text ................................................................ 8
Core questions .................................................................................................................................... 8
Lesson 1: Shaun Tan, (2001). The Red Tree ............................................................................................ 9
Student Information Sheet 3a: Analysing visual texts .......................................................................... 11
Student Progressive Work Sheet 3b: Analysing visual texts ................................................................. 12
Lesson 2: Christian Krupa (2004). Terra 2050 Episode 4: Hopes and Fears .......................................... 13
Lesson 2: Margo Lanagan. (2004). Perpetual Light (pp. 157-179). ....................................................... 16
Lesson 3: Kate Durham (2004). And every one was an optimist. ......................................................... 17
Student Progressive Worksheet 4: Forms and Features of Texts ......................................................... 19
Similarities & Differences.................................................................................................................. 19
Student Worksheet 4: Links to other texts ........................................................................................... 20
Resources .............................................................................................................................................. 21

17165378 Christina Manawaiti | Autumn 2017 1


102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Student Resource: Area of Study: Hope


Preliminary HSC English (Standard)

Rubric: This Area of Study requires students to explore the ways in which the concept of
hope is represented in and through texts.

Perceptions and ideas of hope, or the absence of hope, vary. These perceptions are shaped
within personal, cultural, historical and social contexts. A sense of hope can emerge from
the connections made with people, places, groups, communities and the larger world. Within
this Area of Study, students may consider aspects of hope in terms of experiences of escape
and survival, desire and expectation, despair and failure, trust versus disbelief in the future.
These contexts may also impact on notions of identity, relationships, acceptance and
understanding.

Texts explore many aspects of hope, including the potential of the individual to enrich or
challenge a community or group. They may reflect the way attitudes to hope are modified
over time. Texts may also represent choices not to feel hope, or barriers which prevent hope.

Perceptions and ideas of hope in texts can be constructed through a variety of language
modes, forms, features and structures. In engaging with the text, a responder may experience
and understand the possibilities presented by a sense of hope, or the exclusion of hope from
the text and the world it represents. This engagement may be influenced by the different
ways perspectives are given voice in or are absent from a text.

In their responses and compositions students examine, question, and reflect and speculate on:

 how the concept of hope is conveyed through the representations of people,


relationships, ideas, places, events, and societies that they encounter in the prescribed
text and texts of their own choosing related to the Area of Study
 assumptions underlying various representations of the concept of hope
 how the composer’s choice of language modes, forms, features and structures shapes
and is shaped by a sense of hope
 their own experiences of hope, in a variety of contexts
 the ways in which they perceive the world through texts
 the ways in which exploring the concept and significance of hope may broaden and
deepen their understanding of themselves and their world.

17165378 Christina Manawaiti | Student Resource: Area of Study: Hope 2


102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Stage 6 Syllabus English Outcomes

P1, P2, P4, P5, P6, P7, P9, P10, P13 (2012, pp. 25-27).

P1. A student demonstrates an understanding of the relationships between composer,


responder, text and context.
P2. A student identifies and describes relationships among texts by:
2.1 identifying similarities in and differences between texts
2.2 identifying and describing the connections between texts
2.3 identifying and describing the ways in which particular texts are influenced by
other texts and contexts.
P4. A student identifies and describes language forms and the features, and structures of
particular texts which shape meaning and influence responses.
P5. A student describes the ways different technologies and media of production affect the
language and structure of particular texts.
P6. A student engages with a wide range of texts to develop a considered and informed
personal response.
P7. A student selects appropriate language forms and features, and structures of texts to
explore and express ideas and values.
P9. A student assesses the appropriateness of a range of processes and technologies in the
investigation and organisation of information and ideas.
P10. A student analyses and synthesises information and ideas from a range of texts for a
variety of purposes, audiences and contexts.
P13. A student reflects on own processes of learning.

This anthology battles with despair and fear through the representation of hope in multiple
forms and genres.

