LITERATURE
ATAR COURSE
Year 11 syllabus
IMPORTANT INFORMATION This syllabus is effective from 1 January 2015. Users of this syllabus are responsible for checking its currency. Syllabuses are formally reviewed by the School Curriculum and Standards Authority on a cyclical basis, typically every five years. Copyright © School Curriculum and Standards Authority, 2014. This document – apart from any third party copyright material contained in it – may be freely copied, or communicated on an intranet, for non‐commercial purposes in educational institutions, provided that the School Curriculum and Standards Authority is acknowledged as the copyright owner, and that the Authority’s moral rights are not infringed. Copying or communication for any other purpose can be done only within the terms of the Copyright Act 1968 or with prior written permission of the School Curriculum and Standards Authority. Copying or communication of any third party copyright material can be done only within the terms of the Copyright Act 1968 or with permission of the copyright owners. Any content in this document that has been derived from the Australian Curriculum may be used under the terms of the Creative Commons Attribution‐NonCommercial 3.0 Australia licence 2013/29185v3
Content
Rationale ................................................................................................................................................................... 1
Aims .......................................................................................................................................................................... 2
Organisation .............................................................................................................................................................. 3
Structure of the syllabus .................................................................................................................................................. 3
Organisation of content ................................................................................................................................................... 3
Progression from the Year 7–10 curriculum .................................................................................................................... 5
Representation of the general capabilities ...................................................................................................................... 5
Representation of the cross‐curriculum priorities ........................................................................................................... 6
Unit 1 ........................................................................................................................................................................ 8
Unit description ................................................................................................................................................................ 8
Learning outcomes ........................................................................................................................................................... 8
Unit content ..................................................................................................................................................................... 8
Unit 2 ...................................................................................................................................................................... 10
Unit description .............................................................................................................................................................. 10
Learning outcomes ......................................................................................................................................................... 10
Unit content ................................................................................................................................................................... 10
School‐based assessment ........................................................................................................................................ 12
Grading ........................................................................................................................................................................... 13
Appendix 1 – Grade descriptions Year 11 ................................................................................................................. 14
Appendix 2 – Recommended text lists ...................................................................................................................... 16
Appendix 3 – Glossary ............................................................................................................................................. 25
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Rationale
The Literature ATAR course focuses on the study of literary texts and developing students as independent, innovative and creative learners and thinkers who appreciate the aesthetic use of language; evaluate perspectives and evidence; and challenge ideas and interpretations. The Literature ATAR course explores how literary texts construct representations, shape perceptions of the world and enable us to enter other worlds of the imagination. In this subject, students actively participate in the dialogue of literary analysis and the creation of imaginative and analytical texts in a range of modes, media and forms. Students enjoy and respond creatively and critically to literary texts drawn from the past and present and from Australian and other cultures. They reflect on what these texts offer them as individuals, as members of Australian society and as world citizens. Students establish and articulate their views through creative response and logical argument. They reflect on qualities of literary texts, appreciate the power of language and inquire into the relationships between texts, authors, readers, audiences and contexts as they explore ideas, concepts, attitudes and values. Literature | ATAR | Year 11 syllabus
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Aims
The set of English courses aims to develop students’: 
skills in listening, speaking, reading and writing 
capacity to create texts for a range of purposes, audiences and contexts 
understanding and appreciation of different uses of language. In addition, the Literature ATAR course aims to develop students’: 
ability to respond personally, critically and imaginatively to a range of literary texts drawn from Australian and other historical, contemporary and cultural contexts and traditions 
capacity to engage with and contest complex and challenging ideas in order to form their own interpretations informed by a range of critical perspectives 
capacity to reflect critically on connections and resonances between texts. Literature | ATAR | Year 11 syllabus
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Organisation
This course is organised into a Year 11 syllabus and a Year 12 syllabus. The cognitive complexity of the syllabus content increases from Year 11 to Year 12. Structure of the syllabus
The Year 11 syllabus is divided into two units, each of one semester duration, which are typically delivered as a pair. The notional time for each unit is 55 class contact hours. Unit 1 Unit 1 develops students’ knowledge and understanding of different ways of reading and creating literary texts drawn from a widening range of historical, social, cultural and personal contexts. Students analyse the relationships between language, text, contexts, individual points of view and the reader’s response. This unit develops knowledge and understanding of different literary conventions and storytelling traditions and their relationships with audiences. A range of literary forms is considered: prose fiction, poetry and drama. The significance of ideas and the distinctive qualities of texts are analysed through detailed textual study. Through the creation of analytical responses, students frame consistent arguments that are substantiated by relevant evidence. In the creation of imaginative texts, students explore and experiment with aspects of style and form. Unit 2 Unit 2 develops students’ knowledge and understanding of intertextuality, the ways literary texts connect with each other. Drawing on a range of language and literary experiences, students consider the relationships between texts, genres, authors, readers, audiences and contexts. The ideas, language and structure of different texts are compared and contrasted. Exploring connections between texts involves analysing their similarities and differences through an analysis of the ideas, language used and forms of texts. Students create analytical responses that are evidence‐based and convincing. By experimenting with text structures and language features, students understand how their imaginative texts are informed by analytical responses. Each unit includes: 
a unit description – a short description of the focus of the unit 
learning outcomes – a set of statements describing the learning expected as a result of studying the unit 
unit content – the content to be taught and learned. Organisation of content
Content descriptions in each unit in the Literature ATAR course are grouped under an organising framework that presents key aspects of learning that underpin the course. The organising framework in the Literature ATAR course is: 
Texts in contexts 
Language and textual analysis 
Creating analytical texts 
Creating imaginative texts Literature | ATAR | Year 11 syllabus
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The language modes The processes of listening, speaking, reading, viewing and writing, also known as language modes, are interrelated. Classroom contexts that address particular content descriptions will necessarily draw from more than one of these modes in order to support students’ effective learning. To acknowledge these interrelationships, content descriptions incorporate the processes of listening, speaking, reading (including the interpretation of visual elements in prose fiction, poetry and drama texts), and writing in an integrated and interdependent way. Texts Texts provide important opportunities for learning about aspects of human experience and about aesthetic appeal. Teachers may select whole texts and/or parts of texts depending on units of study, cohorts and level of difficulty. ‘Literary texts’ refer to past and present texts across a range of cultural contexts that are valued for their form and style and are recognised as having enduring or artistic value. While the nature of what constitutes ‘literary texts’ is dynamic and evolving, they are seen as having personal, social, cultural and aesthetic value and potential for enriching students’ scope of experience. Literary texts include a range of forms such as novels, short stories, poetry and plays. Teachers may use other text types, for example, feature film, documentary, critical essays, literature textbooks, literary glossaries and multimodal texts to supplement the teaching of the literary forms mentioned. Text requirements Over the course of a year, students must have studied literary texts from poetry, prose fiction and drama. Across the pair of units, students must study at least one novel. It is also a requirement in the pair of units that students study a minimum of one Australian text: that is, one novel or play or a selection of the work of one poet or a selection of Australian short stories. Recommended text lists This course has recommended text lists (refer to Appendix 2). The text lists for the Literature ATAR Year 11 syllabus are recommended lists; they are the same lists of texts that appear in the Literature ATAR Year 12 syllabus as the prescribed lists. Teachers of the Literature ATAR Year 11 course may refer to literary texts outside these lists as long as: 
