English

 Genre Study

 Adaptation Study 

 MODULE FOUR
 Negotiated Study 

Learners explore representations of themes, ideas and concepts through a comparison of texts analysing connections between language, texts, genres and contexts. Learners recognise and analyse the conventions of genre in literary and non-literary texts and consider how those conventions may assist interpretation and how they may be challenged. They examine the effect of different mediums on the structure of texts and how audiences respond to them.

Choose one of the following electives:

• Dystopian Fiction
• Thriller
• Life Writing.

Learners create:

• one oral presentation which analyses the conventions of the selected genre and how those conventions may assist interpretation and how they may be challenged.
• one analytical essay that compares and contrasts study texts within the genre or across the genres examining the ways language and stylistic features and conventions are used to represent key themes/ideas and/or concepts
• one imaginative response within a specified genre.

Three texts to be studied from the prescribed list.

Learners examine differences in meaning that may be created when a text is adapted or transformed into a different genre or form.

They consider how language, stylistic devices, text conventions used in different genres, forms, mediums and modes assist interpretation and how they may be manipulated and challenged.

Choose one pair of texts from the prescribed text list.

Learners create:

• one comparative response to study texts
• one imaginative, multimodal response to study texts that:

Reimagines an aspect or a character inspired from the study text.

OR

Creates a new text by remixing/re-contextualising/reorganising selected content appropriated from the study texts.

One pair of texts to be studied from the prescribed list.

Compare texts from similar or different genres and contexts by:

• analysing language, structural and stylistic choices (ACEEN041)
• explaining how each text conforms to or challenges the codes and conventions of particular genres (ACEEN042)
• analysing and evaluating how similar themes, ideas or concepts are treated in a particular genre. (ACEEN043)

Compare adaptation intertexts texts from similar or different genres and contexts by:

• analysing language, structural and stylistic choices (ACEEN041)
• analysing and evaluating how similar themes, ideas or concepts are treated in the adaptation intertexts. (ACEEN043)

Compare and contrast distinctive features of genres by:

• analysing the techniques, codes and conventions used in different genres, mediums and modes (ACEEN044)
• considering how the conventions of genres can be challenged, manipulated or parodied (ACEEN045)
• examining how genres and their conventions may have changed and adapted over time. (ACEEN046)

Compare and contrast distinctive features of the adaptation intertexts by:

• analysing the techniques, codes and conventions used in different mediums and modes (ACEEN044)
• considering how the conventions of genres can be challenged, manipulated or parodied through the adaptation process. (ACEEN045)

Analyse and evaluate how the conventions of texts invite responses including:

• the ways language patterns can create shades of meaning (ACEEN047)
• how expectations of genres have developed and the effect when those expectations are met or not met, extended or subverted (ACEEN048)
• how responses to texts and genres may change over time and in different cultural contexts. (ACEEN049)

• the ways language patterns can create shades of meaning (ACEEN047)
• how the expectations of the responder are met or not met, extended or subverted when one text is adapted into another (ACEEN048)
• how responses to adapting texts may change over time and in different cultural contexts. (ACEEN049)

Create a range of texts:

• making innovative and imaginative use of language features within a specified genre (ACEEN051)
• using and experimenting with text structures and language features related to specific genres for particular effects (ACEEN052)
• sustaining analysis and argument (ACEEN053)
• using appropriate referencing, for example, footnotes, in-line citations and reference lists (ACEEN054)
• using strategies for planning, drafting, editing and proofreading (ACEEN055)
• using accurate spelling, punctuation, syntax and metalanguage. (ACEEN056)

Create a range of texts:

• transforming and adapting texts for different purposes, contexts and audiences (ACEEN050)
• making innovative and imaginative use of language features (ACEEN051)
• using and experimenting with text structures and language features related to the adaptation intertexts for particular effects (ACEEN052)
• sustaining analysis and argument (ACEEN053)
• using appropriate referencing, for example, footnotes, in-line citations and reference lists (ACEEN054)
• using strategies for planning, drafting, editing and proofreading (ACEEN055)
• using accurate spelling, punctuation, syntax and metalanguage. (ACEEN056)

