Webb Neneh Esh310 At2

Faculty of Education
Assignment Cover Sheet

OFFICE USE ONLY
Assignment received:
Unit Co-ord./Lecturer Dr Angela Thomas

Tutor:(if applicable) Dorothy Walker
Student ID 161809
Student Name Neneh Webb
Unit Code
ESH310
Unit Name Multiliteracies in the English Curriculum

Assignment
AT2 - Unit of Work
Title/Number
Word Count 2151
I declare that all material in this assignment is my own work except where there is clear acknowledgement or reference to
the work of others and I have complied and agreed to the University statement on Plagiarism and Academic Integrity on the
University website at www.utas.edu.au/plagiarism *
Signed
Date
*By submitting this assignment and cover sheet electronically, in whatever form, you are deemed to have made the declaration
set out above.
Assessors feedback:
You have developed a useful unit of work that I am sure you will adapt and use one day. The lessons
were well designed and ordered to build understanding about literature. Your characterisation lessons
both written and visual, were mostly accurate although I would like to have seen more about your
explicit teacher talk. With your lesson on Critical Literacy, I felt you could have focussed more
explicitly on who had the power and who was othered.
Your assessment tasks with their detailed rubrics would certainly demonstrate the students level of
understanding but it is so much easier to assess them accurately when your wording directly aligns to
the curriculum achievement standard.
Well done on a very good assignment!
Assessment: DN
Assessors Signature (optional) : Prue Sturgess
Dated: 09/11/2014
ESH310 Multiliteracies in the English Curriculum

Neneh Webb 161809
AT2- Unit of Work
Unit Overview
A critical and comparative study of the novel and film adaptation of
The Lion the Witch and the Wardrobe
Focus group: year 5
ACARA outcomes included in lesson sequence:
Identify aspects of literary texts that convey details or information about particular
social, cultural and historical contexts (ACELT1608)
Identify and explain characteristic text structures and language features used in
imaginative, informative and persuasive texts to meet the purpose of the text
(ACELY1701)
Understand how adverb groups/phrases and prepositional phrases work in different
ways to provide circumstantial details about an activity (ACELA1495)
Plan, rehearse and deliver presentations for defined audiences and purposes
incorporating accurate and sequenced content and multimodal elements
(ACELY1700)
Navigate and read texts for specific purposes applying appropriate text processing
strategies, for example predicting and confirming, monitoring meaning, skimming
and scanning (ACELY1702)
Create literary texts that experiment with structures, ideas and stylistic features of
selected authors (ACELT1798)
Compare texts including media texts that represent ideas and events in different
ways, explaining the effects of the different approaches (ACELY1708)
Participate in and contribute to discussions, clarifying and interrogating ideas,
developing and supporting arguments, sharing and evaluating information,
experiences and opinions (ACELY1709)
Plan, draft and publish imaginative, informative and persuasive texts, choosing and
experimenting with text structures, language features, images and digital resources
appropriate to purpose and audience (ACELY1714)
Identify and explain how analytical images like figures, tables, diagrams, maps and
graphs contribute to our understanding of verbal information in factual and
persuasive texts (ACELA1524)
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Lesso
n
1
Outcomes
Lesson Details
(ACELT1608)
(ACELY1701)
(ACELY1709)
Lesso
n
2
Outcomes
(ACELY1701)
Teacher will have finished reading the

novel to the class prior to the
commencement of this lesson.
Whole class will engage in a discussion
surrounding the historical context of the
novel (during WWII) and the geographical
features mentioned, relevant to the location
in which the novel is set.
Students will work in literature circle
groups to list unfamiliar (including
mythical) terms used in the first two
chapters of the novel.
Students will use a dictionary to find the
meanings of any unknown words.
Each group will share with the class any
words they were unable to locate meanings
for.
(ACELY1709)
Outcomes
Notes /
Resources
A copy of the
novel for each
student.
Paper and pens.
Dictionaries for
each group.
Lesson Details
(ACELA1495)
Lesso
AT2- Unit of Work
Notes /
Resources
Literacy work
Teacher will re-introduce the
concept of literature circles and will books.
remind students of the requirements
Pencils/pens.
of each role within the group:
passage picker, word wizard, artful White-board.
artist, summarizer, connector and
discussion director.
Students will focus on the first two
chapters of the text, and are to
concentrate on the actions of the
characters when undertaking their
roles.
The group will share their findings
amongst themselves, with the
summarizer taking notes so as to
share with the rest of the class.
Whole class discussion about
descriptive language, followed by
teacher explanation of adverbials.
Lesson Details
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Notes /

