Embed Size (px)
Citation preview
For all Queensland schools
2016 Senior External Examination
English Tuesday 25 October 2016
Paper Two Part B — Question book 1:15 pm to 4:25 pm
Time allowed
• Perusal time: 10 minutes
• Working time: 3 hours (Part A and Part B)
Examination materials provided
• Paper Two Part B — Question book
• Paper Two Part B — Response book
Equipment allowed
• QCAA-approved equipment
Directions
You may write in this book during perusal time.
Paper Two has two parts:
Attempt all questions.
All three responses are of equal worth.
Suggested time allocation
• Paper Two Part A: 1 hour
• Paper Two Part B: 2 hours
Assessment
Paper Two assesses the following assessment criteria:
• Knowledge and control of texts in their context
• Knowledge and control of textual features
• Knowledge and application of the constructedness of texts
Assessment standards are at the end of this book.
After the examination session
Take this book when you leave.
• Part A (yellow book): Question 1 — Imaginative and reflective writing
• Part B (blue book): Question 2 — Media: Analytical exposition
Question 3 — Poetry: Analytical exposition
Planning space
Part B
Question 2 — Media: Analytical exposition
In response to the topic below, write about 500 words (excluding quotations).
Topic — Media
Genre: Analytical exposition
Roles and relationships: As a contributor to a media website
Your task: Compare and contrast the representation of any two aspects of the subject matter(e.g. individuals, groups, places, laws, issues) of a documentary you have studied.
You should:
• name the documentary and identify the two aspects of its subject matter you will be exploring
• clearly establish your thesis/central idea
• develop this thesis/central idea using at least three main points
• support these points with evidence from the documentary
• provide a conclusion.
End of Question 2
1
Question 3 — Poetry: Analytical exposition
In response to one of the following topics, write about 500 words.
Either
Topic 3A — Unseen poem
Genre: Analytical exposition
Roles and relationships: As a contributor writing for a literary magazine
Your task: Identify an invited reading of Australia by AD Hope and analyse how this invited reading is constructed.
You should:
• identify the subject matter of this poem
• state the invited reading you are going to focus on
• analyse how the poet constructs this reading through the use of:
– poetic devices (imagery, simile, metaphor, personification, mood, tone, etc.)
– foregrounding, privileging, gaps, silences, etc.
The unseen poem is on page 3.
or
Topic 3B — Notified poems
Genre: Analytical exposition
Roles and relationships: As a contributor writing for a literary magazine
Your task: Compare the representation of Australian values in any two of the notified poems.
You should:
• identify the subject matter of these poems
• analyse how the poets construct their representations through the use of:
– poetic devices (imagery, simile, metaphor, personification, mood, tone, etc.)
– foregrounding, privileging, gaps, silences, etc.
The notified poems are on pages 4–17.
2
Unseen poem
Australia
A Nation of trees, drab green and desolate grey
In the field uniform of modern wars,
Darkens her hills, those endless, outstretched paws
Of Sphinx demolished or stone lion worn away.
They call her a young country, but they lie:
She is the last of lands, the emptiest,
A woman beyond her change of life, a breast
Still tender but within the womb is dry.
Without songs, architecture, history:
The emotions and superstitions of younger lands,
Her rivers of water drown among inland sands,
The river of her immense stupidity
Floods her monotonous tribes from Cairns to Perth.
In them at last the ultimate men arrive
Whose boast is not: ‘we live’ but ‘we survive’,
A type who will inhabit the dying earth.
And her five cities, like five teeming sores,
Each drains her: a vast parasite robber-state
Where second-hand Europeans pullulate
Timidly on the edge of alien shores.
Yet there are some like me turn gladly home
From the lush jungle of modern thought, to find
The Arabian desert of the human mind,
Hoping, if still from the deserts the prophets come,
Such savage and scarlet as no green hills dare
Springs in that waste, some spirit which escapes
The learned doubt, the chatter of cultured apes
Which is called civilization over there.
AD Hope (1907–2000)
3
Notified poem
Last of His Tribe
Change is the law. The new must oust the old.
I look at you and am back in the long ago,
Old pinnaroo lonely and lost here,
Last of your clan.
Left only with your memories, you sit
And think of the gay throng, the happy people,
The voices and the laughter
All gone, all gone,
And you remain alone.
I asked and you let me hear
The soft vowelly tongue to be heard now
No more for ever.
For me
You enact old scenes, old ways, you who have used
Boomerang and spear.
You singer of ancient tribal songs,
You leader once in the corroboree,
You twice in fierce tribal fights
With wild enemy blacks from over the river,
All gone, all gone. And I feel
The sudden sting of tears, Willie Mackenzie
In the Salvation Army Home.
Displaced person in your own country,
Lonely in teeming city crowds,
Last of your tribe.
Oodgeroo Noonuccal (1920–1993)
4
Notified poem
Metho Drinker
Under the death of winter’s leaves he lies
who cried to Nothing and the terrible night
to be his home and bread. ‘O take from me
the weight and waterfall of ceaseless Time
that batters down my weakness; the knives of light
whose thrust I cannot turn; the cruelty
of human eyes that dare not touch nor pity.’
Under the worn leaves of the winter city
safe in the house of Nothing now he lies.
His white and burning girl, his woman of fire,
creeps to his heart and sets a candle there
to melt away the flesh that hides the bone,
to eat the nerve that tethers him in Time.
He will lie warm until the bone is bare
and on a dead dark moon he wakes alone.
It was for Death he took her; death is but this
and yet he is uneasy under her kiss
and winces from that acid of her desire.
Judith Wright (1915–2000)
5
Notified poem
At Cooloola
The blue crane fishing in Cooloola’s twilight
has fished there longer than our centuries.
He is the certain heir of lake and evening,
and he will wear their colour till he dies,
but I’m a stranger, come of a conquering people.
