Categorising Heroes: Literacy, the Soviet Union, and Differentiation in the Modern Classroom

The Khirgiz, once part of the Soviet Union, are still renowned for practising the ancient art of Eagle-hunting

A key part of early literacy for children is the development of a schema or model for understanding the world around them. We construct meaning by ordering new experiences and words into our own self-constructed epistemologies, and we can decode the unfamiliar with increasing confidence as a result. In simpler terms, a child's extending of vocabulary is made possible through their ability to classify words into self-determined categories based on what they already know. 

This now-commonly accepted theoretical underpinning of literacy was supported by the groundbreaking work of the Soviet neuropsychologist Alexander Luria in the 1930s.

(What follows is an explanation of the way that thinking is tied to literacy. Skip to the end if you just want the 'Heroes'-based Stage 4 resource, but read on for some interesting stuff on how literacy works!)

Luria hypothesised that some cultures understood the world differently if they were non-literate, and thus used the Soviet-controlled Central Asian states of Uzbekistan and Kyrgyzstan to support his work. The research that the Soviet socio-scientist conducted in these places revealed very strong links between literacy and the ability to think abstractly. 

Luria, circa the 1940s.

Context

As Luria's fieldwork was conducted in the 1930s, when Stalin's hold over the Soviet Union was at it's most stifling, this meant that several factors contributed to him being in the right place at the right time. The country was undergoing a process known as Collectivisation, in which farms and other peasant holdings were grouped together to allow for easier control by the state. Joseph Stalin was undeniably one of the most brutal and totalitarian dictators to ever walk the Earth but one upswing of his regime was a historically-unparalleled rise in literacy. Luria's studies in remote Uzbek and Khirgiz societies were therefore quite serendipitous as they came at a point in Russian history that allowed for observation of completely non-literate communities prior to rapidly-increased literacy. 

It would probably be most accurate to identify Luria's work as something firmly grounded in a Marxist context reliant on class distinctions rather than cultural ones. This is most clear in the way that the neuropsychologist delineates between the literate and the non-literate on the basis of the 'old' non-literate peasantry vs. the newly-educated and unified Stalinist proletariat (working class). 

(I should note here that Luria's writing on this matter is very much a product of its time in terms of the attitudes portrayed therein - he often uses the word 'we' to refer to mainstream Russian society and marginalises minority groups such as the Uzbek and Khirgiz in the process. He also, problematically and Eurocentrically, uses the word 'primitive' to describe non-literate societies). 

The Research

Luria examined five different groups in his field study, roughly half of whom were completely non-literate. I use the term 'non-literate' here rather than illiterate as 'illiterate' implies the option of literacy; these societies were non-literate in the sense that they had not even been exposed to writing (as opposed to illiterate members of Western societies). 

Luria conducted extensive interviews in the native languages of these groups, concentrating on three central questions:

• How do people linguistically code basic categories of experience as colour and shape?
• How do they manage classification and abstraction?
• And then, what about verbal problem-solving and self-analysis?

Results

The Soviet researcher found that the non-literate groups were able to classify drawn shapes only by referring to them as objects from their everyday life (EG. A circle was a 'plate', a triangle was a 'tent'). They did not have abstract terms for these shapes that could be used to classify all circular or all triangular objects. If pressed to arrange two shapes together, they did not classify them through shared shapes but by shared use (EG. Two objects might appear to be tools and classified as similar in this way despite being different shapes). 

This appears to reveal that a lack of written language means that the non-literate groups lacked the language skills/tools for abstraction. The written alphabet is, after all, a series of symbols and therefore an abstract concept. By learning how to work with the abstract concept of written language, literate societies are able to develop a greater level of abstraction in their thought, and can therefore categorise ideas in more complex ways. 

For the Khirgiz and Uzbek groups, colour was even more problematic than shapes. Instead of assigning a name to things that literate groups might classify as 'green', they would instead describe certain things as 'the colour of grass in the spring'. When challenged, they lacked the ability to group colours in any way whatsoever.

