Sali Miftari, 2014

How To: English 3/4 AOS1- Text Response

Textual Analysis in Area of Study 1 (Reading and Responding) involves the student going over
particular text with a magnifying glass - highlighting everything that is unique or interesting - except
without the magnifying glass! In a Text Response, you are required to provide a strong contention-
as you are commenting on the text presented, focussing on a number of predominant themes,
ideas, values, intentions and literary allusions to other texts. A text response essay requires you to
critically analyse the text presented, which is done by developing a strong understanding of the
ideas, characters and themes developed by the author. Additionally, consider your own
interpretation and how others can interpret it as well.
What are you rst impressions about the presented text?
- What grabs your attention rst? (E.g. Funders almost feature-article like opening of
Stasiland, or the mystery surrounding The American in Mohsin Hamids The
Reluctant Fundamentalist).
- What else grabs your attention? (Here- annotate your copy of the text, noting every
thing that is interesting, and how it impacts your interpretation and understanding of
the text).
- Can you see any juxtapositions, ironies or contradictions? (What goes against
each other [Love and death being intertwined, for example], or, what works with each
other [E.g. Heathcliffs reincarnation as an educated and prosperous person
compliments his enduring love of and with Catherine])
- When reading the text, what moods and tones are you feeling? (Did t Chapter 29
make you feel depressed, yet mournful for Heathcliff? How the text or parts of it
make you feel is a key indicator of the authors intent as to how you feel
sympathetic or unsympathetic to a particular character)
STEP
1
Vocabulary and Structure
- Highlight the key words that relate to the themes of the text. (E.g. in Stasiland,
themes and vocabulary about duplicity, surveillance and nostalgia) (This makes you
more aware of differences in language that you can reference to make your analysis
top-band stuff)
- Looking at these words, think about how they relate with other key words? (Here,
I suggest that you scribble over the page with connectors and brief notes on how
they relate with the moods you highlighted in step 1, as well as the things that
grabbed your attention)
- Do any of the words highlight as symbols, metaphors and symbolism?- things
that arent made explicit, but mean more something? Are there any words with
double connotations/denitions? (The VCAA study design has a strong emphasis
on how the student picks up symbols. Also- words with double meaning can be
placed in the text on purpose to create juxtapositions and inspiring literary effect-
always have a look out for them!)
- ALWAYS look for denitions for words you dont know! (Sometimes, they can
mean really important things in the text. If the text is set in older periods, try using
older dictionaries for meanings more relevant to the era the text was set and written
in)
STEP
2
Literary Style, Structures
- Are there any patterns in the passage? (Patterns dont need to be formed through
vocabulary- they can be present in themes, contextual innuendo and characteristics.
Also- patterns dont have to be the same- an example of a complex pattern is one of
opposites [E.g. in Wuthering Heights- Heathcliffs distressed state contrasted to
Catherines state of peace after death is a pattern in the narrative])
- Does the text act as a window (or symbolise) the whole text? (Often, passages
presented in exams are included deliberately to test you on your outside knowledge
of the text [E.g. in Stasiland, Herr Kochs recount of the stasi forcing his divorce is a
microcosm of Stasi surveillance practices discussed in that text).
step 3 continued over
STEP
3
Sali Miftari, 2014
Literary Style, Structures
- How are sentences and phrases structured? (Sentence structure- particularly
sentences of direct speech often provide a strong interpretations of the feelings
and moods the author has intended to send across to the reader [E.g. Bronts use
of a truncated, short sentence when Heathcliff relinquishes [his] labour of agony,
and turned consoled at once: unspeakably consoled positions the reader to
develop vexed sympathies for Heathcliff due to his willingness to commit the original
sin of committing evil [and break social conventions] and disturb Catherines peace
by digging up her grave]).
- What is the style of writing? What person narration is it written in? What type of
narration is it? (Is it a form of direct speech, narration, dialogue, argument or
poetry? Just remember, that whilst a novel [E.g. Stasiland is a non-ction novel,
written in rst person narration, making the writing very personal. However, the text
is challenged by her subjective viewpoints, thus making her at times an unreliable
narrator.])
STEP
3
Points of Views, Positioning and Authorial Intent
- How does the text make you react to the characters and their traits? (Characters
are central to almost all texts on the VCE English Text list- they exhibit themes, ideas
and contrasts. Annotate your thoughts about a character through out the text. This
is an integral aspect of high scoring text responses.
- Can you identify literary colours, descriptions and other details that intensies
the text? (Understanding why an author uses imagery is essential to creating an in-
depth understanding of the text. An example of how to analyse imagery is this
(relevant to Wuthering Heights): [Bront allusion to darkness and night intentionally
contrasts with the disturbing nature of Heathcliff. Also, innuendos extending from
Lockwoods nightmare in Chapter 3 are accentuated by overtones of darkness and
the supernatural permeating through text]).
- Who is the primary voice in the text? Do they talk to anyone? Are they presenting
a point-of-view, or some sort of agenda? (Some interpreters of literature- me
included- view particular characters as the embodiment of the authors points of
views and personal agenda. For example, in George Orwells 1984, Winston Smith-
as a character- embodies the authors [George Orwell] strong distaste with the world
and order of life when he wrote the text in 1948. Did Bront intentionally cast
Heathcliff as a dark and disturbed character to allude to her own traits as a dark and
depressed person disillusioned with a lonely life?)
STEP
4
Literary Techniques, Devices, Symbolism and Motifs
- Can you see any metaphors? (Metaphors are intended to exemplify an important
aspect of the text by constructing similarities between ideas, themes, characters,
thoughts and authorial intentions not only in the passage and the text it comes from,
but other texts, moral lessons, philosophy and anything extraneous).
- What is the signicance of particular things (E.g. Metaphors, Symbols and
Objects) in the text? (Deciding the signicance, and understanding the importance
is up to you. It is wholly subjective, therefore, if you can explain something- it will
often always stand. The assessment rubric for English suggests that for a score in
the 25-30 top band range, you must undertake Complex discussion and critical
analysis of the structures, features and conventions used by the author to construct
meaning. Signicance is NOT about why something is important- but why it adds
to the development of the narrative and your own interpretation of the text).
-
In Step 4, you identied colours and literary images. Do these images actually
mean anything? (Like, could a literary feature have something to do with religion
(The three level house in Montana 1948, Larry Watson), or a dagger (Macbeth,
Shakespeare) to do with fate [Those were examples of symbolism in other texts].
Finding meaning for these things is not something that the author has written in the
text- its up to you to think about things that could potentially link and connect here
and there).
-
If you nd that something is recurring in the text, through your annotations, then
that object/notion/phenomenon/idea is known as a motif. (Motifs are like keys-
they open the lock to all things strong and important about the text, as well as
unlock the stuff you need to highlight in your passage analysis!)
-
CONTEXT IS AN IMPORTANT PART OF DISCUSSION. Refer to separate page
below.
STEP
5
Sali Miftari, 2014
Brief example of an analysis of Literary Techniques and Features in a text