the text chosen assists in the teaching and learning of Literature ATAR Year 11 course content 
students understand that the text chosen is not in the Literature ATAR Year 12 syllabus prescribed lists and therefore cannot be used in the Year 12 Literature ATAR course examination as a primary reference. Literature | ATAR | Year 11 syllabus
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Progression from the Year 7–10 curriculum
This syllabus draws upon, develops and emphasises different knowledge, understanding, skills and processes related to the strands of Language, Literature and Literacy used in the Year 7–10 curriculum. The emphasis differs according to the nature of each subject. While each English syllabus places a different emphasis on the three strands, each syllabus is expected to advance skills in each of the strands. The Literature syllabus has as its primary focus, engagement with, and analysis of, literary texts. Representation of the general capabilities
The general capabilities encompass the knowledge, skills, behaviours and dispositions that will assist students to live and work successfully in the twenty‐first century. Teachers may find opportunities to incorporate the capabilities into the teaching and learning program for the Literature ATAR course. The general capabilities are not assessed unless they are identified within the specified unit content. Literacy Literacy is important in the development of the skills and strategies needed to express, interpret, and communicate complex information and ideas. In the Literature ATAR course, students apply, extend and refine their repertoire of literacy skills and practices by establishing and articulating their views through creative response and argument. They experiment with different modes, media and forms to create new texts and understand the power of language to represent ideas, events and people. Numeracy Students use numeracy in the Literature ATAR course when they practise and apply the skills of interpreting and analysing, comparing and contrasting, making connections, posing and proving arguments, making inferences and problem solving as they create and respond to a range of texts. They draw conclusions from statistical information and interpret and use quantitative data as evidence in analytical and imaginative texts. Information and communication technology capability There are opportunities in literature to engage with information and communication technology (ICT) through the use of digital texts and multimodal texts. In the Literature ATAR course, students discern the quality of information and ideas presented in multimodal texts. They develop understanding of the relative possibilities, limitations and consequences of using different forms of digital technologies to explore, interpret and create literary texts. They consider the effects of the use of different media on meaning and interpretation, particularly in new and emerging literary forms. Critical and creative thinking Critical and creative thinking is an integral feature of the study of and creation of texts in the Literature ATAR course. Students analyse and evaluate issues and ideas presented in texts. In both thinking about and creating their own texts, they recognise and develop arguments, use evidence and draw reasoned conclusions. Students experiment with text structures and language features as they transform and adapt texts for different purposes, contexts and audiences. Students use critical thinking when they use their knowledge of language to analyse a range of texts in relation to their purpose, context, audience, structural and language features, and underlying assumptions. They investigate the ways language is used to position Literature | ATAR | Year 11 syllabus
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individuals and social and cultural groups. Creative thinking enables students to apply imaginative and inventive capacities in the creation of their own original works. Personal and social capability Students develop personal and social capability in the Literature ATAR course by enhancing their communication skills, for example, through collaborative research, reflective practices and developing empathy with and appreciation of the perspectives of others. Close critical engagement with texts assists students to understand different personal and social experiences and perspectives. Students identify and express their own opinions, beliefs and responses by interacting with a range of texts. Students work collaboratively in teams and independently as part of their learning and research endeavours. Ethical understanding Through the study of the Literature ATAR course, students come to develop an increased understanding of complex issues and the questions surrounding rights and responsibilities in our modern world. Students develop greater empathy for the attitudes and opinions of others by interacting with and interrogating a range of texts. Ethical understanding is explored through the selection of texts for study, for example, when students engage with ethical dilemmas presented in texts, considering reasons for actions and implications of decisions. They explore and question values, attitudes, perspectives and assumptions in texts, examining how they are presented, their impact on audiences and how they are reflected in their own responses. Intercultural understanding In the Literature ATAR course, intercultural understanding encourages students to make connections between their own experiences and the experiences of others. Through the study of contemporary texts, texts from the past and texts from diverse cultures, students explore and analyse these connections. Students understand and can express the interdependence of language, culture, identity and values, particularly in the Australian context, and are able to appreciate and empathise with the cultural beliefs, attitudes and values of others. They study how cultural concepts, beliefs, practices and perspectives are represented in a range of textual forms and for a variety of purposes and audiences. They pay special attention to the contribution of Aboriginal and Torres Strait Islander Peoples and Asian cultures to literature in Australia. Representation of the cross-curriculum priorities
The cross‐curriculum priorities address contemporary issues which students face in a globalised world. Teachers may find opportunities to incorporate the priorities into the teaching and learning program for the Literature ATAR course. The cross‐curriculum priorities are not assessed unless they are identified within the specified unit content. Aboriginal and Torres Strait Islander histories and cultures The Literature ATAR course values the histories, cultures, traditions and languages of Aboriginal and Torres Strait Islander Peoples, and their central place in contemporary Australian society and culture. Through the study of texts, students are provided with opportunities to develop their understanding and appreciation of the diversity of cultures and histories of Aboriginal and Torres Strait Islander Peoples and their contribution to Australian society. The text lists for the Literature ATAR course include a selection of Aboriginal and Torres Literature | ATAR | Year 11 syllabus
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Strait Islander literature because it is often through the writings of Aboriginal authors that other perspectives of history are taught. Asia and Australia's engagement with Asia There are strong social, cultural and economic reasons for Australian students to engage with Asia and with the contribution of Asian Australians to our society and heritage. It is through the study of texts from Asia that a creative and forward‐looking Australia can engage with our place in the region. Through story articulated in a range of media, students may be provided with opportunities to develop understanding of the diversity of Asia’s peoples, environments and traditional and contemporary cultures. Texts relevant to this priority are included in the prescribed text lists for the Literature ATAR course. Sustainability The Literature ATAR course provides the opportunity for the development of informed and reasoned points of view, discussion of issues, research and problem solving. In this context, teachers are encouraged to select texts and issues for discussion connected with sustainability. Through analysis of texts, students may have the opportunity to research and discuss this global issue and learn the importance of respecting and valuing a wide range of world views. Literature | ATAR | Year 11 syllabus
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Unit 1
Unit description
Unit 1 develops students’ knowledge and understanding of different ways of reading and creating literary texts drawn from a widening range of historical, social, cultural and personal contexts. Students analyse the relationships between language, text, contexts, individual points of view and the reader’s response. This unit develops knowledge and understanding of different literary conventions and storytelling traditions and their relationships with audiences. A range of literary forms is considered: prose fiction, poetry and drama. The significance of ideas and the distinctive qualities of texts are analysed through detailed textual study. Through the creation of analytical responses, students frame consistent arguments that are substantiated by relevant evidence. In the creation of imaginative texts, students explore and experiment with aspects of style and form. Learning outcomes
By the end of this unit, students: 
understand how language, structure and stylistic choices are used in different literary forms 
examine the ways in which contexts shape how a text is produced then received and responded to by readers/audiences 
create oral, written and multimodal responses that explore the structure and style of literary texts. Unit content
This unit includes the knowledge, understandings and skills described below. Investigate and reflect on different ways of reading literary texts, including: 