When forced to group objects together, the subjects always needed to theorise a shared situation that had a practical use. For example, a log and some tools would go together because they could be used together to build a house. It seemed impossible for the subject to separate one of these things from the other because they could only think in practical terms.

Developing Taxonomies in the Classroom

In Stage 4 English the teacher will often still come across students who struggle with abstraction and this is almost always tied to the students' lower literacy levels. In order to deal with this in English the teacher can combine symbolism with categorisation so students can begin to experiment with building their own taxonomies for better understanding.

The activity here is in connection to a visual literacy unit on Heroes and Villains. Before starting, get students to brainstorm as many different fictional and real life heroes as possible. This should be done independently.

Click here for the Categorising Heroes activity.

In the activity, students use the symbols attached to categorise the list they've created and then assign themselves a 'diversity' score using the criteria. This can then be used to prompt discussion about things such as:

• Representation of heroes in the media.
• Who can be a hero?
• What makes a hero?
• How aware are we of the kinds of heroes in our world?

A while back I wrote about using an Assessment for Learning task in connection to this same Heroes and Villains topic. This diagnostic assessment can be used to differentiate students into streams of ability. The activity above can be targeted towards the 'mainstream' portion of the class, whereas students identified as more gifted can be targeted with an 'extension' version of the activity.

Click here for the Extension version.

In this version it's left up to students to create their own symbols/categories, and their own criteria to judge them against. This requires more independence, imagination, and willingness to take risks in one's learning.

Alternatively, here is the Adjusted version for the students with typically lower levels of achievement.

In this version the students are given a higher level of scaffolding; an array of heroes are provided in case these students have been unable to put a diverse-enough list together. This works well for students with low literacy as they can then monitor and interact with the lesson without having to write.

For more on Luria's research on literacy, see the chapter 'Cultural Differences in Thinking' from his book The Making of Mind.

Standard Module B: Close Study of Literature

Some of the texts in Module B for Standard English

Prose Fiction Options

There are just two options for novel study in Standard Module B: Close Study of Literature, both of which are Young Adult focused. One is from an American author, the other from a British.

Feed by MT Anderson

What is it: In the world of the future nearly everyone is directly connected to the internet through modifications made to their brains. Titus, a typical teenager, finds his 'feed' temporarily severed after having it hacked by a anti-feed terrorist. This disconnection prompts Titus to start a relationship with Violet, a mysterious girl who begins experiencing difficulties with her feed after both her and Titus have them repaired.

Scope for Study: Written in a challenging style that mimics the constantly dense yet vapid flow of information that the protagonist is subjected to, Feed will do one of two things for all readers (students included): it will either be A) Too strange for them to engage with, or B) Both intriguing and relevant in its quirky satire of modern online culture. Feed also gives Standard English students a chance to explore the cyberpunk subgenre of science fiction, with room for drawing connections between generic tropes and a 21st century information-age context.

NESA Annotations: The 2015-2020 Annotations position Feed's relevance within the Standard Module 'Texts and Society', singling out the novel's purpose as a satire of 'teenage consumer culture and saturation advertising'. The annotations also favour MT Anderson's use of teen culture as a point of engagement for our students, with irony and context identified as key elements in the author's use of language.

Verdict: The idea that the characters in Feed will be identifiable to NSW students is, unfortunately, an idea that will date fast (if it hasn't already). Teenage lexicons are a tricky thing to pin down as they are defined in opposition to adult understanding. The moment an author like MT Anderson attempts to project teen culture into a dystopian context with such a heavy emphasis on colloquialism is a dicey proposition that may automatically turn some young readers off. As mentioned before, the novel will either be a really interesting discussion starter and an eye-opener for some students, or something that is just too bizarre for a lot of Standard English students. I actually really enjoyed reading this novel but I kind of think it might have been better pitched at an Advanced English cohort.

The Curious Incident of the Dog in the Night-Time by Mark Haddon

What is it: Christopher, a 15 year old boy, investigates the mystery behind the murder of his neighbour's dog. In the process of his detective work Christopher begins to make certain discoveries about his own family, and must navigate a new understanding of the world that fits with his own viewpoint; a viewpoint informed by Autism Spectrum Disorder.

