Go ahead and tilt your mobile the right way (portrait). The kool kids don't use landscape...
NOTE: Although this blog is targeted at Literature, it's also applicable if you're studying English or EAL as context is an important criteria in all three subjects!
Literature is probably one of your hardest VCE subjects. If it’s not, then go you! (please tell me your secrets).
However, if you’re anything like me, then you probably look a bit like this when you begin considering the overall meaning of a text, the author’s views and values and how any three passages in the text create the meaning.
When I studied Literature and became awash with confusion, like our old pal Ryan Renolds, the first thing I did (after eating a whole block of chocolate), was ensure I understood the context of the text. Without a clear understanding of the context of your text, you cannot fully comprehend the views and values of the author, nor the overall meaning of a text!
So if you don't want to be feeling like Renolds after you write a piece for English, Literature or EAL, consider the following:
Author's Context Vs. Reader's Context
Austen was hunched over her small writing desk in the village of Chawton during England’s Georgian era as she wrote Persuasion. You are more likely reading it in a cozy bed, listening to Taylor Swift and half considering what you’re going to watch on Netflix later. Remember, your current social and cultural context can have a great influence on how you read a text, so it’s always important to imagine the author’s own context – whether this be very similar, or very different from the context of their text. It’s as easy as a Google search!
The social context of a text is the way in which the features of the society it is set in impact its meaning. There are two aspects to social context: the kind of society in which the characters live, and the one in which the author’s text was produced.
Charlotte Brontë’s Jane Eyre was set in the same social context she herself lived in. It was one in which women were seen as the lesser sex, there was a great divide between the wealthy and lower class, and strict class boundaries were enforced. All of these societal features are key in determining Brontë’s views on the importance of social inclusion, and her championing of the strength of women.
Historical Context
The historical context of a text is entangled with its social context, as underlying norms and convention are historically specific. The historical context is important to note especially when large changes have occurred between the time the work was produced, and our current day, so it is not assessed by our own concerns alone.
Aeschylus’ Agamemnon was first performed in 458BC, in Ancient Greece, a time vastly different from our own. Therefore, it is important to be aware of how the play was delivered, at the festival of Dionysus as part of a trilogy. Also have an understanding of the myths surrounding the Trojan War as well as those surrounding Agamemnon, Cassandra and Clytemnestra.
Cultural Context
Culture refers to a particular way of life, involving religion, race and nationality, as well as things like food, dress code and manners. Furthermore, culture can relate to art, music, writing and literature itself. Cultural context, which is similarly linked with social, historical and ideological context, is especially important to note if the author is attempting to make a comment on an aspect of culture, or the clash of two cultures.
Cross cultural contact between an Indigenous tribe in Western Australia, and the British colonisers of this land, is explored by Kim Scott in his novel That Deadman Dance. He reveals aspects of culture largely unknown to current members of Australian society, and also explores whether assimilation can be seen as a harmonious sign of friendship, or an intrusive loss of culture. The evolution, damage and protection of culture is an important context in this novel, and has a large bearing on the overall meaning of the text, as well as Scott’s views and values.
Ideological Context
Ideology refers to the systems of beliefs and ideas that underpin our attitudes and behavior. Such ideology may be valued by society as a whole, or it may be the basis of conflict. Ideology is a context that is in many ways invisible. This is because our own ideology is largely internalised and normalised, we act according to our assumptions and social norms.
Many texts explore ideological context, either challenging or championing it. In his play Who’s Afraid of Virginia Woolf? Edward Albee challenged perceptions at the time of the family unit, portraying a couple that symbolises the immense dissatisfaction caused by idealistic portrayals of marriage, and the fallacies of the American Dream. He illuminates how George and Martha escape from meaninglessness by creating fantasies and illusions, but how these eventually lead to the breakdown of their mental health.
So next time you’re struggling to get started on a Literature piece, remember to think deeply about the different aspects of your text’s context!
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In your English class, you probably feel like your teacher is making stuff up. Moments where you think, 'The author can’t possibly have meant that'. To your English teacher, the smallest details have major implications in interpreting the text.
In fact, you probably agree with jokes like this:
The Book: 'The curtains were blue.' What your teacher says: 'The curtains represent the character’s depression.' What the author meant: 'The curtains were blue.'
Or even this one...
The disconnect you feel between yourself and the teacher is not just because your teacher is stretching for something to analyse. Whilst the author may have meant something different to what your teacher thinks, this doesn’t mean your teacher is strictly wrong. Context and the author’s intention are two complicated considerations in English, and a whole range of study is dedicated to them. At the VCE level you must consider the context your text was written in, and the author who wrote it, but this shouldn’t hinder your own unique interpretation of the text.
Your interpretation is more important than the author's intention
In 1968, Roland Barthes proposed a theory that has stuck with critics and academics of literature. 'The Death of the Author' claimed that the biography, views or intentions of the author are not a part of the literary object.
The text you are studying in English does not belong to its author, but to the reader, and what the reader decides to make of that text is valid, as long as it is backed up with evidence (as your teacher will say). Barthes’ original essay is complicated, but at a basic level, 'The Death of the Author' says that the curtains are not only representative of the character’s depression but could also represent the character’s love of blue orchids.
When we read, we automatically apply our own experiences, biases and understanding of the world to the text. As such, each person is likely to interpret a text in different ways. This is a major part of studying English, as the critic (you) is more important than the author’s original intention. The fact that a single text can give rise to multiple interpretations is the reason we study English; to debate these interpretations. When you are given an essay topic, you are being asked for your opinion on one of these debates, not the author’s opinion on their own work. If you were reading The Fault in Our Stars and claimed it romanticised cancer, you would be participating in the literary debate, despite going against John Green’s original intentions.