For this example, Ive used Anna Funders Stasiland to demonstrate step 5. However, the basic principle of
discussing and creating an interpretation is universal to all texts on the VCE English 3/4, and can be harked
back upon in a text response.

Klaus leans in and picks up his tin of tobacco. And then she [Comrade Ruth Oelschlgel] said to us,
We are to inform you today, that you dont exist anymore.
There was silence. One of the band members signalled to roadie to stop setting up. Kuno asked,
Does that mean were banned?
We didnt say youre banned, Comrade Oelschlgel said. We said you dont exist.
Page 189, Chapter 19: Klaus. Stasiland, Anna Funder
What do I notice?- Note, things in bold are examples of the analysis expected. Usually, youd scribble
over your sheet with this stuff, but well dot point here.
-
Leans in, use of the rst person narrative, accentuating realness and rawness of this traumatic
experience for Klaus and his band members.
-
she is a pronoun that in the context of the text is ambiguous, and creates a feeling of individuals being
subordinate to the state.
-
you dont exist is an allusion to George Orwells 1984- An antagonist- OBrien (A member of the
Thought Police- the Governments surveillance agency) tells Winston Smith (The protagonist, also
dissident against the state) that he doesnt exist- just as the antagonist in Stasiland, Comrade Ruth
Oelschlgel, tells the protagonist (Klaus), that he doesn't exist.
-
There are many, many more just in those 60 words- but well stop here.
An example analysis paragraph, using some (notice how I havent used all) of the analysis of this
snippet of the text. This would be just one part of a full text response on Stasiland.