the degree to which individual viewpoints, experiences and contexts shape readings of texts. A reading of a text refers to a meaning that can be made of a text. In responding to a literary text, readers might consider the context of the writer, the society and culture in which the text was produced, their own experience of reading and their own way of thinking about the world 
how the production and reception of texts is informed by an understanding of the conventions usually associated with a genre 
the differences between initial personal responses and more studied and complex responses 
how there are different reading practices or strategies, such as reading with an emphasis on various representations; or reading with a focus on different contexts; or reading intertextually, that is, reading that focuses on connections between texts. Different reading strategies produce different readings. Analyse distinctive features in literary texts, including: 
how text structures, language features and stylistic elements shape meaning and create particular effects and nuances, including through allusions, paradoxes and ambiguities 
approaches to characterisation, including the use of archetypal figures, authorial intrusion, the dramatisation of a character’s inner life and the use of interior monologue Literature | ATAR | Year 11 syllabus
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
different narrative approaches, including multiple narrators, the unreliable narrator, the omniscient narrator and the use of specific characters’ points of view 
the use of figurative language, including simile, metaphor, symbolism, metonymy and synecdoche to represent concepts; and rhetorical devices to shape texts, including irony, hyperbole and exclamation 
the use of sound and visual devices in literary texts to create particular effects, including alliteration, assonance, prosody, rhyme, imagery, typography, music, set design, properties and lighting. Create analytical texts, including: 
structuring arguments using relevant textual evidence 
using appropriate linguistic, stylistic and critical terminology to respond to texts 
using stylistic features to craft and articulate readings/interpretations 
experimenting with different modes, media and forms. Create imaginative texts, including: 
developing connections between real and imagined experiences 
drawing on knowledge and understanding of storytelling, style and the structure of texts 
experimenting with aspects of style and form to achieve particular effects 
reflecting on familiar and emerging literary forms for particular audiences and purposes. Literature | ATAR | Year 11 syllabus
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Unit 2
Unit description
Unit 2 develops students’ knowledge and understanding of intertextuality, the ways literary texts connect with each other. Drawing on a range of language and literary experiences, students consider the relationships between texts, genres, authors, readers, audiences and contexts. The ideas, language and structure of different texts are compared and contrasted. Exploring connections between texts involves analysing their similarities and differences through an analysis of the ideas, language used and forms of texts. Students create analytical responses that are evidence‐based and convincing. By experimenting with text structures and language features, students understand how their imaginative texts are informed by analytical responses. Learning outcomes
By the end of this unit, students: 
understand how structural and stylistic choices and language patterns shape meaning in literary texts 
investigate the interrelationships between texts, audiences and contexts 
create oral, written and multimodal responses that draw on the conventions, connections and patterns in texts. Unit content
This unit includes the knowledge, understandings and skills described below. Analyse and reflect on the relationships between authors, readers, texts and contexts, including: 
the ways in which texts are influenced by other texts and by contexts 
the relationship between conventions of genre, audience expectations and interpretations of texts 
how the choice and combinations of mode and form transform texts 
the ways in which informed reading influences interpretation of texts 
how readings are constructed as a result of the reading practices or strategies that readers apply and as a result of readers relating the text to their understandings of the world. In this way, multiple readings of a text are possible. Compare and evaluate the form, language and content of literary texts, including: 
the ways in which text structures, language features and stylistic choices provide a framework for audiences’ expectations, responses and interpretations 
the ways in which texts resemble and/or refer to other texts, including through parody, imitation, appropriation and transformation; and the ways in which adaptations of earlier texts allow new insights into original texts 
how aspects of literary texts have been appropriated into popular culture Literature | ATAR | Year 11 syllabus
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
the ways in which different literary forms may evolve by blending and borrowing conventions from other texts and/or genres 
the use of literary techniques, including poetic, dramatic and narrative structure and devices 
the use of a combination of sound and visual devices in literary texts. Create analytical texts, including: 
organising viewpoints and arguments in different ways, for example, in essays, reviews and visual presentations 
using appropriate linguistic, stylistic and critical terminology to compare and contrast texts 
selecting appropriate argument and evidence to support readings/interpretations 
experimenting with different modes, media and forms. Create imaginative texts, including: 
integrating real and imagined experiences by selecting and adapting particular aspects of texts to create new texts 
using analysis of literary texts to inform imaginative/creative responses 
transforming texts studied in one medium or genre to another for different audiences and purposes 
reflecting on the significance and effects of variations to texts. Literature | ATAR | Year 11 syllabus
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School-based assessment
The Western Australian Certificate of Education (WACE) Manual contains essential information on principles, policies and procedures for school‐based assessment that needs to be read in conjunction with this syllabus. Teachers design school‐based assessment tasks to meet the needs of students. The table below provides details of the assessment types for the Literature ATAR Year 11 syllabus and the weighting for each assessment type. Assessment table – Year 11 Type of assessment Weighting Extended written response This can include analytical, discursive and reflective responses in a number of forms, for example, long essays, research assignments, feature articles or a collection of journal entries. 10%–20% Short written response This can include analytical, discursive and reflective responses in a number of forms, for example, short essays, close readings, short responses to a series of questions or individual journal entries. 30%–40% Creative production of a literary text This can include writing in the three genres of poetry, prose fiction and drama, for example, poems, short stories, scripts or the production of multimodal texts that make use of literary conventions. 10%–20% Oral This can include oral work in a number of forms, for example, speeches, tutorials, group discussions, panel discussions or performances such as role play or readers’ theatre. 10%–20% Examination Typically conducted at the end of each semester and/or unit. In preparation for Unit 3 and Unit 4, the examination should reflect the examination design brief included in the ATAR Year 12 syllabus for this course. 20%–30% Teachers are required to use the assessment table to develop an assessment outline for the pair of units (or for a single unit where only one is being studied). The assessment outline must: 
include a set of assessment tasks 
include a general description of each task 
indicate the unit content to be assessed 
indicate a weighting for each task and each assessment type 
include the approximate timing of each task (for example, the week the task is conducted, or the issue and submission dates for an extended task). In the assessment outline for the pair of units, each assessment type must be included at least twice. In the assessment outline where a single unit is being studied, each assessment type must be included at least once. The set of assessment tasks must provide a representative sampling of the content for Unit 1 and Unit 2. Assessment tasks not administered under test/controlled conditions require appropriate validation/authentication processes. Literature | ATAR | Year 11 syllabus
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Grading
Schools report student achievement in terms of the following grades: Grade Interpretation A Excellent achievement B High achievement C Satisfactory achievement D Limited achievement E Very low achievement The teacher prepares a ranked list and assigns the student a grade for the pair of units (or for a unit where only one unit is being studied). The grade is based on the student’s overall performance as judged by reference to a set of pre‐determined standards. These standards are defined by grade descriptions and annotated work samples. The grade descriptions for the Literature ATAR Year 11 syllabus are provided in Appendix 1. They can also be accessed, together with annotated work samples, through the Guide to Grades link on the course page of the Authority website at www.scsa.wa.edu.au To be assigned a grade, a student must have had the opportunity to complete the education program, including the assessment program (unless the school accepts that there are exceptional and justifiable circumstances). Refer to the WACE Manual for further information about the use of a ranked list in the process of assigning grades. Literature | ATAR | Year 11 syllabus
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Appendix 1 – Grade descriptions Year 11