In the modern age of mass media, the author is attempting to revive themselves. These are authors who attempt to dictate interpretations of their works after they have been published. The most famous of these is likely J.K. Rowling, author of the Harry Potter series. Rowling’s twitter page adds many pieces to the Harry Potter canon and Rowling offers her own interpretations of the text. To Rowling, her intentions are the only correct ways to interpret her texts, and as such she shares them frequently.
This is not true, however, for any author. Authors are not the be-all-and-end-all when it comes to the interpretation of their texts. Despite having intentions and opinions on their texts, there is also evidence which counters their interpretations.
When it comes to the debate surrounding the texts you study, you need to remember that the interpretation of the author is only one part of the debate. It is an opinion equal to everyone else involved in the debate. Imagine the author is on trial. They may have an opinion of the crime (or text), but so does the prosecution. You are the jury and must come up with your own interpretation of the crime. Whether it matches up with the author’s intentions or not does not matter, as long as there is supporting evidence within the text.
Context in VCE English
But what about the circumstances in which something was written? Every time you start a new text you are probably asked to research the time in which it was written, or what major political events may be relevant. Unlike the author, these factors are very important in interpreting a text.
For starters, a text may explicitly reference a certain event, and so understanding that event is key to understanding the text. An episode of the Simpsons may make fun of Donald Trump, and the writers assume we have the contextual knowledge to know who Donald Trump is, why he is important and why the joke is funny. It is easy for us to understand this context because we live in the context.
If you’re studying texts from 200 years ago it becomes harder to interpret because we’re unfamiliar with the context. While you don’t have to know the context of your text perfectly, understanding the cultural beliefs and major events will help you consider the text objectively.
Researching the context of a text acknowledges that literature is a product of the culture and politics of its time. Its themes may still be relevant in the modern age, but it is difficult to fairly judge, critic and interpret a text if we do not consider the context in which it was written. A piece of literature will either follow or criticise the views and opinions of the time, and it is the responsibility of the reader to understand these views and determine where the text sits.
Okay, so the text is a reflection of the time from which it stems, and is separate from the author that wrote it? Not quite. Counter to 'The Death of the Author', the author is also a part of context, and this means certain parts of the author should be considered in interpreting a text.
If there is ambiguity in the meaning of a text, the author’s personal beliefs (i.e. views and values) may clear it up. If a character of a certain race is stereotyped and mocked, the meaning of this may change depending on the race of the author. If an author stereotypes their own race, they might be criticising the way other people see them, whereas making fun of a different culture is most likely upholding racist or discriminatory belief systems.
Whether you're studying English, Literature or EAL, I recommend you read The Importance of Context for a further breakdown of the contexts you need to consider.
Deriving Meaning From Texts in VCE English
So, what ARE the curtains?! What do they mean? Well, they're a metaphor, representing more than their literal role as curtains. But also, they’re just blue.
The truth is, whilst context and the author are relevant, we should try to gain as much from the text as possible before relying on the context to guide our interpretations. While studying your texts, it is reasonable to apply modern standards to your interpretations.
Shakespeare’s plays are a tad sexist, and we’re able to criticise that, despite Shakespeare writing in a different context (for more on studying Shakespeare in VCE, read How to Approach Studying Shakespeare). But it would also be difficult to appreciate the meaning of texts without the context, especially when the text is a response to a major event. At the same time, we’re allowed to expand on what the author has written. We are not confined to what the author meant to say when we interpret texts. As an English student you have the opportunity to consider what each word may represent for the characters and how it influences your unique interpretation.
So, the curtains mean whatever you want them to mean. You can make reasonable assumptions about a text based on the context it comes from and from the author’s life, but you shouldn’t assume that something means nothing. Trivial things like the colour of curtains may not have been important to the author, but may allow us as English students to analyse and look deeper into the text, its themes and the psyche of the characters.
In your SACs and exams looking at these small details and deviating from the author’s intentions is an easy way to stand out. So, when your teacher says the curtains are a metaphor, consider what else could be a metaphor, and don’t assume the author has all the answers, or that there is only one interpretation.
So…you’ve just begun the school year and you’re feeling pretty excited about English. You’re determined to put aside all distractions this year and to only focus on studying, studying and studying. But…the minute you sit down at your desk, you find that your mind goes completely blank and that you are left only with one dreadful question: What now?
If this sounds all too familiar to you, you are definitely not alone. English can often make you feel like you don’t even know where to start. So, here is a quick guide that can help you to plan out your year, to break free from procrastination and to find some sparks of motivation when you feel like there is simply no road ahead.
Step 1: Read Your Text!
This may seem like the most obvious step, but it can make all the difference when done thoughtfully and thoroughly. One thing that VCAA English examiners always look for when reading text responses is in-depthknowledge and understanding of the text, and the best way to develop and gain this knowledge is to read, read, and read again! Try to treat your text like a blank map, full of unexplored territories and winding roads that are there for you to uncover each time you read the text.
When you read your text for the first time, look out for the major roads and landmarks; the setting and premise, the plot, the characters, the broad ideas, the authorial voice and style etc. Once you’ve gotten a good grasp of the major elements of your text, read it again, and focus on adding more detail to your map; fleshing out characters, understanding their motives, understanding the author’s purpose, and underlining key quotations and particular passages that encompass a broader idea. If you’re a forgetful person like me, you might find it helpful to note down some key observations as you go and to create a summary you can always refer back to throughout the year.