George Orwells 1984 is perhaps one ofthe most well known pieces of ction abouta dystopian world tainted
by oppression, surveillance and bland, anaemic homogeneity- somewhat similar to how Funder
portraysHoneckers East Germany (GDR). Funder alludes to OBrien, a character who is loyal to the Ingsoc
through reference toComrade Ruth Oelschlgel- the member of the GDR-establishment in charge of
reviewing and approving artistic license applications in the GDR. The notion and ordeal of Klaus Renft and his
combo exist[ing] anymore is one that Winston Smith- the disillusioned protagonist in Orwells 1984- endures
towards the end of the text when OBrien informs Smith that unlike Big Brother, he does not exist.

Also, Funders allusion to 1984 is accentuated by the use of the pronoun we. In 1984, this same pronoun
exemplies the fact that the state (In the case of 1984- Air Strip 1) represents the order of life (reality)-
whereas, Smith, due to the fact that he is a dissident, is anunreal object in themakeup of that society- a mere
nobody. Funder casts the German Democratic Republic in a likewise sense- in the fact that what the state
says, goes. Hence, like many characters, groups and movements that go against the establised order in this
state,the Klaus Renft Combo is literally forgotten and erased from the scheme of things in the reality of GDR
day-to-day life.
Structuring these types of in-text response discussions

1. Make explicit the point you are going to make regarding the discussion you are about to embark on.
George Orwells 1984 is perhaps one of the most well known pieces of ction about a dystopian world
tainted by oppression, surveillance and bland, anaemic homogeneity- somewhat similar to how Funder
portrays Honeckers East Germany (GDR). Notice how Ive highlighted the literary allusion, and
constructed the link to the text the response is on?
2. Provide the evidence from the text you are studying, and link to the evidence from the other text.
The notion and ordeal of Klaus Renft and his combo exist[ing] anymore is one that Winston Smith- the
disillusioned protagonist in Orwells 1984- endures towards the end of the text when OBrien informs
Smith that unlike Big Brother, he does not exist. Remember- whilst the evidence from the text should
almost always be a quotation, the evidence from the alluded text doesnt
3. Make the link back to your argument in the main body paragraph, and the contention too.
Hence, like many characters, groups and movements that go against the establised order in this
state, the Klaus Renft Combo is literally forgotten and erased from the scheme of things in the reality of
GDR day-to-day life, much like one of the many people that suffered from existential obsolesce in the
GDR . (Note: Ive made the assumption that the essay topic is Things were, and have been forgotten in
the GDR, and that the argument of the MB is that the regime caused many to become extinct in the
regime).
Sali Miftari, 2014
Incorporating Social, Political and Historical Context in your Text Response
SAC




















As evidenced below, a complex discussion of how social, historical and cultural values are
embodied in the text is an important in scoring a top-band response in this SAC (Which is worth 30
VCAA Marks in Unit 3 and 50 VCAA marks in Unit 4!). Arguably, the use of the word complex in this
descriptor is a little bit of a faux pas, as discussing how these ideals are embedded is rather self-
intuitive.
So, how do you talk about these textual contexts in a complex, and highly expressive way?

Introduction
- In your introduction, it is unwise to explain in detail the contexts.
- The extent of highlighting contextual links is by highlighting them briey in your opening remarks.
- This sets you up for some great foreshadowing in your text response!

