TASMANIAN QUALIFICATIONS AUTHORITY
T A S M A N I A N
English Studies
C E R T I F I C A T E
Subject Code: ENS315109
O F
2010 Assessment Report
E D U C A T I O N
The Chief Examiner is pleased to present the following report on behalf of the assessment
panel and the marking team.
The format for the following report continues the dot-point format introduced in 2009 in a
deliberate attempt to provide candidates, parents and teachers with a more accessible report.
Feedback regarding this format has been positive.
It remains the case that this report for external assessment in 2010 is to be read in conjunction
with previous reports of 2004 – 2009, all of which are on the TQA website at
http://www.tqa.tas.gov.au/1071. The 2010 report tries to avoid repetition of previous report
comments. However, it remains an ongoing concern amongst markers that candidates
continue to make similar errors from past years, even though the reports have been available.
Candidates MUST read all reports carefully, and employ the advice and direction given
therein.
Written Examination Paper
The following general remarks need to be read alongside, and as additional to, the general
remarks in the 2009 report
•
Most scripts were legible. Some illegible scripts made assessment difficult. Only blue
or black ink should be used. Coloured ink pens (eg orange, green etc) MUST NOT be
used. Pencil should NEVER be used
•
Better scripts were fluent, coherent and formally expressed. However, in too many
papers the standard of written expression, spelling and punctuation was poor. (If
criterion 10 had been assessed, these candidates would have scored D)
•
Many scripts lacked a strong opening paragraph
•
There was wide variation in the use of good vocabulary and correct use of literary
terms. Too many candidates present poorly in this regard
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Many candidates omitted to use often the words of the question in their responses
•
Length of answer was often directly related to quality of answer
•
Paragraph indentation was poorly observed
•
There was generally inaccurate presentation of titles
•
Quotation procedure often was poorly observed
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•
To achieve in-depth analysis, and to show understanding of the question and criteria
being addressed, candidates need to explore more than one example in a paragraph to
demonstrate an idea
•
Candidates should balance answers across the criteria, and across texts when more than
one text is being discussed
SECTION A – Core Questions
Question 1
(a)
Love Poetry
•
One of the problems with the restricted choice of response posed by this question
became apparent when several candidates disregarded the question parameters: a
few candidates added Shakespeare’s ‘Sonnet 166’ to the discussion and/or
candidate compared Donne’s poem to Browning’s ‘Sonnets from the Portuguese’,
(a 19th century poem and therefore also disallowed). Clearly, this question had a
double restriction because the Donne poem was compulsory AND the second
and/or third poems had to be from the twentieth century. Obviously, some
candidates chose to write about poems they knew
•
There were some very good responses and the overall standard was around B/B-.
Some candidates made good use of quotations to support their arguments. A
number of candidates, however, devoted too much time to extensive general
discussion of contextual matters, and in some cases, included biographical
information about the poet which they believed was relevant to the poem.
Unfortunately, this additional contextual information came at the expense of
closer engagement with the poems and detailed discussion of their ideas and
style; indeed, there were quite a number of responses that simply summarised the
key ideas without any textual quotations to support them. Candidates need to be
aware that contextual information should be linked (wherever possible) to
discussion of stylistic approach or technique when looking at lines of verse, thus
establishing more clearly the connection between the text and the poet’s social
and historical context
•
It is noteworthy that several candidates actually forgot to discuss social and
historical context
•
Conversely, some candidates detailed the historical period, ignoring criterion 1,
and resulting in a ‘SOSE-type’ essay
•
Poems chosen for comparison with Donne’s included: ‘it may not always be so’,
‘For My Lover Returning to His Wife’, ‘Then’ and ‘Reminders’. Most candidates
chose to compare Donne’s poem to one other but some very competent responses
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compared it to two other poems. One candidate chose to compare the core poem
to three others and discussion was superficial. There was some excellent analysis
of Donne’s poem at the higher end and, although basic at the lower end, generally
accurate. Similarly with the comparative poems
(b)
•
A few candidates used Shakespeare and/or Barrett-Browning despite the question
asking for 20th Century poems to compare with Donne’s
•
It was disappointing to find some answers included lengthy lists of the rhyme
schemes of poems without actually explaining how these add to our appreciation
and/or understanding
•
The ‘view of love’ expressed in each poem was not articulated well enough in
many answers, merely implied. These were key words of the question
•
There were some cases of unequal treatment of poems, and of paraphrasing
content of poems rather than analysing
•
The more general nature of this question (compared with last year’s question)