Step 2: Read Around Your Text
While reading and rereading your text will definitely help you to know your text in and out, in order to fully tick the box of knowledge and understanding, it is also important to read around the text; to understand the context of when and why the text was written, for whom it was written, and the impact the text has had on both its original audience and its audience today. Especially for texts that are rooted in history, like The Women of TroyorRear Window, understanding context and background information is essential in understanding the text itself. After all, Rear Window just wouldn’t be Rear Window if it weren’t for the McCarthyistic attitudes that were so prevalent at the time, and The Women of Troy would have been a far more different play had it not been written during wartime. Each text is a product of both its creator and its time, so make the effort to research the writer, playwright or filmmaker, and the historical, cultural, social and political context of your text.
When doing your research, it can be helpful to use a set of questions like the one below as a guideline, to ensure that the information you’re finding is always relevant.
Who is the writer/playwright/filmmaker?
Who is the audience?
When/where was your text written?
When/where is your text set?
Why was your text written?
What is the style/genre of your text?
Step 3: Study Your Text
Here’s where it gets a bit more difficult. Now that you’ve drawn out your map, and dotted it with various landmarks, rivers and roads, it is time to actually use your map to go somewhere; to make use of all the knowledge and background information you have gathered so that you can begin to analyse and dissect your text in greater detail. Studying a subject with as large of a cohort as VCE English can oftentimes mean that ideas are recycled and exams are repetitive, so in order to distinguish yourself from the pack, try to look for ways to craft your own original path; a view of the text that is distinctly your own, instead of following others. The best way to do this is to do a bit of thinking at home; to create your own original set of notes and observations and to spend time analysing each section of your text in greater detail than you may have done in class.
Constructing a notes table like the one below can help you greatly in sorting and fleshing out your ideas, and, when done consistently throughout the year, can save a lot of time and effort when it comes to studying for the exam!
The Women of Troy Notes Table:
Step 4: Target Your Study to Your SAC
So...you’ve made it all the way to your SAC. You may be feeling nervous at this point, even a little burnt out, but there is no need to worry. Studying for your SAC simply requires a bit of adjusting to your normal studying routine; changing it up so that instead of simply brainstorming ideas, you’re actually using these ideas in topic sentences, and instead of collating a list of quotes, you’re embedding these quotes into a practice paragraph. These are all examples of targeted study: taking all the information you’ve gathered on your text, all the notes you’ve made, and all the work you’ve done in class, and putting it into practice.
Targeted study could be done in the form of an essay plan, or unpacking an essay question
Within the THINK strategy, we have 3 steps, or ABC. These ABC components are:
Step 1: Analyse Step 2: Brainstorm Step 3: Create a Plan
The Prompt:
‘I ask you not to hate me. With the greatest reluctance / I must tell you the news…’ Euripides softens the brutality of the Greeks’ behaviour through his characterisation of Talthybius.
Bold keywords from the prompt: ‘I ask you not to hate me. With the greatest reluctance / I must tell you the news…’ Euripides softens the brutality of the Greeks’ behaviour through his characterisation of Talthybius.
To what extent do you agree? This part is asking me to adopt a specific viewpoint, whether you agree, disagree or are somewhere in between.
Step 2: Brainstorm
Unpack the keywords in the topic:
'not to hate me', 'greatest reluctance'– Talthybius’ desire to be liked, his understanding of the actions of Greeks
Softens the brutality– Talthybius serves as the opposing force to the Greeks’ brutal behaviour, makes the Greeks more sympathetic
Characterisation– Talthybius’ personality, behaviour, actions, language
Step 3: Create a Plan
Contention:While Talthybius is used by Euripides to evoke some sympathy for the Greeks, ultimately, he serves to exacerbate the cruelty of the Greeks’ actions and the devastating consequences of their fall from a civilised, sacred people to a bestial, impulse-driven group of men.
Paragraph 1: Certainly, amongst his peers which are excoriated by Euripides for their cruel, unfeeling behaviour, Talthybius is depicted to be the most humane of the Greeks due to his conflicted nature, evoking sympathy amongst the audience, and reinstating some humanity to the Greeks’ otherwise sullied reputation.
Targeted study could also be done in the form of unpacking quotes, and analysing their significance
We can also use the ABC steps here. For example:
'Like the mother bird to her plundered nest, my song has become a scream'
Step 1: Analyse
Demonstrates the dehumanisation of the Trojan women, and the heinous, beastly actions of the Greek men, who, like their 'war machine' description, have subverted all that is natural to become violent, and all that is beautiful to become grotesque
Step 2: Brainstorm
'Mother bird' - animal imagery, maternalistic
'My song has become a scream' - demonstrates devastation, contrast between melody to dissonance
Step 3: Create a Plan
Embed the quote into a sentence, e.g.:
Euripides’ description of Hecuba as a 'mother bird' at her 'plundered nest' demonstrates the innately maternal nature of her character through animal imagery, while also emphasising the vulnerability of the Trojan women, who have been reduced to defenceless prey as a result of the Greeks’ predatory and beastly behaviour.
Planning essays and breaking down prompts/quotes are extremely time-efficient ways to approach your texts and SACs. Rather than slaving away for hours and hours writing full essays, these simpler forms of targeted study can and will save you the burnout and will get you feeling confident faster.