A Demonstrates effective control, coherence and/or inventiveness in the use of language and language features appropriate to the task, the audience and the purpose in analytical, reflective and imaginative responses. Produces effective analyses of language and language features used in literary texts. Demonstrates effective control and/or inventiveness in the use of generic conventions appropriate to the task, the audience and the purpose in analytical, reflective and imaginative responses. Produces sound analyses of genre and generic conventions used in literary texts. Demonstrates a strong understanding of how historical, social, cultural and personal contexts affect the reading of literary texts and the production of analytical, reflective and imaginative texts. Demonstrates a strong understanding of the relationship between texts, genres, authors, readers, audience and contexts. Produces convincing readings of literary texts, demonstrating strong knowledge of the ways literary texts connect with each other, and drawing on relevant evidence. Produces written, oral and multimodal work showing a strong understanding of the relationship of content to purpose and audience. B Demonstrates sound control of, and some experimentation with, language and language features appropriate to the task, the audience and the purpose in analytical, reflective and imaginative responses. Presents some discussion and some analysis of language and language features used in literary texts. Demonstrates sound control of, and some experimentation with, generic conventions appropriate to the task, the audience and the purpose in analytical, reflective and imaginative responses. Presents some discussion and some analysis of genre and generic conventions used in literary texts. Demonstrates a sound understanding of how historical, social, cultural and personal contexts affect the reading of literary texts and the production of analytical, reflective and imaginative texts. Demonstrates a sound understanding of the relationship between texts, genres, authors, readers, audience and contexts. Produces logical readings of literary texts, demonstrating sound knowledge of the ways literary texts connect with each other, with evidence to support reading. Produces written, oral and multimodal work showing a sound understanding of the relationship of content to purpose and audience. C Demonstrates adequate control of language and language features; attempts to use language appropriate to the task, the audience and the purpose in analytical, reflective and imaginative responses. Presents some description and some discussion of language and language features used in literary texts. Demonstrates adequate control of some generic conventions appropriate to the task, the audience and the purpose in analytical, reflective and imaginative responses. Presents some description and some discussion of genre and generic conventions used in literary texts. Demonstrates adequate understanding of historical, social, cultural and personal contexts when reading literary texts and producing analytical, reflective and imaginative texts. Demonstrates an adequate understanding of the relationship between texts, genres, authors, readers, audience and contexts. Produces adequate readings of literary texts, demonstrating some knowledge of the ways in which literary texts connect with each other, and using some supporting evidence. Produces written, oral and multimodal work showing an understanding of the relationship of content to purpose and audience. Literature | ATAR | Year 11 syllabus
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D Demonstrates limited control of language and language features appropriate to the task, the audience and the purpose in analytical, reflective and imaginative responses. Presents some description of language and language features used in literary texts. Demonstrates limited control of generic conventions appropriate to the task, the audience and the purpose in analytical, reflective and imaginative responses. Presents some description of genre and generic conventions used in literary texts. Demonstrates limited understanding of the historical, social, cultural and personal contexts when reading literary texts and producing analytical, reflective and imaginative texts. Demonstrates some understanding of the relationship between texts, genres, authors, readers, audience and contexts. Attempts to produce readings of literary texts, with limited evidence and limited awareness of the ways literary texts connect with each other. Produces written, oral and multimodal work showing limited understanding of the relationship of content to purpose and audience. E Does not meet the requirements of a D grade and/or has completed insufficient assessment tasks to be assigned a higher grade. Literature | ATAR | Year 11 syllabus
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Appendix 2 – Recommended text lists
Texts are arranged into the three genres: poetry, drama and prose fiction. Teachers should select texts that allow them to cover the content of the unit and to achieve the learning outcomes. Students are required to study at least one Australian text (i.e. one novel, or play, or a selection of the work of one poet or a selection of Australian short stories) in each pair of units. The lists of texts for the Literature ATAR Year 11 syllabus are recommended lists; these are the same lists of texts that appear in the Literature ATAR Year 12 syllabus as the prescribed lists. Teachers of Literature ATAR Year 11 course may refer to literary texts outside these lists as long as: 
the text chosen assists in the teaching and learning of Literature ATAR Year 11 course content 
students understand that the text chosen is not on the Literature ATAR Year 12 prescribed lists and therefore cannot be used in the Literature Year 12 ATAR COURSE examination as a primary reference. Poetry texts Where a poet’s name appears without a title text next to it, teachers may use any poetry publication by that poet that is appropriate. * Australian writers/texts are indicated with an asterisk Poet’s name/Editor(s) Title of Text Adamson, Robert* Angelou, Maya Armitage, Simon Barnes, J., and McFarlane, B.*
Bishop, Elizabeth Blake, William Brett, Lily* Campbell, David* Chapman, M., & Dangor, A. (Eds) Chaucer, G. Cohen, Leonard Cole, R. (Ed.)* Coleridge, Samuel Taylor Collins, Billy Colmer, J., & Colmer, D. (Eds)
Cosman, C., Keefe J., & Weaver, W. (Eds) Cummings, E.E. Dawe, Bruce* Cross‐Country: A Book of Australian Verse. Richmond, Vic, Heinemann, 1988
The Portable Blake. Harmondsworth, UK, Penguin, 1987 Voices From Within. Johannesburg, Ad Donker, 1982 The Canterbury Tales: The Prologue
Stranger Music: Selected Poems and Songs. New York, Knopf, 1994
Lines to Time (4th ed.). Port Melbourne, Vic, Heinemann, 2007 Pattern and Voice. Melbourne, Macmillan, 1981 The Penguin Book of Women Poets. New York, Penguin, 1980 Sometimes Gladness: Collected Poems 1954 to 2005. Melbourne, Pearson, 2006 The Sentimental Bloke
White Clay. Artarmon, NSW, Giramondo Publishing Company, 2008
Lyrics: 1962–2001. New York, Simon & Schuster, 2002 Selected Poems. London, Faber and Faber, 1982 Dennis, C.J.* Dickinson, Emily Dobson, Rosemary* Dougan, Lucy* Dransfield, Michael* Duffy, Carol‐Ann Dylan, Bob Eliot, T.S. Literature | ATAR | Year 11 syllabus
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Poet’s name/Editor(s) Title of Text Frost, Robert Gardner, H. (Ed.) Gilbert, K. (Ed.)* Gray, Robert* Goldsworthy, Peter* Hamilton, E., & Livingston, J. (Eds) Hardy, Thomas Harwood, Gwen* Harwood, Gwen* Heaney, Seamus Heaney, Seamus (Ed) Herbert, Zbiegniew Hewett, Dorothy* Horne, C., & O'Brien, M. (Eds)
Hughes, Ted Keats, John Kinsella, John* The Metaphysical Poets. Harmondsworth, UK, Penguin, 1985 Inside Black Australia. Ringwood, Vic, Penguin, 1988 Form and Feeling (2nd ed.). Melbourne, Longman Cheshire, 1990 Gwen Harwood Selected Poems. Auckland, Halcyon Press, 2001 Gwen Harwood Selected Poems. Camberwell, Vic, Penguin, 2001 New Selected Poems 1966–87. London, Faber and Faber, 1990 Beowulf
The Progress of Poetry. Melbourne, Heinemann, 1965 Selected Poems 1957–1981
The Silo: A Pastoral Symphony. Fremantle, WA, Fremantle Arts Centre Press, 1995 Seven Centuries of Poetry in English. Melbourne, Oxford University Press, 2004 Blue Light, Clear Atoms (2nd ed.). Sydney, Macmillan, 2006 The World's Contracted Thus. Richmond, Vic, Heinemann Educational, 1983 (out of print?) Paradise Lost
Sounds of a Cowhide Drum. Chicago, Third World Press, 1972 New Selected Poems. Sydney, Duffy Snellgrove, 1998 Two Centuries of Australian Poetry. Melbourne, Oxford University Press, 1996 New and Selected Poems: Volume One. Boston, Bacon Press, 1992
Ten 20th Century Indian Poets. New Delhi: Oxford University Press India, 1990 2008 Lines in the Sand. Cottesloe, WA, Fellowship of Australian Writers (WA) The Fact of a Door Frame: Selected Poems 1950–2001. New York, W. W. Norton, 2002 The Sonnets
The Penguin Book of First World War Poetry. Camberwell, Vic, Penguin, 1997 Poetry in Time. Melbourne, Nelson, 1982
Beowulf. North Sydney, NSW, Random House, 2001 Lawrence, D.H. Larkin, Philip Leonard, John (Ed.) McCauley, James* McFarlane, P., & Temple, L. (Comps) McKenzie, J.A., & McKenzie, J.K. (Eds) Milton, John Moreton, Romaine Mtshali, Oswald Murray, Les* Neruda, Pablo O'Connor, M. (Ed.)* Oliver, Mary Parthasarathy, R. (Ed) Phillips, Glen and van Loon, Julienne (Eds)* Plath, Sylvia Rich, Adrienne Shakespeare, William Silkin, Jon (Ed.) Slessor, Kenneth* Smith, Stevie Soyinka, Wole Stewart, M.* Stow, Randolph* Sutcliff, R. (Ed.) Thomas, Dylan Literature | ATAR | Year 11 syllabus
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Poet’s name/Editor(s) Title of Text Tranter, John* Wagan Watson, Samuel* Smoke Encrypted Whispers. St. Lucia, Qld, University of Queensland Press, 2006 The Portable Walt Whitman. London, Penguin, 1977 The Penguin Book of Romantic Poetry. New York, Penguin, 2006 Selected Poems. London, Penguin, 2004
Collected Poems 1942–85. Sydney, Harper Collins, 1994 Selected Poetry. Harmondsworth, UK, Penguin, 2004 Walcott, Derek Webb, Francis* Whitman, Walt Wordsworth, J., & Wordsworth, J. (Eds) Wordsworth, William Wright, Judith* Yeats, W.B. Ouyang Yu Drama texts In addition to the plays listed below, teachers may choose to use plays by Shakespeare, George Bernard Shaw, Henrik Ibsen and any play belonging to Greek Tragedy or Greek or Roman Comedy. The editions of plays used is also decided by the teacher. *Australian writers/texts are indicated with an asterisk Playwright/Editor(s) Title Publication details Albee, Edward The Zoo Story [Anthology title: The American Dream and Zoo Story] Who’s Afraid of Virginia Woolf?
Waiting for Godot
Keating! New York, Plume, 1997 Albee, Edward Beckett, Samuel Bennetto, Casey* Beynon, Richard* Bovell, Andrew* Bovell, Andrew* Brecht, Bertolt Brecht, Bertolt Cawley, A.C. (Ed.) Chekhov, Anton Chekhov, Anton Chi, Jimmy* Churchill, Caryl Cooper, G., & Wortham, C. (Eds) Coward, Noel Cribb, Reg* Davis, Jack* Davis, Jack* Davis, Jack* Enright, Nick* Frayn, Michael Frayn, Michael Friel, Brian Gow, Michael* Hwang, David Henry Kaufmann, Moises A Shifting Heart Holy Day Speaking in Tongues
The Caucasian Chalk Circle
The Good Person of Szechuan
Everyman and Medieval Miracle Plays
The Cherry Orchard
Three Sisters Bran Nue Dae Top Girls Everyman New York, Penguin, 1983 London, Faber, 2006 Contact Casey Bennetto's agent, Michael Lynch, at Smartartists Management www.smartartists.com.au/main.html Melbourne, Angus & Robertson 2003
Sydney, Currency Press, 2001 New York, Dramatists Play Service, 2004
UK, Methuen, Student Edition, 1984
London, Methuen, 1985 London, Orion, 1993 Methuen, 1978, or Penguin Classic, 1959.