17165378 Christina Manawaiti | Stage 6 Syllabus English Outcomes 3


102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

The five texts:

Dickinson, Emily. Hope is the thing with feathers. Video. Read by Claire Danes and signed
by Rachel, aged 9. Poetry Foundation. Retrieved 25 February 2017 from
https://www.poetryfoundation.org/features/video/detail/77372.

Durham, K. (2004). And every one was an optimist. Gabrielle Pizzi Exhibition, Melbourne.
153 panels, 20cm x 20cm. Screenshot from the documentary Hope (2007, 01:40mins),
Steve Thomas (director). Melbourne, Australia: Flying Carpet Films and Gecko
Films.

Krupa, C. (2004). Terra 2050: Episode 4 – Hopes and Fears. (03:00mins). Vimeo. Retrieved
16 March 2017 from https://vimeo.com/68307309

Lanagan, M. (2004). Perpetual light. In Black Juice. Crows Nest, N.S.W.: Allen & Unwin.

Tan, S. (2008). The red tree. Port Melbourne: Australia: Lothian.

Assessment Tasks:

What do students produce (compose) to demonstrate their learning and understanding?

A written text – composition – extended response


 a poem about hope, or
 a letter to your adult self about the state of the world, your place in it and your hopes /
dreams for the future; or
 a letter to the Prime Minister of Australia about the treatment of refugees.

A visual text that depicts the concept of hope for example,


 cartoon, poster, artwork, portrait / self-portrait, diorama, meme, or
 multimedia short film clip – ask your classmates what hope means to them.

17165378 Christina Manawaiti | The five texts: 4


102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Student Worksheet 1: Introduction: Hope concept map

social

historical

personal

cultural

Thinking about Hope – famous quotes

“Once you choose hope, anything's possible.” Christopher Reeve.


“Optimism is the faith that leads to achievement. Nothing can be done without hope and
confidence.” Helen Keller.
“We must accept finite disappointment, but never lose infinite hope.” Martin Luther King.
“Hope smiles from the threshold of the year to come, whispering, ‘It will be happier.’”
Alfred Lord Tennyson.

Whole class brainstorm – synonyms for hope / hopeful and no hope / despair / hopelessness.

Groups: List any social, historical, personal or cultural considerations that may affect the
interpretation and representation of hope and draw on concept map.

Students write: What does hope mean to them?

(These are just general ideas for the introductory lesson prior to introducing texts and commencing
2A Curriculum English lesson plan task - CM)

17165378 Christina Manawaiti | Student Worksheet 1: Introduction: Hope concept map 5


102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Lesson 1: Emily Dickson (1891). Hope is a thing with feathers.


(Poem = text + video + Auslan22)

Emily Dickinson – (1830-1886) is a 19th century American poet. Emily


Dickinson’s deceptively simple poem “Hope is a thing with feathers”
(1861) is the framework in which the Area of Study concept of hope is
explored and connected to twenty-first century texts.

Activity1: Whole class: view Auslan23 video with audio off.


Figure 10: Emily Dickinson, age 16
 Discuss in groups (3-4) initial responses to video. (Courtesy of Amherst College
Archives and Special Collections).
 What did the ‘signs’ mean to you. Share with class.
 Watch video again with sound on.
 Fill in Worksheet 2a: notice, pattern, contrast, feeling.

(In your own time visit the Auslan website and search terms in the dictionary.
http://www.auslan.org.au)

Activity2: Think, Pair, Share: Analysis of written poem.


 What form, metre, rhythm, rhyme is used.
 Are there changes to standard form? How does that affect meaning?
 What is the symbolism of the “little bird”? How does it represent hope?
 Is hope represented differently between the text and Auslan?
 Fill in Worksheet 2b – core questions.

VI. HOPE.

Hope is a thing with feathers


That perches in the soul,
And sings the tune without the words,
And never stops at all,

And sweetest in the gale is heard;


And sore must be the storm
That could abash the little bird
That kept so many warm.