Only move on to writing a full practice essay or some practice paragraphs once you feel you have a good in-depth understanding of how to plan an essay and once you have already naturally memorised some important quotes that you can use in your essay (learn how to embed your quotes like a boss here). Remember, quality over quantity, so spend your time before your SAC revising thoughtfully and carefully, targeting your revision, and taking things slowly, rather than robotically churning out essay after essay.
Step 5: Embrace the Exam!
The end of every VCE English journey is the highly anticipated, dreaded and feared English exam. Now, while you may be reading those words with a horror movie soundtrack playing in your mind, the English exam, despite being a gruelling 3 hours of essay-writing, really isn’t as horrific as it sounds. Preparing for it is also much less intense than you might think it to be, because essentially, from the very first time you read your text, you will have already begun preparing for the exam. All that is left to do before the English exam is to polish up on some of your weaknesses identified in your SACs, to look over all the notes and information you have gathered throughout the year, to freshen up on essay writing and essay planning, and to do a couple of practices, so that you can feel as ready as you can for the real thing.
In particular, I found that in the leadup to my English exam, studying with my friends and peers was not only a welcome stress reliever, but a really good way to expand my own knowledge by helping others and being helped myself. Having your peers review your essays and helping to give feedback on theirs is always an excellent way to improve your own essay-writing skills, and, a great way to provide good constructive criticism is to follow the GIQ rule (I’m not sure if this is a real rule…but it works!)
What was GOOD about the piece? e.g. Your sentences flow really well, and you embed quotes into sentences phenomenally!
What could be IMPROVED? e.g. Perhaps adding a couple of sentences elaborating on this idea could make your essay even better!
What QUESTIONS do you have about the piece? e.g. I don’t really understand this sentence, what were you trying to say here?
Conclusion
Hopefully, these tips will be able to help you out throughout the year in staying motivated and feeling okayabout English! Remember, this is just here as a guide to help you, and not a strict regimen to follow, because everyone studies differently, and has different goals in English.
However, now that you have a clearer pathway and plan for learning your texts in-depth, what’s next? Well, it’s pretty important that you learn about the different areas of study so that you understand how you’ll actually apply all of your new-found text knowledge to each of your SACs and the exam. Our Ultimate Guide to Text Response and Ultimate Guide to Comparative give you a full rundown of what is required in these two areas of study (where you will have to learn specific texts) so I would highly recommend having a read!
English Language is 1 of the 4 different English subjects that are offered as part of the Victorian Certificate of Education (VCE). In this subject, you’ll explore how individuals and groups of various identities use different varieties of English, and how this ties in with reflecting their values and beliefs. English Language will provide you with a substantial understanding of the impact language has on societies, what it communicates about ourselves and the groups that we identify with, and how societies in turn can also influence language.
If you’re feeling uncertain about what exactly this subject entails, don’t worry! Let’s go through what’s involved in each unit, and what you’re expected to do in each.
2. VCE English Language Study Design
Note: The study design contains a metalanguage list for Units 1 & 2 and for Units 3 & 4. They’re pretty similar, except the Units 3 & 4 list includes several new features, such as the addition of patterning (phonological, syntactic, and semantic), as well as a significant addition to the discourse subsystem (coherence, cohesion, features of spoken discourse, and strategies of spoken discourse).
Unit 1
Area of Study (AoS1)
AoS1 is called ‘the nature and function of language’. You’ll learn about the functions of different types of texts, the differences between spoken and written texts, how situational and contextual factors can influence texts, and most importantly, you’ll learn about metalanguage as per the Units 1 & 2 metalanguage list.
Area of Study (AoS2)
AoS2 is called ‘language acquisition.’ Here, you’ll learn about theories various linguistics and sociologists have proposed regarding how children acquire languages. Furthermore, you’ll also cover how second languages are acquired. One of the most important skills you’ll pick up in this AoS is how to apply metalanguage in discussions and essays.
Unit 2
AoS1
English Across Time’, will provide you with a historical context for how we have achieved the form of English that we use today. You’ll learn about the processes which led to the development of Modern English from Old English, the changes this had on all the subsystems (learn about the syntax subsystem here), and the various attitudes that are held towards linguistic change.
AoS2
‘Englishes in contact’, you will learn about the processes which have led to the global spread of English, the intersections between culture and language, and the distinctive features of pidgins, creoles and English as a lingua franca.
Unit 3
AoS1
‘Informal language’, will give you an understanding of the roles of informal language in the contemporary Australian context. You’ll learn about what makes texts informal, how this differs for spoken and written texts, and what social purposes can be achieved through informal language - such as maintaining or threatening face needs, building intimacy or solidarity, creating an in-group, or supporting linguistic innovation.
AoS2
‘Formal language,’ will provide you with a detailed insight of what makes texts formal, distinguishing features for spoken and written texts, and what social purposes can be achieved through formal language - such as reinforcing authority, establishing expertise, clarifying, obfuscating, or maintaining and challenging positive and negative face needs.
In both of these AoS, you’ll be applying the Units 3 & 4 Metalanguage in your short answer responses and analytical commentaries. The additional metalanguage is typically taught in Term 1 of year 12, while you learn the content for Unit 3.
Unit 4
AoS1
‘Language variation in Australian society,’ is a detailed study on how both standard and non-standard Australian English are used within contemporary society. You’ll learn about how identity is constructed through language, how varieties of English vary by culture (such as ethnolects or Australian Aboriginal English), and the attitudes that are held towards different varieties by different groups.