Scope for Study: The author Mark Haddon has made it clear in interviews that this is a book primarily about being different rather than specifically about Autism. It should be noted, however, that students will be able to engage with the way the book tells its story from a perspective that reflects Asperger's Syndrome, with Haddon experimenting with narrative and novel structure in an attempt to demonstrate Christopher's world.

NESA Annotations: Notes can be found on The Curious Incident of the Dog in the Night-Time in the 2009-2014 Annotations, a time in which the novel was also used for Close Study by Standard English. The document implies that the use of Christopher's objective viewpoint makes him an unreliable narrator, which would be an interesting concept for students to explore, considering they may not have considered this style of narration before. Generic conventions associated with detective fiction are also mentioned as apt grounds for analysis.

Verdict: It seems a little odd that both of the 'Close Study' novel options for Standard focus on first person narratives delivered by atypical protagonists. Coincidence? Probably not. That said, The Curious Incident of the Dog in the Night-Time is a much more tightly-plotted and controlled piece than Feed, and may appeal to students more in terms of accessibility as the language allows for ideas rather than colloquialism to take centre-stage.

Poetry / Drama Options

There are four options in this section, three are from Australian authors (the other is Shakespeare), and two of the three Australian options are Indigenous-focused (though only one is an Aboriginal composer).

Coast Road by Robert Gray

• Journey, the North Coast
• Flames and Dangling Wire
• Harbour Dusk
• Byron Bay: Winter
• Description of a Walk
• 24 Poems

What is it: Gray is a contemporary Australian poet who grew up on the North Coast of NSW and has become renowned for his use of precise imagery in exploring a wide range of ideas and settings. In the selected suite of six poems from Coast Road Gray constructs a challenging vision of coastal Australia that combines the natural and the man-made.

Scope for Study: Teachers can examine the way that Gray uses figurative and descriptive language in service of creating imagery in the reader's mind, and the importance of the landscape in the author's psyche. There is also much that can be made of looking at the poet's use of minimalist and accessible language to allude to complex motifs, such as the clash of the human world with the environment. 

NESA Annotations: Some of Gray's poetry is written about in the 2015-2020 Annotations in relation to the Discovery Area of Study, however, only 1 of these ('Journey: the North Coast') is now in the current Module B collection of poetry. The NESA document highlights the way that Gray conveys 'minutely observed scenes' and the importance of the Australian landscape in the poet's perspective, which is still relevant to the current selection of pieces.

Verdict: Don't be deceived by the ease of Gray's crisp wordplay; the structuring of his poetry will be challenging for some Standard students as it often eschews more traditional forms of scansion in favour of building up an image of place. The brevity of this overall collection will, nonetheless, allow teachers to spend a significant amount of time exploring the language, themes, motifs, and context of the writing in some detail.

This volume of poetry is now out of print.

Oodgeroo Noonuccal poetry

• The Past
• China... Woman
• Reed Flute Cave
• Entombed Warriors
• Visit to Sun Yat-Sen Memorial Hall
• Sunrise on Huampu River
• A Lake Within a Lake

What is it: Oodgeroo Noonuccal was an Aboriginal poet who had not written any poetry for many years, however, upon visiting China in 1984 she experienced a creative re-awakening. This suite of poetry is representative of her epiphany there, and builds upon the common themes of her career - colonialism, the barbarity and cruelty of modern culture, the rights of Indigenous Australians, and faith in cultural identity. The listed poetry can be found on the NESA website, owing to the fact that the Chinese-focused book is now out of print and unavailable.

Scope for Study: The poet's style is minimalist whilst conveying sharp imagery relating to her themes and the Chinese setting. Students will find the writing accessible and evocative but may also be challenged by how sparse the language is, particularly in regards to the way the pieces are structured. Each of the 7 poems allude to the importance of culture, and students will need an understanding of Oodgeroo's Aboriginal context in order to approach a more complete understanding of the themes that she explores.

