13EP+2013



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Save a copy of this document if you want to work with a digital version of the symbolism handout used in class in Week 2.



3.4 'The Writing Portfolio' Read on for information on this internal assessment, including the student instructions document...

Download the document below to complete your ACTION PLAN for polishing your final two peices of writing by 3.4 deadline of 3pm Friday September 27th 2013

** FAQs about submitting the final two pieces of writing for assessment. ** // Do they have to be a mix of essay and non-essay writing? // No. You can combine ANY two pieces. The required range is two different genres. Because the pieces listed above are all considered different genres, any TWO pieces are already two different genres.

// Do they each have a word limit? // Yes, each piece must be 650 words AT LEAST.

// Do they have to be finished? // Yes. By the due date, each of your two pieces must
 * be 650w or more
 * have developed ideas, using a range of language features that are appropriate to the task and your audience*
 * have all the correct conventions of the genre (literary essay, comparison essay, written commentary or narrative)
 * be as free from errors in spelling, punctuation, grammar, register (formal/informal) or paragraphing as possible
 * Each task has its own guidelines, top tips and a marking schedule showing you what you have to include for A, M or E. Some of these have been given to you, earlier in the year when you were creating a draft piece. At the same stage you were shown a range of exemplars for some tasks. ALL are available to you via the English Wiki, so even if you have lost track of the original task instructions for each, you can visit the Wiki, read the task guidelines again, and rely upon them, and the teacher’s help, to aim for a quality piece.

// If I have fewer than 3 pieces to choose from – then what? // You still need to choose TWO – but you have fewer to choose from!
 * If you only have two pieces to choose from, then THOSE are your two.
 * If you have only submitted ONE piece of writing from this list, then you still have the chance to submit TWO – but you must start the second piece from scratch. (You will have the SAME number of periods in which to complete your work as the rest of the class).

// Right – so how long do I have to work on each piece? // You have approximately 5 weeks of class time in total, to work on finalising your two pieces – how much time you give to each piece will be your choice, based on just how much you need to do, in order to bring each piece up to the quality and quantity required.

// Will I be able to use a netbook or laptop for those periods? // Yes. Netbooks are booked for our use for the majority of this term, as we work toward completing our writing. You are free to bring your laptop for any of these periods.

// Will I be able to work on my pieces when I am not in class? // YES! You are encouraged to use your own time also, in order to submit your best work, by final deadline.

// How many times will you offer feedback on my work BEFORE I hand it in for final assessment? // I will give formal, written feedback ONCE for each piece. This feedback will offer advice about development of ideas, structure and writing conventions. (Don’t forget, you received feedback on each piece already, during your drafting/writing process earlier in the year). I am happy to conference/discuss your work in person during English periods, but written/emailed notes will be offered only once.

// So, when are the two final pieces due? // Finished pieces must be submitted for assessment via email, by 3pm Friday 27th September (that is the final day of Term 3).

// If I submit my work for final assessment, but when you mark it, you discover that it needs a small amount of ‘fix up’ work to reach A, M or E, will I get ‘fix up’ time? // Yes. If I notice a small error/selection of similar errors that are holding your piece back from a grade, AND that I feel can be addressed within 1 period in class, with minimal support from me, I will offer you a ‘fix up’ opportunity in the first week of Term 4 (after holidays).

// About these 6 credits – if I only ‘pass’ with one piece, will I still get 3 credits? // No. Both pieces must get a ‘passing’ grade in order to gain the 6 credits available.
 * If both have the same grade (i.e. an M for an essay and an M for a description) you will get that grade overall (MERIT)
 * If each piece receives a different grade (i.e. A for a narrative, M for a report) you will get the LOWER grade overall (ACHIEVED)
 * If one piece gets an NA, you will get an NA overall.
 * If you submit fewer than two completed pieces, you will get an NA automatically.

// If I got an A grade for my 3.9 commentary, is there anything I need to ADD before I submit for 3.4? //

Yes. Apart from careful proof-reading and fixing any convention errors, you'll need to make sure your written commentary has an introduction paragraph. An example of the style of paragraph needed is below:


 * The 2004 highly acclaimed documentary “Control Room” was directed by Jehane Noujaim who uses a handheld camera, interview, medium shot and montages as visual directorial techniques. I have identified two extracts from the documentary that show these techniques which help us to understand the impact of the war on both Iraq and the US but specifically Iraqi people.**

‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍ __The Reader__ is a visual text that will be one of the four texts you write about in your comparison essay for Internal AS3.7 "Texts in Time". We will also be studying this text in preparation for the External AS 3.2. Below is the student instruction handout for 3.7 - use this as a back up to the hard copy you received in class Term 1 Week 3. As you work toward the final comparison essay, to be completed in Term 3, you will write reader responses to each of your four text - starting with a response to __The Reader__. Save your own copy of this document - it is the template for ALL reader responses. In addition, we will spend time in class finding out what your comparison essay has to include, how it should be planned and structured, and looking through a range of exemplars. You'll need your own copy of the following task documents:

Adding evidence, and keen to get the EXACT dialogue? Try reading the screenplay online...Screenplay by David Hare Key quotes are also available online Key Quotes Source 1 Key Quotes Source 2