AoS2
In ‘Individual and group identities’, you’ll look at how language varies by different factors, such as age, gender, occupation, interests, aspirations, or education, and how these factors all contribute to our identities. You’ll learn more about in-groups and out-groups, and how they can be created and maintained through language. Furthermore, you’ll learn about the relationship between social attitudes with language, and how language can be shaped by, but also influence, social attitudes and community expectations.
For more information, have a look at the study design.
3. What's Involved in the Exam?
The Year 12 Exam involves 2 hours of writing time and 15 minutes of reading time. It has three sections:
Section A: 15 marks (It is recommended that you spend approximately 20-25 mins in this section)
Section B: 30 marks (It is recommended that you spend approximately 40-45 mins, and write 600-700 words)
Section C: 30 marks (It is recommended that you spend approximately 45-50 mins, and write 700-800 words)
Make sure you have a read through of the assessment criteria for each section.
Section A
Section A is 15 marks of short answer questions. You are given a text, and you’re required to respond to questions about the stylistic and discourse features used in the text, while ensuring that you’re demonstrating a detailed knowledge of metalanguage through carefully selecting relevant examples from the text.
A strong understanding of the metalanguage is really important, both in terms of knowing the meanings of each metalinguistic term, and also in knowing which category each term fits under (For example, knowing that inference is part of coherence and not cohesion). Therefore, it is important that you learn your metalanguage in terms of what each terminology means, and also in terms of which category each term fits into.
As a general guide:
1 mark – one idea or one example or one explanation
2 marks – one idea plus one or two examples with explanations
3 marks – two ideas plus one or two examples of each with explanations
4 marks – two or three ideas plus one or two examples of each with explanations
5 marks – three ideas plus one or two examples of each with explanations
One of the biggest mistakes students make here is not reading the questions properly. Students sometimes miss how many examples the questions specifies to identify (this information is often given as ‘identify 2 examples’ or ‘identify the purposes’ as plural), forget to check how many marks a question is, or mix up certain metalanguage terms, such as confusing sentence types with sentence structures. So, be very careful in answering these questions.
Here are some examples of short answer questions that have come up in past VCAA exams:
[Question 2, 2017 VCAA] - Identify and comment on the use of two different prosodic features. (4 marks).
Here, you would identify 2 different prosodic features (pitch, stress, volume, intonation, or tempo), and discuss what effect they have on the text, taking contextual factors into consideration. For example, stress could be used to draw emphasis, or intonation could influence the emotion conveyed.
[Question 1, 2015 VCAA] - What sentence types are used in lines 15 to 36? How do they reinforce the purposes of this text? (3 marks)
Here, you would identify the relevant sentence types (declaratives, imperatives, interrogatives, and exclamatives), and explain their role in the text. You would also want to ensure that your explanations are specific to the context of the text.
[Question 9, 2010 VCAA] - Discuss the function of two different non-fluency features between lines 70 and 96. (4 marks)
Here, you would identify two non fluency features (such as pauses, false starts, repairs, repetition) and give a 1 sentence explanation of its role or what it indicates.
[Question 1, 2012 VCAA] - Identify the register of the text. (1 mark)
This question is quite straightforward, and you could use terms such as formal, informal, predominantly formal/informal in your response.
[Question 4, 2012 VCAA] - How does the verb tense in lines 9–34 support the purpose of this section of the text? (2 marks)
Here you would identify whether the verb tense is in past, present, or future tense, and explain why it has been used in that way based on the contextual factors.
[Question 3, 2017 VCAA] - Using appropriate metalanguage, identify and explain two specific language features that reflect the speaker’s identity.(4 marks)
Here, you can pick examples from any subsystem that relate to the speaker’s identity, such as jargon, colloquialisms, semantics of certain jokes, expletives, or pejoratives.
Note: The exams prior to 2012 have 2 sets of short answer questions, because analytical commentaries weren’t a part of the exam back then. This leaves you with lots of practice questions! However, do keep in mind that the metalanguage lists differed and certain features were categorised in different ways. For example, Question 2 from the VCAA 2013 exam asks you to talk about prosodic features, however, in the examiner’s report, pauses are suggested as an option. We know that in the present study design, pauses are classified as features of spoken discourse, under the discourse subsystem, whereas prosodic features are classified under the subsystem of phonetics and phonology.
Section B is an analytical commentary (AC) worth 30 marks. The introduction for an AC is an explanation of the contextual factors, the social purpose, and the register, of the text. In the body paragraphs (generally three), you group your examples from the text by themes, and explain their roles.
There are two main approaches for body paragraphs; the sub-system approach, and the holistic approach. In the sub-system approach, you would organise your examples so that each paragraph is addressing a specific subsystem. For example, your AC could be composed of the introduction, and then a paragraph on lexicology, one on syntax, and one on discourse. This approach is easier for when you’re starting out with ACs, but one of the issues with it is that you end up limiting yourself to just one portion of the text for the one paragraph. In the holistic approach, you would typically do a paragraph on social purpose, register, and discourse. In this approach, you are able to group examples from multiple subsystems and talk about how they work together in achieving specific roles in the texts.
Make sure you’re attempting a range of different types of texts, such as, opinion pieces, recipes, oaths, editorials, advertisements, eulogies, social media posts, public notices, television transcripts, radio transcripts, letters, speeches, legal contracts, conversations, narratives, and more.