saw candidates returning to a listing of historical cultural information, rather than
making links between the content of the poem and how it reflected or
contravened the historical and cultural ideas of its context of composition. This
was disappointing and did not attract high ratings on criterion 3. Only a few
candidates could really ‘evaluate’ how the ‘expressed view of love’ was
supported by, or in opposition to, the historical/cultural context
•
However, there were some very good answers evidencing a sensitive and deep
understanding of the poems and their contexts
Loss Poetry
•
(c)
Nature Poetry
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(d)
Only six candidates selected this question. The candidates who attempted this
question seemed to struggle, perhaps because the Wordsworth poem is just too
long and daunting for them. Candidates doing this topic did not seem to be aware
that Wordsworth was a Romantic poet, which would have been an important
consideration in the cultural context
There were some excellent answers for this question, 37 in all
Journey Poetry
•
There were no answers to this question
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(e)
Fulfilment Poetry
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15 candidates chose this question, wavering somewhat on Marvell’s context and
its links to the poem. Certainly this is a matter for discussion in a bid to clarify
Marvell’s motive. Candidates did not find this task easy
Question 2 – Paired Text Study
•
There were some challenges for candidates with this question. Ideally they could
discuss how ‘individuals are always constrained by societal and cultural expectations’
across two texts and at the same time demonstrate the influence of the historical
cultural contexts of the texts, supposedly in relation to the constraints. This was a big
ask and there were various approaches to it. Overall, criterion 3 seemed to suffer
•
Most candidates were able to discuss how individuals were (or were not, which was
equally acceptable) constrained by societal and cultural expectations (criterion 1) across
two texts where their paired texts lent themselves to the focus. It was very apparent
when candidates were struggling with texts that did not work well with this question.
Texts that did work well were: Gattaca and 1984, Sophie Scholl and The Book Thief,
The God of Small Things and Othello, Hamlet and The Crucible. There were some
excellent analyses of these texts around the question focus (criterion 1)
•
To examine the ‘connections between texts’, candidates must integrate discussion of
each text according to the ideas and issues sought by the question
•
Weaker answers separated the discussion of texts and focused on plot, rather than the
complexities of meaning privileged by characters and events
•
Weaker answers also retold narratives rather than dealing with the question and
integrating contextual detail where relevant
•
There was a disappointing absence of supporting quotations in too many answers
•
Discussing a print text and its film version (eg Hamlet and Hamlet) is discouraged. In
such cases, candidates usually are discussing the same material twice
•
Candidates who only addressed one text were penalised
Example Pairings for this unit:
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Sophie Scholl and The Crucible
The Book Thief and Sophie Scholl
Antigone and Sophie Scholl
1984 and V for Vendetta
1984 and Gattaca
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The Book Thief and 1984
Wilfred Owen’s poetry and All Quiet on the Western Front
Hamlet and Citizen Cane
Hamlet and Crucible
Hamlet and Rosencrantz and Guildenstern are Dead
The Crucible and Goodnight and Goodluck
The Kite Runner and Romulus my Father
Othello and The God of Small Things
Othello and Snow Falling on Cedars
Question 3 – Single Text Study
•
This question began with a floating quotation that stated that the historical and cultural
context of a text is important in revealing the nature and significance of social, political
or religious conflict. Although candidates were not specifically directed to address the
quote, the implication was there. The confusing thing about this question was that the
actual question changed the term ‘context’ for ‘setting’. Candidates were asked to
‘evaluate’ – that is, make a judgment about – the ways in which the setting reveals two
things: the nature and the significance of the social and/or political and/or religious
conflicts central to the text. The word ‘conflicts’ was central to the question, yet it
appeared rarely in candidates’ answers. The plural form of the word implied that the
examiner was looking for more than one conflict. Candidates were asked to evaluate
both the nature and the significance of the conflicts, yet these words failed to appear in
many answers
•
Since the question was confusing and used two different terms, examiners agreed to
accept discussion of both the contexts of setting and composition
•
Wuthering Heights and The Great Gatsby were texts that candidates were able to write
on effectively in regard to the relationship between the setting/s and the social conflict/s
they represented, especially for example the contrast between houses/families, class
consciousness and industrialisation
•
Hamlet wasn’t handled as well as it could have been, as there was much scope to
discuss social, political and religious conflicts and their relationship to the settings;
internal and external conflict (for Hamlet and Claudius) given renaissance and
medieval contretemps of politics, religion, social codes - revenge, honour, diplomacy,
murder and suicide.
