ENGLISH
Years 9 and 10
WORKING with WORDS
confusing words, prefixes and suffixes,
language and visual devices,
close reading
Workbook
+
Interactive Web based Learning
Neil Riley
©2012 Live-wire Learning. Photocopying Prohibited. ISBN 978-0-9922465-2-5
Page 1
Introduction
Neil Riley has taught English for 35 years and was Head of English at Southland Boys' High School. He
is currently teaching English and French and is the CEO and general editor of Live-wire Learning.
Live-wire Learning is New Zealand's most comprehensive on-line learning resource for secondary school
students providing detailed teaching material and graded questions in English from Years 7-12.
The goal of your teachers and school is that you become a self-directed life-long learner. Teachers will
help you achieve this but you have to help yourself as well. Like any sport, computer game or cultural
activity where practice makes perfect, you have to practise your English and literacy skills. This book and
eLive-wire is designed to help you to practise and become successful.
Our aim with this second book in the series is provide hard copy notes (which you can refer to in the
years ahead) from our site and some easy exercises that you can complete in class, so that then you can
practise this skill on line in your own time. Once you have mastered the easier Achieved-Only versions of
a module on line, you can then challenge yourself with the harder Merit and Excellence level questions in
the normal modules.
As a student you can now
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
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go on line and use the eLive-wire programme to practise your knowledge and understanding of
this material with Achieved level questions, gain success and confidence
get instant feedback from the hundreds of online questions + explanations to accelerate your
learning
re-sit modules to improve your score out of 10 and your 'working at' level
extend yourself
track your record of learning and your place on the leader board (see our home page)
refer to the relevant modules or Glossary to make notes on the Key Terms
use the definitions modules to rehearse key terms.
We hope that this resource will motivate and equip you to succeed in this subject.
For instructions to access the web site, turn to the inside back cover.
All the best for your learning.
No material in this publication may be reproduced in any form without the permission of the publishers.
ISBN 978-0-9922465-2-5
© 2012 Livewire Learning Limited
Invercargill, NEW ZEALAND
For further information contact
Neil Riley
General Editor
Live-wire Learning Ltd
3 Avenal Street
Invercargill, NZ 9810
[email protected]
www.livewirelearning.co.nz
©2012 Live-wire Learning. Photocopying Prohibited. ISBN 978-0-9922465-2-5
Page 2
Table of Contents
Topics
Background to Spoken and Written Language
1. Recognising Spoken and Written Language
Page
4
2. Recognising Formal and Informal Language
5
3. Recognising Spoken and Written Language
7
4. Recognising Fact and Opinion
8
Vocabulary Development: Derivations
5. The History of the English Language - Old English
10
6. The History of the English Language – Middle English
12
7. The History of the English Language – Early Modern English
15
8. The History of the English Language – Modern English
16
9. Prefixes and Suffixes
18
10. Confusing Words – Homophones and Homographs
21
Poetic Devices
11. Sound Devices:
Alliteration, Assonance & Onomatopoeia, Rhyme, Rhythm
23
12. Image Devices:
Literal and Figurative Imagery, Simile, Metaphor, Personification
29
Language Features
13. Clichés to Slang
34
14. Visual Language Features
43
Close Reading of Texts – Putting it into Practice
15. Approaches to Unfamiliar Text
46
16. Close Reading Passages
49
Index and Page References
59
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Page 3
PERIOD 4. THE MODERN ENGLISH PERIOD 1800 – 2013
Modern English
1. The 1800s to the present day marks what can be called the Modern English era. During
this time there have been significant developments in exploration, trade, settlement and
technology all of which have brought new words into English.
2. Borrowing
In New Zealand we have borrowed from a number of different countries or areas as a
result of trade and immigration. The words we have borrowed usually describe foods,
customs, and concepts that are new to English speakers. Some of these countries or areas
are: Maori, Japan, Australia, the Pacific (which refers to islands like Samoa, Tonga and
Fiji), South Africa, the Middle East, China, Russia, and Scandinavia.
Worked example 11: the term 'typhoon' was originally borrowed from Asia.
In Chinese, a hurricane or typhoon is called 台风 (tái fēng).