For more information, have a look at this video:
Section C
Section C is an essay worth 30 marks. There are a range of topics that can potentially come up in the exam, and it is really important that you practice writing a variety of essays.
In essays, it is really important to ensure that you set out a clear contention in your introduction. This will basically tell the assessor what point you’re making in your essay, and it’ll also help you remember which direction to take your essay. After your contention, you need to signpost your ideas. This means that you need to summarise what 3 points you are stating in your body paragraphs.
Here’s an exercise which is really helpful in refining introductions - When you’re writing your contention, write “In this essay, I will argue that [Insert contention]. I will do this by stating the following points [Insert signposting].” When you’re happy with your introduction, you can remove the underlined parts. This will help you really understand how the roles for contentions and signposting differ. You’ll also thoroughly understand what position you’re taking in the essay.
The body paragraphs follow TEEL structure. You begin with your topic sentence, state your evidence, explain it, and then link it back to your contention. You have three options for the type of evidence that you’ll use (stimulus material, contemporary examples, and linguist quotes), and it's important to use a combination of them. According to the exam rubric, you have to be using at least 1 piece of stimulus material. Contemporary examples should ideally be from the current year and the previous. Linguist quotes don’t have time restrictions but it’s a good idea to try and find recent ones.
One of the most important things in body paragraphs is to make sure that you’re able to link your example back to your contention. If you’re unable to do this, it means that your examples aren't relevant to the points that you’re trying to make.
In your conclusion, you need to ensure that you don’t introduce any new examples or points. The role of the conclusion is to summarise and reinforce your points and your overall contention.
Having a study timetable will make studying much less stressful than it needs to be. In your timetable, make sure you are allocating enough time for all of your subjects, as well as time for rest, extra-curricular activities, work, and socialising. A realistic time-table will also mean that you’re less likely to waste time trying to decide which subjects to study for. For example, every Sunday, you could spend 15 minutes planning out your week based on which assessments you have, and which subjects you would like to give time to. This becomes especially useful in SWOTVAC, where you’ll be responsible for ensuring you’re spending enough time on each subject whilst also balancing everything else outside of school.
Here are some extra resources to help you with time management:
Consistently revising metalanguage is one of the most important study methods for English Language.
The basics of metalanguage are covered in Unit 1. Make sure you keep a clear set of notes for this content so that you’re able to look back on it to revise throughout the year. Before the year 12 year begins, you want to make sure that everything in the year 11 metalanguage list makes sense to you. Spending the summer holidays before year 12 begins in reinforcing the basics will help you throughout year 12, as you’ll be able to pick up on the new metalanguage much faster. One of the first things you'll cover is coherence and cohesion, so if you would like to get a head start, have a look at this post.
Throughout year 12, consistently revising metalanguage will be your responsibility. It is likely that you’ll be spending a greater proportion of class time in learning content, and writing short answer responses, analytical commentaries, or essays. Therefore, it’s really important to figure out a way that works best for you in being able to frequently revise metalanguage. Flashcards are pretty useful for revision, as well as making mind maps so that you’re able to visualise how everything is set out in the study design.
One issue students run into is that they’re able to define and give examples for metalanguage terms, however, they are unable to understand how it fits in in terms of the categories under each subsystem. For example, a student is able to remember what a metaphor is, but unable to recall that it fits under semantic patterning. Similarly, a student may know what a pause is, but not know if it’s part of prosodic features or discourse features. It’s important to know what all the categories are, because the short answer questions usually ask for you to identify features under a particular category. Therefore, spending time on just revising the definitions alone isn’t sufficient in learning metalanguage. You also need to be able to ensure that you can recall which category each term fits under.
Reading the News
For the essay, you’re required to use contemporary media examples as evidence (alongside stimulus material and linguist quotes). It’s really important for you to begin this process early so that you’re able to start using examples in essays as early as possible. For tips on how to find, analyse and store your examples, see our post on Building Essay Evidence Banks for English Language.
Having an awareness of Australia’s historical, political, and social context, will provide you with a more comprehensive perspective of the contemporary examples. So, if you don’t already do this, try to develop a habit of reading the news (The Conversation or The Guardian are a good place to start). Television programs like Q and A, The Drum, and Media Watch, will help you understand the Australian context, and often these programs will also discuss the roles of language, which directly links with what you're looking for as essay examples. It’s especially important to start early, and to build these skills over time, so that you are able to develop a holistic foundation.
Extra Practice Pieces and Seeking Feedback
Doing extra practice pieces is a really effective way to develop and refine your analytical skills. Make sure you receive feedback for all your work from your teacher or tutor, as it’s the only way you'll know if you’re going in the right direction.
If you’re short on time, even writing up AC or essay plans, or just doing 1 paragraph, is an effective way to revise.
Learning Quotes and Examples
Memorising several pages full of linguist quotes and contemporary examples may seem daunting at first, but once you begin using them in essays, they’ll become much easier to remember. Right from the beginning of yr12, make sure you set up a document to compile your linguist quotes and examples into subheadings. For example subheadings such as ‘cultural identity,’ ‘jargon,’ ‘hate speech,’ ‘free speech,’ or ‘Australian values’ will make it easier for you to navigate your notes when you're planning your essays.
If you start early, you’ll be able to remember everything bit by bit as you progress through the year, which is definitely easier than trying to remember the evidence the night before the assessment. Additionally, you’ll be ready with quotes and examples as soon as you begin essays in class, so you’ll be able to use your examples earlier, hence learn them earlier, and therefore be able to memorise your quotes and examples in advance. If you’re in year 12 and you’re nearing the end of the year and still struggling to memorise your examples and quotes, try using flashcards to remember your evidence. Make sure you’re doing a range of essays on different topics so that you’re able to apply and analyse your evidence.