The Great Gatsby and Citizen Kane afforded discussion about the conflicts inherent
with the American dream. Other discussions included: 1984 - power and
powerlessness, class, totalitarianism sans religion; Snow falling on Cedars and Sophie
Scholl – race, War, honour, integrity. The Crucible – the cataclysms within Salem and
McCarthyism
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SECTION B - Applied Questions
Question 4
•
Paired text studies prompted interesting and varied choices for this question. These
responses favoured well with some insightful and reflective responses. Candidates
seemed to enjoy adding their own personal viewpoints and overall these responses
usually garnered a B result. Those who refrained from personal response on attitudes
and values did not go well.
•
Most candidates chose to write in essay form. Selecting other forms can disadvantage
candidates because they become side-tracked in managing the idiosyncratic nature of
the form (eg speech) to the detriment of their attention to the required criteria and
specific question
•
A wide range of texts appeared in these answers. The best scripts evidenced wise
choice in regard to enabling discussion of the stimulus quotation, ‘Life is Beautiful’.
Some answers faltered through inappropriate and/or contrived choices of texts
•
The phrase ‘Life is Beautiful’ lent itself to great discussion of the actual text but not
always a more general reflection on the qualities which make life beautiful. Candidates
therefore scored slightly higher on criterion 1 than on criterion 9. Candidates are
reminded to address the criteria at all costs. In defence of this question it did explicitly
state that candidates were to demonstrate their ‘personal response’
•
Many good responses featured 1984, Gattaca and Sophie Scholl/ The Book Thief and
discussed how individuals cope in ugly/dystopian worlds (real and fictional). Also
evident was the ethical exploration of ‘what is human nature?’ in Ray Bradbury and
Bicentennial Man; and the morality of fear, hope, idealism and integrity in The
Crucible and Goodnight and Goodluck. It appears this question enabled engagement
and interesting critical reflection due to the irony and open ethical philosophy allowed
for comment
Question 5
•
This was a poorly worded and unfairly complex question in that the forms specified did
not clearly mirror those detailed for choice in the instructions for Part B. This seems to
have elicited obvious confusion for many candidates who made this question their
choice
Question 6
•
The question was challenging in that it required candidates to incorporate ‘unity in
diversity’ with the ‘central focus of (the) Application’. Many candidates did this
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exceptionally well, and cleverly. Others either ignored ‘the central focus of (the)
Application’ or the idea of ‘unity in diversity’. At the higher end credit was given to
candidates who were able to address all aspects of the question. Some consideration
was given to those at the lower end who did not mention ‘unity in diversity’. Of more
concern were the candidates who failed to name the central focus of the Application at
all (criterion 1)
•
Clearly candidates who chose to answer this question had closely engaged with the
Application texts and their insights were very enjoyable to read. The degree to which
reflection was linked to text and to the focus of the question impacted on ratings
(criterion 9)
•
There was an absence of support quotations in too many responses
•
Some candidates incurred a penalty for using only one text to answer this Application
question
•
Candidates should strive for integrated discussion based on the connections between
texts rather than separate discussion of each text
•
Learn relevant contextual and literary vocabulary
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Practise composing personal responses
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Candidates should not use cliché to express responses (eg it was an ‘eye-opener’)
Question 7
•
•
•
•
The question itself was a problem. Specific targeting of ideas, attitudes and values was
lacking in the question; whilst the candidates should know that they are the focus of