3. Borrowing from other languages has continued right up to the present day. As contact
with other countries is extended through contact, immigration and television, so loan
words are added from these new sources. Note the increased familiarity with Asian or
Pacific words in New Zealand. Some relate to food and drink – 'sushi' and 'sake' – for
example, others relate to customs such as 'haka' and 'hongi'.
4. Compounding and blending are two common ways we add words to our language.
a. Compounding means to add words together to form a new one.
Worked example 12: breakfast – originally this was two words: break and fast - the
practice of not eating before ‘God’s meal’ or communion was taken. Later it used to
refer to merely breaking a period of fasting. Then it was used to describe the first
meal people ate to break their fast of not eating over the night time.
Initially there are two words, then they may become hyphenated, then a single word. This
has been a common way of creating new words in New Zealand especially in farming
and agriculture.
Challenge yourself – write down some other compound words commonly used in New
Zealand English.
.
b. Blending occurs when parts of two words are added to form a new one.
Worked example 13: smog – the two words smoke and fog are blended to form smog.
Challenge yourself – write down some other blends commonly used in New Zealand
English or create some of your own.
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Page 4
Challenge yourself – write in the meanings of as many Maori words as you can.
Maori
Hui
Means
A meeting or
gathering
Maori
Tapu
Means
Maori
Morena
Marae
Haere mai
Taonga
Turangawaewae
Tena koe
Tena korua
Nau mai
Tena koutou
Tangihanga
Tino
rangatiratanga
Whakapapa
Tangi
Whenua
Arero
Karanga
Ariki
Ihu
Manuhiri
Hapu
Aroha
Tangata whenua
Iwi
Kauae / kauwae
Whaikorero
Kaumatua
Kia ora
Kaikorero
Ngai Tatou
Waka
Haka
mana
E noho ra
Waiata
Rangatira
E haere ra
Koha
Tama
Haere mai
Whare nui
Tamahine
Tane
Whare whakairo
Tamaiti
Teina / Taina
Whare kai
Tamariki
Whare horoi
Means
Tena tatou katoa
COMPUTER WORK – Log on to Live-wire Learning and test your understanding.
MODULE
First
Attempt /10
Working
at
Second
Attempt /10
Working
at
The Development of English 7 – Modern 1
The Development of English 7 – Modern 2
The Development of English 7 – Modern 3
The Development of English 8 – Blends
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Page 5
9. Prefixes and Suffixes
Prefixes In Summary
1. The teacher was taking
prefixes
her students from the
known to the unknown as
they explored their science
topic
A prefix is a part of a word that we fix to the start
of a word to change its meaning.
Common ones include:
e/ex-, in-, im-, un-, dis-, mis-, de-, reSeveral like in-, im-, un-, dis-, non- mean 'not'.
Prefixes In Detail
1. A prefix is a part of a word that we fix to the start of a word to change its meaning.
Worked Example 1: prefix
Note how the word 'prefix' itself begins with the prefix 'pre' means 'before' or 'in
front of' and so its meaning is 'to fix before'.
2. Many new words have been added to the English language in this way. On the next
page there is a table of common prefixes, their origins (what language they came from),
their meanings and an example. Differences in origins of prefixes affect their meaning.
Worked example 2: ante- antiThe Latin prefix 'ante' = 'before' and the Greek prefix 'anti' = 'against' or 'in place
of' are sometimes confused but both have quite different meanings because they
come from different languages.
3. Prefixes attach to the root of a word and word roots generally belong to word families.
Worked example 3: dictionary
The Latin root 'dict-' meaning 'say, speak' appears in the words:
'dictionary, dictate, unpredictable', predict (Note the prefixes 'un' and 'pre' also in
use here.)
Worked Example 4: transplant
The prefix 'trans' means 'across'. If we add it to the word 'plant', it now means 'to
plant across' in a different place.
Worked Example 5: replant
The prefix 're' means 'again' or 'back'. If we add it to the word 'plant', the meaning of
the new word is 'to plant again'.
4. There are a large number of prefixes that mean 'not' and therefore when added to a
word change the meaning to the opposite (they become antonyms). For example, in-, im-,
un-, dis-, non- mean not.