I cannot share his calm, who watch his lake,
being unloved by all my eyes delight in,
and made uneasy, for an old murder’s sake.
Those dark-skinned people who once named Cooloola
knew that no land is lost or won by wars,
for earth is spirit, the invader’s feet will tangle
in nets there and his blood be thinned by fears.
Riding at noon and ninety years ago,
my grandfather was beckoned by a ghost —
a black accoutred warrior armed for fighting,
who sank into bare plain, as now into time past.
White shores of sand, plumed reed and paperbark,
clear heavenly levels frequented by crane and swan —
I know that we are justified only by love,
but oppressed by arrogant guilt, have room for none.
And walking on clean sand among the prints
of bird and animal, I am challenged by a driftwood spear
thrust from the water; and, like my grandfather,
must quiet a heart accused by its own fear.
Judith Wright (1915–2000)
6
Notified poem
William Street
The red globes of light, the liquor-green,
The pulsing arrows and the running fire
Spilt on the stones, go deeper than a stream;
You find this ugly, I find it lovely.
Ghosts’ trousers, like the dangle of hung men,
In pawnshop-windows, bumping knee by knee,
But none inside to suffer or condemn;
You find this ugly, I find it lovely.
Smells rich and rasping, smoke and fat and fish
And puffs of paraffin that crimp the nose,
Or grease that blesses onions with a hiss;
You find it ugly, I find it lovely.
The dips and molls, with flip and shiny gaze
(Death at their elbows, hunger at their heels)
Ranging the pavements of their pasturage;
You find it ugly, I find it lovely.
Kenneth Slessor (1901–1971)
7
Notified poem
One Tuesday in Summer
That sultry afternoon the world went strange.
Under a violet and leaden bruise
The air was filled with sinister yellow light;
Trees, houses, grass took on unnatural hues.
Thunder rolled near. The intensity grew and grew
Like doom itself with lightnings on its face.
And Mr Pitt, the grocer’s order-man,
Who made his call on Tuesdays at our place,
Said to my mother, looking at the sky,
‘You’d think the ending of the world had come.’
A leathern little man, with bicycle-clips
Around his ankles, doing our weekly sum,
He too looked strange in that uncanny light;
As in the Bible ordinary men
Turn out to be angelic messengers,
Pronouncing the Lord’s judgments why and when.
I watched the scurry of the small black ants
That sensed the storm. What Mr Pitt had said
I didn’t quite believe, or disbelieve;
But still the words had got into my head,
For nothing less seemed worthy of the scene.
The darkening imminence hung on and on,
Till suddenly, with lightning-stroke and rain,
Apocalypse exploded, and was gone.
By nightfall things had their familiar look.
But I had seen the world stand in dismay
Under the aspect of another meaning
That rain or time would hardly wash away.
James McAuley (1917–1976)
8
Notified poem
My Country
The love of field and coppice,
Of green and shaded lanes,
Of ordered woods and gardens
Is running in your veins.
Strong love of grey-blue distance
Brown streams and soft, dim skies —
I know but cannot share it,
My love is otherwise.
I love a sunburnt country,
A land of sweeping plains,
Of ragged mountain ranges,
Of droughts and flooding rains.
I love her far horizons,
I love her jewel-sea,
Her beauty and her terror —
The wide brown land for me!
The stark white ring-barked forests,
All tragic to the moon,
The sapphire-misted mountains,
The hot gold hush of noon.
Green tangle of the brushes,
Where lithe lianas coil,
And orchids deck the tree tops
And ferns the warm dark soil.
Core of my heart, my country!
Her pitiless blue sky,
When sick at heart, around us,
We see the cattle die —
But then the grey clouds gather,
And we can bless again
The drumming of an army,
The steady, soaking rain.
Core of my heart, my country!
Land of the Rainbow Gold,
For flood and fire and famine,
She pays us back three-fold.
Over the thirsty paddocks,
Watch, after many days,
The filmy veil of greenness
That thickens as we gaze …
An opal-hearted country,
A wilful, lavish land —
All you who have not loved her,
You will not understand —
Though earth holds many splendours,
Wherever I may die,
I know to what brown country
My homing thoughts will fly.
Dorothea Mackellar (1885–1968)
9
Notified poem
Why we didn’t go away on the long weekend
Let us go away for the weekend he said
out of the city
into the high country
after all we went to england to see the snow
and didn’t — you arrange it
rang up trains — waited 6 hours for some one
to say hullo — rang up again to enquire times/
bookings etc. meanwhile
governments rose/fell there were 2 coups, 1½
rebellions, a revolution — nearly — the
president died — long live the king.
Knowing we had to get up early
we stayed up late arguing.
Slept
beyond the alarm into morning the train
went without us full of imagination he
booked a plane.
Rang taxis to take
us to airport — no answer — they (the taxis)
probably defected to russia/china.
Above
the city heard the plane singing into the
high country and the sound of tourists trudging
into the snow with cars
o Kosciusko
for you they come walking
At home with wet feet sludgy
hearts we sat around a radiator
hating each other slowly
Colleen Burke (1943– )
10
Notified poem
There is a Place in Distant Seas
There is a place in distant seas
Full of contrarieties:
There, beasts have mallards’ bills and legs,
Have spurs like cocks, like hens lay eggs.
There parrots walk upon the ground,
And grass upon the trees is found;
On other trees, another wonder!
Leaves without upper sides or under.
There pears you’ll scarce with hatchet cut;
Stones are outside the cherries put;
Swans are not white, but black as soot.
There neither leaf, nor root, nor fruit
Will any Christian palate suit,
Unless in desperate need you’d fill ye
With root of fern and stalk of lily.
There missiles to far distance sent
Come whizzing back from whence they went;
There quadrupeds go on two feet,
And yet few quadrupeds so fleet;
There birds, although they cannot fly,
In swiftness with your greyhound vie.
With equal wonder you may see
The foxes fly from tree to tree;
And what they value most, so wary,
These foxes in their pockets carry.