Criterion 9, it does help to be reminded under stressful conditions. The best answers
had that focus clearly in mind despite the question
Candidates needed to give consideration to the key words such as ‘better or worse’ and
how family relationships are ‘strengthened or destroyed’. A good response shapes itself
accordingly around the implications of key words
The question did not lend itself easily to reflection on the strengths and weaknesses
within families. Candidates often retold the plot outlining which actions weakened the
family and which ones strengthened it, but often without any reflection at all about their
own philosophical standpoint on the issues
The phrase ‘for better or worse’ also confounded some candidates. Not many
candidates actually specifically addressed this statement and explained what it meant
for the characters in their chosen text. Many candidates were trying to do too much in
addressing the entirety of the questions as well as referring to their own views
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•
•
•
•
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The self reflective aspect required the candidates’ attitude and value judgement on the
‘actions’ of the characters – a critical evaluation of the values embodied by each
character discussed
In this question criterion 9 was weaker. Some candidates obviously knew their text
really well and were answering the question, but neglected to reflect
Some subtle, thorough answers were found on Hamlet, The Kite Runner and The Book
Thief. Snow Falling on Cedars answers were of a general high standard
Good essay responses included discussion of Hamlet and the complex family dynamics
for Hamlet, Gertrude, Ophelia and Claudius, and likewise for Polonius, Laertes and
Ophelia, as families. There was some interesting discussion of Romulus My Father, The
Kite Runner and The Book Thief, and therein of the antagonism inherent in father-son
relationships
Jindabyne and Bombshells answers were thin – is there actually enough substance in
these texts for which candidates can develop in-depth discussion?
Question 8
•
Only preliminary comments are available. Fuller comments are pending
•
There were some interesting answers to this question. It seemed to allow candidates to
make significant and convincing responses to the texts they had studied. These
responses were individual and thought provoking and showed that the candidates were
able to not only make real connections between the texts and their own worlds but were
also able to look at complex and challenging ideas from different perspectives
•
Popular texts recommended included 1984, Hamlet, The Crucible, The Kite Runner and
The Book Thief
Imperatives (recurring) and Recommendations
•
Please read the reports for 2004 – 2009, in which imperatives and on-going concerns
are detailed, especially about candidates’ use of language. These concerns remain
relevant for the 2010 report. Markers continue to be concerned that the same problems
recur annually, especially in regard to expression, and writing conventions ( eg. correct
presentation of titles)
•
Learn and practise formal essay structure
•
For Part B answers, select texts that feature on the prescribed list. Examiners cannot be
expected to know the range of non-prescribed texts used, and selection of these for
exam purposes can be problematic for the marking process
•
Practise time management. Do ‘practice exams’ at home against the clock. Acquire
self-knowledge about capabilities for managing the exam time frame
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The Independent Study
The following remarks should be read in conjunction with the general remarks of previous. It
is imperative that candidates note the recurring problems and take measures to avoid those
same problems in the future
•
In the better examples the Independent Studies provided a range of topics which reflect
genuine work input and engagement with the text
•
It is evident that candidates value the opportunity to choose texts from a range of
options, allowing them to pursue areas of personal interest. The best folios were notable
for both their intellectual rigour and their sometimes passionate and personal responses
•
Candidates who wrote themselves in to the study question generally performed well.