Neneh Webb 161809
n
3
(ACELY1700)
(ACELY1702)
Lesso
n
4
Outcomes
(ACELA1495)
(ACELY1709)
Lesson
Outcomes
Resources
Students will be divided into groups of
Writing
four, with each group member materials.
allocated the role of one of the four
siblings (from the novel).
Students will be given time to list
character traits presented by their
allocated character in the novel.
Students will then rehearse a scene of
their choice from the novel.
Groups will take turns performing
their selected scene, with the teacherin-role as an additional character when
required (e.g. professor, faun etc.)
Students will list the character traits of
their character in the respective
column which will be drawn on the
white board (if the same character trait
is listed more than once for the same
character, a tally system will be
introduced).
Space
to
rehearse
and
perform drama
activity.
White-board
and markers.
Lesson Details
(ACELY1701)
(ACELT1798)
AT2- Unit of Work
Notes /
Resources
Whole class discussion regarding the White-board
main characters in the novel. Students and markers.
will offer suggestions of adverbials
and adverbial groups which could be
used to describe respective characters.
Students will highlight adverbial
groups found within the provided
passages (see Appendix A).
Whole class discussion regarding how
the adverbials served to describe the
character/s and his/her actions.
Assessment Task 1: Students will
work individually to select a passage
from the novel. Students will then
highlight the adverbials present in the
passage and complete an illustration
informed by these (See Appendix B for
assessment rubric).
Lesson Details
Copy of the
novel for each
student.
Students
literacy
work
books.
Notes
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Neneh Webb 161809
5
(ACELY1702)
(ACELY1708)
(ACELY1709)
(ACELA1524)
Whole class discussion regarding the

similarities and differences between the
book and the movie.
Teacher will introduce the concept of a
Venn diagram.
With a partner, students will create a Venn
diagram addressing the similarities and
differences between the book and the
movie.
Still working in pairs, students will choose
an aspect of the film which they consider
either similar or different from the novel
and write a paragraph explaining why.
Students will then create a crayon-dye
picture depicting the scene.
Partners will join with another group and
will write down which scene from the
movie the other group considered
similar/different to the book version and
why. They will then share these findings
with the rest of the class.
Lesson Outcomes
Lesson Details
6*
Detailed lesson (Characterisation)
Lesson Outcomes
Lesson Details
7*
Detailed lesson (Critical Literacy)
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AT2- Unit of Work
Resources
Students
will
have
watched
the film version
of the story
prior to this
lesson.
White A3 paper,
crayons
and
food-dye.
Writing paper
and pens.
Notes /
Resources
Notes /
Resources

Neneh Webb 161809
Lesson Outcomes
8
(ACELY1709)
Lesson Details
(ACELY1714)
Lesson Outcomes
9
(ACELY1709)
The teacher will use an example

completed comic strip as a discussion
point with the whole class, including
key ideas such as speech bubbles,
narrative writing and explaining how
this genre of literature may be
classified as a multimodal text.
Using screenshots from the movie as
points of discussion, the teacher will
ask students to contribute ideas as to
how these scenes could be effectively
transformed into comic strips (see
Appendix C).
Students will choose a screenshot from
the movie to use as the basis for their
own comic strip.
Lesson Details
(ACELT1798)
The teacher will read the short story

Mouse Chap by Paul Jennings to the
class.
The teacher will ask students to
contribute their ideas regarding how
they thought a short story differed to a
traditional novel.
Students will work individually to
write a short story based on a day in
the life of one of the characters from
The Lion, the Witch and the
Wardrobe.
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AT2- Unit of Work
Notes /
Resources
Example
completed comic
strip.
Screenshots
from the movie.
Comic
strip
templates
for
each student.
Drawing
writing
materials.
and
Notes /
Resources
Short story from
Paul Jennings
book Uncanny
Literacy
books
work

Neneh Webb 161809
Lesson Outcomes
10
(ACELY1709)
Lesson Details
(ACELT1798)
(ACELY1714)
The teacher will initiate a whole class

discussion about the differences
between a novel and a picture book,
using several picture books as
examples.
Assessment Task 2: Students will use
the draft short story they wrote in
lesson 9 to create a picture book (see
Appendix D for Assessment Rubric).
Students may elect to use their own
illustrations, or to use digital
technology such as photographs, to
depict the events in their story.
AT2- Unit of Work
Notes /
Resources
Students
will
require
additional time
to complete the
final assessment
task.
A selection of
picture books.
White A4 paper.
Art supplies.
Staplers.
Access
cameras,
computers,
printers.
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to

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AT2- Unit of Work
Detailed Lesson: Characterisation Lesson using the film