There the voracious ewe-sheep crams
Her paunch with flesh of tender lambs,
Instead of beef, and bread, and broth,
Men feast on many a roasted moth.
The north winds scorch, but when the breeze is
Full from the south, why then it freezes;
The sun when you to face him turn ye,
From right to left performs his journey.
Now of what place could such strange tales
Be told with truth save New South Wales?
Richard Whately (1787–1863)
11
Notified poem
A Mid-Summer Noon in the Australian Forest
Not a bird disturbs the air,
There is quiet everywhere;
Over plains and over woods
What a mighty stillness broods.
Even the grasshoppers keep
Where the coolest shadows sleep;
Even the busy ants are found
Resting in their pebbled mound;
Even the locust clingeth now
In silence to the barky bough:
And over hills and over plains
Quiet, vast and slumbrous, reigns.
Only there’s a drowsy humming
From yon warm lagoon slow coming:
’Tis the dragon-hornet — see!
All bedaubed resplendently
With yellow on a tawny ground —
Each rich spot nor square nor round,
But rudely heart-shaped, as it were
The blurred and hasty impress there,
Of a vermeil-crusted seal
Dusted o’er with golden meal:
Only there’s a droning where
Yon bright beetle gleams the air —
Gleams it in its droning flight
With a slanting track of light,
Till rising in the sunshine higher,
Its shards flame out like gems on fire.
Every other thing is still,
Save the ever wakeful rill,
Whose cool murmur only throws
A cooler comfort round Repose;
Or some ripple in the sea
Of leafy boughs, where, lazily,
Tired Summer, in her forest bower
Turning with the noontide hour,
Heaves a slumbrous breath, ere she
Once more slumbers peacefully.
O ’tis easeful here to lie
Hidden from Noon’s scorching eye,
In this grassy cool recess
Musing thus of Quietness.
Charles Harpur (1813–1868)
12
Notified poem
The Mitchells
I am seeing this: two men are sitting on a pole
they have dug a hole for and will, after dinner, raise
I think for wires. Water boils in a prune tin.
Bees hum their shift in unthinning mists of white
bursaria blossom, under the noon of wattles.
The men eat big meat sandwiches out of a styrofoam
box with a handle. One is overheard saying:
drought that year. Yes. Like trying to farm the road.
The first man, if asked, would say I’m one of the Mitchells.
The other would gaze for a while, dried leaves in his palm,
and looking up, with pain and subtle amusement,
say I’m one of the Mitchells. Of the pair, one has been rich
but never stopped wearing his oil-stained felt hat. Nearly everything
they say is ritual. Sometimes the scene is an avenue.
Les Murray (1938– )
13
Notified poem
Debbie & Co.
The Council Pool’s chockablock
with Greek kids shouting in Italian.
Isn’t it Sunday afternoon?
Half the school’s there, screaming,
skylarking, and bombing the deep end.
Nicky picks up her Nikon
and takes it all in, the racket
and the glare. Debbie strikes a pose.
In a patch of shade a grubby brat
dabbles ice-cream into the cement.
Tracey and Chris are missing,
mucking about behind the dressing sheds,
Nicky guesses. Who cares?
Debbie takes a dive. Emerging like a
porpoise at the edge of the pool
she finds a ledge, a covered gutter,
awash with bubbles and chlorine’s
chemical gossip. Debbie yells there,
and the rude words echo.
The piss-tinted water slaps the tiles.
Debbie dries off, lights a smoke,
and gazes at her friends fading out
around the corner of a dull relationship
and disappearing.
Under the democratic sun
her future drifts in and out of focus —
Tracey, Nicky, Chris, the whole arena
sinking into silence. Yet this is almost
Paradise: the Coke, the takeaway pizza,
a packet of Camels, Nicky’s dark glasses
reflecting the way the light glitters on
anything wet. Debbie’s tan needs
touching up. She lies back and dozes
on a terry-towelling print of Donald Duck.
She remembers how Brett was such a
dreamboat, until he turned into
somebody’s boring husband. Tracey
reappears, looking radiant. Nicky
browses through an Adult magazine.
Debbie goes to sleep.
John Tranter (1943– )
14
Notified poem
Suburban
Safe behind shady carports, sleeping under
the stars of the commonwealth and nylon gauze …
Asia is far off, its sheer white mountain-peaks, its millions
of hands; and shy bush-creatures in our headlamps
prop and swerve, small grass under the sprinklers
dreams itself ten feet tall as bull-ants lumber
between its stems — pushing
towards Sunday morning and the motor-blades …
Safe behind lawns and blondwood doors, in houses
of glass. No one throws stones. The moon dredges
a window square. Chrome faucets in the bathroom
hold back the tadpole-life that swarm in dams, a Kelvinator
preserves us from hook-worm. But there are days,
after drinks at the Marina, when dull headaches
like harbour fog roll in, black cats give off
blackness, children writhe out of our grip;
and only the cotton-wool in medicine bottles stands between us
and the capsules whose cool metallic colours
lift us to the stars. In sleep we drift
barefoot to the edge of town, pale moondust flares between our toes,
ghosts on a rotary-hoist fly in the wind …
under cold white snow-peaks tucked to the chin, we stare
at an empty shoe like Monday …
Sunlight arranges itself beyond our hands.
David Malouf (1934– )
15
Notified poem
Aboriginal Australia
To the others
You once smiled a friendly smile,
Said we were kin to one another,
Thus with guile for a short while
Became to me a brother.
Then you swamped my way of gladness,
Took my children from my side,
Snapped shut the lawbook, oh my sadness
At Yirrkala’s plea denied.
So, I remember Lake George hills,
The thin stick bones of people.
Sudden death and greed that kills,
That gave you church and steeple.
I cry again for Worrarra men,
Gone from kith and kind,
And I wondered when I would find a pen
To probe your freckled mind.
