Electronic

Workbooks

S. Battye and D.J. Wort

NCEA LEVEL 1English Workbooks

NCEA LEVEL 1

CON

NECTIONS ACROSS TEXTS1.8

INTERNAL ASSESSMENT

S. Battye and D. J. Wort

ISBN 978-1-877567-48-3

National Certificate of Educational AchievementNational Certificate of Educational Achievement

Sigma English WorkbookNCEA Achievement Standard 1.8

Connections Across Texts

Sigma English WorkbookNCEA Achievement Standard 1.8

Connections Across Texts

List of Contents

Understanding the Standard ……………………………………………1

Determining Your Grade - Levels of Thinking …………………………2

Task 1 - Keep a Reading/Viewing/Listening Log ………………..3 & 4

Four Kinds of Narrative Viewpoint ………………………………………5

Task 2 - Which Viewpoint is Which? ……………………………………5

Task 3 - Using an Omniscient Viewpoint ……………………………6-8

Meeting the Requirements of the Standard …………………………..8

Task 4 - Aspects of Language - A Glossary ………………………9-10

Setting …………………………………………………………………...11

Task 5 - Locating the Story ……………………………………………12

Task 6 - Getting the Feel of a Place …………………………………..13

Task 7 - Your Text - Quotations That Describe a Setting …………..13

Task 8 - Effect on the Main Character ……………………………….14

Task 9 - Your Text - Effect of Setting on Main Character ……….14-15

Task 10 - Your Text - Common Themes ………………………….16-17

Plot ……………………………………………………………………….18

Task 11 - Your Text - Plot and Personal Reflection ………………….19

Task 12 - Parts of the Plot ……………………………………………..20

Task 13 - Plot Exposition ………………………………………………21

Task 14 - Connecting Plot, Character and Change …………………22

Plot Complication ………………………………………………………23

Task 15 - Recognising Types of Complication ………………………24

Task 16 - Your Text - Responding to Plot Complication ………..25-26

Task 17 - Highlighting Turning Points and Climaxes ……………….27

Task 18 - Your Text - A Minor Turning Point Pyramid ……………….28

Task 19 - Your Text - A Major Turning Point Pyramid ……………….29

Task 20 - Compare Final Turning Points ……………………………..30

Task 21 - Character vs Personality ……………………………….31-32

Task 22 - Developing a Character ……………………………………32

Task 23 - Major Characters ……………………………………………33

Task 24 - Minor Characters ……………………………………………34

Compare and Contrast Characters ……………………………………35

Task 25 - Your Text - Character Venn Diagram ………………………35

Connecting Through Themes…………………………………………..36

Task 26 - Your Text - Connecting the Theme and Setting ……...37-38

Task 27 - Your Text - Connecting the Theme and Plot ………….39-40

Connecting the Theme and the Major Character …………………..41

Task 28 - Changes to a Major Character - A Venn Diagram ……...42

Task 29 - Your Text - Connecting a Theme with the Major Character …43

Connecting the Theme and the Mouthpiece Characters ……………...44

Task 30 - Your Text - Connecting the Theme & the Mouthpiece Characters …45

Connecting Theme and Language Features ………………………..46

Task 31 - Your Text - Connecting Theme and Aspects of Language ……47

Unpacking a Stage Play ………………………………………………….48

Task 32 - Making Connections Between Plays and Other Texts …48-50

Unpacking the Short Story …………………………………………….51

Short Story Example - ‘The Doll’s House’ ………………………..52-55

Task 33 - Personal Response to Plot ………………………………….56

Task 34 - Personal Response to Characters …………………………57

Task 35 - Personal Response to Setting ……………………………..58

Task 36 - Personal Response to Theme ……………………………..59

Task 37 - Use of Aspects of Language ………………………………60

Task 38 - Understanding Poetry ……………..……………………61-62

Task 39 - Connecting with Poetry …………………………………….63

Task 40 - Purpose and Audience …………………………………….64

Task 41 - Points of Similarity and Difference ………………………..65

Task 42 - Details in Texts ………………………………………………66

Modelling a Response to Connections Across Texts……………67-68

Task 43 - Writing Your Report ……………………………………..69-70

Task 44 - Recording the Evidence ……………………………….71-72

Task 45 - Draft a Final Report for Submission …………………..73-75

Alternative Ways of Responding to AS 1.8 ………………………….76

Student Notes……….…………………………………………………...76

Answers to Tasks ……………………………………..…………….77-78Electronic

Workbooks

S. Battye and D.J. Wort

NCEA LEVEL 1English Workbooks

NCEA LEVEL 1

CON

NECTIONS ACROSS TEXTS1.8

INTERNAL ASSESSMENT

NCEA English Workbook AS 1.8 - Connections Across Texts © Sigma Publications Ltd 2017 ISBN 978-1-877567-48-3 [PDF Workbook V 1.2 : Only for use in NZ schools under a signed user license]

This file licensed forschool use only in

20188 Viewpoint - Poetry

Meeting the Requirements of the Standard

2d) [continued] ……………………………………………………………………………………………………………………………………..