English outcome(s):
Compare texts including media texts that represent ideas and events in different ways,
explaining the effects of the different approaches (ACELY1708)
developing and supporting arguments, sharing and evaluating information, experiences
and opinions (ACELY1709)
Setting the
context /
building the
field
(making explicit
the semiotic /
characterisation
focus, getting to
know the film
excerpts,
viewing for
comprehension
and response)
Deconstruction
(Teacher-led
analysis of visual
semiotic features
- explicit
teaching /
practice of target
elements and
The teacher will ask students to consider the

film and how visual imagery was used in
order to communicate the personality of a
character.
Students will be encouraged to participate in
a discussion based on the impact that visual
cues (such as costumes, makeup, setting,
lighting and the colours used in specific
scenes), had on communicating the
personality of a character, along with the
development of the narrative.
The teacher will initially display only the first
selection of screenshots of Edmund, which
depict him meeting the White Witch for the
first time (see Appendix E). Students will be
asked to offer suggestions of the visual
elements they notice initially.
The teacher will now display the second
selection of screenshots featuring Edmund,
selected from a later part of the film (see
Appendix E). Teacher will initiate discussion
regarding the development the character
Edmund experienced throughout the course
of the film, and how these changes were
visible to the viewer.
Resources
needed
Print-outs of
the
screenshots
to display.
Teacher will explain the concepts of the

White-board
and markers.
visual semiotic features present in the
screenshots, focusing on social distance,
power and ambience.
After the teacher has delivered an explanation
of each of these terms the key points relating
to these features will be written on the
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how they
construct
characterisation
Joint
Construction
(teacher-and
AT2- Unit of Work
whiteboard: Social distance how far away

from the scene is the viewer distanced?
Power Which character is in control in the
scene, how do the camera angles
communicate this to the viewer? Ambience
How has the use of colour been incorporated
into the film to influence the mood (e.g.
bleak, bright or dark).
Using these key points as a reference,
students will be encouraged to contribute
their ideas as to which visual semiotic
features are identifiable in the screenshots.
Focusing on the first selection of screenshots,
the teacher will explain how power has been
used to demonstrate the White Witchs
authority over Edmund as she peers down at
him. Social Distance serves to create a sense
of intimacy between the viewer and the scene
at hand, as the camera has provided a closeup of the White Witch and Edmund. The
ambience attributed to the scene is quite
bleak, with the scene appearing
overwhelmingly grey, white and cold.
Focusing on the second selection of
screenshots, the teacher will explain how the
use of ambience is apparent, communicating
the change in Edmunds character, as the
scenery is now bright with springtime and
appears welcoming and warm. Social
Distance now serves to provide us with an
all-encompassing view of the scene, in
contrast to the close-up, intimate shot
achieved in the previous screen-shots. Power
is once more attributed to the White Witch as
she is shown to peer down on the children;
Aslan is also represented in a role of power,
his undeniable presence looming over the
other characters.
Teacher will ask the class to consider how the Copies
of
screen-shots.
visual semiotic tools have assisted in
portraying the development of the character
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student
construction of a
character
practising the
visual semiotic
features taught)
Independent
construction
(student-led
construction of
character using
target semiotics)
AT2- Unit of Work
of Edmund, beginning with him indulging in Lined paper.

treats during the bleak winter with the White
Witch (see Appendix E), through to reuniting
Pens/pencils.
with his siblings in the vibrant spring time.
Working in groups of approximately four,
students will be assigned one of the visual
semiotic tools (social distance, power or
ambience) and allocated either set of
screenshots. Using the tips listed on the
whiteboard as a reference point, students will
work together to list three ways their
allocated visual feature is identifiable in the
screenshots.
Students will work individually to plan how to

take a photograph, portraying an aspect of
Edmunds character, as seen in the film. Students
will consider the visual semiotic features that
they learnt about during this lesson.
Students will arrange the setting and subjects
(they may use other class members) and take
their photograph.
Students will review their photographs and
upload the finished product onto the teachers
laptop, who will then display the photographs to
the class via the smart-board.
Paper.
Drawing/
writing
materials.
Camera/s.
Teachers
laptop.
Camera
connection
cord.
Smart-board.
Detailed Lesson Critical Literacy Lesson using novel and film excerpts
English outcome(s):
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Neneh Webb 161809
AT2- Unit of Work
Identify aspects of literary texts that convey details or information about particular
social, cultural and historical contexts (ACELT1608)
Compare texts including media texts that represent ideas and events in different ways,
explaining the effects of the different approaches (ACELY1708)
developing and supporting arguments, sharing and evaluating information, experiences
and opinions (ACELY1709)
Setting the
context /
building the
field
(activating
prior
knowledge
about either
gender or race
issues; the film
and novel
excerpts to be
used in the
lesson)
Deconstructio
n: novel
(Teacher led
critical
questions and
discussion on
novel excerpts)
Deconstructio
n: film
(Teacher led
critical
questions and
discussion on
film excerpts)
The lesson will begin with a class discussion

ascertaining the historical context of the story.
The teacher will ask students to contribute any
understandings they have of the way society
functioned at the time of World War II.
The teacher will encourage students to consider
the ways in which gender roles may have
changed since then, encouraging students to
consider key aspects such as trends in attire,
employment and education prospects,
particularly for women.
Resources
needed
The teacher will read an excerpt from the novel

(see Appendix F) in order to prompt thought
about gender roles. What role is the eldest sister
Susan being cast in? What relevance does this
assumption have to societal expectations of
women in the past?
The teacher will read another excerpt from the
book (see Appendix F) in order to continue the
discussion on gender roles. How did this
excerpt serve to portray the personality
attributes of girls in comparison to those of
boys?
Print-outs
of
the
required
excerpts
from
the
novel.
The teacher will show students the screenshot of

the four siblings standing alongside one another.
How is it clear to the viewer which characters
are presented as being male and which are
female? In what ways have these stereotypical
female and male physical attributes changed/ not
changed over time?
The teacher will display the screenshots from
Copies of
the
screenshots
from
the
film.
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Whiteboard and
markers to
list
key
ideas.