I mourned again for the Murray Tribe,
Gone too without a trace,
I thought of the soldier’s diatribe,
The smile on the Governor’s face.
You murdered me with rope, with gun,
The massacre my enclave,
You buried me deep on McLarty’s run
Flung into a common grave.
You propped me up with Christ, red tape,
Tobacco, grog and fears,
Then disease and lordly rape
Through the brutish years.
Now you primly say you’re justified,
And sing of a nation’s glory,
But I think of a people crucified —
The real Australian story.
Jack Davis (1917–2000)
16
Notified poem
End of Question 3
End of Part B
End of Paper Two
Hunting Rabbits
The men would often go hunting rabbits
in the countryside around the hostel —
with guns and traps and children following
in the sunlight of afternoon paddocks:
marvelling in their native tongues
at the scent of eucalypts all around.
We never asked where the guns came from
or what was done with them later:
as each rifle’s echo cracked through the hills
and a rabbit would leap as if jerked
on a wire through the air —
or, watching hands release a trap
then listening to a neck being broken.
Later, I could never bring myself
to watch the animals being skinned
and cleaned —
excitedly
talking about the ones that escaped
and how white tails bobbed among brown tussocks.
For days afterwards
our rooms smelt of blood and fur
as the meat was cooked in pots
over a kerosene primus.
But eat I did, and asked for more,
as I learnt about the meaning of rations
and the length of queues in dining halls —
as well as the names of trees
from the surrounding hills that always seemed
to be flowering with wattles:
growing less and less frightened by gunshots
and what the smell of gunpowder meant —
quickly learning to walk and keep up with men
that strode through strange hills
as if their migration had still not come to an end.
Peter Skrzynecki (1945– )
17
Ass
essm
ent
stan
dar
ds
der
ived
fro
m t
he
En
gli
sh S
enio
r E
xter
nal
Syl
lab
us
2004
Qu
esti
on
2 —
Med
ia:
An
alyt
ical
exp
osi
tio
n
Crit
erio
nA
BC
DE
Kno
wle
dge
and
cont
rol o
f tex
ts in
th
eir c
onte
xts
The
cand
idat
e ha
s de
mon
stra
ted
know
ledg
e th
at m
eani
ngs
in te
xts
are
shap
ed b
y pu
rpos
e, c
ultu
ral c
onte
xt a
nd s
ocia
l situ
atio
n by
:
•exp
loiti
ng th
e pa
ttern
s an
d co
nven
tions
of t
he s
peci
fied
genr
e to
ach
ieve
cul
tura
l pu
rpos
es
•em
ploy
ing
the
patte
rns
and
conv
entio
ns o
f the
spe
cifie
d ge
nre
to a
chie
ve c
ultu
ral
purp
oses
•in
the
mai
n, e
mpl
oyin
g th
e pa
ttern
s an
d co
nven
tions
of
the
spec
ified
gen
re to
ach
ieve
pa
rticu
lar c
ultu
ral p
urpo
ses
•une
venl
y us
ing
the
patte
rns
and
conv
entio
ns o
f the
sp
ecifi
ed g
enre
to a
chie
ve
cultu
ral p
urpo
ses
•occ
asio
nally
usi
ng s
ome
conv
entio
ns o
f the
spe
cifie
d ge
nre
to a
chie
ve s
ome
purp
oses
•sel
ectin
g an
d sy
nthe
sisi
ng
subs
tant
ial,
rele
vant
sub
ject
m
atte
r
•sel
ectin
g an
d us
ually
sy
nthe
sisi
ng c
onsi
dera
ble
rele
vant
sub
ject
mat
ter
•sel
ectin
g su
ffici
ent r
elev
ant
subj
ect m
atte
r•s
elec
ting
som
e re
leva
nt
subj
ect m
atte
r•s
elec
ting
som
e su
bjec
t mat
ter
that
rela
tes
to th
e ta
sk
•int
erpr
etin
g an
d in
ferri
ng fr
om
info
rmat
ion,
idea
s, a
rgum
ents
an
d im
ages
in g
reat
dep
th
•int
erpr
etin
g an
d in
ferri
ng fr
om
info
rmat
ion,
idea
s, a
rgum
ents
an
d im
ages
in d
epth
•int
erpr
etin
g an
d ex
plai
ning
in
form
atio
n, id
eas,
arg
umen
ts
and
imag
es
•int
erpr
etin
g an
d ex
plai
ning
so
me
info
rmat
ion,
idea
s an
d im
ages
•sub
stan
tiatin
g op
inio
ns w
ith
wel
l-bal
ance
d an
d re
leva
nt
argu
men
t and
evi
denc
e
•sub
stan
tiatin
g op
inio
ns w
ith
rele
vant
arg
umen
t and
ev
iden
ce
•sup
porti
ng o
pini
ons
with
re
leva
nt a
rgum
ent a
nd
evid
ence
•sup
porti
ng o
pini
ons
with
a
little
arg
umen
t and
evi
denc
e•s
tatin
g op
inio
ns
•exp
loiti
ng th
e w
ays
in w
hich
th
e w
riter
’s ro
le a
nd
rela
tions
hips
with
read
ers
are
affe
cted
by
pow
er, d
ista
nce
and
affe
ct.
•est
ablis
hing
the
writ
er’s
role
an
d co
ntro
lling
the
way
s re
latio
nshi
ps w
ith re
ader
s ar
e in
fluen
ced
by p
ower
, dis
tanc
e an
d af
fect
.
•est
ablis
hing
the
writ
er’s
role
an
d m
aint
aini
ng th
e w
ays
rela
tions
hips
with
read
ers
are
influ
ence
d by
pow
er, d
ista
nce
and
affe
ct.
•gen
eral
ly e
stab
lishi
ng th
e w
riter
’s ro
le a
nd s
omet
imes
m
aint
aini
ng th
e w
ays
rela
tions
hips
with
read
ers
are
influ
ence
d by
pow
er o
r di
stan
ce o
r affe
ct.