Reflect on their own and others’ texts by:

• analysing and evaluating how different texts within a specified genre represent similar ideas in different ways (ACEEN057)
• comparing and evaluating the impact of language conventions used in a variety of texts and genres. (ACEEN059)

Reflect on their own and others’ texts by:

• analysing and evaluating how different texts represent similar ideas in different ways (ACEEN057)
• explaining how meaning changes when texts are transformed into a different genre or medium (ACEEN058)
• comparing and evaluating the impact of language conventions used in the adaptation intertexts. (ACEEN059)

Learners focus on detailed analysis of the purpose language, style and construction of the prescribed study text. They focus closely on textual details to examine different perspectives and develop their own reasoned interpretation.

Learners create:

• one seminar presentation that explores two different perspectives of the prescribed text.
• one written interpretation of the text supported by close textual analysis justifying own interpretation of the text.

One text to be studied from the prescribed list.

Learners collect three (3) Media texts in different forms on one of the four prescribed ideas:

• Power
• Justice
• Gender
• Sustainability.

Learners examine how content, structure, voice and perspective in these three texts shape response and interpretation.

Learners create:

• one analytical response
• one interpretive/persuasive or imaginative response.

Both responses demonstrate their understanding of the ways the points of views and values are represented.

Three shorter media self-selected texts to be studied in different form/media (print media and multimodal texts) – e.g. an editorial, a news report, a feature article, a website (or section therein), a picture book, a political cartoon, or a multimodal text.

These texts are to be supplied as appendices and fully referenced with the study.

Investigate and evaluate the relationships between texts and contexts by:

• undertaking close analysis of a substantial prescribed text (ACEEN060)
• examining how each text relates to a particular context or contexts (ACEEN061)
• examining the contexts in which the substantial prescribed text is created and received (ACEEN062).

• undertaking close analysis of shorter media texts within a specified theme (ACEEN060)
• comparing the contexts in which texts are created and received. (ACEEN062)

Evaluate different perspectives, attitudes and values represented in texts by:

• analysing content, purpose and choice of language in the substantial prescribed text studied (ACEEN063)
• analysing the use of voice and point of view in the text studied (ACEEN064)
• exploring other interpretations and aspects of this single text studied. (ACEEN065)

Evaluate different perspectives, attitudes and values represented in texts by:

• analysing content, purpose and choice of language in the three self-selected shorter media texts (ACEEN063)
• analysing the use of voice and point of view in the three self-selected shorter media texts (ACEEN064)
• exploring the attitudes and values in the three self-selected shorter media texts to develop a considered response. (ACEEN065)

Evaluate how texts convey perspectives through:

• the selection of mode, medium, genre and type of text (ACEEN066)
• the ways points of view and values are represented (ACEEN067)
• the selection of language features that generate empathy or controversy, for example, juxtaposition of image and text. (ACEEN068)

Evaluate how texts convey perspectives through:

• the selection of mode, medium, genre and type of text (ACEEN066)
• the ways points of view and values are represented (ACEEN067)
• the selection of language features that generate empathy or controversy, for example, juxtaposition of image and text. (ACEEN068)

Create a range of texts:

• using appropriate language and stylistic features to sustain a personal voice and point of view (ACEEN069)
• using nuanced language (ACEEN070)
• synthesising ideas and opinions to develop complex argument (ACEEN071)
• substantiating and justifying their own responses using textual evidence (ACEEN072)
• using appropriate referencing, for example, footnotes, in-line citations and reference lists (ACEEN073)
• using strategies for planning, drafting, editing and proofreading (ACEEN074)
• using accurate spelling, punctuation, syntax and metalanguage. (ACEEN075)

Create a range of texts:

• using appropriate language and stylistic features to sustain a personal voice and point of view (ACEEN069)
• using nuanced language (ACEEN070)
• synthesising ideas and opinions to develop complex argument (ACEEN071)
• substantiating and justifying their own responses using textual evidence (ACEEN072)
• using appropriate referencing, for example, footnotes, in-line citations and reference lists (ACEEN073)
• using strategies for planning, drafting, editing and proofreading (ACEEN074)
• using accurate spelling, punctuation, syntax and metalanguage. (ACEEN075)