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AT2- Unit of Work
the film depicting Aslan and the White Witch

respectively. Is it clear to us if these characters
are female or male due to their physical
features?
Comparison of
novel and film
(joint activity
to compare
texts)
The teacher will read out excerpts from the novel,

several featuring the White Witch and several
others focusing on Aslan (see Appendix F).
The teacher will display the screenshots from the
film depicting the characters of The White Witch
and Aslan respectively (see Appendix F).
Lined
paper.
Pen/pencil.
Students will work in groups of approximately four to

answer the following questions using the provided novel
excerpts and film screen-shots as a focal point:
Which of the two characters (the White Witch or
Aslan) was portrayed as the hero in the novel? Was
this achieved in a similar manner in the film? Why/
why not?
In which context is the White Witch referred to
instead as The Queen? Was it easier to answer this
question in reference to the novel or to the film?
What characteristics made these characters either
good or bad? Do you think that these characteristics
as described in the novel were as clear in the film or
were they exaggerated/understated?
If we reversed the roles do you think the story
would be altered greatly? Do you think it would it
be easier to include these changes in a revamped
novel or in a film?
Why do you think that the author chose to portray
the female character (The White Witch) as the bad
guy and not the male (Aslan)? Do you think that
these two roles were portrayed as clearly in the
film?
Response
(activity to
consolidate
knowledge
about either
Students will work individually to complete an

illustration depicting either The White Witch or
Aslan in their reversed role.
Students may elect to use either labelling on their
illustration, or a paragraph of writing to describe
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White
paper.
A4
Drawing
materials.

Neneh Webb 161809
gender or race)
AT2- Unit of Work
how the diverse change in personality attributes has

changed the outward appearance of their chosen
character, and how this portrays the character as
closer to, or further away from the traditional
gender stereotype. For instance, if the White Witch
were to be portrayed as an inherently good
character she may appear more feminine, kind and
motherly; characteristics which better fit the
traditionally ideal attributes of an adult female.
References
Australian Curriculum Assessment and Reporting Authority [ACARA]. (2014). The
Australian
Curriculum:
English.
Retrieved
from
http://www.australiancurriculum.edu.au/english/curriculum/f-10?layout=1#level5
Australian Government Australian Research Council. (2010). Visual literacy: How do I make
meaning.
Retrieved
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from