•ide
ntify
ing
the
writ
er’s
role
an
d m
akin
g so
me
use
of
rela
tions
hips
with
read
ers.
18
(co
nti
nu
ed)
Crit
erio
nA
BC
DE
Kno
wle
dge
and
cont
rol o
f tex
tual
fe
atur
es
The
cand
idat
e ha
s de
mon
stra
ted
know
ledg
e of
app
ropr
iate
ness
of t
extu
al fe
atur
es fo
r pur
pose
, gen
re, a
nd re
gist
er b
y:
•exp
loiti
ng th
e se
quen
cing
and
or
gani
satio
n of
sub
ject
mat
ter
in s
tage
s
•seq
uenc
ing
and
orga
nisi
ng
subj
ect m
atte
r log
ical
ly in
st
ages
•in
the
mai
n, s
eque
ncin
g an
d or
gani
sing
sub
ject
mat
ter i
n st
ages
•occ
asio
nally
seq
uenc
ing
and
orga
nisi
ng s
ubje
ct m
atte
r in
stag
es
•mak
ing
disc
erni
ng u
se o
f co
hesi
ve ti
es to
em
phas
ise
idea
s an
d co
nnec
t par
ts o
f te
xts
•con
trollin
g th
e us
e of
co
hesi
ve ti
es to
con
nect
id
eas
and
parts
of t
exts
•usu
ally
link
ing
idea
s w
ith
cohe
sive
ties
•m
akin
g la
pses
in lin
king
idea
s w
ith c
ohes
ive
ties
•lin
king
som
e id
eas
with
co
njun
ctio
ns
•exp
loiti
ng a
n ex
tens
ive
rang
e of
apt
voc
abul
ary
•sel
ectin
g, w
ith o
ccas
iona
l la
pses
, a w
ide
rang
e of
su
itabl
e vo
cabu
lary
•usi
ng s
uita
ble
voca
bula
ry•u
sing
bas
ic v
ocab
ular
y•u
sing
a n
arro
w ra
nge
of b
asic
vo
cabu
lary
•com
bini
ng a
wid
e ra
nge
of
clau
se a
nd s
ente
nce
stru
ctur
es fo
r spe
cific
effe
cts,
w
hile
sus
tain
ing
gram
mat
ical
ac
cura
cy
•con
trollin
g a
wid
e ra
nge
of
clau
se a
nd s
ente
nce
stru
ctur
es, w
hile
gen
eral
ly
mai
ntai
ning
gra
mm
atic
al
accu
racy
•usi
ng a
rang
e of
cla
use
and
sent
ence
stru
ctur
es w
ith
occa
sion
al la
pses
in
gram
mat
ical
acc
urac
y
•usi
ng c
laus
e an
d se
nten
ce
stru
ctur
es a
ccur
atel
y in
pl
aces
, but
with
freq
uent
gr
amm
atic
al la
pses
in
subj
ect–
verb
agr
eem
ent,
cont
inui
ty o
f ten
ses
and
pron
oun
refe
renc
es
•usi
ng a
nar
row
rang
e of
cl
ause
and
sen
tenc
e st
ruct
ures
with
freq
uent
gr
amm
atic
al la
pses
that
im
pede
und
erst
andi
ng
•sus
tain
ing
cont
rol o
f pa
ragr
aphi
ng a
nd a
wid
e ra
nge
of p
unct
uatio
n
•sus
tain
ing
cont
rol o
f pa
ragr
aphi
ng a
nd a
wid
e ra
nge
of p
unct
uatio
n
•con
trollin
g pa
ragr
aphi
ng a
nd
punc
tuat
ion,
suc
h as
co
mm
as, a
post
roph
es,
capi
tals
and
full
stop
s
•usi
ng p
arag
raph
ing
and
punc
tuat
ion
accu
rate
ly in
pl
aces
, but
with
freq
uent
la
pses
•usi
ng s
ome
punc
tuat
ion,
th
ough
not
par
agra
phin
g
•con
trollin
g co
nven
tiona
l sp
ellin
g.•c
ontro
lling
conv
entio
nal
spel
ling,
with
occ
asio
nal
laps
es.
•usi
ng co
nven
tiona
l spe
lling,
in
the
mai
n.•u
sing
con
vent
iona
l spe
lling,
w
ith fr
eque
nt la
pses
.•u
sing
som
e co
nven
tiona
l sp
ellin
g, b
ut la
pses
impe
de
unde
rsta
ndin
g.