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2e) What is the main message idea or theme that the poet, Wilfred Owen wants to convey about war in this poem?

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Practise Punctuation, Spelling and GrammarRegarding your own spelling, punctuation and grammar; to reach an Excellence level your answers must be ‘fluent and coherent’. Correct spelling, punctuation skills and grammar are essential to reach this level. The use of good grammar, spelling and punctuation in English is like the use of good manners in conversation. For example, a formal conversation in a meeting flows easily if people are polite to one another, speak clearly , pronouncing words correctly, and make it clear whether or not they are speaking about something in the past, present or future. People show good manners by taking turns to speak, joining in the conversation and by stating clearly what they mean without using informal language which could cause offence or be misunderstood.

Spot KeywordsKeywords to focus on in works of literature are words featured in prominent places, e.g. the title, final sentence, words in quotation marks, or speech marks, and words that are repeated or explained or highlighted by the use of language features. Try to discover what the writer’s viewpoint of their subject matter is by reading opinion pieces (e.g. feature articles in newspapers or magazine articles); in doing so you will learn to ‘read between the lines’ or even ‘beyond the lines’.

Learning the Glossary of Aspects of LanguageLearning the glossary of Aspects of Language on the following pages is important. You must take the time necessary to learn these. For each aspect of language you will need to know three things: the name, the meaning and the effect the aspect of language has in a text. For solo practise, cover up one column with a blank sheet of paper and practise recalling the facts which you have covered up. Once you can identify these aspects of language features in the texts that you read, then you can decide if one or more of the ‘language features’ (as they are also collectively referred to in this book) makes for you a significant connection between your studied/chosen texts. If that is the case then your ‘language feature(s)’ will become part of the ‘supporting evidence’ in your report.

Creating a Response to Text In the process of creating your written report, oral report or speech, poster, podcast, or computer-aided presentation, you need to :

• Choose the four or more texts you will focus on carefully with guidance and input from your teacher. One of the four texts will be independently chosen by you.

• Answer everything - The most common reason for not passing this Standard is not covering all parts of the assignment.

• Write or present formally - Be clear by avoiding slang, text language and incomplete sentences.

• Provide more than one example and think hard about your final sentence. It could be the difference between and Achieved and Excellence.

• Write about ‘the significant connection(s)’ between the four or more texts that you have identified. This is your opportunity to show that you can think widely and deeply about English texts and that you are able to express your own original viewpoint. There is a chance to show that you understand what the writer or director was trying to do in the whole text and how the writer or director has made choices to get through to the particular audience the text is aimed at.

Task 3 Using an Omniscient Viewpoint - continued

© Sigma Publications Ltd 2018

NCEA English Workbook AS 1.8 - Connections Across Texts © Sigma Publications Ltd 2017 ISBN 978-1-877567-48-3 [PDF Workbook V 1.2 : Only for use in NZ schools under a signed user license]

This file licensed forschool use only in

201811 Setting

In order to gather the evidence that will support your opinion on the connection(s) between the four or more selected texts, you need to consider the way those texts have been created or written.

All written and visual texts have some significant things in common : regardless of whether they are real or imagined the texts will be about :

• people (characters or individuals) • the places people live (setting) • the time that people live in (setting) • the things that happen to them (plot)

These texts will have :

• a narrative perspective (e.g. an innocent narrator) • a genre (e.g. biography, plays, poetry, film) • a field of interest (e.g. an online blog)

Some written, visual or oral texts have more depth than others. The texts with depth will be seen as being ‘well-written’. They will contain recognisable themes and ideas that highlight what people and life are like. In order to pass the standard you need to be able to explain what the text made you personally think or feel and identify the purpose of the writing and the probable audience for the work as well.

There are five major components of texts that you need to be able to discuss (write about) in your presentation for AS 1.8 :

1. Setting : The place where the action takes place, the time (date, time of day, season, historical background) and the social context of the action, including such things as race, social status, wealth and gender.