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http://portals.studentnet.edu.au/literacy/Minisites/SCEGGSDarlinghurstrevised/vliter
acy/meaning.htm
Aylmey, H. (2012). Having some fun. English In Aotearoa, (77), 15-18.
Farmer, D. (2014). Drama resource. Retrieved from http://dramaresource.com/strategies
Fraraccio, V. (2008). When is a hula hoop not a hula hoop? When it's a Venn diagram.
Teacher, (194).
Graham, J. E. (2004). Women, sex, and power: Circe and Lilith in Narnia. Childrens
Literature Association Quarterly, 29(1-2), 32-44.
Humphrey, S., Droga, S. & Feez, S. (2012). Grammar and meaning. Sydney: Primary
English Teaching Association of Australia.
Jennings, P. (1994). Uncanny. Melbourne, Victoria: Penguin Books Limited.
Johnson, M., & Adamson, A. (Producers), & Adamson, A. (Director). (2005). The Lion the
witch and the wardrobe [Motion picture]. [With W. Moseley, A. Popplwell, S. Keynes
& G. Henley]. United States: Walt Disney Pictures & Walden Media.
Lewis, C. S. (1970). The lion, the witch & the wardrobe. Victoria, Australia: Penguin Books
Australia. (Original work published 1950).
Literacy Solutions. (2014). Literature circle role cards. Retrieved from
http://www.literacysolutions.com.au/resources/literature-role-cards.php
MacNaughton, G., & Williams, G. (2009). Techniques for teaching young children. (3rd ed.).
Frenchs Forest, NSW: Pearson Education Australia.
Marsh, C. (2010). Becoming a teacher: Knowledge, skills and issues. (5th ed.). Frenchs
Forest, NSW: Pearson Australia.
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AT2- Unit of Work
Nixon, R. (2012). Teaching narrative writing using comics: Delainey and Rasmussen, the
creators of Betty, share their composing strategies as rich literacy resources for
elementary teachers. Literacy, 46(2), 81-93.
Rimmon-Kenan, S. (1983) Narrative fiction: contemporary poetics. London: Methuen.
Russell-Bowie, D. (2012). Drama in education. In MADD about the Arts: an Introduction to
Primary Arts Education (3rd ed.). Sydney, Australia: Pearson Education Australia.
Starko, A, J. (2014). Creativity in the Classroom: Schools of Curious Delight. (5th ed.). Third
Avenue, New York: Routledge.
State of NSW Department of Education and Training. (2003). Quality teaching in public
schools. Retrieved from
https://www.det.nsw.edu.au/proflearn/docs/pdf/qt_EPSColor.pdf
The College Board. (2010). Literature circles. Retrieved from http://www.gcisdk12.org/cms/lib/TX01000829/Centricity/Domain/61/Literature_Circles.pdf
Winch, G., Ross Johnston, R., March, P., Ljungdall, L., Holliday, M. (2010). Literacy (4th
ed.). South Melbourne, VIC: Oxford University Press
Appendix A
Passages from the novel containing adverbials (lesson 4)
Edmund was already feeling uncomfortable from having eaten too many sweets, and
when he heard that the lady he had made friends with was a dangerous witch he felt even
more uncomfortable. But he still wanted to taste that Turkish Delight again more than
anything else. (p.42).
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Edmund, who was becoming a nastier person every minute, thought that he had
scored a great success, and went on at once to say, There she goes again. Whats the matter
with her? Thats the worst of young kids, they always- Look here, said Peter, turning on
him savagely, shut up! Youve been perfectly beastly to Lu ever since she started this
nonsense about the wardrobe, and now you go playing games with her about it and setting
her off again. I believe you did it simply out of spite. (p.45).
So they went and knocked at the study door, and the Professor said Come in and got
up and found chairs for them and said he was quite at their disposal. The he sat listening to
them with the tips of his fingers pressed together and never interrupting, till they had finished
the whole story. After that he said nothing for quite a long time. Then he cleared his throat
and said the last thing either of them had expected: How do you know that your sisters
story is not true? (p.46).
Appendix B
Rubric for Assessment task 1 (lesson 4)
Working Towards
Satisfactory
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High Achievement
Excellent Achievement

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AT2- Unit of Work
Ability to
identify
adverbials in
text
Student is
beginning to
develop an
understanding of
adverbials.
Student has
demonstrated the
ability to identify
some adverbials.
Student competently
identifies most
adverbials in a given
text.
Student correctly
identifies adverbials,
including adverbial
groups in texts.
Understanding
of the role of
adverbials in
written text.
Student is working
towards an
understanding of
the contribution of
adverbials to a
passage of writing.
Student demonstrates
some understandings
of the impact of
adverbials on a
passage of writing.
Student is able to
accurately describe
how adverbials
influence a passage
of writing.
Student demonstrates a
high level of
understanding
regarding the
contribution of
adverbials to a passage
of writing.
Application of
understanding
Student has not

completed a piece
of artwork as
required.
Student has
completed a piece of
artwork to an
acceptable standard.
The written
explanation
demonstrates a basic
understanding of the
role of adverbials in
a passage of writing.
Student has
successfully
completed a piece of
artwork, along with
an explanation
demonstrating a
succinct
role of adverbials in
informing their
finished work.
Student has effectively

conveyed
impact of adverbials
on a passage of
writing, through the
creation of a
thoughtful piece of
artwork, complete with
an extensive
explanation of how the
identified adverbials
influenced their
thinking.
Appendix C
Screenshots for Comic Strips (lesson 8)
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Appendix D
Rubric for Assessment Task 2 (lesson 10)
Working Towards
Satisfactory
High Achievement
Excellent Achievement
Description of
character
Student is
beginning to build
an understanding
of character.
Student has
demonstrated the
ability to identify
relevant character
traits and has
attempted to include
these in the text.
Student competently
identifies elements
of character and has
included these in
completed text.
Student effectively
relates elements of
character to the
reader through
thoughtful selection
of descriptive
language.
Plot Structure/
Planning
Plot does not

follow a logical
development
sequence.
Plot follows a
somewhat logical
sequence of
development.
Plot follows a logical

development
sequence.
Plot advances
thoughtfully and
effectively.
No planning
evident.
Little evidence of
planning
Some evidence of
planning
Evident thoughtful
planning process.
Language
Language included
in the text was
inappropriate for
this format.
Spelling mistakes
and grammatical
errors common
throughout the
text.
The language used

is appropriate for
this format of
writing. Some
spelling mistakes
and grammatical
errors.
Appropriate
language has been
implemented
throughout the text.
There are few
spelling mistakes
and grammatical
errors.
Language included in
the text is of an
advanced level. There
are no apparent
spelling mistakes or
grammatical errors.
Use of
imagery/multimedi
a
The imagery/
multimedia does
not support the
written text or task
requirements.
Student has
completed a
multimodal text.
The imagery/
multimedia
included in the
finished product is
somewhat
appropriate.
Student has
successfully
completed a
multimodal text. The
imagery/multimedia
supports the written
text effectively.
Student has
effectively conveyed
requirements of the
task. Text is
complimented by the
usage of appropriate
imagery/ multimedia.
Appendix E
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Finished product is of
a high standard.