Consider the introduction below, based on a text response to Anna Funders Stasiland.


Main Body Paragraph
- It is highly suggested that you do not base a whole main body paragraph on the Social, Political
and Historical context.
- When discussing these textual contexts in a highly expressive and complex way, it is often to
enhance an argument or point made on a literary techniques.
- The best way to establish complexity is by embedding it in to your point of discussion. Perhaps,
split each type of context into themes, ideas and quotes.
- Expressivity is established by linking your discussion of contexts to themes.
Anna Funders Stasiland, (2002), provides a condemning exposition into how the deplorable practices
of the socialist Stasi affected the lives of ordinary citizens in the former German Democratic
Republic (GDR). Funders investigation uncovers the lingering impact of the Iron Curtain (and
Berlin Wall) had on reunied Germany, illustrating how its existence symbolised a long lasting
trauma that for some, cannot be forgotten.
I introduce a key component of
the historical context; in this case,
the Stasi and its part in history.
Here, a simple allusion to a part
of the text - Mauer im Kopf - can
be done by warming it up when
providing a general overview. This
is a cultural value.
Social, Historical and Political
context can also be alluded to
when noting how the contexts
have inuenced the future.
Ive merely highlighted a
mere item that is
highlighted in the text, and
is the basis of discussion in
it. This is an example of
foreshadowing.
Sali Miftari, 2014
Metalanguage and Evidence in a Text Response SAC







Metalanguage
Using appropriate metalanguage - metalanguage being a form of language or set of terms used for
the description or analysis of another language - is an important part of high scoring text responses.
Often, the use of metalanguage is the di#erence between a 24/30 (second band) or 25/30 (top
band). Consider the list of terms below commonly used in text responses to describe texts and their
language
Types of Metalanguage
Character Protagonist, Antagonist, False protagonist, Secondary character, Supporting
character, Major character or Minor character
Genre Adventure, Comic, Crime, Epistolary, Fantasy, Historical, Horror, Mystery,
Philosophical, Political, Romance, Satire or Thriller
Form Non-ction, Novel, Novella, Plays, Poetry or Short stories
Language Form Prose, Iambic pentameter, Blank verse or Free verse
Narrative Mode First person view, Second person view, Third person view, Third person
objective, Third person subjective, Third person omnipresent, Third person
limited, Alternating narrative view, Stream-of-consciousness, Linear narrative or
Nonlinear narrative
Narrative Tense Past, Present or Future
Plot Anti-climax, Climax, Conict, Denouement, Dialogue, Exposition, Subplot,
Trope-clich or Turning point
Setting Culture, Historical, Geographical, Social, Dystopia or Utopia
Metalanguage for
Literary Techniques
Active voice, Allegory, Alliteration, Allusion, Ambivalence, Ambiguity, Antithesis,
Antonyms, Bildungsroman, Characterisation, Cliffhanger, Colloquialism,
Complex sentence, Compound sentence, Connotation, Context, Contextual
framework, Denouement, Diachronic, Dialect, Dialogue, Elision, Epigraph,
Epilogue, Epiphany, Euphemism, Flash back, Flash forward, Foreshadowing,
Formal, Hyperbole, Idiom, Imagery, Informal, Irony, Juxtaposition, Metaphor,
Meter, Mood, Morphemes, Motif, Neologism, Onomatopoeia, Oxymoron,
Paradox, Parody, Passive voice, Personication, Positioning, Prex, Prologue,
Rhetoric, Rhythm, Simile, Simple sentence, Slang, Soliloquy, Stereotype,
Symbols, Synonyms, Tone, Tragedy or Vernacular
Sali Miftari, 2014








