Some questions were really original and intriguing. THE STUDY QUESTION MUST
APPEAR ON THE FRONT PAGE
•
More able candidates presented studies which were impressive for their focus topics
and questions as well as evidencing deep personal and critical engagement with texts
•
Greater critical engagement is still required from a number of candidates. Higher order
thinking skills, such as the ability to analyse texts, justify and evaluate ideas, values and
attitudes needs to be evident. Additionally, candidates need to strive to use language
skilfully and express their ideas in an eloquent and sophisticated style
•
The imaginative component
was generally good, well supporting themes/ issues of the analytical, although some
candidates resorted to retelling plot through a journal or letters or diary entries. Some
even did this in the analytical component
•
A significant number of studies
evidenced an imbalance between the two components
Better folios showed careful
•
editing and structuring
•
Use of small print/ font size made several responses difficult to read
•
Word count for each component is needed, as well as the total. However a fuller
breakdown of word count with and without quotations etc is not required
•
The studies should not be printed as backed; whilst this saves paper it is difficult to
manipulate in the folder
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•
The separate components of the study should be clearly labelled with the question
being clearly stated at the start of the analytical element. The ordering of each
component is important to the marking
•
Photocopied/ printed work where the print was not clear made reading and assessment
difficult
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Page citations are necessary for textual quotations
•
For the study of a poet, the minimum number of poems needs to be more than 2 or 3 by
the chosen poet
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Many candidates had interesting and challenging questions leading on to discuss how
the text challenged, changed or affirmed what they think, feel and believe about
different issues
•
Responses generally were relevant, reflecting good to thorough textual knowledge and
were usually supported with key quotations and examples
•
Less than satisfactory was the extent of candidate negligence in relation to
acknowledging sources of information and providing references for quotations from
both primary and secondary texts. Too many candidates simply included a URL at the
end of the Study, without providing any in-text references and without any additional
bibliographical details relating to the website. Candidates must ensure that their time
management includes provision for accurate and adequate references and
bibliographies. These details need to be maintained throughout the duration of the
Study rather than being hastily assembled close to the due date
•
A correctly formatted bibliography/reference list is mandatory. Some candidates
omitted this requirement
•
Some good responses were on The Road, Atonement, The Book Thief, The Great
Gatsby and The Matrix, and it was gratifying to see such high calibre studies across all
components, particularly the creative response, which has let down some candidates in
the past
•
Conversely, several responses on The Black Balloon, The Pianist and Purple Hibiscus
tended to provide unnecessary plot retelling
•
Weaker studies were characterised by careless editing, unwieldy questions, short and
in some cases no context statements, lack of attention to referencing, plot retelling, lack
of personal voice, no real engagement with text and creative pieces that seemed to be
added on as an after thought with no real connection to the question. These candidates
seem not to be learning from past marking examiners’ reports
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•
Cover pages and contents pages are important. The text and focus question need to be
clearly evident. One study had a cover page for Stolen with a study that followed on
The Royal Hunt of the Sun. A few studies did not specifically state the question at the
top of their analytical or on their cover page. The marker was left to decipher the
question from the general remarks made in the context statement
•
Many markers continue to express concern about candidate written expression
•
Another concern is the extent to which candidates attempt far too much and then
achieve poorly. The adages of ‘less is more’ and ‘keep it simple’ (in focus) should be
heeded. Candidates need to be guided and directed by their teachers
Context Statement
•
These were sound overall and almost all candidates explained the link between the
analytical and creative components
•
The majority used the word limit to advantage to explain/expand their focus question
and begin the exploration of their own values in relation to the issues raised within the
question in a manner which meant their ‘voice’ would be clearly recognised
•
Better statements showed personal but objective engagement with chosen text and
development of focus topic. They also outlined how their Creative component
incorporates ideas they explore in their investigation, not merely a further
reinforcement of the ideas already presented by the author
By the end of the statement in successful studies, it is obvious that the candidate
understands that making meaning from a text is a two-way process between composer
and responder; and the candidate’s contention in relation to the text and topic is clearly
discernible
•
•
Lesser statements were less purposeful about their engagement with the text and more
conversational about how the candidates made their decisions, discussing what they had
read and with whom they had spoken etc
•
Clearly the reasons for choice of focus question is important, rather than the process
gone through for text selection
•
It is most unfortunate that so many candidates do not take advantage of the opportunity
to write the full 500 words. Many candidates wrote minimalist, hurried and even
counterproductive context statements such as:
‘I chose this text because it was the only one that really appealed to me; I don’t like
poetry and the other novels were not in my preferred style of writing.’
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‘I had trouble finishing this text because my severe dislike of [the composer] grew as
the novel progressed; it became a difficult task, as the novel was approximately 120
pages long.’
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At the other extreme were statements which were positively enticing and of enormous
value to the marker in terms of identifying the focus, the connection between analytical
and creative responses, and of introducing the candidate’s personal voice
•
The Folio guidelines do have very clear instructions regarding what is required and
candidates cannot afford to ignore these points. Perhaps it is a time management issue
and some candidates simply ran out of time. Candidates need to be aware of the
importance of allocating sufficient time to writing a quality Context Statements
•
A few statements were verbose and ‘flowery’ which only serves to irritate the marker
•
Some Context Statements had not been proof-read and edited
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A few Studies did not have context statements. This practice compromises the marking,
and also impacts on criterion 7
Analytical Component
•
The overall standard was impressive, showing real engagement with texts and a
willingness to explore complex and sometimes confronting ideas and issues
•
Some revealed a mature and sophisticated analysis of chosen texts, and sustained a
clear focus. It was refreshing and a pleasure to find an angle on the text, one not
previously raised, being discussed competently and with insight, suggesting a
willingness to think deeply about the text
•
The focus question is of particular value to the candidates as it shapes and structures
their responses, making it less easy for them to fall into summary rather than analysis.