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Screenshots from the film, utilised in Detailed Lesson 1: Characterisation lesson using
the film
First Selection of screenshots, depicting Edmunds character at the beginning of the film:
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The second selection of screenshots depicting Edmunds character towards the end of
the film:
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Appendix F
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Novel excerpts and film screenshots utilised in Detailed Lesson 2: critical literacy
lesson using novel and film
Novel Excerpt gender roles

As soon as they had said good night to the Professor and gone upstairs on the first
night, the boys came into the girls room and they all talked it over.
Weve fallen on our feet and no mistake said Peter. This is going to be perfectly
splendid. That little old chap will let us do anything we like.
I think hes an old dear, said Susan.
Oh come off it! said Edmund, who was tired and pretending not to be tired, which
always made him bad-tempered. Dont go on talking like that.
Like what? said Susan; and anyway, its time you were in bed.
Trying to talk like Mother, said Edmund. And who are you to say when Im to go
to bed? Go to bed yourself. (pp.9-10).
Novel Excerpt gender stereotypes
He now remembered that he had been looking for Lucy; and also how unpleasant he
had been to her about her imaginary country which now turned out not to have been
imaginary at all. He thought that she must be somewhere quite close and so he shouted,
Lucy! Lucy! Im here too Edmund.
There was no answer.
Shes angry about all the things Ive been saying lately, thought Edmund. And
though he did not like to admit that he had been wrong, he also did not much like being alone
in this strange, cold, quiet place; so he shouted again.
I say Lu! Im sorry I didnt believe you. I see that you were right all along. Do come
out. Make it Pax.
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Still there was no answer.

Just like a girl, said Edmund to himself, sulking somewhere, and wont accept an
apology. (p.32).
Novel Excerpts describing the physical appearance and character of The White Witch.
But behind him, on a much higher seat in the middle of the sledge sat a very different
person a great lady, taller than any woman that Edmund had ever seen. She also was
covered in white fur up to her throat and held a long straight golden wand in her right hand
and wore a golden crown on her head. Her face was white not merely pale, but white like
snow or paper or icing-sugar, except for her very red mouth. It was a beautiful face in other
respects, but proud and cold and stern And what, pray, are you? said the Lady, looking
hard at Edmund.
Im Im my names Edmund, said Edmund rather awkwardly. He did not like the
way she looked at him.
The lady frowned, Is that how you address a Queen? she asked, looking sterner than
ever.
I beg your pardon, your majesty, I didnt know, said Edmund.
Not know the Queen of Narnia? cried she. Ha! You shall know us better hereafter.
But I repeat what are you? (pp.33-34).
But what are you? said the Queen again. Are you a great overgrown dwarf that has
cut off its beard?
No, your majesty, said Edmund, I never had a beard, Im a boy.
A boy! said she. Do you mean you are a Son of Adam?
Edmund stood still, saying nothing. He was too confused by this time to understand
what the question meant.
I see you are an idiot, whatever else you may be, said the Queen. Answer me, once
and for all, or I shall lose my patience. Are you human?
Yes, your majesty, said Edmund. (p.35).
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Thats what I dont understand, Mr Beaver, said Peter, I mean isnt the Witch
herself human?
Shed like us to believe it, said Mr Beaver, and its on that that she bases her claim
to be Queen. But shes no Daughter of Eve. She comes of your father Adams (here Mr
Beaver bowed) your father Adams first wife, her they called Lilith. And she was one of the
Jinn. Thats what she comes from on one side. And on the other she comes of the giants. No,
no, there isnt a drop of real human blood in the Witch.
Thats why shes bad all through, Mr Beaver, said Mrs Beaver. (p. 76).
Novel excerpts depicting Aslan.
Who is Aslan? asked Susan.
Aslan? said Mr Beaver. Why dont you know? Hes the King. Hes the Lord of the
whole wood, but not often here, you understand. Never in my time or my fathers time. But
the word has reached us that he has come back. He is in Narnia at this moment. Hell settle
the White Queen all right. It is he, not you that will save Mr Tumnus. (p.74).
We have come Aslan.
Welcome, Peter, Son of Adam, said Aslan. Welcome, Susan and Lucy, Daughters of
Eve. Welcome He-Beaver and She-Beaver.
His voice was deep and rich and somehow took the fidgets out of them. They now
felt glad and quiet and it didnt seem awkward to them to stand and say nothing.
But where is the fourth? asked Aslan.
He has tried to betray them and joined the White Witch, O Aslan, said Mr Beaver.
And then something made Peter say, That was partly my fault Aslan. I was angry with him
and I think that helped him to go wrong.
And Aslan said nothing either to excuse Peter or to blame him but merely stood
looking at him with his great unchanging eyes. And it seemed to all of them that there was
nothing to be said. (pp. 117-118).
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We have a long journey to go. You must ride on me. And he crouched down and the
children climbed on to his warm, golden back, and Susan sat first, holding on tightly to his
mane and Lucy sat behind holding on tightly to Susan. And with a great heave he rose
underneath them and then shot off, faster than any horse could go, down hill and into the
thick of the forest. (p.149).
Now for the inside of this house! said Aslan. Look alive, everyone. Up stairs and
down stairs and in my ladys chamber! Leave no corner unsearched. You never know where
some poor prisoner may be concealed. (p.155).
Screenshots from the film to be used in the lesson

