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UNIT 1 English — Change and Continuity 1 How does the English language and its history reveal who we are and what we value? 1 Tuning in 2
1.1 The history of English 3 What’s so special about English? 3 Old English: The Seafarer 3 Old English: Beowulf 7 Beowulf on the big screen 10 Writing that packs a punch 11 French influences on English language 13 Middle English emerges 14 The Pardoner’s Tale 14 Wordsmith . . . Greek and Latin roots 17
1.2 Technology and language change 19 How do new technologies alter language? 19 Weird words 20 Wordsmith . . . The future of the English language 23
1.3 Language and identity 24 How does our language express our sense of identity? 24 Talkin’ Ostrayan 24 A distinctive Australian voice 24 English and Indigenous Australia 26 What’s in a name? 28 Teen-speak 29 Really cool 31 Wordsmith . . . Denotation, connotation and euphemism 32 Compose and create 33
UNIT 2 Adaptations and transformations 35 How are valued texts adapted or transformed for new contexts? 35 Tuning in 36
2.1 Drawing on Shakespeare 37 Why are there so many adaptations of Shakespeare’s plays? 37 Shakespeare goes intertextual 39 A poetic adaptation of Romeo and Juliet 42 Wordsmith . . . Counting the beat 44
2.2 Creating a classic ‘brand’ 46 What gives classic texts their enduring value? 46 The original book 46 Pride, prejudice and popcorn 51 Wordsmith . . . Active and passive voice 53
2.3 Creating alternative meanings 54 How can texts be altered to re ect new values and beliefs? 54 Classic picture books 57 Turning to the big screen 59 Wordsmith . . . Americanising English 61 Compose and create 62
UNIT 3 Text in Context 63 Why is context central to the production and reception of a text? 63 Tuning in 64
3.1 What is context? 65 How does context influence both the creator of the text and the audience? 65 Positioning 66 Cultural context: time/era 68 Context of situation: theme in a novel 68 Avatar — theme in a film 73 Wordsmith . . . The skill of debating 74
3.2 The context of place 76 How is context conveyed through setting? 76 Of Mice and Men 76 Avatar — setting in a film 80 Wordsmith . . . Impressionistic description 82
3.3 The context of social circumstances 83 How do a society’s prevailing beliefs and values relate to context? 83 Social circumstances 83 The person telling the story 83 Creating the context for a great story 89 Wordsmith . . . Writing an analytical response 94 Compose and create 96
UNIT 4 Artistry 97 How do writers capture powerful moments that move us? 97 Tuning in 98
4.1 Creating a narrative persona 99 How do writers craft a persona and voice to engage their audience? 99 Wordsmith . . . Establishing a persona 104
4.2 Structure: orientation, conflict and climax 107 How do great writers experiment with structure? 107 Orientation 107 Conflict 109 Climax 112 Wordsmith . . . The narrative arc 115
4.3 Developing style 118 How does a writer create a distinctive style? 118 Style in a prose novel 118 Style in a verse novel 121 Wordsmith . . . Imagery, symbols and motifs 124 Compose and create 126
UNIT 5 Manipulation 127 How do writers and composers manipulate us through texts? 127 Tuning in 128
5.1 The fiction writer as manipulator 129 How do fiction writers influence our responses to their narrative? 129 Manipulating through dialogue 133 Wordsmith . . . Using dialogue to maintain reader interest 139
5.2 The non-fiction writer as manipulator 141 How do non-fiction writers influence our perceptions? 141 Similar views; different tones 144 Wordsmith . . . Perfecting the witty one-liner 147
5.3 The visual artist as manipulator 148 How can visual images and plays upon words manipulate us? 148 Wordsmith . . . How punctuation makes meaning 152 Compose and create 153
UNIT 6 Curtain up! 155 How do performers interpret, craft and engage? 155 Tuning in 156
6.1 Understanding performance 157 How do characters create performance? 157 Mapping a character 157 Objectives in action 158 How do performers reveal their characters? 160 What can words tell us? 163 A new character 164 Wordsmith . . . Understanding conflict 165
6.2 Analysing performance 167 How can we analyse a specific play? 167 The tragedy of Macbeth 167 Tragedy in text 168 The structure of tragedy 170 Characters in Macbeth 172 Character in focus: Lady Macbeth 173 Three witches 175 Wordsmith . . . Textual interventions 177
6.3 Creating performance 179 How can we use text to create performance? 179 Act III, Scene ii 180 Guilty or not? Creating a new text for performance 182 Law and order 184 Wordsmith . . . Blocking and emotional interpretation 186 Compose and create 189
UNIT 7 People and Places 191 How are people and places represented through language and images? 191 Tuning in 192
7.1 Representing places 193 How are representations constructed? 193 Travel tales online 196 Feature articles on travel 198 Wordsmith . . . Choosing language to craft the imagery of place 201
7.2 Representing ethics 203 How do representations shape reader responses to ethical issues? 203 Representing the ethics of voluntourism 206 Wordsmith . . . Citing the work of others in your writing 210
7.3 Representing people 212 How do documentary film-makers represent people? 212 Constructing an image 217 Constructing representations through dialogue 219 Wordsmith . . . Analysing representations in documentary 222 Compose and create 223 Projects Plus 225 Literary appreciation 226 Wish you were here 228