Reflect on their own and others’ texts by:

• analysing and evaluating how different attitudes and perspectives underpin the text studied (ACEEN076)
• questioning the assumptions and values in the text studied (ACEEN077)
• identifying omissions, inclusions, emphases and marginalisations in the single text studied (ACEEN078)
• discussing and evaluating different readings of text studied. (ACEEN079)

Reflect on their own and others’ texts by:

• analysing and evaluating how different attitudes and perspectives underpin the shorter media texts studied (ACEEN076)
• questioning the assumptions and values in texts (ACEEN077)
• identifying omissions, inclusions, emphases and marginalisations (ACEEN078)
• discussing and evaluating different readings of texts. (ACEEN079)

• Three (3) electives
• Three (3) prescribed texts, including one print, one non-print text

• One (1) oral presentation
• One (1) analytical response
• One (1) imaginative response within the specified genre

• Two (2) prescribed texts

• One (1) comparative response
• One (1) imaginative, multimodal response

• One (1) prescribed text

• One (1) seminar presentation
• One (1) interpretive response

• Three (3) short learner selected media texts

• Written proposal, negotiated with teacher
• Ongoing record of progress and processes
• A final product in the form of: one analytical response and one interpretive/persuasive or imaginative text both forming a maximum of 2500 words in total.

The group of readers, listeners or viewers that the writer, designer, filmmaker or speaker is addressing.

Audiences may be invited to adopt a particular view in relation to an issue.

Texts invite audiences to make meaning in many ways:

• Sympathetic or authoritative characters may be associated with a particular view
• Characters associated with one point of view might be shown to thrive and prosper
• The language used to discuss the issue may be slanted towards a particular response
• There may be more overall print or screen time devoted to one point of view than another
• What is depicted on the screen or in the text may be associated more with one point of view than another. (A text dealing with forestry, for example, might focus on the workers and their families or on wilderness scenes.)

Codes

Codes are systems of signs, which create meaning. For the purpose of study in this course codes can be divided into two categories – technical and symbolic.

• Technical codes are all the ways in which equipment is used to tell the story in a media text, for example the camera work in a film.
• Symbolic codes show what is beneath the surface of what we see. For example, a character's actions show you how the character is feeling.
• Some codes fit both categories – music, for example, is both technical and symbolic.

Learners 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 and unstated assumptions. They investigate the ways language is used to position individuals and social and cultural groups.

Creative thinking enables learners to apply imaginative and inventive capacities in the creation of their own original works.

Cultural representations may challenge or reflect the way people currently perceive individuals, groups or cultures. For example, conservationists may be depicted as ‘young, scruffy, shiftless people’ in a particular text while being depicted as ‘middle-aged, socially-aware people’ in another.

These different cultural representations may be created through the written or visual language used in each text. It is important for learners to realise that omission helps to shape cultural representations too.

For example, when a group of Australian workers is depicted on a website, the fact that certain groups may be unrepresented - the poor, women, young people, disabled people - helps to shape that representation.

Learners need to understand that cultural representations have a powerful influence on people’s ideas, values, attitudes and power relationships.

Current media issues provide rich, authentic opportunities for the study of this concept. An understanding of cultural representation is important whether learners are responding to or composing texts.

The term has a complex history within literary theory and is often used to distinguish texts on the basis of their subject matter (detective fiction, romance, science fiction, fantasy fiction), form and structure (poetry, novels, short stories).

Email is an example of a hybrid text, combining the immediacy of talk and the expectation of a reply with the permanence of print.

Readers might see connections in terms of

• the representations of ideas or groups of people;
• the generic conventions used; of the language, form or style; in terms of the ideologies promoted;
• 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 inter-textually, we can examine how a text might position readers by inviting them to draw on ways of thinking they have encountered in other texts.

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.

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.

While the nature of what constitutes ‘literary texts’ is dynamic and evolving, they are seen as having personal, social, cultural and aesthetic appeal and potential for enriching learners’ scope of experience.