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Assessment Guide
Criterion 1: Design lessons which: (a) are sequenced to teach students cumulative knowledge about
literature; (b) teach critical and comparative approaches to literature; (c) teach students how to
interpret meanings of words and images (80%)
1(a) Sequenced
lessons to teach
cumulative
knowledge about
literature (30%)
HD
DN
CR
PP
NN
There is a logical
sequence based on a
pedagogical model
to all lessons in the
unit, providing
opportunities for
cumulative learning
about literature.
A significant
number of elements
from the quality
teaching framework
are evident and
applied thoughtfully
and critically.
There is a logical
sequence to all
lessons in the unit,
providing
opportunities for
cumulative
learning about
literature.
A significant
number of
elements from the
quality teaching
framework are
evident.
There is a logical
sequence to most
providing
opportunities for
cumulative learning
about literature.
There is a logical
sequence to some
providing
opportunities for
cumulative learning
about literature.
NI / Some aspects
need developing
(NI= not included)
Some elements
from the quality
teaching framework
are evident.
A few elements
from the quality
teaching framework
are evident.
NI / Some aspects
need developing
(NI= not included)
Quality Teaching Framework

Intellectual quality
Deep knowledge
Deep understanding
Problematic knowledge
Higher-order thinking
Metalanguage
Substantive communication
Quality learning environment
Explicit quality criteria
Engagement
High expectations
Social support
Students self-regulation
Student direction
1(b) a lesson which

teaches critical and
comparative
approaches to
literature. (20%)
DN
1(c) lessons which

teach students how
to interpret
meanings of words
and images:
Two lessons on
characterisation will
include:
(i) one minor lesson
which explores how
words build
characterisation
using the novel
(10%)
HD
CR
Significance
Background knowledge
Cultural knowledge
Knowledge integration
Inclusivity
Connectedness
Narrative
PP
The detailed critical literacy lesson clearly focuses on either an aspect of the
construction of gender or race. The lesson compares the novel and film. An activity
that compares the construction of power in both text forms is included. An
opportunity is provided to students to create their own critical response to the
texts.
Deconstructions
Deconstructions
Deconstruction
Deconstruction
strategies are
strategies are
strategies are
strategies are
included for both
included for both
included for both
included for both
novel and film
novel and film
novel and film
novel and film
excerpts,
excerpts,
excerpts,
excerpts.
demonstrating an
demonstrating a
demonstrating a
exceptional
thorough
reasonable
understanding of
understanding of
understanding of
critical literacy.
critical literacy.
critical literacy.
HD
DN
CR
PP
Characterisation (through the novel) is taught drawing from any one of the
following grammatical elements: participants, processes, circumstances. Any
excerpt used for this minor lesson is included as an appendix.
The lesson
The lesson
The lesson
Some accurate
accurately includes
accurately
accurately includes
probe questions are
deconstruction,
includes a
a deconstruction
included in the
joint constriction,
deconstruction
teaching strategy.
lesson.
and independent
and independent
construction
construction
teaching strategies.
teaching strategy.
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NN
NI / Some aspects
need developing
(NI= not included)
NI / Some aspects
need developing
(NI= not included)
NN
NI / Some aspects
need developing
(NI= not included)
NI / Some aspects
need developing
(NI= not included)