London, Methuen, 1988 Strawberry Hills, NSW, Currency Press, 1991
London, Methuen, 1984 Crawley, WA, UWA Press, 1980 Blithe Spirit The Return No Sugar Kullark/The Dreamers
Barungin, Smell the Wind
Blackrock Noises Off Copenhagen Translations Away M.Butterfly The Laramie Project
London, Methuen, 2002 Strawberry Hills, NSW, Currency Press, 2003
Sydney, Currency Press, 1986 Sydney, Currency Press, 1982 Sydney, Currency Press, 1989 Strawberry Hills, NSW, Currency Press, 1996
New York, Anchor, 2002 London, Methuen, 2003 London, Faber, 1981 Strawberry Hills, NSW, Currency Press, 1990
Longman,1988
New York, Dramatists Play Service, 2001
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Playwright/Editor(s) Lawler, Ray* Mamet, David Mamet, David Marlowe, Christopher Miller, Arthur Miller, Arthur Miller, Arthur Milroy, David* Milroy, David Murray‐Smith, Joanna* Murray‐Smith, Joanna* Murray‐Smith, Joanna* Murray‐Smith, Joanna* Nicholls, Peter Nowra, Louis* Nowra, Louis* Oxenburgh, Dickon and Ross, Andrew* Rankin, Scott and Purcell, Leah* Rayson, Hannie* Shaeffer, Peter Shaeffer, Peter Shepard, Sam Soyinka, Wole Soyinka, Wole Stoppard, Tom Stoppard, Tom Synge, John Millington Thomas, Dylan Thomson, Katherine* White, Patrick* Wilde, Oscar Wilde, Oscar Williams, Tennessee Williams, Tennessee Williams, Tennessee Williams, Tennessee Williamson, David* Williamson, David* Williamson, David* Title Publication details th
Summer of 17 Doll [Anthology title:
The Doll Trilogy] Oleanna Glengarry Glen Ross
Doctor Faustus [Anthology title: Doctor Faustus and Other Plays] The Crucible Death of a Salesman
A View from the Bridge
Windmill Baby [Anthology title:
Contemporary Indigenous Plays, Vivienne Cleven et al.] Waltzing the Willara Honour Ninety The Female of the Species
The Gift A Day in the Death of Joe Egg
Inside the Island Cosi The Merry‐Go‐Round‐in‐the‐Sea
Strawberry Hills, NSW, Currency Press, 2001
Box the Pony Sydney, Hodder Headline, 1999 Hotel Sorrento Amadeus Equus True West A Dance of the Forests [Anthology title:
Collected Plays] Death and the King’s Horseman
Rosencrantz and Guildenstern are Dead Arcadia Playboy of the Western World
Under Milkwood
Diving for Pearls,
The Season at Sarsaparilla [Anthology title: Plays of the 60s: Volume 1] The Importance of Being Earnest and Other Plays An Ideal Husband [Anthology title: The Importance of Being Earnest and Other Plays] The Glass Menagerie
Cat on a Hot Tin Roof
A Streetcar Named Desire
Sweet Bird of Youth
Dead White Males
Flatfoot The Removalists Strawberry Hills, NSW, Currency Press, 2002
New York, Samuel French, 1993 New York, Samuel French, 1973 New York, Samuel French, 1981 Oxford, UK, Oxford University Press, 1973
London, Methuen, 1993 London, Methuen, 1993 Oxford, UK, Oxford University Press, 10998
New York, Penguin, 1976 New York, Penguin, 1998 London, Penguin, 1987 Strawberry Hills, NSW, Currency Press, c2007
Sydney, Currency Press, 2011 Sydney, Currency Press, 1995 Sydney, Currency Press, 2009 2006
Sydney, Currency Press, 2012 London, Faber, 2001 Sydney, Currency Press, 1981 Strawberry Hills, NSW, Currency Press, 1994
NSW, Currency Press, 2006 London, Methuen, 2006 London, Faber, 1973 London, Faber,1993 London, Methuen, 2006 London, Penguin, 2000 Sydney, Currency Press, 1992 Strawberry Hills, NSW, Currency Press, 1998
Harmondsworth, UK, Penguin Classics, 2000
Harmondsworth, UK, Penguin Classics, 2000
London, Penguin, 1988 New York, Signet, 1958 New York, Signet, 1986 New York, Dramatists Play Service, 1992
Strawberry Hills, NSW, Currency Press, 1995
Strawberry Hills, NSW, Currency Press, 2004
Strawberry Hills, NSW, Currency Press, 1984
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Playwright/Editor(s) Title Publication details Williamson, David* Williamson, David* Williamson, David* Williamson, David* Winton, Tim* Winton, Tim* Emerald City The Club The Perfectionist
Don’s Party Rising Water Shrine Strawberry Hills, NSW, Currency Press, 1987
Strawberry Hills, NSW, Currency Press, 1978
Strawberry Hills, NSW, Currency Press, 1983
Strawberry Hills, NSW, Currency Press, 1973
Sydney, Currency Press, 2012 Unpublished as of September, 2012
Prose fiction texts Short stories/anthologies/writers Where a short story writer’s name appears without a title next to it, teachers may use any short story by that writer that is appropriate. * Australian writers/texts are indicated with an asterisk Author/Editor(s) Title Publication Details Adams, Glenda* Astley, Thea* Bail, Murray* Baynton, Barbara* Bennett, B. Cowan, P. and Hay, J. (eds)* Bennett, B. Cowan, P. and Hay, J. (eds)* Cline, C.L., (ed.) The Hottest Night of the Century
Pymble, NSW, Harper Collins, 1988 The Drover’s Wife and Other Stories?
Collected Short Stories
Spectrum One Melbourne, Text Publishing, 1998 Melbourne, Longman, 1970 Spectrum Two Melbourne, Longman Cheshire, 1970
The Rinehart Book of Short Stories, (alternative ed.) Decade Personal Best Rinehart, 1952, (OP) Fremantle Arts Centre, 1982 Pymble, NSW, Harper Collins, 1997 (out of print?) Camberwell, Vic, Penguin, 2001 Camberwell, Vic, Penguin Books Australia, 2008
Camberwell, Vic, Penguin, 1998 Camberwell, Vic, Penguin, 1996 (out of print?)