Learning From Your Mistakes
It can be pretty disheartening to make the same mistakes repeatedly and continue to lose marks. So, compiling the mistakes that you make throughout the year in a separate notebook or document is a fantastic way to keep track of the key things you need to remember. You’ll also be less likely to repeat those mistakes.
Group Studies
Studying in groups for English Language is a highly effective way to refine your understanding of the content, and see different perspectives in the way certain ideas can be applied. Revising metalanguage and testing your friends on their knowledge can be a light and engaging way to ensure you and your friends are on the right track. Sharing the ways you and your group have approached a specific AC is also an effective way to learn about different approaches. Discussing essay topics is a useful way in refining your arguments, as you’ll be exposed to different opinions and be able to work on ensuring that your arguments are relevant and strong.
Language is fundamental to identity and consequently we draw on our linguistic repertoire to project different aspects of our identity according to context. Discuss this statement in the contemporary Australian context with reference to at least two subsystems in your response.
(This essay topic relates to Unit 4 - AoS1, ‘Language variation in Australian society.’)
Introduction
Language plays a pivotal role in establishing and communicating various facets of identity. As such, individuals can alter their linguistic repertoire to establish in-group membership. Teenspeak is an effective mechanism in expressing teenage identity, but can also be used by the older generation to appeal to young people. Code switching between ethnolects and standard Australian English further illustrates how individuals can manipulate their linguistic choices to suit their environment, whilst simultaneously reflecting ethnic identity . Furthermore, jargon plays a critical role in establishing professional identity and signifying expertise or authority. Consequently, linguistic choices are capable of expressing diverse and multifaceted identities.
Body Paragraph
Teenspeak is capable of expressing identity and establishing in group membership amongst teenages, however it can also be used by those in the out-group to appeal to teenagers. Professor Pam Peters asserts that “Teenagers use language as a kind of identity badge that has the effect of excluding adults." Consequently, teenagers are able to establish exclusivity and in-group membership. Bakery owner Morgan Hipworth, who largely has a teenage following and is a teenager himself, employs teenspeak in a video recipe, where he responds to the question ‘Can you make a 10 layer cheese toastie?’ with ‘Bet, let’s go.’ Through using the teenspeak term ‘bet,’ Hipworth is able to relate and connect with his young audience while further asserting his identity as a teenager. This demonstrates how teenspeak can be effective in both establishing in-group membership, and expressing identity. Similarly, Youtuber Ashley Mescia’s extensive use of teenspeak initialisms in Instagram captions, such as ‘ootd’ for ‘outfit of the day,’ ‘grwm’ for ‘get ready with me,’ and ‘ngl’ for ‘not gonna lie,’ allows her to connect with her predominantly teenage following, thus allowing her to establish solidarity and in-group membership. This further indicates that teenspeak is an effective mechanism in expressing identity and building in-group membership. In contrast, teenspeak can also be used by older people in an effort to appeal to teenages. For example, in 2019, ABC’s Q and A host Tony Jones ended a promotional video for an opportunity for high-school students to appear on the panel with ‘It’s gonna be lit fam.’ This was done in an effort to appeal to younger people by exploiting the notion that it is often seen as cringeworthy when older people use teenspeak. Linguist Kate Burridge asserts that “older people using contemporary teen slang often sounds insincere and phoney,” and Jones was aware of this, however his purpose was to appeal to this to be able to further promote the video. Therefore, teenspeak is effective in both establishing in-group membership and expressing identity, and also appealing to the in-group and a member of the out-group.
Manipulation of language (obfuscation, doublespeak, gobbledegook)
Politeness strategies and social harmony
Language in the public domain; public language
Linguistic innovation
How language represents or shapes social and cultural, values, beliefs, attitudes
How language can express identity
Other functions of language, such as recording, clarifying, entertaining, promoting, persuading, commemorating, celebrating, instructing, informing
5: Attitudes to the Varieties
6: Language Change
Although language change features more heavily in Units 1 & 2, it is still important to be aware of how language is changing in everyday lives to reflect social needs, attitudes and values. Consider the following:
Australian English and its development and evolution over time
Taboo, swearing and dysphemism and the role of changing social values
If you’ve been studying John Donne’s metaphysical poetry, you’ve probably noticed that his works are riddled with different symbols and motifs. Embedded throughout his poetry, these literary devices may seem slightly abstruse to the reader. You may find yourself asking: What do they mean? And in relation to what? Even Donne’s contemporaries failed to appreciate his poetry. The neoclassical poet John Dryden rejected Donne’s works because it “affects the metaphysics” and “perplexes the minds of the fair sex with nice speculations of philosophy, when he should engage their hearts, and entertain them with the softnesses of love”.
One thing that you should understand about Donne’s romantic poetry, is that while his stark images of compasses and spheres may seem foreign to you, they were also alien to his predecessors too. So, if you’re struggling to comprehend his enigmatic poetry, not to fear! Because John Donne’s poetic peers didn’t initially get it either.
The reason for this is because Donne refused to conform to the poetic conventions of the time. The poet emerged as an idiosyncratic in the Elizabethan era, the Renaissance. Unlike his contemporaries, he didn’t employ elaborate descriptions of symbol natural landscapes, classical myths and female beauty. The reason for this was because Donne did not believe in the one-sided love and emotional frustrations that his contemporaries tried so hard to convey in such imagery.