I’ve heard it in the chilliest land,


And on the strangest sea;
Yet, never, in extremity,
It asked a crumb of me.

Emily Dickinson.

22
Auslan = Australian Sign Language. Retrieved from http://www.auslan.org.au
23
Poetry Foundation. Retrieved from https://www.poetryfoundation.org/features/video/detail/77372
17165378 Christina Manawaiti | Lesson 1: Emily Dickson (1891). Hope is a thing with 6
feathers.
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Student Progressive Worksheet 2a: How to approach a text24


Dickinson, Hope is a Tan, The Red Tree Krupa, Hopes & Fears, Lanagan, Perpetual Durham, And every
Notice, pattern, thing with feathers Light one was an optimist
contrast, feeling (Auslan) (text)
Notice – what stands
out? Image, POV,
layout, sounds, familiar
or strange.

Pattern – What is
repeated or similar?
Words with similar
sound or look.

Contrast – what varies


or is different? Words,
changes in POV,
conflict, ways of seeing
the world.

Feeling – mood,
atmosphere, tone.
Personal/impersonal,
formal/informal,
positive or negative,
simple or
difficult?

24
Pope, R. (2012). 2.1 Initial Analysis: How to approach a text. In Studying English Literature and Language: An introduction and companion. (3rd Ed.).
17165378 Christina Manawaiti | Student Progressive Worksheet 2a: How to approach a text 7
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Student Progressive Worksheet 2b: How to approach a text25


Dickinson, Hope is a Tan, The Red Tree Krupa, Hopes & Fears Lanagan, Perpetual Durham, And every one
Core questions thing with feathers Light was an optimist
What do you need to
know more about?
Terms, definitions.
What kind of text is it?
Poetry – ballad, lyric
poem; prose - short
story, novel, comedy,
tragedy, sci-fi; Visual –
animation, artwork,
video, image.
When and where is the
text located in place
and time? Within text
and outside of text.

How precisely is it
done?
Visual texts see analysis
sheet. Written – word
use, structure,
punctuation, cohesion.
Why was it written and
why do you respond as
you do?

What if the text were


changed – in some way
similar yet different?

25
Pope, R. (2012). 2.1 Initial Analysis: How to approach a text. In Studying English Literature and Language: An introduction and companion. (3rd Ed.) (pp.84-86).
17165378 Christina Manawaiti | Student Progressive Worksheet 2b: How to approach a text 8
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Lesson 1: Shaun Tan, (2001). The Red Tree

Shaun Tan is a West Australian author, artist and film maker, well known
for his surrealist illustrated texts that challenge social, political and
historical subjects.26 The Red Tree is a picture book with a central
character of a nameless girl. Tan’s images are ripe for analysis and
juxtaposition with the other selected texts.

Darkness overcomes you

Links:
Dickinson

The world is a deaf machine

Links:
Dickinson

Nobody understands

Links:
Dickinson

Then all your troubles come at once


Links:
Dickinson

Sometimes you wait and wait and wait…

Links:
Dickinson

26
Shaun Tan: About me. Retrieved from http://www.shauntan.net/about.html
17165378 Christina Manawaiti | Lesson 1: Shaun Tan, (2001). The Red Tree 9
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Just as you imagined it would be

Light / vector?
Girl - expression?
Colour?

Links:
Dickinson

Activity 4: Information Sheet 3a: Analysing Visual Texts

Worksheet 3b: Analysing Visual Texts – for Dickinson & Tan.

Worksheet 4: Similarities and differences.

Activity: What if the texts were changed – somehow similar, yet different?

17165378 Christina Manawaiti | Lesson 1: Shaun Tan, (2001). The Red Tree 10
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Student Information Sheet 3a: Analysing visual texts27

Angle / The same camera shots and angles relevant to film. Close ups, extreme close ups,
framing medium shots, long shots, tilted up or down shots etc.