NESA Annotations: Notes on Oodgeroo can be found in the 2015-2020 Annotations, however, this previous Standard Module B: Close Study of the poet is a slightly different grouping of poetry (5 of the 7 are the same poems). These notes highlight the importance of analysing the cultural and spiritual themes of the poet's work, as well as the significance of Aboriginal oral tradition as an influence.

Verdict: Oodgeroo's poetry is a great way to get Standard students engaged with a wide variety of ideas and concepts, plus the poetry itself is highly readable and thought-provoking in the way that it deals with complex ideas. Normally I would think that 7 poems might stretch the focus of a Standard English class too far but the style, structure, and shared thematic core of this suite should allow for teachers to deal with the text holistically and in a satisfactory enough way to engage students. Plus, how many other texts would simultaneously tick both the Aboriginal and Asia-related Learning Across the Curriculum dot points?

Namatjira by Scott Rankin

What is it: In a two-man, two-act performance, this play explores the life of Albert Namatjira, the Aboriginal watercolour painter who won the favour of white society in a time when Indigenous Australians still weren't recognised as citizens of this country. Rankin, in working with the Namatjira family, has created a multi-perspective dramatic representation of a life and the politics of intercultural relations, for performance in a minimalist and semi-traditional setting.

Scope for Study: The play's connection to the tragic real life story of the eponymous celebrated painter will give teachers a strong way-in with students in terms of exploring context. The 'vignette'-styled structure will also lend itself well to chunking the text into separate pieces for analysis, performance, and further interaction. Discussion should also arise through the identification of issues relating to race and attitudes in both 1950s Australia and the modern day. 

NESA Annotations: The 2015-2020 Annotations cover Namatjira's use in Standard English Module B, highlighting the play's simultaneous exploration of two figures, Namatjira, and his artistic mentor, Rex Batterbee. Themes identified for study include; "mateship, perseverance, opportunity, exploitation and injustice". The notes also point out the play's context as part of a larger cultural project that combines traditional Aboriginal performance with Western stylistic conventions associated with drama.

Verdict: The alien-ness of the dramatic stage can be challenging for Standard English students to connect with due to their unfamiliarity with the genre, and I suspect that Namatjira's complex structure may create some difficulty in certain contexts when it comes to student engagement. There are elements of this play that will provide excellent fuel for student discussion and the themes are highly relevant to Australia's national identity, however, the style and structure will be intellectually confronting for some Standard students. 

A Midsummer Night's Dream by William Shakespeare

What is it: Shakespeare's supernatural comedy concerns an Athenian love quadrangle, feuding fairy monarchs, the mischievous sprite Puck, and a troupe of tradesmen-turned-actors attempting to put on the worst play imaginable. Spurred on by Puck's magical mistakes and tricks, fay love potion prompts conflict as the lovers quarrel with one another and the already ass-like tradesman Bottom develops a donkey-like head!

Scope for Study: If students can get their heads around the complex interweaving of character relationships and the near-Herculean levels of mischief that complicate things further and further, Shakespeare's most 'magical' play has much to offer beyond its adherence to the Elizabethan comedy genre. The friction between male and female, the theme of appearance vs. reality, expectations placed on women in regards to arranged-marriage, and Bottom's misguided attempts to improve the play-within-the-play should all provide scope for discussion.

NESA Annotations: There are no annotations of A Midsummer Night's Dream covered in any of the three annotation documents provided by NESA in the last 10 years.

Verdict: I like Shakespeare, and I like that there is an option to teach Shakespeare to a Standard English class, however, I know that a fair amount of students pick Standard over Advanced nearly solely because of the apparent lack of the Bard's work in the Standard Prescriptions. With this in mind, I think it would be a brave teacher who decides to wade into this one with their class (you'd certainly need to be very passionate and energetic in regards to teaching it!). All that said, it's one of Shakespeare's more crowd-pleasing plays, isn't too long, and features several entertaining conceits that should provoke some interest - even if a lot of the plot's stickier situations are continuously 'solved' by the characters going to sleep, over and over again.