Evidence and Quotations
Often, this is the most difcult part of the text response. Generally speaking, students force
themselves to use quotes that they have remembered, but dont really t in. I bring this down to the
fact that students often try and remember whole practice essays, which in turn makes quotations that
dont t bleeding obvious. Consider the following the tips below:
-
Always warm up quotes by surrounding them in a few words to contextualise how your
evidence will prove your points.
GOOD: Funder observes that one could see anyone coming from her apartment in Leipzig.
BAD: Funder is in her apartment. One could see anyone coming. Then Miriam..
-
CREATE A QUOTATION BANK FROM THE MINUTE YOU START READING. This is
imperative to your preparation. In doing this, dont just copy the quote down, rather, right
some notes on the signicance of it. Consider the example of a quote bank below.
Practice Paragraph highlighting considered selection and use of textual evidence, and use of
appropriate metalanguage

By denying the truth and its e#ects, Stasiland reveals that while the past
cannot be perpetually erased, it can be managed into the future. As a piece
of literary journalism, Funder strives to interact with characters from both
sides of the regime, however authorial bias is displayed in her discussion
with Karl-Eduard Von Schnitzler. Through the uninviting tone employed in
the dialogue, Von Schnitzler- a self proclaimed leading gure of the GDR
is instantaneously portrayed as a nasty person who vehemently denies the
extent of the regimes brutality. Von Schnitzlers belief that he is be-lov-ed
by everyone directly exposes the ignorance he has about his place in the
new German society, therefore appearing unfettered about his past.
Furthermore, Von Schnitzlers unburdened appearance is challenged as
Funder notices that the name at the doorbell to his apartment is not his,
rather, his wifes. Prior to beginning the interview withSudel-ede (Filthy
Ed), the absence of his name at the door can be interpreted as an
acknowledgement of Von Schnitzlers fear of retribution for contributing to
the trauma experienced by citizens, thus implying that his conscience in the
present and future has indeed been a#ected by the actions of his past.
Additionally, Funders interview with Klaus Renft- a victim of Orwellian-like
structure in East German society- demonstrates his dependency on alcohol
to numb the a#ects of traumatic ordeals from his own past. Whilst Funder
notes that Klaus memory of not existing anymore has somewhat
withdrawn into the background, hisalcohol cushioned landings allude to
the idea that the past has in fact dened his present and future to the extent
that his alcohol-dependency is the cathartic vehicle used to nullify his pain.
Funders interaction with the contrasting characters Klaus and Karl-Eduard
Von Schnitzler demonstrates that whilst present and future is greatly shaped
by the past, the process of rehabilitation can occur by implementing coping
mechanisms- be it through outright denial or forced ignorance- that slowly
causes one to withdraw and move on into the future.
Quotation is
warmed up by
noting the context of
who said it
Quotation is used to
both enhance my
point, as well as
make a reference to
the historical
context AND literary
allusion (to Orwells
1984)
Use of
Metalanguage is
highlighted in green
Sali Miftari, 2014
The Study Design Broken Down:
Area of Study One, Reading and Responding

People often nd the study design a little confusing. This is a shame, as teachers usually refer you to
the study design when you want to know what is going on. Therefore, Ive broken it up. In the white
cells youll nd what VCAA prescribes in the document. In the grey cells, there is a simple explanation
of what this means, and therefore, what you will be expected to do in the SAC.

VCAA Study Design: http://www.vcaa.vic.edu.au/Documents/vce/english/English-ESL-SD-2007.pdf
KEY KNOWLEDGE That is, what do I need to know in this study?
1
What it says:
An understanding of the ideas, characters and themes constructed by the
author and presented in the selected text.
What it means:
That you know about the key points in the text- the things that make a text a
text.
2
What it says:
The structures, features and conventions used by authors to construct meaning
in a range of literary texts.
What it means:
That you understand what the author does in writing their text, and how they
use different literary techniques to construct their narrative.
3
What it says:
Methods of analysing complex texts and the social, historical and/or cultural
values embodied in texts.
What it means:
That you develop a deep understanding of the inuences in a text.
4
What it says:
The ways in which the same text is open to different interpretations by different
readers.
What it means:
How other readers can interpret and develop an understanding of their text.
They dont have to always be the same!
5
What it says:
Strategies and techniques for constructing a supported analysis of a text,
including a knowledge of the metalanguage appropriate to the analysis and to
the text type.
What it means:
Knowing how to write a well-structured and complex text response essay, or
oral (depending on what your school chooses to do).
6
What it says:
The conventions of spelling, punctuation and syntax of Standard Australian
English.
What it means:
That you know basic grammar and spelling rules that you have learned from
Prep.
Once you have done
this:
You should be able to analyse, either orally or in writing, how a selected text
constructs meaning, conveys ideas and values, and is open to a range of
interpretations.
Sali Miftari, 2014