19
(co
nti
nu
ed)
Crit
erio
nA
BC
DE
Kno
wle
dge
and
appl
icat
ion
of th
e co
nstr
ucte
dnes
s of
te
xts
The
cand
idat
e ha
s de
mon
stra
ted
know
ledg
e of
the
way
s in
whi
ch te
xts
are
sele
ctiv
ely
cons
truc
ted
and
read
by:
•tho
roug
hly
exam
inin
g ho
w
disc
ours
es in
text
s sh
ape
and
are
shap
ed b
y la
ngua
ge
choi
ces
•exa
min
ing
how
dis
cour
ses
in
text
s sh
ape
and
are
shap
ed
by la
ngua
ge c
hoic
es
•exp
lain
ing
how
dis
cour
ses
in
text
s sh
ape
and
are
shap
ed
by la
ngua
ge c
hoic
es
•ide
ntify
ing
som
e w
ays
lang
uage
cho
ices
are
sha
ped
by d
isco
urse
s
•eva
luat
ing
how
cul
tura
l as
sum
ptio
ns, v
alue
s, b
elie
fs
and
attit
udes
und
erpi
n te
xts
•exa
min
ing
how
cul
tura
l as
sum
ptio
ns, v
alue
s, b
elie
fs
and
attit
udes
und
erpi
n te
xts
•ide
ntify
ing
and
expl
aini
ng
how
cul
tura
l ass
umpt
ions
, va
lues
, bel
iefs
and
atti
tude
s un
derp
in te
xts
•ide
ntify
ing
som
e of
the
way
s cu
ltura
l ass
umpt
ions
, val
ues,
be
liefs
and
atti
tude
s un
derp
in
text
s
•som
etim
es id
entif
ying
som
e at
titud
es a
nd b
elie
fs in
text
s
•mak
ing
subt
le a
nd c
ompl
ex
dist
inct
ions
whe
n ev
alua
ting
repr
esen
tatio
ns o
f con
cept
s an
d of
the
rela
tions
hips
and
id
entit
ies
of in
divi
dual
s,
grou
ps, t
imes
and
pla
ces
•mak
ing
fine
dist
inct
ions
whe
n ev
alua
ting
repr
esen
tatio
ns o
f co
ncep
ts a
nd o
f the
re
latio
nshi
ps a
nd id
entit
ies
of
indi
vidu
als,
gro
ups,
tim
es a
nd
plac
es
•mak
ing
broa
d di
stin
ctio
ns
whe
n id
entif
ying
and
ex
plai
ning
repr
esen
tatio
ns o
f co
ncep
ts a
nd o
f the
re
latio
nshi
ps a
nd id
entit
ies
of
indi
vidu
als,
gro
ups,
tim
es a
nd
plac
es
•mak
ing
gene
ral d
istin
ctio
ns
whe
n id
entif
ying
re
pres
enta
tions
of c
once
pts
and
of th
e re
latio
nshi
ps a
nd
iden
titie
s of
indi
vidu
als,
gr
oups
, tim
es a
nd p
lace
s
•mak
ing
very
gen
eral
di
stin
ctio
ns w
hen
iden
tifyi
ng
repr
esen
tatio
ns o
f con
cept
s an
d of
the
rela
tions
hips
and
id
entit
ies
of in
divi
dual
s,
grou
ps, t
imes
and
pla
ces.
•tho
roug
hly
anal
ysin
g ho
w
read
ers/
view
ers
are
invi
ted
to
take
up
a po
sitio
n in
rela
tion
to th
e te
xt a
nd d
emon
stra
ting
with
sub
tlety
and
com
plex
ity
the
posi
tion
they
ado
pt a
s a
read
er/v
iew
er.
•ana
lysi
ng h
ow re
ader
s/vi
ewer
s ar
e in
vite
d to
take
up
a po
sitio
n in
rela
tion
to te
xts
and
clea
rly d
emon
stra
ting
the
posi
tion
they
ado
pt a
s a
read
er/v
iew
er.
•ide
ntify
ing
and
expl
aini
ng
way
s re
ader
s/vi
ewer
s ha
ve
been
invi
ted
to ta
ke u
p a
posi
tion
in re
latio
n to
text
s an
d br
oadl
y de
mon
stra
ting
the
posi
tion
they
ado
pt a
s a
read
er/v
iew
er.
•rec
ogni
sing
and
des
crib
ing
som
e w
ays
read
ers/
view
ers
have
bee
n in
vite
d to
take
up
a po
sitio
n in
rela
tion
to te
xts.
20
Qu
esti
on
3 —
Po
etry
: A
nal
ytic
al e
xpo
siti
on
Crit
erio
nA
BC
DE
Kno
wle
dge
and
cont
rol o
f tex
ts in
th
eir c
onte
xts
The
cand
idat
e ha
s de
mon
stra
ted
know
ledg
e th
at m
eani
ngs
in te
xts
are
shap
ed b
y pu
rpos
e, c
ultu
ral c
onte
xt a
nd s
ocia
l situ
atio
n by
:
•exp
loiti
ng th
e pa
ttern
s an
d co
nven
tions
of t
he s
peci
fied
genr
e to
ach
ieve
cul
tura
l pu
rpos
es
•em
ploy
ing
the
patte
rns
and
conv
entio
ns o
f the
spe
cifie
d ge
nre
to a
chie
ve c
ultu
ral
purp
oses
•in
the
mai
n, e
mpl
oyin
g th
e pa
ttern
s an
d co
nven
tions
of
the
spec
ified
gen
re to
ach
ieve
pa
rticu
lar c
ultu
ral p
urpo
ses
•une
venl
y us
ing
the
patte
rns
and
conv
entio
ns o
f the
sp
ecifi
ed g
enre
to a
chie
ve
cultu
ral p
urpo
ses
•occ
asio
nally
usi
ng s
ome
conv
entio
ns o
f the
spe
cifie
d ge
nre
to a
chie
ve s
ome
purp
oses
•sel
ectin
g an
d sy
nthe
sisi
ng
subs
tant
ial,
rele
vant
sub
ject
m
atte
r
•sel
ectin
g an
d us
ually
sy
nthe
sisi
ng c
onsi
dera
ble
rele
vant
sub
ject
mat
ter
•sel
ectin
g su
ffici
ent r
elev
ant
subj
ect m
atte
r•s
elec
ting
som
e re
leva
nt
subj
ect m
atte
r•s
elec
ting
som
e su
bjec
t mat
ter
that
rela
tes
to th
e ta
sk
•int
erpr
etin
g an
d in
ferri
ng fr
om
info
rmat
ion,
idea
s, a
rgum
ents
an
d im
ages
in g
reat
dep
th
•int
erpr
etin
g an
d in
ferri
ng fr
om
info
rmat
ion,
idea
s, a
rgum
ents
an
d im
ages
in d
epth
•int
erpr
etin
g an
d ex
plai
ning
in
form
atio
n, id
eas,
arg
umen
ts
and
imag
es
•int
erpr
etin
g an
d ex
plai
ning
so
me
info
rmat
ion,
idea
s an
d im
ages
•sub
stan
tiatin
g op
inio
ns w
ith
wel
l-bal
ance
d an
d re
leva
nt
argu
men
t and
evi
denc
e
•sub
stan
tiatin
g op
inio
ns w
ith
rele
vant
arg
umen
t and
ev
iden
ce
•sup
porti
ng o
pini
ons
with
re
leva
nt a
rgum
ent a
nd
evid
ence
•sup
porti
ng o
pini
ons
with
a
little
arg
umen
t and
evi
denc
e•s
tatin
g op
inio
ns
•exp
loiti
ng th
e w
ays
in w
hich
th
e w
riter
’s ro
le a
nd
rela
tions
hips
with
read
ers
are
affe
cted
by
pow
er, d
ista
nce
and
affe
ct.