2. Plot : The story line in short stories, novels and plays. The events that happen.

3. Theme : The key idea(s) the writer promotes. e.g. In ‘To Kill a Mockingbird’ - the idea that racial prejudice is bad.

4. Characters : Major and minor, heroes and anti-heroes or individuals as they are referred to in non-fiction texts.

5. Aspects of Language : Ways of using language that make the text interesting and memorable e.g. alliteration.

Key Components of Written, Visual and Oral Texts

A Definition of Setting

Setting is really four things : a place, a time, a social context and an atmosphere. You really can’t talk about one of these without describing the others as well. These concepts are intertwined. Here is an example of a setting description from the autobiographical diary (non-fiction) book ‘The Diary of a Young Girl’ by Anne Frank.

Place

Time

Social Context

◆ Sealed-off rooms in the back of a warehouse in Amsterdam.◆ Anne calls them ‘damp and lopsided’.◆ Workers use the building, so silence has to be maintained (e.g. They cannot flush the toilet.)◆ The secret entrance is a movable bookcase.◆ “The whole house is crawling with fleas, and it’s getting worse each day.”

◆ 1942. Mostly set at night when Frank family can move around.◆ The Frank family have left Germany because of Jewish persecution.◆ The Germans occupy Holland during World War II. ◆ Anne Frank writes of the Jews, “The English radio says they are being gassed.”

◆ Before the Nazis, Jewish families had been integrated into European communities for centuries.◆ The Nazis wish to destroy the Jewish people.◆ Some non-Jews in occupied countries choose to betray Jews to the Nazis. ◆ Jews are sent to be killed in concentration camps.◆ Some non-Jews take terrible risks to protect Jews.◆ Anne Frank writes, “Every night hundreds of planes pass over Holland on their way to German cities, to sow their bombs on German soil.”

Atmosphere

◆ The Frank family is forced to live in close confinement with the Van Daan family in the secret annex.◆ Anne develops a crush on Peter Van Daan.◆ Anne reluctantly shares her bedroom with Mr Dussel. ◆ Boring, tense, frightening.◆ “All we can do is wait, as calmly as possible, for it to end.”

© Sigma Publications Ltd 2018

NCEA English Workbook AS 1.8 - Connections Across Texts © Sigma Publications Ltd 2017 ISBN 978-1-877567-48-3 [PDF Workbook V 1.2 : Only for use in NZ schools under a signed user license]

This file licensed forschool use only in

201833 Character

Task 23 Major Characters

We call the characters in a short story, novel, film, play or biography flat or round, depending on how much we come to know about them through the writing. If we only learn three or four facts about a person, they’re flat. A writer will purposely supply much more information about a round character than a flat character. A playwright will often suggest aspects of a person’s character and leave the actor to tease out more details in the course of acting the part using their own ideas.

Some writers deliberately use flat characters for effect e.g. in Action novels. We don’t learn much about the central character who can be a ‘mystery’ man or woman, but we enjoy the ride! Generally speaking a reading audience loves to find out why and how people behave the way they do.

Major Characters are usually round characters. It is their actions, reactions, problems and conflicts that intrigue us and make us want to find out more. They are usually stronger, better or wiser by the end of the text than they were at the beginning. When this doesn’t happen for example in the Shakespearean tragedies such as Romeo and Juliet, when the hero dies, there is often a moment when the central character sees what a big mistake they have made and we see it too.

1 In order to describe the way in which the author or director has developed the major character in two of your studied/chosen texts, you will need to comment on two or three of their methods as described on page 32 and record some actual examples from your studied/chosen text.

a) Choose a text you have studied either independently or in class (Text A).

Name of Text A : ………………………………………………………………………………………………………………………………..

Author / Director : ………………………………………………………………………………………………………………………………

First character development method ………………………………………………………………………………………………………...

Example …………………………………………………………………………………………………………………………………………

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Example …………………………………………………………………………………………………………………………………………

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Second character development method …………………………………………………………………………………………………….

Example …………………………………………………………………………………………………………………………………………

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Example …………………………………………………………………………………………………………………………………………

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b) Choose a text you have studied either independently or in class (Text B).

Name of Text B : ………………………………………………………………………………………………………………………………..

Author / Director : ………………………………………………………………………………………………………………………………

First character development method ………………………………………………………………………………………………………...

Example …………………………………………………………………………………………………………………………………………

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Example …………………………………………………………………………………………………………………………………………

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Second character development method …………………………………………………………………………………………………….