Body Facial expressions, gestures, stance or position – can convey the attitude,
language and feelings or personality of the individual shown. Take note of the directions of the
gaze subject’s eyes.
Composition What is included is deliberately placed (also applies to what is omitted). Consider
all inclusions and omissions e.g. surroundings, objects, clothing etc.
Colour, Hue, In black & white images examine the use of contrast, light and darkness. In a
and Tone28 colour image, colours are used to signify feelings and evoke a response e.g.
red=passion, anger, hell, vitality, etc. blue = peace, harmony or coldness.
Contrast The arrangement of opposite elements (light and dark, large and small, rough
and smooth) to create interest, excitement or drama.
Omissions What has been deliberately left out.
Orientation, Relates to framing and angle: is the responder positioned above the image
Point of view (looking down), below or at eye level?
Positioning Consider which objects have been placed in the foreground, middle ground or
background.
Rule of thirds Divide and image into thirds from the top and sides and look at the placement of
people and/or objects. An object in the top third is usually empowered whereas
anything in the bottom third is disempowered.
Salience That part that your eyes are first drawn to in the visual. Colour, image and layout
determine what the salient image is.
Symbolism The use of an image to represent one or more (often complex) ideas.

Vectors The line that our eyes take when looking at a visual. Composers deliberately
direct our reading path through the vectors, e.g. if all the subjects are tall, long
and upright our eyes follow straight vectors that lead to the top of the frame.
This could make the subject seem powerful or inflexible.

27
Matrix Education. (2013). Techniques for analysing a visual text. Retrieved from
https://www.matrix.edu.au/techniques-for-analysing-a-visual-text/
28
Also see Colour Associations in Boaz, E. & Gazis, S. (Eds.). (2016). Figure 5.5: Reading visual language: Colour
associations (p.93). In The Artful English Teacher. Australian Association for Teaching English.
17165378 Christina Manawaiti | Student Information Sheet 3a: Analysing visual texts 11
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Student Progressive Work Sheet 3b: Analysing visual texts


Dickinson, Hope is a thing Tan, The Red Tree Krupa, Hopes & Fears Lanagan, Perpetual Durham, And every
with feathers Light one was an optimist
Angle / framing

Body language /gaze

Composition

Colour, Hue, and


Tone29

Contrast

Omissions

Orientation, POV

Positioning

Rule of thirds

Salience

Symbolism

Vectors

29
Also see Colour Associations in Boaz, E. & Gazis, S. (Eds.). (2016). Figure 5.5: Reading visual language: Colour associations (p.93). In The Artful English Teacher. Australian
Association for Teaching English.
17165378 Christina Manawaiti | Student Progressive Work Sheet 3b: Analysing visual texts 12
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Lesson 2: Christian Krupa (2004). Terra 2050 Episode 4: Hopes and Fears

Background: Christian Krupa is a visual artist / animator / director. The images below have
been captured from Episode 4: Hopes and Fears.

Activity 1: Warm up: Mix and Match Race

Selected extracts of the transcript and screenshots from Christian Krupa’s Hopes and Fears, are in
two piles on each groups desk. Race to match up.

Class feedback - why those choices? What did you notice in the images that connected with the
text? Did you use the ideas in Worksheet 3a? Did you make notes on Worksheet 3b?

Now, view video: Hopes and Fears. Self-correct.

Put the text and images together in your workbook – this becomes evidence for compositions later.

Image (screenshots) Voice over transcript (extracts)

17165378 Christina Manawaiti | Lesson 2: Christian Krupa (2004). Terra 2050 Episode 4: 13
Hopes and Fears
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

17165378 Christina Manawaiti | Lesson 2: Christian Krupa (2004). Terra 2050 Episode 4: 14
Hopes and Fears
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Activity 2: Students: use ICT – go online and search for context – on political or global events
between 2000-2004.

Did these same events impact on Shaun Tan’s images? In what way?

--------------------------------------------------------------------------------------------------------------------------------------
--------------------------------------------------------------------------------------------------------------------------------------
--------------------------------------------------------------------------------------------------------------------------------------

Activity 3: Joint construction.