Neneh Webb 161809
(ii) a detailed lesson

which explores how
images build
characterisation
using the film
(20%)
The lesson clearly
scaffolds students
understandings
about how images
are used to construct
characterisation.
HD
DN
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CR
PP
NN
Characterisation (through the film) is taught using any three of the following visual
semiotic elements: contact, social distance, power, ambience, salience, narrative
processes, with relevant excerpt(s) from the film. Approximately 10 screenshots are
included with an attempt at analysis of each.
Evidence of critical
Evidence of
Relevant selection
Mostly relevant
and thoughtful
thoughtful sorting
of film excerpts
selection of film
sorting and
and selection of
and related
excerpts and
selection of
relevant film
screenshots to
related screenshots
relevant film
excerpts and
teach
to teach
excerpts and
related
characterisation.
characterisation.
related screenshots
screenshots to
to teach
teach
characterisation.
characterisation.
All three visual
All three visual
At least two visual
At least half of the
semiotic elements
semiotic elements
semiotic elements
visual semiotic
are analysed
are mostly
are mostly analysed elements are
accurately in the
analysed
accurately in the
analysed accurately
screenshot
accurately in the
screenshot
in the screenshot
selection.
screenshot
selection.
selection.
selection.
The lesson
accurately includes
deconstruction,
joint &
independent
constriction.
The lesson
accurately
includes
deconstruction
and independent
construction.
The lesson
accurately includes
deconstruction.
Criterion 2: Design assessment tasks (10%)

HD
DN
CR
Some accurate
probe questions are
included in the
lesson.
PP
NI / Some aspects
need developing
(NI= not included)
NI / Some aspects
need developing
(NI= not included)
NI / Some aspects
need developing
(NI= not included)
NN
Two assessment tasks are included at relevant points in the unit.

Assessment tasks
Assessment tasks
clearly relate to targeted
clearly relate to
English outcomes
targeted English
(ACARA, 2012) based
outcomes (ACARA,
on the big ideas that are
2012) based on the big
central to the unit and
ideas that are central
are both rich learning
to the unit and one is a
tasks.
rich learning task.
Assessment tools included as an appendix will
clearly enable
students to reflect on and monitor
their own progress to inform their
future learning goals.
NI / Some aspects
need developing
(NI= not included)
Assessment tasks clearly relate to targeted English

outcomes (ACARA, 2012) based on the big ideas
that are central to the unit.
Assessment tools included as an appendix.
NI / Some aspects need

developing
(NI= not included)
developing
(NI= not included)

developing
(NI= not included)
Criterion 3: Apply academic writing conventions to written response (10%)

HD
DN
CR
PP
Language
Technical aspects
Powerful,
confident and
precise use of
language; mastery
of style and tone
suited to audience.
Spelling,
punctuation,
grammar and
referencing
accurate.
Language use
demonstrates
precision and
clarity.
Language is
generally sound and
clear throughout.
Spelling, punctuation, grammar and

referencing mostly accurate.
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NN
Clear enough to be
understood; some
confused or unclear
expression.
Does not
meet
requirements
for academic
writing.
Spelling, punctuation,
grammar and
referencing generally
satisfactory but likely
to need attention.
Does not
meet
requirements
for academic
writing.

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Faculty of Education

Assignment Cover Sheet

Unit Co-ord./Lecturer Dr Angela Thomas

Unit Name Multiliteracies in the English Curriculum

ESH310 Multiliteracies in the English Curriculum

AT2- Unit of Work

ESH310 Multiliteracies in the English Curriculum

Teacher will have finished reading the

AT2- Unit of Work

ESH310 Multiliteracies in the English Curriculum

AT2- Unit of Work

ESH310 Multiliteracies in the English Curriculum

Whole class discussion regarding the

Detailed lesson (Characterisation)

Detailed lesson (Critical Literacy)

AT2- Unit of Work

ESH310 Multiliteracies in the English Curriculum

The teacher will use an example

The teacher will read the short story

AT2- Unit of Work

ESH310 Multiliteracies in the English Curriculum

The teacher will initiate a whole class

AT2- Unit of Work

ESH310 Multiliteracies in the English Curriculum

AT2- Unit of Work

Detailed Lesson: Characterisation Lesson using the film

The teacher will ask students to consider the

Teacher will explain the concepts of the

ESH310 Multiliteracies in the English Curriculum

AT2- Unit of Work

whiteboard: Social distance how far away

ESH310 Multiliteracies in the English Curriculum

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of Edmund, beginning with him indulging in Lined paper.

Students will work individually to plan how to

ESH310 Multiliteracies in the English Curriculum

AT2- Unit of Work

The lesson will begin with a class discussion

The teacher will read an excerpt from the novel

The teacher will show students the screenshot of

ESH310 Multiliteracies in the English Curriculum

AT2- Unit of Work

the film depicting Aslan and the White Witch

The teacher will read out excerpts from the novel,

Students will work in groups of approximately four to

Students will work individually to complete an

ESH310 Multiliteracies in the English Curriculum

AT2- Unit of Work

how the diverse change in personality attributes has

ESH310 Multiliteracies in the English Curriculum

AT2- Unit of Work

ESH310 Multiliteracies in the English Curriculum

AT2- Unit of Work

ESH310 Multiliteracies in the English Curriculum

AT2- Unit of Work

ESH310 Multiliteracies in the English Curriculum

AT2- Unit of Work

Student has not

Student has effectively

ESH310 Multiliteracies in the English Curriculum

AT2- Unit of Work

ESH310 Multiliteracies in the English Curriculum