•est
ablis
hing
the
writ
er’s
role
an
d co
ntro
lling
the
way
s re
latio
nshi
ps w
ith re
ader
s ar
e in
fluen
ced
by p
ower
, dis
tanc
e an
d af
fect
.
•est
ablis
hing
the
writ
er’s
role
an
d m
aint
aini
ng th
e w
ays
rela
tions
hips
with
read
ers
are
influ
ence
d by
pow
er, d
ista
nce
and
affe
ct.
•gen
eral
ly e
stab
lishi
ng th
e w
riter
’s ro
le a
nd s
omet
imes
m
aint
aini
ng th
e w
ays
rela
tions
hips
with
read
ers
are
influ
ence
d by
pow
er o
r di
stan
ce o
r affe
ct.
•ide
ntify
ing
the
writ
er’s
role
an
d m
akin
g so
me
use
of
rela
tions
hips
with
read
ers.
21
(co
nti
nu
ed)
Crit
erio
nA
BC
DE
Kno
wle
dge
and
cont
rol o
f tex
tual
fe
atur
es
The
cand
idat
e ha
s de
mon
stra
ted
know
ledg
e of
app
ropr
iate
ness
of t
extu
al fe
atur
es fo
r pur
pose
, gen
re, a
nd re
gist
er b
y:
•exp
loiti
ng th
e se
quen
cing
and
or
gani
satio
n of
sub
ject
mat
ter
in s
tage
s
•seq
uenc
ing
and
orga
nisi
ng
subj
ect m
atte
r log
ical
ly in
st
ages
•in
the
mai
n, s
eque
ncin
g an
d or
gani
sing
sub
ject
mat
ter i
n st
ages
•occ
asio
nally
seq
uenc
ing
and
orga
nisi
ng s
ubje
ct m
atte
r in
stag
es
•mak
ing
disc
erni
ng u
se o
f co
hesi
ve ti
es to
em
phas
ise
idea
s an
d co
nnec
t par
ts o
f te
xts
•con
trollin
g th
e us
e of
co
hesi
ve ti
es to
con
nect
id
eas
and
parts
of t
exts
•usu
ally
link
ing
idea
s w
ith
cohe
sive
ties
•m
akin
g la
pses
in lin
king
idea
s w
ith c
ohes
ive
ties
•lin
king
som
e id
eas
with
co
njun
ctio
ns
•exp
loiti
ng a
n ex
tens
ive
rang
e of
apt
voc
abul
ary
•sel
ectin
g, w
ith o
ccas
iona
l la
pses
, a w
ide
rang
e of
su
itabl
e vo
cabu
lary
•usi
ng s
uita
ble
voca
bula
ry•u
sing
bas
ic v
ocab
ular
y•u
sing
a n
arro
w ra
nge
of b
asic
vo
cabu
lary
•com
bini
ng a
wid
e ra
nge
of
clau
se a
nd s
ente
nce
stru
ctur
es fo
r spe
cific
effe
cts,
w
hile
sus
tain
ing
gram
mat
ical
ac
cura
cy
•con
trollin
g a
wid
e ra
nge
of
clau
se a
nd s
ente
nce
stru
ctur
es, w
hile
gen
eral
ly
mai
ntai
ning
gra
mm
atic
al
accu
racy
•usi
ng a
rang
e of
cla
use
and
sent
ence
stru
ctur
es w
ith
occa
sion
al la
pses
in
gram
mat
ical
acc
urac
y
•usi
ng c
laus
e an
d se
nten
ce
stru
ctur
es a
ccur
atel
y in
pl
aces
, but
with
freq
uent
gr
amm
atic
al la
pses
in
subj
ect–
verb
agr
eem
ent,
cont
inui
ty o
f ten
ses
and
pron
oun
refe
renc
es
•usi
ng a
nar
row
rang
e of
cl
ause
and
sen
tenc
e st
ruct
ures
with
freq
uent
gr
amm
atic
al la
pses
that
im
pede
und
erst
andi
ng
•sus
tain
ing
cont
rol o
f pa
ragr
aphi
ng a
nd a
wid
e ra
nge
of p
unct
uatio
n
•sus
tain
ing
cont
rol o
f pa
ragr
aphi
ng a
nd a
wid
e ra
nge
of p
unct
uatio
n
•con
trollin
g pa
ragr
aphi
ng a
nd
punc
tuat
ion,
suc
h as
co
mm
as, a
post
roph
es,
capi
tals
and
full
stop
s
•usi
ng p
arag
raph
ing
and
punc
tuat
ion
accu
rate
ly in
pl
aces
, but
with
freq
uent
la
pses
•usi
ng s
ome
punc
tuat
ion,
th
ough
not
par
agra
phin
g
•con
trollin
g co
nven
tiona
l sp
ellin
g.•c
ontro
lling
conv
entio
nal
spel
ling,
with
occ
asio
nal
laps
es.
•usi
ng co
nven
tiona
l spe
lling,
in
the
mai
n.•u
sing
con
vent
iona
l spe
lling,
w
ith fr
eque
nt la
pses
.•u
sing
som
e co
nven
tiona
l sp
ellin
g, b
ut la
pses
impe
de
unde
rsta
ndin
g.