 
Nonfiction / Film / Media Options

The 'grab bag' section of the Prescriptions for Standard Module B features a non-fiction book written by an Australian, an American film directed by an Australian, and an Australian documentary.

Stasiland by Anna Funder

What is it: Australian journalist Anna Funder relocates to Berlin a few years after the fall of the Berlin Wall and explores life in former East Germany. Through interviewing the survivors of the now defunct socialist state, Funder meticulously recreates their human stories as part of a wider narrative about life under the oppressive surveillance-heavy regime of the Stasi.

Scope for Study: Funder takes the reader inside the process of constructing a narrative from non-fiction sources, connecting each person's story to the themes she wants to explore, such as the shifting state of security in a crumbling police state. The author's love of language is evident through her discussion and exploration of the German language's 'sticklebrick' nouns, and the sharp-but-economic observations she lands on the unique characters she meets. In regards to students some time will need to be spent on establishing the novel's highly specific context but, nonetheless, Funder's award-winning non-fiction book utilises language that manages to be both sophisticated and highly accessible.

NESA Annotations: Notes for Stasiland appear in the 2015-2020 Annotation document, with consideration given to Funder's blending of genres in the pursuit of truth regarding East Germany's sometimes confronting history, especially in regards to themes of "privacy, surveillance and free speech". The co-existence of opinion and fact within Funder's style will also test the ability of students to recognise subjectivity and context as driving forces behind investigative journalism.

Verdict: A brilliant and accessible piece of journalism that tells the people's story within the theatre of a grand historical event. Funder's proactive parsing of these stories in the 1990s is a perfect example of someone being in the right place at the right time, and represents her own canny understanding of how important it is to document and preserve history before it disappears forever (something that is highlighted in the last few chapters). The humanity and injustice that characterises the various stories she tells should provide something of interest for a wide variety of students, and it's great to see a historically-relevant text like this included in the Prescriptions for Standard English students to seriously get stuck into. This would probably be my pick if I were teaching Module B.

The Truman Show, directed by Peter Weir

What is it: Truman is a regular, everyday guy who has never left the small town of Seahaven. Little does he know, his entire life has been taking place within a dome where his every move has been recorded for the reality TV program 'The Truman Show'. Truman's reality begins to unravel as he pieces together various clues that lead to the truth.

Scope for Study: Peter Weir's film has a lot going on and teachers should have no trouble pulling it apart for student consumption in a variety of ways. Consider: the constructed nature of Truman's life as a satire of the way reality TV edits narratives out of raw footage, the increasing commodification and banality of Western life represented by the insidious advertising that surrounds Truman, the allegorical nature of Truman as a Biblical figure going to meet his God (named Christof!), and the careful and inspired choice of camera shots used by Peter Weir to suggest a world under surveillance.

NESA Annotations: None of the three annotation documents from the last 10 years feature The Truman Show. If there were earlier annotations prior to 2009 they may have featured some notes on the film, however, such notes don't seem to be available on the NESA website and I'm not even sure that they ever existed.

Verdict: A fantastic film in its own right rather than just as an object for study. Teaching this film has been very enjoyable for me in the past (both with English Studies and Standard English classes) and the key has been just letting the film run through first so students can absorb everything uninterrupted. The scope for discussion of a variety of techniques and themes is wide open for Standard students, and while they should have no problem identifying visual techniques used by the director to tell his story, they will also appreciate the extra depth added through discussion of symbolism, allegory, and context.

Frank Hurley: The Man Who Made History, directed by Simon Nasht

What is it: Frank Hurley, pioneering Australian photographer, is given the documentary treatment in Simon Nasht's clear overview of a complex figure. This TV documentary takes the viewer through Hurley's groundbreaking career - his early use of colour; seminal forays into the documentary genre; nailbiting adventuring through the Antarctic as part of Mawson's historic expedition; his recording of World War I; and surveys into Papua New Guinea, the Australian outback, and Libya in World War II. What emerges alongside this eventful life is the showboating nature of Hurley's 'genius' and his unquenchable thirst for innovation.