Candidates need to be aware of the power of a carefully worded question. Some
candidates wrote three or more questions which tended to blur the focus of discussion,
while candidates who composed a statement rather than a focus question were also
more likely to lack clarity of focus (PLEASE NOTE THIS IMPORTANT POINT)
•
Many candidates need to develop more skill in the use of quotations and integrating
them into their discussion; too often the quotations were used clumsily and disrupted
the discussion. Too many candidates failed to include the page references of quotations
•
Overuse of rhetorical questions detracted from several responses
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Weaker answers tended to be more descriptive and/or sociological/biographical
discussion, and/or with extensive re-telling of plot and/or film scenes
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•
Weaker candidates wrote about characters in the text as if they were real people, or
autonomous beings, thus not showing understanding of character construction, purpose
and representation
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The Analytical component was sometimes less than 50% of the folio. It needs to be at
least if not more than 50% of the word count
•
Discussing a non-print text is not an excuse for neglecting/omitting quotations.
Quotations from non-print texts (as for print texts) must be used to illustrate and
support discussion points. Candidates should be methodical about taking down
quotations as they engage with non-print texts. Furthermore, quotations often can be
found on on-line sites devoted to this purpose
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The Criterion 9 response should be woven throughout the essay, not just ‘tacked on’ in a
final paragraph. The Chief Examiner has circulated notes to assist in discussing
Criterion 9. It is helpful if these notes are read by all candidates and teachers
Imaginative Component
•
The best of the creative pieces were quite simply stunning and inspiring; this section of
the Study is a real opportunity for our most able candidates to demonstrate the full
extent of their particular talents and passions
•
There were a few very impressive imaginative responses, for example some utilising an
almost split action technique, producing a parallel situation together with and in the
narrative style of the text
•
Those who used a series of letters or diary entries tended to revert to retelling of plot or
replicating the analytical component rather than going beyond, or more deeply into the
text
•
If candidates select the form of poem, they must be sure to use the required structure,
meter and other features of the form, eg sonnet, blank verse, free verse etc. It is far too
often the case that ‘poems’ are merely meandering prose across shortened lines to ‘look
like’ a poem. This is not satisfactory. Candidates who choose a poem as an imaginative
response MUST evidence knowledge of poetic forms and rules
•
Some dealt with the issue or theme as their text, but with no obvious link being drawn
•
Overall this was generally the weakest part of the Independent Study. There seemed to
be a narrow range of genres chosen eg the interior monologue and the alternative
ending of a novel. Candidates should be wary of diary/journal entries. These often read
as afterthoughts and last-minute additions to the studies. These forms are usually the
choice of weaker candidates
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•
Too often it seems that imaginative responses are hurried and inadequately edited. Thus
criterion 7 is penalised
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Candidates need to give creative writing a title. There were very few effective titles.