The Assessment Criteria:
Area of Study One, Reading and Responding


Remember:
-
In all Unit 3/4 disciplines - including English 3/4 - in order for you to get a Satisfactory, you need
to score a minimum of 30%. This means that in the SAC for this Area of Study (AOS1), you need
to score a minimum of 9 out of 30.
-
This area of study is worth 30% of Unit 3, and 50% of Unit 4. All SAC marks make 50%
of your study score, therefore, AOS1 for both U3 and U4 makes up 40% of your SAC
score.
Outcome 1
Analyse, either orally or in writing, how a selected text constructs meaning, conveys ideas and values, and
is open to a range of interpretations.
MARK RANGE DESCRIPTOR: typical performance in each range
2530 marks
First (Top) Band
Thorough and insightful understanding of the ideas, characters and themes constructed and
presented in the text. Complex discussion and critical analysis of the structures, features
and conventions used by the author to construct meaning. Complex analysis of the ways in
which social, historical and/or cultural values are embodied in the text. Construction of a
sophisticated interpretation which demonstrates an understanding of ways in which the
text is open to different interpretations by different readers. Considered selection and use
of significant textual evidence and highly appropriate use of relevant metalanguage to
support analysis. Highly expressive, fluent and coherent writing or, in an oral response, the
skilful use of highly appropriate oral language conventions to engage an audience.
1924 marks
Second Band
Thorough knowledge of the ideas, characters and themes constructed and presented in the
text. Well-developed discussion and sound analysis of the structures, features and
conventions used by the author to construct meaning. Identification and exploration of the
ways in which social, historical and/or cultural values are embodied in the text.
Construction of a well-developed interpretation, demonstrating knowledge of ways in
which the text is open to different interpretations by different readers. Careful selection
and use of suitable textual evidence and appropriate use of relevant metalanguage to
support analysis. Expressive, fluent and coherent writing or, in an oral response, an ability
to use appropriate oral language conventions to engage an audience.
1318 marks
Third (Middle) Band
Knowledge of the ideas, characters and themes constructed and presented in the text.
Discussion and some analysis of the structures, features and conventions used by the
author to construct meaning. Identification of the ways in which social, historical and/or
cultural values are embodied in the text. Construction of a general interpretation and some
identification of ways in which the text is open to different interpretations by different
readers. Suitable use of textual evidence and appropriate use of some relevant
metalanguage to support analysis. Generally expressive, fluent and coherent writing or, in
an oral response, an ability to use some appropriate oral language conventions to engage
an audience.
712 marks
Fourth Band
Some knowledge of the ideas, characters and themes constructed and presented in the text.
Generalised discussion of the structures, features and conventions used by the author to
construct meaning. Identification of a way in which social, historical and/or cultural values
are embodied in the text. Some evidence of an ability to construct a general response to the
text and identify a possible interpretation. Some use of textual evidence and use of some
relevant metalanguage to support analysis. Clear expression of ideas in writing or, in an
oral response, variable ability to use oral language conventions to engage an audience.
16 marks
Fifth Band
Limited knowledge of the ideas, characters and themes constructed and presented in the
text. Little, if any, identification of the structures or features or conventions used by the
author to construct meaning. Little, if any, identification of a way in which social,
historical and/or cultural values are embodied in the text. Little evidence of ability to
construct a general response to the text or to identify an interpretation. Minimal use of
textual evidence or relevant metalanguage. Simple expression of ideas in writing or, in an
oral response, limited use of oral language conventions to engage an audience.