Professional Documents
Culture Documents
PRELIMINARY
HSC AREA OF STUDY: HOPE
ENGLISH
Table of Contents
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.
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
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
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
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-
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
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?
17165378 Christina Manawaiti | Rationale: 4
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.
References
Australian Sign Language (Auslan) (n.d.) Signbank: Dictionary. Online. Australian Research
http://www.auslan.org.au/about/dictionary/.
Australian Curriculum, Assessment and Reporting Authority. (2016). V8.3 F-10 Curriculum:
http://www.australiancurriculum.edu.au/languages/auslan/rationale
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:
Board of Studies Teaching & Educational Standards NSW. (2011). Prescriptions: Area of
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
Dickinson, Emily. (1891). Hope is the thing with feathers. Video. Read by Claire Danes and
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.
English Teachers Association & New South Wales Department of Education. (2015). English
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
https://www.behance.net/gallery/30915645/TERRA-2050
Pope, R. (2012). Studying English literature and language: An introduction and companion.
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/
Thomas, S. (Writer, Director, Producer) and Brooks, S. (Producer). (2007). Hope. Flying
https://fpdl.vimeocdn.com/vimeo-prod-skyfire-std-
us/01/22/8/200114688/675701972.mp4?token=58b102f8_0xa32f1a0ae5b72b72b664e
af920bc0c8d1b6cfc71&download=1&filename=HOPE.mp4
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.
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
3
BOSTES NSW. (2012). Stage 6 syllabus English: Preliminary and HSC courses: Preliminary outcomes.
17165378 Christina Manawaiti | Lesson 1: Area of Study: Hope 9
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.
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.
Evaluation / Extension
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).
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).
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:
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.
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.
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.
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.
Procedures
Time Organisation Teaching / learning activities
0-5 Whole class Recap previous lesson –
Approaches to a text, analyzing visual texts, comparing texts.
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?
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?
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.
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.
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.
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.
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.
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
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’?
“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?
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 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.
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 | Appendix A: Lesson 1: Powerpoint: Area of Study: Texts & 21
Contexts
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017
17165378 Christina Manawaiti | Appendix A: Lesson 1: Powerpoint: Area of Study: Texts & 22
Contexts
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017
17165378 Christina Manawaiti | Appendix A: Lesson 1: Powerpoint: Area of Study: Texts & 23
Contexts
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017
17165378 Christina Manawaiti | Appendix A: Lesson 1: Powerpoint: Area of Study: Texts & 24
Contexts
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017
17165378 Christina Manawaiti | Appendix A: Lesson 1: Powerpoint: Area of Study: Texts & 25
Contexts
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017
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:
4
Adapted from BOSTES, English Stage 6 Prescriptions: Area of Study, (2009-2014) p. 10.
17165378 Christina Manawaiti | Appendix B: Teacher Resource: Area of Study: Hope 26
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017
P1, P2, P4, P5, P6, P7, P9, P10, P13 (2012, pp. 25-27).
Assessment Tasks:
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.
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.
17165378 Christina Manawaiti | Five Texts – Annotated Resource 28
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017
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
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
17165378 Christina Manawaiti | Five Texts – Annotated Resource 29
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017
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
11
Shaun Tan: About me. Retrieved from http://www.shauntan.net/about.html
17165378 Christina Manawaiti | Five Texts – Annotated Resource 30
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017
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.”
Fill in: Worksheet 3b: Analysing Visual Texts – for Dickinson & Tan.
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.
“My greatest hope…is for the survival of the species and the
planet”
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!”
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:
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.
“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.
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.
Then give context with Hope documentary and quotes from Kate Durham and Amal Basry.
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’?
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.
•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
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)
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
Composition
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
Pattern – What is
repeated or similar?
Words with similar sound
or look.
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
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
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
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).
References
Australian Sign Language (Auslan) (n.d.) Signbank: Dictionary. Online. Australian Research
http://www.auslan.org.au/about/dictionary/.
Australian Curriculum, Assessment and Reporting Authority. (2016). V8.3 F-10 Curriculum:
http://www.australiancurriculum.edu.au/languages/auslan/rationale
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:
Board of Studies Teaching & Educational Standards NSW. (2011). Prescriptions: Area of
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
References 46
102090 2A English Curriculum Stage 6 Preliminary HSC English (Standard) Autumn 2017
Dickinson, Emily. (1891). Hope is the thing with feathers. Video. Read by Claire Danes and
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.
https://katedurham.com/university-of-queensland-tiles/
English Teachers Association & New South Wales Department of Education. (2015). English
http://englishtextualconcepts.nsw.edu.au/sites/default/files/process-descriptors-and-
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
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/
Michaels, W. & Gold, E. (n.d.). Episode 1: As time goes by. METAphor (pp. 90-99). English
https://www.poetryfoundation.org/poems-and-poets/poets/detail/emily-dickinson.