When analysing film, we have the opportunity to focus on the rise and fall of the plot by considering the five 'sections' of narrative structure - the exposition, rising action, climax, falling action and resolution. Save your own copy of the following document to get explanitory notes about these structural elements: //Use the following document to revise the significance of the 'break up' between Hanna and Michael, in the rising action of the film. Thanks to all members of 13EP who contributed SEXC parargraphs to answer these analysis questions.// //Use the following document to revise the significance of the courtroom scenes and Michael's visit to the abandoned camp in the climax of the film. Thanks to all members of 13EP who contributed SEXEXC parargraphs to answer these analysis questions. //

//Use the following document to read an example of how you might write about the significance of Michael's visit to Ilana (to fulfill Hanna's last wishes), in the falling action of the film. This document is written + coloured coded to show you all the different elements that are needed when analysing a key scene in an essay, and how/where they could be included. //  The Reader-Notes for scene descriptions



**Here is an example of an answer to ONE of the 'Reader Respose' questions you'll find on your 3.7 Reader Response Template. This is an example of a detailed explanation, with quotes, to answer the question:** To what degree is a character developed in the text affected by the events/experiences of WW2? // Liesel Meminger, the protagonist of The Book Thief is a character affected by her experiences, as a German child living through WW2. Liesel’s father, accused of being a communist (an therefore, an enemy of the state), was arrested (and, we can assume, killed) by Nazi forces prior to the book’s first chapter. Her brother dies of pverty, hunger and disease, while he, Leisel and their mother are fleeing Nazi forces. Her mother, fearing the same fate for Leisel, gives her up to foster parents and is never seen again. Her foster parents, Hans and Rosa Hubermann, are killed during a raid on her home town, Molching (her entire street, Himmel (heaven) Street is decimated, with Liesel being one of the few survivors). She has only lived with them a short time, but she is deeply attached to them (Hans has taught her the power of mercy and music, Rosa the gift of unconditional love) and to all those who she has come to rely on in her small community. Liesel's best friend, Rudy Steiner, is also killed – he has been her childhood companion, protector and fellow book thief, and their bond is very deep. “She leaned down and looked at his lifeless face and Liesel kissed her best friend, Rudy Steiner, soft and true on his lips. He tasted dusty and sweet. He tasted like regret in the shadows of trees and in the glow of the anarchist's suit collection. She kissed him long and soft, and when she pulled herself away, she touched his mouth with her fingers...She did not say goodbye. She was incapable, and after a few more minutes at his side, she was able to tear herself from the ground.” Finally, Max Vandenberg, a Jewish refugee, who has been hidden by the Hubermann family since shortly after Liesel arrived, has been forced to flee Himmel Street as Nazi forces get ever closer to discovering his hide-out – endangering him, the Hubermanns and Liesel also. Max is Liesel’s soul mate, and their fates are intertwined. It has been through saving Max’s life that Liesel has found a reason to fight for her own life. “One of the Jews on his way to Dachau had stopped walking now. He stood absolutely still as the others swerved morosely around him, leaving him completely alone. His eyes staggered, and it was so simple. The words were given across from the girl to the Jew. They climbed on to him. The next time she spoke, the questions stumbled from her mouth. Hot tears fought for room in her eyes as she would not let them out. Better to stand resolute and proud. Let the words do all of it. "Is it really you? the young man asked," she said. " Is it from your cheek that I took the seed.?“ Max Vandenburg remained standing. He did not drop to his knees. People and Jews and clouds all stopped. They watched. As he stood, Max looked first at the girl and then stared directly into the sky who was wide and blue and magnificent. There were heavy beams-- planks of son-- falling randomly, wonderfully to the road. Clouds arched their backs to look behind as they started again to move on. "It's such a beautiful day," he said, and his voice was in many pieces. A great day to die. A great day to die, like this. Liesel walked at him. She was courageous enough to reach out and hold his bearded face. "Is it really you, Max?“ Such a brilliant German day and its attentive crowd. He let his mouth kiss her palm. "Yes, Liesel, it's me," and he held the girl's hand in his face and cried onto her fingers. He cried as the soldiers came and a small collection of insolent Jews stood and watched.” Max has taught her the power of words to combat evil, overcome prejudice and hatred and to express the deepest, most valuable and powerful feelings of a human soul. “The words. Why did they have to exist? Without them, there wouldn't be any of this.” Thus, Liesel has lost every single person that has defined her existence, given her love, companionship, safety and security and taught her life’s most profound lessons. Hitler, Nazi forces, the war, the propaganda and the cowardice rife in her community takes everything she has, but she survives and grows stronger for these experiences, and because of the people that she has loved. Zusak shows us that when external forces (such as conflict, and warfare and death) overwhelm your circumstances, you can still count on your knowledge, your experience and your personal courage to give you the power to fight back and overcome. “It amazes me what humans can do, even when streams are flowing down their faces and they stagger on...” //

Up Close and Real



Want to read a range of exemplar commentaries? These were written for 3.9, "Up Close and Real' assessment These were written for 3.9 too, same critical commentary required, but a slightly different task.