Worked Example 6:
kind – unkind
persuade – dissuade
©2012 Live-wire Learning. Photocopying Prohibited. ISBN 978-0-9922465-2-5
Page 6
5. Spelling changes occur using the prefix 'in' when it means 'not'.
Worked examples 7:
a. 'in' becomes 'im' before a word starting with 'm' or 'p' e.g. patient = impatient
b. 'in' becomes 'il' before a word starting with 'l' e.g. legal = illegal
c. 'in' becomes 'ir' before a word starting with 'r' e.g. regular = irregular
Challenge yourself – fill in the rest of the definitions for these common prefixes. Use a
dictionary with derivations to add other examples.
Origin
Old
English
Prefix
Example
Meaning
Definition
unlikely
not
not likely
reverse
e-, exprepostresemisub-
undo
misdeed
mistake
foresee
withdraw
withstand
antenatal
nonsense
insert
insane
discover
dismiss
exit, export
predict
postpone
return
semitone
subway
trans-
transplant
anti-
antibodies
against
arch
autodiahemimonoperi-
archbishop
automatic
diameter
hemisphere
monologue
perimeter
pro-
proceed
tele-
telephone
chief
self
through
half
one
around
before,
forward,
in favour of
at a distance
unmisforewith-
Latin
ante
nonindis
Greek
Other Examples
wrong
before
back
against
before
not
into
not
not
away
out of
before
after
again, back
half
under
beyond,
across
before birth
proteins against
invaders, e.g. bacteria
COMPUTER WORK - Log on to Live-wire Learning and test your understanding.
MODULE
First
Attempt /10
Working at
Second
Attempt /10
Working at
Using Prefixes 1 – Recognition – AO
Using Prefixes 2 – Meanings 1 – A
Using Prefixes 3 – Meanings 2 – AO
Using Prefixes 4 – Forming Antonyms 1
Using Prefixes 5 – Forming Antonyms 2
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Page 7
Close Reading of Texts – Putting it all into Practice
Part 1 offers some ways you can approach a piece of unfamiliar text; Part 2 offers some
suggestions for answering NCEA Level 1 type questions on some passages of unfamiliar text.
You should go online to read and answer first in order to prepare you for the kind of written
answers you will encounter in NCEA level 1.
Part 1 Approaches to Unfamiliar Text
a. Features of Style
Style
Features to look out for and questions to consider.
letter to Expect that the writer's purpose will be to persuade, to present a point of view.
- Are there any supporting facts or is it just opinion?
the
- Does the writer use hyperbole?
editor
- Is the tone unbiased and factual or emotive?
- How has the writer structured the piece? How does the writer capture your interest? Is there a
strong conclusion?
- How formal or informal is the letter?
formal
Expect that the ideas will be presented and developed in a structured, logical and reasoned
writing
way.
- What is the writer's purpose?
a. To inform? How is the material structured? Are there subheadings? Images? Supporting
evidence? Is there the Statement – Evidence – Comment (SEC) format?
b. To persuade? Does the writer take the reader from the known to the new? Or the most
important to least? Or the least important to most? Or the general to the specific?
- What is the writer's message?
- What is the writer's point of view and attitude? Can you find examples of emotive language
that reveal this?
- Who is the likely audience? How does the writer use personal pronouns to create a relationship
with that audience?
- How formal and technical is the language? Does it use concrete nouns (as in a technical
manual) or abstract nouns (as in a more theoretical text)?
poetry
Expect that the poet will be telling a story or exploring an experience or conveying a
message. Helpful hints:
- The poem's title will provide a clue.
- Try to work out who is involved, where the event is taking place, what is happening.
- The main idea or message will appear at the end of the poem.
- Poets use the best words in the best order so you will need to read slowly and paraphrase it in
your own mind.
- Punctuation will help you understand what is happening but you will have to decide whether
an idea stops at the end of the line or runs on to the next line.
- What narrative point of view is being used? First person (I) or third person (he, she)?
- Is the poet using emotive language? How does the poet feel? How does the poet want us to
feel about the subject being described?
- Is there both literal and figurative language? How vivid and original are these images?
- What sound effects has the poet included and why?
- How is the poem structured?
creative Expect that an event is being narrated or a scene or person is being described.
- Who is involved? Where and when is the event taking place? What is happening?
writing
- What is the message?