Literary texts include a broad range of forms, such as novels, poetry, short stories, plays, fiction, non-fiction and multimodal texts.

The media texts studied in English courses can be found in newspapers and magazines and on television, film, radio, computer software and the internet.

Modes are also used to refer to the semiotic (meaning making) resources associated with these communicative processes, such as sound, print, image and gesture.

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….”

For example, the narrator might take the role of first or third person, omniscient or restricted in knowledge of events, reliable or unreliable in interpretation of what happens.

To negotiate effectively, learners need information from the teacher about aims, resources, assessment procedures, constraints and non-negotiable outcomes.

Negotiation is a collaborative process in which participants work to achieve outcomes that are acceptable to all.

Gaps and silences occur frequently in texts. They are created when the author, intentionally or unintentionally, chooses to include some pieces of information and omit others.

Gaps are spaces in a text where something is left out, that the author expects readers or views to be able to fill in because of their prior knowledge and cultural understandings.

Silences are authorial omissions or absences in a text, which may be either deliberate or unconscious. They operate to create a particular invited reading.

Many modern genres, such as short stories, novels in fiction, for example, and letters, essays, and other types of non-fiction writing are typically written in prose.

Reading occurs in different ways, for different purposes, in a variety of public and domestic settings.

Reading is therefore a cultural, economic, ideological, political and psychological act. The term applies to the act of reading print texts or the act of viewing a film or static image.

Alternative readings: readings that focus on the gaps and silences in texts to create meanings that vary from those meanings that seem to be foregrounded by the text.

Dominant reading: is the reading that seems to be, for the majority of people in society, the natural or normal way to interpret a text. In a society where there are strongly competing discourses (i.e. most societies), the definition of what is a dominant reading depends on the ideology of the person making the decision.

Resistant reading: a way of reading or making meaning from a text which challenges or questions the assumptions underlying the text. Resistant readings employ a discourse different from the discourse that produces the dominant reading.

The appropriate language register depends upon the audience (who), the topic (what), purpose (why) and location (where).

The term implies that texts are not mirrors of the real world; they are constructions of ‘reality’. These constructions are partially shaped through the writer’s use of conventions and techniques.

This term can include activities such as graphically presenting the structure of a novel, making a film, composing a web page, or enacting a dramatic text.

Responding typically involves:

• reading, listening and viewing that depend on, but go beyond, the decoding of texts
• identifying, comprehending, selecting, articulating, imagining, critically analysing and evaluating.

While it is always dynamic and evolving, it is recognised as the ‘common language’ of Australians.

Style can distinguish:

• the work of individual authors (for example, Jennings’s stories, Lawson’s poems),
• 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, lexical choice.

Multimodal texts combine language with other systems for communication, such as print text, visual images, soundtrack and spoken word as in film or computer presentation media.

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, hypertext.

An idea, concern or argument developed in a text;

• A recurring element (for example, the subject of a text may be love, and its theme could be how love involves sacrifice).
• A work may have more than one theme.

For example, the tone of a voice or the tone in a passage of writing could be friendly or angry or persuasive.

Classifications of texts according to the particular purposes they are designed to achieve. In general, in the senior subjects in Australian Curriculum: English, texts are classified as imaginative, interpretive, analytical or persuasive types of texts although 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.

Interpretive texts
Texts whose primary purpose is to explain and interpret personalities, events, ideas or concepts. They include autobiography, biography, media feature articles, documentary film and other non-fiction. Interpretive rather than informative texts are focused upon in the senior years of schooling.

Persuasive 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 influential 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.

In the literary sense, voice can be used to refer to the nature of the voice projected in a text by an author; the persona, role or character adopted by an author.

Narrative voice
The ways in which a narrator may be related to the story. For example, the narrator might take the role of first or third person, omniscient or restricted in knowledge of events, reliable or unreliable in interpreting what happens.

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Explain how content, structure, voice and perspective in texts shape responses and interpretations

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C4 Compose and craft responses to texts

C5 Compose and craft imaginative responses

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