Example …………………………………………………………………………………………………………………………………………

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Example …………………………………………………………………………………………………………………………………………

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© Sigma Publications Ltd 2018

NCEA English Workbook AS 1.8 - Connections Across Texts © Sigma Publications Ltd 2017 ISBN 978-1-877567-48-3 [PDF Workbook V 1.2 : Only for use in NZ schools under a signed user license]

This file licensed forschool use only in

201851 Examining the Short Story

Unpacking the Short Story

Short Stories have many of the elements of the novel including a setting, plot, characters and a theme. A short story can generally speaking be read in under an hour. There are some key differences however. Many modern short stories will start in the middle of the action rather than at the beginning with an exposition of the setting and characters. Short stories will typically have these characteristics :

❏ a focus on one incident

❏ a simple plot

❏ a setting consisting of one place and time and a defined social setting

❏ a limited set of characters

❏ a limited but significant amount of dialogue (conversation)

❏ a complication (an event that introduces the conflict)

❏ a crisis (where the central character has to commit to taking action)

❏ a defined climax or turning point

❏ a resolution (the point where the conflict is resolved in sad or happy ending)

❏ an ending that may be explicit (clearly described), implicit (suggested only where the reader has to work out what happened and why) have a twist, or be unresolved (a cliff hanger ending)

The short story can describe a ‘slice of life’ and the writer will reinforce a particular point of view by choosing vivid adjectives, adverbs, symbols and metaphors that help to convey the writer’s theme to the reading audience. The writer’s choice of words will convey the mood and tone of the short story.

Example

Patricia Grace is a major New Zealand novelist, short story writer and children’s writer, of NgatiToa, Ngati Raukawa and Te Ati Awa descent; she is also affiliated to Ngati Porou by marriage. Grace began writing early, while teaching and raising her family of seven children, and hassince won many national and international awards, including the Deutz Medal for Fiction, and the Neustadt International Prize for Literature, widely considered the most prestigious literary prize after the Nobel. A deeply subtle, moving and subversive writer, in 2007 Grace received a Distinguished Companion of the New Zealand Order of Merit for her services to literature.

Consider Patricia Grace’s skilful use of detail in the first lines of the story 'Butterflies' :

The grandmother plaited her granddaughter’s hair and then she said, “Get your lunch. Put it in your bag. Get your apple. You come straight back after school, straight home here. Listen to the teacher,” she said. “Do what she say.”

These few details give us a lot of information that will be important for understanding the story. The way the grandmother plaits the granddaughter’s hair shows that she wants the granddaughter to be seen as tidy in her appearance and that she cares for her. Perhaps she is the main caregiver rather than her mother.

The simple repetitive instructions tell us that the girl must be very young. The apple in the lunch and the instruction to “…come straight back after school” also show the love that the grandmother has for the girl.

In telling the granddaughter to “Listen to the teacher” and “Do what she say” the grandmother reveals her feelings about the importance of education for her granddaughter. The fact that the grandmother’s own speech is ungrammatical makes the short passage poignant as we realise that she must have been deprived of a ‘good education’ herself.

Notice how many words it took to explain Grace’s two lines!

Grace’s work includes :© Sigma Publications Ltd 2018

NCEA English Workbook AS 1.3 - Unfamiliar Written Texts © Sigma Publications Ltd 2017 ISBN 978-1-877567-26-1 [PDF Workbook V 1.2 : Only for use in NZ schools under a signed user license]

NCEA LEVEL 1EnglishWorkbooks

NCEA LEVEL 1

STUD

IED WRITTEN TEXTS1.1

NCEA LEVEL 1

FORMAL WRITING

1.5

NCEA LEVEL 1

STUD

IED VISUAL OR ORAL TEXTS1.2

NCEA LEVEL 1

CREATIVE WRITING

1.4

NCEA LEVEL 1

UNDE

RSTA

NDING VISUAL / ORAL TEXTS1.11NCEA LEVEL 1

RESP

ONSES TO READ TEXTS1.10

NCEA LEVEL 1

INFO

RMATION LITERACY SKILLS1.9

NCEA LEVEL 1

CONN

EC

TIONS ACROSS TEXTS1.8NCEA LEVEL 1

CREA

TE A VISUAL TEXT1.7

NCEA LEVEL 1

CONS

TRUCT & DELIVER ORAL TEXT1.6

NCEA LEVEL 1

UNFA

MILIAR WRITTEN TEXTS1.3EXTERNAL EXTERNAL EXTERNAL

INTERNAL INTERNAL INTERNAL

INTERNAL INTERNAL INTERNAL

INTERNAL INTERNAL

Class access to the following Level 1 achievement standard PDF workbooks is available only to New Zealand schools under a signed user license with Sigma Publications. Individual students may buy these workbooks via the i-Rite app store. Go to the e-book page on the Sigma website for more information.

Electronic

Workbooks

About the AuthorSusan Battye is an experienced teacher of English and Drama who has taught at secondary schools in Westland and Auckland. The creator of e-media resources for Media Studies, Drama and Dance, Susan’s many English and Drama textbooks are used widely in both New Zealand and Australian primary and secondary schools.