Discuss in your groups: What were the themes? Whose voices? What context – when was George
Bush in power? Was there a war or terrorism?

Can you relate to the concerns of the ‘voices’? Why?


……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………….

Activity 4: In your workbooks: Complete the following phrase and link your thoughts to either
Dickinson, Tan or Krupa.

My greatest fear for the future is…


……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………

My greatest hope is…

……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………

17165378 Christina Manawaiti | Lesson 2: Christian Krupa (2004). Terra 2050 Episode 4: 15
Hopes and Fears
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Lesson 2: Margo Lanagan. (2004). Perpetual Light (pp. 157-179).

Margo Lanagan (1960- ) Born in New South Wales. Award winning


author of young adult fiction. Perpetual Light is one of 10 stories in the
anthology Black Juice.

New terms may need to be learnt such as: gentrification, hippie squat.

Guided Reading: Perpetual Light

Class check-in: who has finished reading the short story?

What’s the story about? Who is it about? Where is it set?

Activity 5: Teacher: Read the opening line from Perpetual Light and then Think out loud for
students.

“Somewhere between here and Wagga, the winds were stirring up some metal” (Daphne, p. 159).

Where does ‘Wagga’ locate the text? In New South Wales but not where the protagonist lives.

What does ‘stirring up some metal’ imply? Unsettling, disturbance, hard.

What do you associate with metal? Hardness. Technology. Industry. Machines.

Where else in the text is ‘metal’ used? To describe animals.

Activity 6: Class volunteer: Read out loud the first two pages: what kind of life is Daphne describing?

What new terms are strange, yet familiar? What effect does this have on meaning.

Gazlight, Wunda Verm, Knowledge Nation, PalmPlot, the Old Girl.

What do these terms mean to you?

Activity 7: Class response: Student volunteer reader: from “Place of many possums… (p. 166 – 167).

“It was like a lot of towns I had passed through already this morning, a dying collection of
buildings like eye sockets and mumbling jaws, grey under a grey sky. Its public buildings
repurposed to death, through phases of gentrification, hippie squat and serious poorhouse.”

In pairs discuss the language forms used. What techniques are used? What is the tone?
Colour? Use worksheets 2 & 3.

Where in the text is a sense of hope given? How is it symbolized? How is it similar or different to
Krupa, Tan and Dickinson? Are there connections between the texts? Use the progressive
worksheets to guide you.

17165378 Christina Manawaiti | Lesson 2: Margo Lanagan. (2004). Perpetual Light (pp. 16
157-179).
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Lesson 3: Kate Durham (2004). And every one was an optimist.

Option 2: Activity: Responding: Whole class: Onscreen – Interactive whiteboard or BYOD


devices – view Durham’s And every one was an optimist – brainstorm – What has happened?
Where did it happen? How did it happen? Why? Who are the subjects? How are they
positioned? What do the colours symbolise? Evaluate response using Information Sheet 4a:
Analysing visual texts and fill in Worksheet 4b: for Durham’s artwork.

Then give context with Hope documentary and quotes from Kate Durham and Amal Basry.

Composing: Formative Assessment: Written response: 100-150 words:


 Respond: As Amal Basry says “your picture talk.” How does Durham’s artwork
“talk” to you? What is represented in 153 plates that cannot be said with just one?

Composing: Formative Assessment: Written response: 200-250 words:


 How does Durham’s visual text connect with the Dickinson’s poem? You can use
Dickinson’s written text or Auslan version.
 Are the ‘signs’ or symbolism similar or different?
 How is hope shown? Give quotes. Refer to the images.

Possible responses: Links to Hope is a thing with feathers

Tenacity / Endurance / Everlasting:


Amal: “don’t lose hope…maybe someone going to save us.”
Dickinson: “Hope (l. 1) .../ never stops at all” (l. 4).