Scope for Study: Students will be able to engage with Nasht's themes, such as the problematic nature of Hurley's 'documenting' of history (many photographs were staged or created using composites) and the text's key question of whether Hurley was a 'Giant of photography, or just a conjurer with a camera'? Students can also examine the power of an image and Hurley's role in establishing photography as an art form in its own right, as well as Nasht's use of language to paint an epic tale of discovery and exploration, the questions posed about the idea of a legacy, and the use of photography to form a narrative.

NESA Annotations: Notes for Frank Hurley: The Man Who Made History can be found in the 2015-2020 Annotations, albeit pitched as part of the Discovery Area of Study rather than a Close Study text. Attention is drawn to questioning the 'validity' of Hurley's work and the way the documentary constructs a narrative of the photographer's life. The rest of the annotation is particular to Discovery though and doesn't really apply to the text's re-assignment as part of Module B.

Verdict: This is a great documentary that, thanks to its relatively brief run-time and engaging examination of a fascinating subject, shouldn't be too hard to analyse for Standard English students. One particular aspect of the film that will give the teacher a lot of mileage is the idea of Hurley as a multitude of different characters: the shameless self-promoter carefully creating an image for himself, the failed film director attempting to break new ground in a commercial industry, the 'adventurer' relentlessly looking for his next 'hit', and the jobbing scenic photographer who reinvented himself in order to support his family.

A Monster Calls - Book Annotating

I got around purchasing an entire class' worth of little post-its (which can get expensive) by just cutting up the bigger post-its.

Mid-way through last year I attended the AATE/ALEA National English Conference in Hobart and was particularly taken with American educator Cris Tovani's work on getting students to engage with active-reading. In particular, Tovani spoke about bringing the focus back on reading during a class novel study through the use of independent annotating. She termed these as 'V.I.P.s' aka 'Very Important Points'.

In this lecture, Tovani explained that the students are given a range of coloured post-it notes, with each colour corresponding with a kind of annotation, and the examples she gave from her own teaching demonstrated a wonderful array of student-led discussion points. Inspired by this, I decided to give it a go with a novel study in one of my own classes.

The book in question was A Monster Calls, which I matched up with my mixed ability Year 10 class. Instead of leaving the annotating as homework I decided to eschew the use of comprehension questions in favour of dedicating more time to reading in class, and then letting the students annotate after each chapter was completed with the use of a pre-provided schema to guide them.

Cris Tovani, pedagogue extraordinaire

On this schema I outlined 6 different categories to correspond with the 6 different coloured post-it notes supplied. These were:

• Connect: Note when something from the book reminds you of something from your life, or something you have seen/read, or connects to a prediction you have made about the novel. 
• Question: Write down questions you have about the novel as you think them up while you read.
• Infer/Predict: Flag bits where you have used examples from the text to figure out something in relation to the novel, or have made a new prediction.
• Conflict: Note parts of the text where conflict occurs (this particular novel study was part of a larger unit on texts that deal with conflict)
• Monitor: Highlight parts that didn't make sense to you at first, or at all, or words that were unfamiliar to you.
• Evaluate: This can be your opinion about things happening in the story, things you like/dislike, or just general thoughts. 

The schema can be downloaded here.

A sample from class.

I was surprised (and happy) at how enthusiastically a lot of students got into this. One student seemed to take it as a challenge to see how many flags he could put into each chapter. The upshot of this, besides increased engagement with the text, is that the students were able to use their own annotations to call upon examples to use in their own independent analysis of the novel later on. 