- Does the writer use literal imagery? If, so, what kind of mood/atmosphere is being created?
- Does the writer use figurative imagery? If so, how vivid or original are these images?
- Does the writer use emotive language? If so, what is the writer's attitude and how does the
writer want us, as readers, to respond?
- How is the story told? Is it first or third person narrative point of view?
- What other language techniques are being used and what effects do they have?
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Page 8
visual
text
Expect that a message is being conveyed by the images and words.
- What is presented in the picture?
- What is the message and who is it aimed at?
- Why has the image been created?
- What visual and verbal features are used and how well do they convey the message?
b. The CAPITAL approach
As you read through the text, you might like to annotate (make notes on) the text using the
acronym CAPITAL approach:
Content
Audience
Purpose
Ideas
Tone
Attention
Language
Who is present? Where and when does it all take place? What happens in each
paragraph or stanza?
Who is the text written for? What clues are there?
Why has the writer written the text? To entertain? To inform? To provoke?
What is/are the messages that the writer is exploring and wants us to think about?
What is the writer's attitude to the topic and to the audience reading it?
How does the writer gain and maintain the audience's attention?
What visual and verbal features (language features, poetic devices, structural
techniques) does the writer use? How do these techniques help the writer express
the ideas across? How well do these techniques work?
Part 2 Answering the Questions
It is important to realise that the questions give some clues about what you should focus on.
They are worded so that you to start with a narrow focus on a part of the text and the require you
to broaden out and comment on the whole passage:
i. firstly you will have to identify a language technique and give an example
ii. then you will have to explain how that is used to create an effect or response
iii. finally you will have to comment on the passage as a whole explaining how the
writer's techniques reveal the message/idea or purpose.
It is important to have a clear understanding of the writer's purpose and to identify that in your
long answer so that you can peg your explanation and comment back to that.
Challenge yourself –
1. reread the poem Arms and the Boy on page 29
2. read the paragraph (taken from a larger answer)
3. find and annotate on the sheet the following aspects:
- the poet's purpose
- reference to the poem's title and author
- techniques mentioned
- supporting quotes or references
- links to the poet's purpose
Owen's purpose in writing 'Arms and the Boy' was to expose how unnatural it was for young men to
be fighting and killing each other. He does this by using the two techniques of personification and
contrast. In the first two stanzas he personifies the bayonet and bullets which are lean – 'thinly
drawn with famishing for flesh', 'keen with hunger of blood' and strongly desire to 'muzzle in the
hearts' of the young men. In the last stanza he contrasts these unnatural weapons with the natural
defences of a bird's talons and a stag's antlers. The fact that humans do not have these natural
'weapons' and that 'god' will never cause humans to grow any proves how unnatural war is.
©2012 Live-wire Learning. Photocopying Prohibited. ISBN 978-0-9922465-2-5
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Close Reading Passage 3 - Poetry
'Lines Composed In A Wood On A Windy Day'
(1) My soul is awakened, my spirit is soaring
And carried aloft on the wings of the breeze;
For above and around me the wild wind is roaring,
Arousing to rapture the earth and the seas.
Livewire Scores:
1.
/10 – Working at
2.
/10 – Working at
(2) The long withered grass in the sunshine is glancing,
The bare trees are tossing their branches on high;
The dead leaves, beneath them, are merrily dancing,
The white clouds are scudding across the blue sky.
(3) I wish I could see how the ocean is lashing
The foam of its billows to whirlwinds of spray;
I wish I could see how its proud waves are dashing,
And hear the wild roar of their thunder to-day!
- Anne Bronte Jones
QUESTION
(a)
Identify one language feature used to show how poet is alive and alert to the world around her.
Provide an example from stanza 1.
(i) Feature:______________________________________________________________
(ii) Example: ____________________________________________________________
(b)
Explain how the feature you identified in (a) expresses the poet's feelings.
(c)
Look at the whole poem. In your own words, explain the ways the poet helps you, as a reader, to
become involved in the scene. Comment on how features such as language, tone, structure, narrative
point of view and imagery are used. Support your answer with evidence from the text.
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Page 10
visit www.livewirelearning.co.nz http://my.livewirelearning.co.nz
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