Coffey, B.R., (ed.)* Disher, Garry (ed)* Drewe, Robert* Drewe, Robert* Garner, Helen* Garner, Helen* Gilman, Charlotte Perkins Gordimer, Nadine Grenville, Kate* Ikin, V. (Ed.)* Jennings, W.R. (Ed.) Jolley, Elizabeth* Kafka, Franz Kavanagh, Michael and Kavanagh, Mary (Eds) Lawrence, D.H. Lawson, Henry* Lessing, Doris Lahiri, Jhumpa Lord, M. (Ed.)* The Bay of Contented Men
The Rip My Hard Heart: Selected Fictions
Postcards from Surfers
The Yellow Wallpaper
Once Upon A Time (1989)
published in Jump and Other Stories New York, Penguin, 1992 Glass Reptile Breakout and other Australian Speculative Stories Sixteen Modern Short Stories
Perth, UWA, 1990 Pitman, 1982
Reading the Signs*
Melbourne, Oxford University Press, 2003
The Interpreter of Maladies: Stories
The Penguin Best Australian Short Stories London, Flamingo, 2000 Penguin, 1991
Mansfield, Katherine Literature | ATAR | Year 11 syllabus
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Author/Editor(s) Title Publication Details McElheny, H., and Moffett, J. (Eds) Mellor, B. and Martino, W.* Mellor, B. and Patterson, A.* Mellor, B. Patterson , A. and O’Neill, M.* Mellor, B., O'Neill, M., and Patterson, A.* Mistry, Rohinton Moon, B.* Morgan, Wendy* Naipaul, V.S. Orwell, George Poe, Edgar Allan Phillips, Glen and van Loon, Julienne (Eds)* Saki Scott, B. (Ed.) Solzhenitsyn, Alexander Tlali, Miriam Points of View Mentor, 1966
Cottesloe, WA, Chalkface Press, 1995
Cottesloe, WA, Chalkface Press, 1996
Scarborough, WA, Chalkface Press, 1991
Winterson, Jeanette Winton, Tim* Winton, Tim* Wolfe, Tobias Gendered Fictions
Investigating Texts
Reading Fictions
Reading Stories Tales from Firozsha Baag
Studying Literature Borderland Miguel St. Perth, Chalkface Press, 1988 Scarborough, WA, Chalkface Press, 1990
Penguin, 1971
Lines in the Sand
Cottesloe, WA, Fellowship of Australian Writers (WA), 2008 Impressions on a Continent
Heinemann, 1983 Footprints in the Quag: Stories and Dialogues from Soweto Cape Town, David Philip Publishers, 1989
Minimum of Two
The Turning The Night in Question
Ringwood, Vic, Penguin, 1998 Sydney, Pan Macmillan, 2006 New York, Random House, 1997 Novels * Australian writers/texts are indicated with an asterisk Author/Editor(s) Title Publication details Achebe, Chinua Adiga, Aravind Ali, Monica Allende, Isabelle Allende, Isabelle Allende, Isabelle Andric, Ivo Angelou, Maya Astley, Thea* Astley, Thea* Astley, Thea* Atwood, Margaret Atwood, Margaret Atwood, Margaret Atwood, Margaret Atwood, Margaret Atwood, Margaret Austen, Jane Austen, Jane Austen, Jane Boll, Heinrich Things Fall Apart
White Tiger Brick Lane Eva Luna The House of Spirits
Of Love and Shadows
The Bridge on the Drina
I Know Why the Caged Bird Sings
A Kindness Cup Drylands It's Raining in Mango
Oryx and Crake Surfacing Cat’s Eye The Blind Assassin
The Penelopiad The Handmaid's Tale
Northanger Abbey
Pride and Prejudice
Persuasion The Lost Honour of Katharina Blum
London, Penguin, 2006 India, Harper Collins, 2008 New York, Scribner, 2003 London, Penguin, 1995 New York, Random House, 1985 London, Black Swan, 1988 University of Chicago Press, 1977 New York, Bantam, 1997 Camberwell, Vic, Penguin, 1989 Camberwell, Vic, Penguin, 2000 Ringwood, Vic, Penguin, 1989 London, Bloomsbury, 2003 New York, Anchor, 1998 New York, Anchor, 1998 London, Virago, 2001 Camberwell, Vic, Penguin, 2005 London, Vintage, 1996 London, Penguin Classics, 2003 London, Penguin Classics, 2003 London, Penguin, 2006 London Vintage Classics, 2000 Literature | ATAR | Year 11 syllabus
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Author/Editor(s) Title Publication details Boll, Heinrich Broderick, Damien* Bronte, Charlotte Bronte, Emily Camus, A. Camus, Albert Carey, Peter* Carey, Peter* Carey, Peter* Carey, Peter* Chatwin, Bruce Chevalier, Tracy Chopin, Kate Coetzee, J.M. Coetzee, J.M. Conrad, Joseph D’Aguiar, Fred Deane, Seamus Desai, Kiran Dickens, Charles Drewe, Robert* Emchetta, Buchi Faulkner, William Fitzgerald, F.S. Flanagan, Richard* Foer, Jonathon Safran Foer, Jonathan Safran Forster, E.M. Fowles, John Franklin, Miles* Fugard, Athol Garcia Marquez, Gabriel Gardam, Jane Garner, Helen* Goldbloom, Goldie* Golding, William Goldsworthy, Peter Grenville, Kate* The Lost Honour of Katharina Blum
Striped Holes Jane Eyre Wuthering Heights The Outsider The Plague Bliss The True History of the Kelly Gang
Illywhacker Oscar and Lucinda
On the Black Hill Girl with a Pearl Earring
Awakening and Other Stories
Disgrace Waiting for the Barbarians
Heart of Darkness
The Longest Memory
Reading in the Dark
The Inheritance of Loss
(Any title) The Drowner Second Class Citizen
As I Lay Dying The Great Gatsby
The Sound of One Hand Clapping
Everything Is Illuminated
Extremely Loud and Incredibly Close
A Passage to India
The French Lieutenant’s Woman
My Brilliant Career
Tsotsi One Hundred Years of Solitude
Old Filth Monkey Grip The Paperbark Shoe
The Inheritors Maestro Joan Makes History
Minerva, UK, 1993 Port Melbourne, Vic, Mandarin, 1990
London, Penguin, 2006 London, Penguin, 2006 London, Penguin, 2000 London, Penguin, 2000 Melbourne, Vintage, 2005 Melbourne, Random House, 2005 Melbourne, Random House, 2005 Melbourne, Random House, 2005 London, Vintage, 2005 New York, Penguin, 2003 London, Random House, 2005 New York, Penguin, 2005 London, Vintage, 2004 London, Penguin, 2000 London, Vintage, 1995 London, Vintage, 1997 London, Hamish Hamilton, 2006 Grenville, Kate* Hardy, Thomas Hawthorne, Nathaniel Hemingway, Ernest Hemingway, Ernest Herbert, Xavier* The Secret River The Mayor of Casterbridge
The Scarlet Letter
A Farewell to Arms
Fiesta Poor Fellow, My Country
Hesse, Hermann Hesse, Hermann Hesse, Hermann Hosain, Attia Siddhartha The Glass Bead Game
The Prodigy Sunlight on a Broken Column
Literature | ATAR | Year 11 syllabus
Camberwell, Vic, Penguin, 2001 New York, George Braziller, 2002 New York, Random House, 2000 London, Penguin, 2000 Sydney, Pan Macmillan, 1998 USA, Houghton Mifflin, 2002 London, Penguin, 2006 London, Penguin, 2005 London, Vintage, 2004 Pymble, NSW, Harper Collins, 2001
Melbourne, Text Publishing, 2006 London, Penguin, 2001 London, Chatto & Windus, 2004 Camberwell, Vic, Penguin, 1995 Perth, Fremantle Press, 2010 London, Faber, 2005 Melbourne, Harper Collins, 1995 St Lucia, Qld, University of Queensland Press, 2002 Melbourne, Text Publishing, 2006 London, Penguin, 2003 New York, Random House, 2000 London, Vintage, 1999 London, Vintage, 2000 North Ryde, NSW, Collins/Angus & Robertson, 1990 London, Pan Macmillan, 1998 London, Ebury Publishing, 2000 London, Peter Owen, 2002 New York, Penguin, 1989 (out of print?)