22
(co
nti
nu
ed)
Crit
erio
nA
BC
DE
Kno
wle
dge
and
appl
icat
ion
of th
e co
nstr
ucte
dnes
s of
te
xts
The
cand
idat
e ha
s de
mon
stra
ted
know
ledg
e of
the
way
s in
whi
ch te
xts
are
sele
ctiv
ely
cons
truc
ted
and
read
by:
•tho
roug
hly
exam
inin
g ho
w
disc
ours
es in
text
s sh
ape
and
are
shap
ed b
y la
ngua
ge
choi
ces
•exa
min
ing
how
dis
cour
ses
in
text
s sh
ape
and
are
shap
ed
by la
ngua
ge c
hoic
es
•exp
lain
ing
how
dis
cour
ses
in
text
s sh
ape
and
are
shap
ed
by la
ngua
ge c
hoic
es
•ide
ntify
ing
som
e w
ays
lang
uage
cho
ices
are
sha
ped
by d
isco
urse
s
•eva
luat
ing
how
cul
tura
l as
sum
ptio
ns, v
alue
s, b
elie
fs
and
attit
udes
und
erpi
n te
xts
•exa
min
ing
how
cul
tura
l as
sum
ptio
ns, v
alue
s, b
elie
fs
and
attit
udes
und
erpi
n te
xts
•ide
ntify
ing
and
expl
aini
ng
how
cul
tura
l ass
umpt
ions
, va
lues
, bel
iefs
and
atti
tude
s un
derp
in te
xts
•ide
ntify
ing
som
e of
the
way
s cu
ltura
l ass
umpt
ions
, val
ues,
be
liefs
and
atti
tude
s un
derp
in
text
s
•som
etim
es id
entif
ying
som
e at
titud
es a
nd b
elie
fs in
text
s
•mak
ing
subt
le a
nd c
ompl
ex
dist
inct
ions
whe
n ev
alua
ting
repr
esen
tatio
ns o
f con
cept
s an
d of
the
rela
tions
hips
and
id
entit
ies
of in
divi
dual
s,
grou
ps, t
imes
and
pla
ces
•mak
ing
fine
dist
inct
ions
whe
n ev
alua
ting
repr
esen
tatio
ns o
f co
ncep
ts a
nd o
f the
re
latio
nshi
ps a
nd id
entit
ies
of
indi
vidu
als,
gro
ups,
tim
es a
nd
plac
es
•mak
ing
broa
d di
stin
ctio
ns
whe
n id
entif
ying
and
ex
plai
ning
repr
esen
tatio
ns o
f co
ncep
ts a
nd o
f the
re
latio
nshi
ps a
nd id
entit
ies
of
indi
vidu
als,
gro
ups,
tim
es a
nd
plac
es
•mak
ing
gene
ral d
istin
ctio
ns
whe
n id
entif
ying
re
pres
enta
tions
of c
once
pts
and
of th
e re
latio
nshi
ps a
nd
iden
titie
s of
indi
vidu
als,
gr
oups
, tim
es a
nd p
lace
s
•mak
ing
very
gen
eral
di
stin
ctio
ns w
hen
iden
tifyi
ng
repr
esen
tatio
ns o
f con
cept
s an
d of
the
rela
tions
hips
and
id
entit
ies
of in
divi
dual
s,
grou
ps, t
imes
and
pla
ces.
•tho
roug
hly
anal
ysin
g ho
w
read
ers
are
invi
ted
to ta
ke u
p po
sitio
ns in
rela
tion
to te
xts.
•ana
lysi
ng h
ow re
ader
s ar
e in
vite
d to
take
up
posi
tions
in
rela
tion
to te
xts.
•ide
ntify
ing
and
expl
aini
ng
way
s re
ader
s ha
ve b
een
invi
ted
to ta
ke u
p po
sitio
ns in
re
latio
n to
text
s.
•rec
ogni
sing
and
des
crib
ing
som
e w
ays
read
ers
have
be
en in
vite
d to
take
up
posi
tions
in re
latio
n to
text
s.
23
Acknowledgments
David Malouf ‘Suburban’ and Jack Davis ‘Aboriginal Australia’, in P McFarlane and L Temple (eds), 1996, Blue light, clear atoms: Poetry for senior students, Macmillan Education Australia Pty Ltd, Melbourne.
AD Hope ‘Australia’, Oodgeroo Noonuccal ‘Last of His Tribe’, Judith Wright ‘Metho Drinker’ and ‘At Cooloola’, Kenneth Slessor ‘William Street’, James McAuley ‘One Tuesday in Summer’, Les Murray ‘The Mitchells’, John Tranter ‘Debbie & Co.’ and Peter Skrzynecki ‘Hunting Rabbits’, in J Tranter and P Mead (eds), 1991, The Penguin Book of Modern Australian Poetry, Penguin Books Australia, Melbourne.
Dorothea Mackellar ‘My Country’ and Colleen Burke ‘Why we didn’t go away on the long weekend’, in S Hampton and K Llewellyn (eds), 1986, The Penguin Book of Australian Women Poets, Penguin Books Australia, Melbourne.
Richard Whately ‘There is a Place in Distant Seas’ and Charles Harpur ‘A Mid-Summer Noon in the Australian Forest’, in J Kinsella (ed), 2009, The Penguin Anthology of Australian Poetry, Penguin Group Australia, Melbourne.
Every reasonable effort has been made to contact owners of copyright material. We would be pleased to hear from any copyright owner who has been omitted or incorrectly acknowledged.
© Th
Copyr
ManaPublisEmail
Que& APO BoLevel 7T + 61
www.
e State of Queensland (Queensland Curriculum and Assessment Authority) 2016
ight enquiries should be made to:
ger hing Unit
ensland Curriculumssessment Authorityx 307, Spring Hill QLD 4004 Australia
, 154 Melbourne Street, South Brisbane 7 3864 0299qcaa.qld.edu.au