Pope, R. (2012). Studying English literature and language: An introduction and companion.
Thomas, S. (Writer, Director, Producer) and Brooks, S. (Producer). (2007). Hope. Flying
https://fpdl.vimeocdn.com/vimeo-prod-skyfire-std-
us/01/22/8/200114688/675701972.mp4?token=58b102f8_0xa32f1a0ae5b72b72b664e
af920bc0c8d1b6cfc71&download=1&filename=HOPE.mp4
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.
Bibliography
Australian Sign Language (Auslan) (n.d.) Signbank: Dictionary. Online. Australian Research
http://www.auslan.org.au/about/dictionary/.
Retrieved from
http://www.copyright.org.au/acc_prod/ACC/Information_Sheets/Research_or_Study.
aspx?WebsiteKey=8a471e74-3f78-4994-9023-316f0ecef4ef
Cannif, S. (2000). Stage 6 English assessment: Providing effective feedback. Extract from
http://www.schools.nsw.edu.au/media/downloads/schoolsenglish/learning/yr11_12/en
glish/eng_cseng8.pdf
http://www.literaryhistory.com/19thC/DICKINSON_E.HTM
http://englishtextualconcepts.nsw.edu.au/content/what-is-it
Fiske, A. (2007). An interview with Margo Lanagan. Journal of Adolescent & Adult Literacy,
50(6), 508-511.
https://www.poetryfoundation.org/resources/learning/glossary-terms
"“Hope” Is the thing with feathers." Poetry for Students. Retrieved February 24, 2017 from
Encyclopedia.com: http://www.encyclopedia.com/arts/educational-magazines/hope-
thing-feathers
dickinson-hope-is-the-thing-with-feathers-1891/
http://www.hopedocumentary.com.au/hope/kate-interview.htm
Macluran, D. (2006). The sinking of the SIEV X: A case study for secondary schools. (2nd
Margo-1960.html
Marriner, K. (2007). HOPE: a study guide. Screen Education magazine, ATOM. Websites:
https://www.poetryfoundation.org/poems-and-poets/poets/detail/emily-dickinson
http://www.neabigread.org/books/dickinson/readers-guide/
The Poetry of Emily Dickinson. National Endowment for the Arts (NEA). Retrieved from
http://www.neabigread.org/pdf/EmilyDickinson(8.2016).pdf
The Red Tree. Smash the HSC. Retrieved 5 March 2017 from
http://www.smashthehsc.com/the-red-tree.html
Shabi, K. (2013). Salvador Dali: Persistence of memory: Meaning of the melting clocks.
clocks-meaning.html
Images
Emily Dickinson, age 16. Courtesy of Amherst College Archives and Special Collections.
http://www.literaryhistory.com/19thC/Public_Domain_Photos/Dickinson.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
PRELIMINARY
HSC AREA OF STUDY: HOPE
ENGLISH
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
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:
P1, P2, P4, P5, P6, P7, P9, P10, P13 (2012, pp. 25-27).
This anthology battles with despair and fear through the representation of hope in multiple
forms and genres.
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.
Assessment Tasks:
social
historical
personal
cultural
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.
(These are just general ideas for the introductory lesson prior to introducing texts and commencing
2A Curriculum English lesson plan task - CM)
(In your own time visit the Auslan website and search terms in the dictionary.
http://www.auslan.org.au)
VI. HOPE.
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
Pattern – What is
repeated or similar?
Words with similar
sound or look.
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
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?
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
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.
Links:
Dickinson
Links:
Dickinson
Nobody understands
Links:
Dickinson
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
Light / vector?
Girl - expression?
Colour?
Links:
Dickinson
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
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
Composition
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.
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?
Put the text and images together in your workbook – this becomes evidence for compositions later.
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?
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Discuss in your groups: What were the themes? Whose voices? What context – when was George
Bush in power? Was there a war or terrorism?
Activity 4: In your workbooks: Complete the following phrase and link your thoughts to either
Dickinson, Tan or Krupa.
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………………
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
New terms may need to be learnt such as: gentrification, hippie squat.
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.
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.
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
Then give context with Hope documentary and quotes from Kate Durham and Amal Basry.
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
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
Dickinson, Hope is a thing Tan, The Red Tree Krupa, Hopes and Fears Lanagan, Perpetual Light Durham, And every one was
with feathers positive
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.
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.
Tan, S. (2001). The red tree. Port Melbourne: Australia: Lothian. Shaun Tan: About me.
Retrieved from http://www.shauntan.net/about.html