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Author/Editor(s) Title Publication details Hospital, Janet Turner* Charades Huxley, Aldous Jolley, Elizabeth* Jolley, Elizabeth* Brave New World
The Well Miss Peabody’s Inheritance
Jones, Gail* Jones, Gail* Jones, Gail* Jones, Lloyd Kafka, Franz Sixty Lights Dreams of Speaking
Sorry Mr Pip Metamorphosis [Anthology title:
Metamorphosis and Other Stories] Bring Larks and Heroes
Towards Asmara
The Chant of Jimmie Blacksmith
The Poisonwood Bible
The Woman Warrior: Memoirs of a Girlhood Among Ghosts English Passengers
Sons and Lovers The Australian Fiance
The Left Hand of Darkness
Small Island The Wife of Martin Guerre
Fly Away Peter An Imaginary Life
Ransom Remembering Babylon
The Life of Pi The Child in Time
Saturday Atonement The White Earth Amongst Women
Black Swan Green
The Orchard Beloved The English Patient
Nineteen Eighty‐Four
Bel Canto The Chosen Coonardoo St Lucia, Qld, University of Queensland Press, 2003 New York, Harper Collins, 2006 Ringwood, Vic, Penguin, 1987 St Lucia, Qld, University of Queensland Press, 1984 London, Vintage, 2005 Melbourne, Random House, 2006 North Sydney, NSW, Vintage Books, 2007
Auckland, Penguin, 2006 London, Penguin, 2007 Keneally, Thomas* Keneally, Thomas* Kenneally, Thomas* Kingsolver, Barbara Kingston, Maxine Hong Kneale, Matthew Lawrence, D.H. Lazaroo, Simone* LeGuin, Ursula Levy, Andrea* Lewis, Janet Malouf, David* Malouf, David* Malouf, David* Malouf, David*. Martel, Yan McEwan, Ian McEwan, Ian McEwan, Ian McGahan, Andrew* McGahern, John Mitchell, David Modjeska, Drusilla* Morrison, Toni Ondaatje, Michael Orwell, George Patchett, Anne Potok, Chaim Pritchard, Katharine Susannah* Pullman, Philip Rand, Ayn Rhys, Jean Roy, Arundhati Rushdie, Salman Schlink, Bernard Scott, Kim* Northern Lights The Fountainhead
Wide Sargasso Sea
The God of Small Things
Midnight’s Children
The Reader True Country Camberwell, Vic, Penguin, 1989 Sydney, Hachette Livre, 2002 Melbourne, Harper Collins, 2004 New York, Harper Collins, 2005 New York, Random House, 1989 London, Penguin, 2001 London, Penguin, 2006 Sydney, Pan Macmillan, 2001 London, Little, Brown Book Group, 1981
Sydney, Headline, 2004 London, Penguin, 1996 London, Vintage, 1998 London, Vintage, 1999 Vintage, 2010
London, Vintage, 1994 Edinburgh, Canongate Books, 2003
London, Vintage, 1997 London, Vintage, 2006 London, Jonathan Cape, 2001. St Leonards, NSW, Allen & Unwin, 2005
London, Faber, 2000 London, Hodder & Stoughton, 2006
Sydney, Pan Macmillan, 1995 London, Vintage, 1999 London, Picador, 1992 London, Penguin, 2004 New York, Harper Collins, 2005 London, Penguin, 1975 Pymble, NSW, HarperCollins, 2002 London, Scholastic, 2007 London, Penguin, 2007 London, Folio Society, 1993 London, Harper Collins, 1998 London, Vintage, 2006 London, Orion, 1998 Fremantle, WA, Fremantle Arts Centre Press, 1993 Literature | ATAR | Year 11 syllabus
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Author/Editor(s) Title Publication details Scott, Kim* Benang Scott, Kim* Scourfield, Stephen* Shelley, Mary Silvey, Craig* Silvey, Craig* That Dead Man Dance
Other Country Frankenstein Jasper Jones Rhubarb Solzhenitsyn, Alexander Stead, Christina* Stead, Christina* Steinbeck, John Steinbeck, John Steinbeck, John Stevenson, R.L. Stow, Randolph* Stow, Randolph* One Day in the Life of Ivan Denisovich
The Man Who Loved Children
For Love Alone The Grapes of Wrath
Tortilla Flat Cannery Row Dr Jekyll and Mr Hyde
The Merry‐Go‐Round in the Sea
To the Islands Swift, Jonathon Toibin, Colm Toibin, Colm Tolstoy, Leo Wells, H.G. Wharton, Elizabeth Wharton, William White, Patrick.* Wilde, Oscar Winton, Tim* Winton, Tim* Winton, Tim* Winton, Tim* Winton, Tim* Wood, Charlotte* Woolf, Virginia Woolf, Virginia Woolfe, Sue* Zusak, Marcus* Gulliver’s Travels
The Blackwater Lightship
The Heather Blazing
Anna Karenina Island of Doctor Moreau The Age of Innocence
Birdy A Fringe of Leaves
The Picture of Dorian Gray
Breath An Open Swimmer
Cloudstreet The Riders Dirt Music Submerged Cathedral
To the Lighthouse
Jacob’s Room Leaning Towards Infinity
The Book Thief Fremantle, WA, Fremantle Arts Centre Press, 1999 Australia, Picador, 2010 Allen and Unwin, 2007 Harmondsworth, UK, Penguin, 1992
Crows Nest, NSW, Allen and Unwin, 2009
Fremantle, WA, Fremantle Arts Centre Press, 2004 London, Penguin, 2000 Pymble, NSW, Harper Collins, 1994
Bondi Junction, NSW, ETT Imprint, 1999
London, Penguin, 2000 London, Penguin, 2000 London, Penguin, 2000 London, Penguin, 2006 New York, Morrow, 1966 St Lucia, Qld, University of Queensland Press, 2002 London, Penguin, 2003 London, Pan Macmillan, 2000 London, Pan Macmillan, 2001 London, Penguin, 2006 London, Orion, 2004 Harmondsworth, UK, Penguin, 1989
New York, Knopf, 1992 London, Vintage, 1997 London, Penguin 2006 London, Picador, 2008 Camberwell, Vic, Penguin, 1998 Melbourne, Penguin, 1992 Sydney, Pan Macmillan, 2004 Sydney, Pan Macmillan, 2004 Melbourne, Random House, 2004 Harmondsworth, UK, Penguin, 1992
London, Penguin, 1992 Melbourne, Random House, 1999 South Yarra, Vic, Pan Macmillan, 2005
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Appendix 3 – Glossary
This glossary is provided to enable a common understanding of the key terms in this syllabus. Aesthetic A sense of beauty or an appreciation of artistic expression. For example, some poems might be aesthetically pleasing because of their sound, rhyme and rhythm and those poems might or might not be intellectually pleasing as well, depending on the meaning readers take from them. If we appreciate the way a text has been put together, for example, its language, its style, its tone, its use or adaptation of generic conventions etc., then we are possibly focusing on the aesthetic qualities of the text. If we focus on the meaning or the theme or the ideology or our reading of the text, then we are possibly focusing on the intellectual rather than the aesthetic. Of course, many would argue that the aesthetic and the intellectual are inseparable. Appreciation The act of discerning the quality and value of literary texts. Attitude A stance regarding a situation, idea, character, event or issue. For example, an author or audience may be supportive of, disinterested in or antagonistic towards something or someone. Audience The group of readers, listeners or viewers that it is presumed that the writer, or speaker is addressing. Audience includes students in the classroom, an individual, the wider community, review writers, critics and the implied audience. Author The composer or originator of a work.
Context The environment in which a text is produced or received. Context can include the general social, historical and cultural conditions in which a text is produced or received or the specific features of its immediate environment. The term is also used to refer to the wording surrounding an unfamiliar word that a reader or listener uses to understand its meaning. Convention An accepted practice that has developed over time and is generally used and understood, for example, the use of specific structural aspects of texts to develop meaning. Conventions often come to be associated with particular genres. Critical perspectives Critical perspectives are formed by students when they make meaning from literature by engaging with aspects of the text(s) studied. In the Literature ATAR course, students discuss and debate aspects of texts, establishing their views through logical argument. Students reflect on the aesthetic qualities of literary texts, appreciate the power of language and inquire into the relationship between texts, authors, readers, audiences and contexts, thereby forming their own critical perspectives. Critical perspectives can be informed by various reading practices and strategies. Dialogue Dialogue refers to the conversation between two characters in a literary text.
Dialogue also refers to the process by which readers engage with texts over time. In the construction of meaning, readers are in a dialogue or conversation with the text. Discourse In general terms, the term, ‘discourse’ refers to the language or terminology used in the discussion of a subject or field of study. For example, the terms defined in this glossary belong to a literary discourse; laws about contracts belong to a legal discourse; a debate about the best ways to remove a skin cancer belongs to a medical discourse. Within literary theory, it is argued that meaning is constructed Literature | ATAR | Year 11 syllabus
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through discourse, that nothing has any meaning outside of discourse. Every idea belongs to at least one discourse. For example, it would be reasonable to conclude that some ‘nature’ poems and their themes belong to a discourse of ecological sustainability. Discourses are involved in the distribution of social power, favouring different people, institutions and ideologies. For example, a discourse condoning the expansion of an empire favours some people and institutions over others; it has a very different language and ideology from a post‐colonial discourse. Figurative language Word groups or phrases used in a way that differs from the expected or everyday usage. They are used in a non‐literal way for particular effect (for example, simile – ‘white as a sheet’; metaphor – ‘all the world’s a stage’; personification – ‘the wind grabbed at my clothes’). Forms of texts The shape and structure of texts (for example, poetry, novels, short stories, plays).