Too often candidates simply wrote: ‘Creative Piece’
Punctuation of direct speech is often inaccurate, even with proof reading
•
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Candidates are advised NOT to submit artwork. Such pieces can complicate the
marking process because markers are teachers of English Studies, NOT teachers of Art
or Art Appreciation, no matter how elucidatory are any accompanying explanations
Additional remarks including specific references to criteria
Candidates must read the following additional remarks alongside those at the end of the 2009
report
•
There were very tenuous links between the analytical and creative components in
several studies. Candidates are encouraged to give due consideration to the creative
component from the outset of the study process so that all three pieces: context
statement, analytical and creative components work together effectively to reinforce
candidates’ understanding
•
The descriptors for Criterion 7 require candidates to make choices about intention,
audience, form and the development of complex ideas. Sometimes writing from the
point of view of an alternative narrator devolved into summarizing the story and did not
offer further insight into the text
•
Developing an aspect of the focus text was more successful than an entirely new piece,
especially as a support and development of the analytical piece
•
Successful studies demonstrated the ability to articulate a personal position through the
voice of a character and demonstrated a high degree of assimilation of the composer’s
language choices, sentence structure and tone
•
Framing an appropriately challenging question remains a key indicator of the success of
the study
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A general statement about the text, followed by the word ‘Discuss’, does not provide
adequate scope for critical engagement and limits the opportunity for personal
response. Such a ‘topic’ is inappropriate
•
Using the personal voice within the question is essential, as well as identifying a
specific issue or aspect of the text which has engaged or challenged the candidate’s
thinking
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The word string, ‘my ideas, attitudes and values’, was overused and detrimental to
precise articulation of a personal position. Each of these words/concepts has a different
meaning, and each word/concept needs to be treated separately; for example, a
composer may explore the idea of justice which is challenging to the reader; the
candidate may articulate an attitude towards the behaviour of particular characters in
the text (admiration, disapproval); and the candidate may compare the values promoted
by the construction of the text with his or her own values. Although they are connected,
each of these approaches to Criterion 9 requires distinct language for discussion and
explanation. This complex task cannot be packaged into one sentence
•
Stating a personal position can include declaring opposition to particular attitudes
represented within a text, such as discrimination. However, a complex approach is
needed. For example, candidates readily judged the treatment of women in A Thousand
Splendid Suns as challenging their Twenty-first Century Australian values; however,
the influence of this text on their thinking about the treatment of the claims of Hazara
asylum seekers by the Australian government or on their attitudes to the debate about
banning the burqua in Australia and other western democracies would provide more
complex evidence of critical thinking and personal engagement. Candidates are
encouraged to expand and develop their theses, as presented in the context statement,
rather than limiting personal engagement to general statements about their values
•
Highly successful studies recognized the constructed nature of texts as cultural artefacts
created to engage responders in a conversation about ideas, beliefs, issues and values
over time. This framework allowed candidates to engage critically not only with the
plot, setting and characters, but also to evaluate the execution of the composer’s
purpose within a particular context, and judge the ongoing relevance and value of the
text
•
The criterion 10 descriptors go beyond accuracy to ‘precise’ vocabulary, which
involves a critical vocabulary in the analytical piece. Formal register should be used in
the analytical component
•
IT IS NEVER ACCEPTABLE TO USE SLANG OR OFFENSIVE LANGUAGE eg
‘stuck up for him’, ‘piss me off no end’, ‘loosing (losing?) her cool’
•
Candidates should avoid contractions, clichés (“great”, “fantastic”) and using lower
case ‘I’ for the first person.
Agreement of subject and verb is required. The demon is “each” which takes a singular
verb always
•
•
Apostrophes never show plurality. They are used to show possession and for
contractions. It is an imperative to learn and use this protocol
•
‘You’ is not used in essays. Candidates should use ‘I/me’ when describing an effect on
a reader
2010 Assessment Report
English Studies
16
Subject Code: ENS315109
•
Errors of fact are not acceptable eg in a study on Girl with a Pearl Earring, one
candidate wrote in the introductory sentence that Delft was in Denmark. Another
candidate had The Road written by Davis McCarthy.
•
Unorthodox paragraphing is distracting. There should be a consistent gap (double
space) between each paragraph. Further dividing of paragraphs by beginning a new line
(without a space) for a new sentence is incorrect. Paragraphs are deliberate markers,
which develop ideas and emphasize the logical steps in an argument. Sentences within
paragraphs should be continued across lines and not broken across lines
•
Accurate quoting and comprehensive referencing are significant indicators of academic
integrity and were a noticeable component of successful studies. It is worthwhile
putting effort into quoting and referencing to support the study
•
The genre and text chosen was often reflective of the ability of the candidate to express
creatively their responses to the text
•
Candidates who wrote themselves into the focus question (as is always instructed) were
clearly in a better position to respond to criterion 9 than were candidates who did not.