Imagery: Does the metaphor of “the little bird” (l. 7) match with the image of Amal at sea?
What is similar? What is different?
 Is the little bird’s survival of “the gale” and “the storm” on “the strangest sea” similar
or different to Durham’s paintings or Amal’s story of survival.
 Does Dickinson’s use of “chilliest land” and “strangest sea” evoke a sense of the
experience of refugees attempting to get to Australia? How? In what way?
 What does “chilliest land” mean – welcome or unwelcome? Does “strangest sea” give
you a sense of being in unknown waters with unknown dangers or safe and warm.
 Is Dickinson saying that hope is ‘warm’ or ‘chill’?
 Is Durham saying that hope is ‘warm’ or ‘chill’?

17165378 Christina Manawaiti | Lesson 3: Kate Durham (2004). And every one was an 17
optimist.
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Figure 11: Durham, K. (2004).And every one was an optimist. Dedicated to Amal Basry survivor of the SIEV X October 2001. Gabrielle Pizzi Exhibition. 153 panels, 20cm x 20cm. Screenshot
from Hope (2007, 01:40mins), Steve Thomas (director). Flying Carpet Films and Gecko Films: Melbourne: Australia.

17165378 Christina Manawaiti | Lesson 3: Kate Durham (2004). And every one was an 18
optimist.
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Student Progressive Worksheet 4: Forms and Features of Texts


Similarities & Differences30
Dickinson, Hope is a Tan, The Red Tree Krupa, Hopes and Fears Lanagan, Perpetual Light Durham, And every
thing with feathers one was positive
Protagonist

Setting / context

Action

Language

Imagery and
symbolism

Performance

Production / staging

30
Boaz, E. & Gazis, S. (Eds.). (2016).Figure 1.10: Similarities and differences table (p.18). In The Artful English Teacher. Australian Association for Teaching English.
17165378 Christina Manawaiti | Student Progressive Worksheet 4: Forms and Features of Texts 19
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Student Worksheet 4: Links to other texts

Dickinson, Hope is a thing Tan, The Red Tree Krupa, Hopes and Fears Lanagan, Perpetual Light Durham, And every one was
with feathers positive

17165378 Christina Manawaiti | Student Worksheet 4: Links to other texts 20


102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017

Resources

Australian Sign Language (Auslan) (n.d.) Signbank: Dictionary. Online. Australian Research
Council: Australian Government. Retrieved from
http://www.auslan.org.au/about/dictionary/.
“hope” Retrieved from http://www.auslan.org.au/dictionary/words/hope-1.html
“thing” Retrieved from http://www.auslan.org.au/dictionary/words/thing-1.html
“wings.” Retrieved from http://www.auslan.org.au/dictionary/words/wings-1.html

Dickinson, Emily. (1891). Hope is the thing with feathers. Video. Read by Claire Danes and
signed by Rachel, aged 9. Poetry Foundation. Retrieved 25 February 2017 from
https://www.poetryfoundation.org/features/video/detail/77372.

Durham, K. University of Queensland – Siev X series. Retrieved from


https://katedurham.com/university-of-queensland-tiles/

Glossary. Poetry Foundation. Retrieved from


https://www.poetryfoundation.org/resources/learning/glossary-terms

Krupa, C. (2004). Terra 2050: Episode 4 – Hopes and Fears. (03:00 mins). Vimeo. Retrieved
16 March 2017 from https://vimeo.com/68307309. Also on
https://www.behance.net/gallery/30915645/TERRA-2050

Poetry Foundation. Emily Dickinson: Biography. Retrieved 25 February 2017 from


https://www.poetryfoundation.org/poems-and-poets/poets/detail/emily-dickinson.

Lanagan, M. (2004). Perpetual light. In Black Juice. Crows Nest, N.S.W.: Allen & Unwin.

Tan, S. (2001). The red tree. Port Melbourne: Australia: Lothian. Shaun Tan: About me.
Retrieved from http://www.shauntan.net/about.html

17165378 Christina Manawaiti | Resources 21

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