While we're talking about novel study, here are three simple and relevant pointers I've picked up over the last 8 years in regards to teaching novels with mixed ability junior classes:

• Keep the novels in the classroom. If the students take them home then you might not see them all again, and it becomes difficult for these students to stay on-task in lessons that require them to have the books in front of them if they've forgotten to bring them.
• For mixed ability classes, read the entire text aloud while the students read along. This will ensure that you can stick to some kind of schedule/timeframe... a novel study can become messy if students are left to read on their own; some will finish the book in the first few days, others will never get past the first few pages. I know there are very strong arguments against this practice, however I was wholly converted last year by Steven Layne's fantastic lecture on reading aloud, which turned out to be perfect for my own Western Sydney context. 
• Pick a novel of shorter length. The reading ages of junior students vary more the closer they get to senior school, you could have some students who would read a 900 page Game of Thrones novel and others who would need help focusing on finishing one of Roald Dahl's wonderful children's novels. You typically only have 50-70% of a term to get through a novel and the lower ability students will lose focus if they are asked to sustain engagement with an adult-length novel. By all means, extend the more literate students with extra texts that they can read on their own - chances are that they already have a love of reading if they are this literate - but it's also important not to leave the rest of the class behind and to give them every chance of appreciating what reading can offer.
  

There will be detractors in regards to the above, but keep in mind that there are also students who often get to Year 11 and are able to say, "I've never read a single book, not even in previous years of English when the rest of the class read the class novel". By reading aloud during class time, and ensuring that it's a novel that the whole class can get through, the aforementioned disengaged students will get to Year 11 and be able to say, "Actually, I read an entire book, along with the rest of the class".   

On a final note, I also highly recommend A Monster Calls because it's a poignant, highly engaging read that will prompt discussion and stay with the reader long after it's finished.

Intertextual Perspectives: Revision

This image from 1934 shows a depiction of the Italian dictator Mussolini surrounded by the word 'Yes'. Once I saw this image, I found it hard not to think of Orwell's Big Brother as an echo of it.

A little while back I posted a revision resource for Go Back to Where You Came From that I used with my Year 12 Advanced English class for the Discovery AOS. In this post I explained my thinking in providing modelled analysis to support students. In the spirit of this approach, here is a similar resource that can be used for the Metropolis and Nineteen Eighty-Four option for the Intertextual Perspectives Module.

Click here for the resource.

Here are some additional notes I also used with my students in revising the texts. Again, I'd like to stress that these are just summarised dot points designed to provide a jumping off point for students while they prepare for the HSC.

Ways of Approaching the Rubric / Thematic Concerns of the Text/s

• Surveillance
• Indoctrination
• Orthodoxy
• Sex as a political act
• The role of language
• Gender
• Class and Marxist ideology (the bourgeoisie and the proletariat)
• Dystopia
• Dehumanisation
• Cognitive dissonance
• Values of the 1920s vs. Values of the 1940s
• Historical and Cultural context (Stalin / The Soviet Union, the Weimar Republic)
• Governance (Oligarchy, Totalitarianism, Capitalism)
• Methods of Control
• Apotheosis
• Omnipresence / Ubiquity 
• Power

Techniques / Devices Used

1984

• Historical Allusion
• Allegory
• Euphemism
• Newspeak
• Invented Lexicon
• Connotation
• Rhetorical Question
• Embedded Clauses
• Truncated sentences
• Tricolon sentences
• Visceral language
• Olfactory imagery
• Metaphor
• Symbolism
• Slogans
• Personification
• Contrast, juxtaposition
• Motif
• Irony
• Antimetabole

Metropolis

• Metonymy 
• Matte Painting
• Dutch angle
• Montage
• Collage / Double-exposure
• Close-ups
• Antithesis
• Generic conventions
• Mise en scene 
• Intertitles
• Cross-cutting 
• Foreshadowing
• Set design
• Body language
• Vignetting
• Salience
• Costume
• Long shot
• Choreography
• Contrast / Juxtaposition
• Symbolism
• Religious allusion
• Establishing shot
• Expressionism

Something to consider when revising Module A is to ask each student which of the two texts they prefer or feel more comfortable with. It won't always be the text you expect, and this can help you guide specific students in concentrating more on the text they don't feel so comfortable with. 2018 is the last year we'll see this combination of texts in the HSC (at least for a while)... it's a great pairing so enjoy it while it's still here!