Unfortunately many candidates are using a formulaic addition to their primary question
such as: ‘how has ‘x’ challenged and confirmed my own views on ‘y’? This is fine if
they follow it through but many did not
•
Candidates find the twin demands of analysis and personal reflection difficult to
balance and at times this resulted in too little analysis of the text and too much focus on
personal ideas, attitudes and values, at the expense of ‘critical engagement with texts’
•
Originality was a problem for some candidates, some of whom completed the
imaginative section as a separate response rather than growing out of their other work
•
The connection to the text was more obvious in other studies, with attention to detail by
some candidates in relation to form, and to the link to the analytical being of a very
high standard
•
Many candidates used the creative element effectively to explain and extend their own
views and stance in relation to issues, but several were repetitive of already laboured
points in the analytical/ interpretive response
•
A minority of candidates showed excellent understanding of and skill at using language
•
In several cases the citing of current events did not add to the discussion of issues or
values and appeared as a digression to the main content
•
Some candidates understood the importance of referencing quotes from within the text,
ie, including specific page numbers, but many candidates did not. Weaker studies also
tended to feature incorrect quotation and referencing
2010 Assessment Report
English Studies
17
Subject Code: ENS315109
•
Overuse of rhetorical questions is not an effective technique within the analytical
component when candidates are presenting their ideas and arguments
•
Some weaker imaginative components offered little variation in style from the
analytical components
•
There were problems with the perennial to/too, and misusing amount when number was
intended
•
Proofreading was also a difficulty for some. There were far too many examples of
unorthodox paragraphing and this practise tended to compromise the development of
the candidates discussions/arguments
Imperatives and Recommendations
•
PLEASE NOTE THAT 2010 MARKERS HAVE CONVEYED THEIR
FRUSTRATION ABOUT WRITING THE SAME COMMENTS YEAR AFTER
YEAR AFTER YEAR. CLEARLY THERE IS CONCERN THAT CANDIDATES
SEEM NOT TO BE TAKING NOTICE OF PAST REPORTS AND
GUIDELINES. TEACHERS ARE REQUESTED TO MANDATE ATTENTION
TO REPORTS AND GUIDELINES. CANDIDATES ARE INSTRUCTED TO
STUDY REPORTS AND GUIDELINES
•
Candidates MUST read and act upon the Independent Study Guidelines available on the
TQA website
•
Candidates are encouraged to spend time during the year reading/viewing a number of
possible Independent Studies. Class discussion can help facilitate meaningful and
fruitful choices and outcomes. Candidates will produce better Independent Studies by
choosing texts in which they have a genuine interest
•
Candidates must understand the importance of spending time working on focus
questions. Candidates must seek and follow advice from teachers and respected other
experts in this field
All correspondence should be addressed to:
Tasmanian Qualifications Authority
PO Box 147, Sandy Bay 7006
Ph: (03) 6233 6364 Fax: (03) 6224 0175
Email: [email protected]
Internet: http://www.tqa.tas.gov.au
2010 Assessment Report
Criterion 9 for English Studies Clarify and articulate own ideas, attitudes and values through reflection and critical engagement with texts Clarify make clear and precise, coherent, fluent… And articulate write, say, speak, inform, deliver, suggest, propose ... Own the student’s Ideas Head stuff, intellectual matters, expressed as … I argue, contest, think, know, understand, regard, view, discern, consider, mean, recognise, identify, have learned/experienced … Responses formed as a result of learning, reading, study, research … Attitudes Heart stuff, emotional matters, expressed as … I feel sad, encouraged, shocked, amazed, horrified, gratified, grateful, challenged, shaken, moved, empathic, sympathetic, awed… Responses formed as a result of experiences and relationships with other human beings in the multi-­‐dimensional nature of life … Values Soul/Spirit stuff, ethical and moral matters, expressed as … I believe, proclaim, defend, value, hold dear, respect, regard, am concerned about, am passionate about, am committed to … Responses formed as a result of upbringing, family, church teaching, schooling, teachers, sacred texts, spirituality, ethos, culture … Through reflection students must take time to think about and discuss the ideas and issues which emerge from the texts with which they engage during their courses And critical engagement with text/s Consideration of author’s purpose/s and method/s, ideas and issues, genre, form, structure, setting, narrative, characterisation, stylistic devices, structures and features, register, vocabulary …