Genre The categories into which texts are grouped. The term has a complex history within literary theory and is often used to distinguish texts on the basis of their subject matter (for example, detective fiction, romance, science fiction, fantasy fiction), form and structure (for example, poetry, novels, short stories and plays). This Literature course uses the term ‘genre’ to mean prose fiction, poetry and drama. Within those genres are other genres or ‘sub‐genres’ for example, in prose fiction: crime fiction, romance, or the epistolary novel; in drama: absurd theatre, comedy and tragedy; in poetry, forms like elegy, sonnet and ode. Ideology A system of attitudes, values, beliefs and assumptions. Intertextuality The process by which a reader makes connections between texts, for example, texts read previously and the text being read at present. Readers might see connections in terms of the representations of ideas or groups of people; in terms of the generic conventions used; in terms of the language, form or style; in terms of the ideologies promoted; or in terms of the plots or characters or themes. Some texts allude to others, sometimes directly, sometimes subtly. While reading one text, readers might notice resonances with another text. By reading intertextually, we can examine how a text might position readers by inviting them to draw on ways of thinking they have encountered in other texts. Language features The features of language that support meaning, for example, sentence structure, noun group/phrase, vocabulary, punctuation, figurative language. Choices in language features and text structures together define a type of text and shape its meaning. These choices vary according to the purpose of a text, its subject matter, audience and mode or medium of production. Language patterns The arrangement of identifiable repeated or corresponding elements in a text. These include patterns of repetition or similarity (for example, the repeated use of verbs at the beginning of each step in a recipe, or the repetition of a chorus after each verse in a song). The patterns may alternate (for example, the call and response pattern of some games, or the to and fro of a dialogue). Other patterns may contrast (for example, opposing viewpoints in a discussion, or contrasting patterns of imagery in a poem). The language patterns of a text contribute to the distinctive nature of its overall organisation and shape its meaning. Marginalise Alienate the views of, or underplay the significance of groups or individuals.
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Medium The resources used in the production of texts, including the tools and materials used (for example, digital text and the computer; writing and the pen or typewriter or tablet; the resources and materials used in creating live theatre; the technologies involved in recording and transmitting performances). Put more simply, live theatre is a different medium from television which is a different medium from the printed page. Mode The various processes of communication: listening, speaking, reading/viewing and writing/creating. Modes are also used to refer to the semiotic (meaning‐making) resources associated with these communicative processes, such as sound, print, image and gesture. Multimodal text A text that combines two or more communication modes (for example, print, image and spoken text, as in computer presentations). A multimodal literary text is a multimodal text that is predominantly literary, for example, in its use of literary conventions, its tone or its style. A multimodal literary text could also be referred to as a literary text that is multimodal, as per the definition of ‘multimodal’. Multiple readings A literary text is open to interpretation, can be read in a number of ways,
depending on the reading strategies that readers are employing. In that sense, because different reading strategies are being used by different readers, then multiple readings of the text are possible. For example, if the reader focuses on the representation of gender in a text then that might lead the reader to certain conclusions, for example, the text is ‘politically incorrect (or correct)’, ‘feminist’ or ‘chauvinist’. Another reader might focus on class, for example, the class to which the writer belonged and the effects that had on the construction of the text; such a reading might focus on the representation of class in the text that privileges one class over another or that objects to the treatment of a class by the wider society. A third reader might focus on the writer’s adherence to or adaptation of conventions of a genre; and on the writer’s choice of language and the implied ideologies of that language. Three very different ‘readings’ of the same text might be created and each would be assessed on its merits. A single reader might also be able to create more than one reading of a text, for example, by explaining, “One reading of the text is that…..” and “Another reading of this text might be that….” Narrative A story of events or experiences, real or imagined. In literary theory, narrative includes the story (what is narrated) and the genre (how it is narrated). Narrative point of view The position or vantage‐point from which the events of a story seem to be observed and narrated to the reader. For example, the narrator might take the role of first or third person; omniscient or restricted in knowledge of events; and reliable or unreliable in interpreting what happens. Some texts have multiple narrators and therefore, of course, multiple narrative points of view. Naturalise If writers or texts frequently represent an idea or group of people in a certain stereotypical way, then readers might assume that that’s the way things are. Readers might jump to the conclusion that it is ‘natural’ to think of that idea in that way or for that group of people to behave that way. For example, if Australians are always represented as uneducated and loudmouthed, then readers might come to expect those characteristics of Australians or Australian characters in texts. The characteristics have become ’naturalised’. When we assume that a particular representation of a group of people is ‘natural’ or that their behaviour is ‘natural’, we are probably forgetting that their behaviour is ‘cultural’, as in belonging to a particular culture or sub‐culture and that there is nothing ‘natural’ about it at all. See Moon’s chapter on the culture/nature binary. Literature | ATAR | Year 11 syllabus
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Perspective The way a reader/viewer is positioned by the author through the text, or how a particular ideology is embedded in a text, for example, a feminist perspective. The term ‘perspective’ may also refer to the ideological perspective, the values and attitudes that the reader brings to the text; and it may refer to the reading practice or ‘lens’ used to read the text, for example, a feminist perspective, a post‐colonial reading practice, a Marxist perspective, a psychoanalytical reading of a text. Point of view An opinion or viewpoint.
Reading strategies/reading practices Reading strategies (reading practices, ways of reading) are ways readers make meaning of texts. Often a reading strategy will involve paying attention to the context of the writer, the language of the text, its generic conventions and/or the context of the reader. When a reader focuses on the representation of gender, class, race/ethnicity, cultural identity or other representations or combinations of these representations, then the reader is employing a reading strategy. Representation In literary texts, words, phrases or sentences that re‐present (as opposed to ‘reflect’) reality. For example, we can refer to the representation of ‘women’ in a text; or the representation of ‘love’; or the representation of ‘pre‐war Australia’. Resonances Aspects of texts that resound or echo for readers.
Rhetorical devices Language techniques used in argument to persuade audiences (for example, rhetorical questions, repetition, propositions, figurative language). Standard Australian English The variety of spoken and written English language in Australia used in more formal settings, such as for official or public purposes, and recorded in dictionaries, style guides and grammars. While it is always dynamic and evolving, it is recognised as the ‘common language’ of Australians. Stylistic choices The selection of stylistic features to achieve a particular effect. Stylistic features The ways in which aspects of texts (such as words, sentences, images) are arranged and how they affect meaning. Style can distinguish the work of individual authors (for example, Jennings’ stories, Lawson’s poems), as well as the work of a particular period (for example, Elizabethan drama, nineteenth‐century novels), or of a particular genre or type of text (for example, recipes, scientific articles, play‐by‐play commentary). Examples of stylistic features are narrative viewpoint, structure of stanzas, juxtaposition, nominalisation, alliteration, metaphor and lexical choice. Text structure The ways in which information is organised in different types of texts (for example, chapter headings, subheadings, tables of contents, indexes and glossaries, overviews, introductory and concluding paragraphs, sequencing, topic sentences, taxonomies, cause and effect). Choices in text structures and language features together define a text type and shape its meaning. Examples of text structures in literary texts include sonnets, monologues and hypertext. Transformation Changing the form or shape of a text, for example, by appropriation, adaptation, subversion or parody. Literature | ATAR | Year 11 syllabus
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Types of texts Classifications of texts according to the particular purposes they are designed to achieve. These distinctions are neither static nor discrete and particular texts can belong to more than one category. Analytical texts Texts whose primary purpose is to identify, examine and draw conclusions about the elements or components that make up other texts. Analytical texts develop an argument or consider or advance an interpretation. Examples of these texts include commentaries, essays in criticism, reflective or discursive responses and reviews. Discursive texts Texts whose primary purpose is to engage the reader in a non‐fictional or expository manner but which may digress from one subject to another and which are not as formal or methodical as analytical texts. Such texts could include feature articles and journals. Imaginative texts Texts whose primary purpose is to entertain or provoke thought through their imaginative use of literary elements. They are recognised for their form, style and artistic or aesthetic value. These texts include novels, traditional tales, poetry, stories, plays, fiction for young adults and children, including picture books, and multimodal texts such as film. Persuasive texts Texts whose primary purpose is to put forward a point of view and persuade a reader, viewer or listener. They form a significant part of modern communication in both print and digital environments. They include advertising, debates, arguments, discussions, polemics and essays and articles. Reflective texts Texts whose primary purpose is to reflect on texts and ideas but in a less formal way than an analytical essay. Such texts could include a series of journal entries about a literary text or a single piece reflecting on what one hoped to achieve in a creative production. Voice In the literary sense, voice can be used to refer to the nature of the voice projected in a text, for example, ‘authorial voice’ in a work of prose fiction, the voice of a persona in a poem or the voice of a character in a monologue. Useful references include: M.H. Abrams, A Glossary of Literary Terms Deborah Appleman, Critical Encounters in High School English: Teaching Literary Theory to Adolescents Chris Baldick, The Concise Dictionary of Literary Terms Martin Gray, A Dictionary of Literary Terms Jeremy Hawthorn, A Glossary of Contemporary Literary Theory Brian Moon, A Glossary of Literary Terms The New Princeton Encyclopaedia of Poetry and Poetics Literature | ATAR | Year 11 syllabus