Donne’s poetry was so different because he rejected and even openly mocked the idea of such a high-minded religious worship in literary romance. In “A Valediction Forbidding Mourning,” Donne criticises the “tear-floods” and “sigh-tempests” of the “dull sublunary lovers.”. In a similar vein, Donne satirises the “sighs” and “tears” (The Canonisation) so prevalent in Petrarchan works.
Instead, Donne advocated for a different kind of love. He espoused a love that comprised of the Body and the Soul, which was a dominant intellectual issue in the literary treatment of love in the 1590s. More specifically, Donne embraced the balance between Platonic love and the Ovidian love.
Platonic: Platonic love is essentially love that surpasses the mere sensual and physical. It is a very spiritual concept and is based on reason, affection, respect, intellect and compatibility.
Ovidian: Ovidian love
The idea of balance derived from discoveries being made about the human body during the Elizabethan era. The Renaissance was fundamentally a time of discovery (particularly in the area of science). Elizabethans believed that elements in the body needed to be balanced,
Top Tip: When you’re analysing John Donne’s poetry and writing essays, be aware of Donne’s overarching message in his romantic poetry. Most explanations about his use transcendent relationship with his lover is thus determined by obtaining a balance between the spiritual and earthly pleasures. Most examination questions will leave room for to discuss the connection between the material and the divine world! Make sure to understand this, because this is a huge component to his poetry.
It’s getting closer to the Literature exam and you’re probably starting to get more serious about avoiding dropping too many SAC marks! Depending on which order your school does Literature SACs in, you may be currently facing the often feared ‘Creative Response’. Whether you feel beyond excited to finally bring some creative flair to Literature, or you’re totally scared at the thought of creating something new, I wanted to use this blog post to help you achieve at least ten of the marks in this section. That is through the reflective commentary, which you can totally score full marks on if you put in the effort.
The VCAA Literature Study Design determines that students must submit ‘a reflective commentary establishing connections with the original text’. This aspect of the assessment counts for 10 of the 60 marks available for the Creative Response outcome. The study design further denotes that students must
‘reflect critically upon their own responses as they relate to the text, and discuss the purpose context of their creations’.
This allows your schools and teachers to direct in a relatively broad way on how you should form your reflective commentary, and may mean your friends at other schools write theirs in a very different way. In this blog post I will leave you with a suggestion of how I best believe a reflective commentary could be structured to include all important aspects, as well as tips on how to include all of what the study design asks. As I said, these are ten marks that can easily be snatched with just a little bit of hard work and attention to detail, so why not snatch them?
To induce the things needed to be included in the reflective commentary, we can look to the key knowledge and key skills points outlined in the study design:
Key knowledge:
- the point of view, context and form of the original text,
- the ways the central ideas of the original text are represented,
- the features of the original text including ideas, images characters and situations, and the language in which these are expressed,
- techniques used to create, recreate or adapt a text and how they represent particular concerns or attitudes.
Key skills:
- identify elements of construction, context, point of view and form particular to the text, and apply understanding of these in a creative response
- choose stylistically appropriate features including characterisation, setting, narrative, tone and style
- critically reflect on how language choices and literary features from the original text are used in the adaptation
What you’re really trying to do in your reflective commentary is prove to your teacher that you are hitting all these key knowledge and key skills points. As you write, ensure you are discussing how the author uses point of view, context, form, elements of construction and stylistic features in their text. It is than imperative that you describe how you have similarly used such device in your creative response. Ensure that you also discuss how you are involving the ideas and themes of the text in your creative piece, and how you are discussing them further, or exploring them in greater depth. Obviously only talk about those that are relevant to your creative response!
Sample reflective commentary
Having scored a 10/10 in my own reflective commentary, I will provide a structure that can be used to ensure you are including everything you need. I discussed my own reactions to the original text, and described how I wanted to rouse similar reactions in the reader of my creative response.
In your reflective commentary, it can be easier to put everything under subheadings. These are the ones that I used:
-Purpose
-Title
-Setting
-Characterisation
-Structure
-Narration
-Literary features (here I chose 7 particular literary features used in my text and discussed how I emulated them)
-Motifs
Under each of these paragraphs, I analysed how the author used such features to create and convey meaning, and discussed how I, in my own piece, drew on her use of them and expanded on her ideas. Here is an example of my ‘Purpose’ paragraph, which will hopefully give you an idea on how you might write your own commentary! My text was Cate Kennedy’s Dark Roots, in particular the short story ‘What Thou and I Did, Till we Loved’.
Purpose
In my piece, I ultimately attempted to lead the reader to a place of discomfort, faced with a situation that they wish never to be faced with. When I first read What Thou and I Did, Till we Loved (Dark Roots, Cate Kennedy), I simply wished never to be in Rebecca’s position, as I was sobered by the sadness of her demise as she watched her lover fade away. I sought to elicit the same response from the reader, as I aimed to convey the deterioration that both lovers suffer, as well as the loss of communication between them. I also attempted to allow the reader to question the humanity in keep people alive by machines and drugs, and whether it is fair to force people to live an unnatural life. I have sought to explore this even further than What Thou and I Did, Till we Loved bringing in the question of euthanasia and whether we have a right to die as Kyle begs of Max to “kill me” at the end of the piece, and Max concedes that “[he] would if [he] could”. The themes of my piece seeks to explore are the ways of coping with grief, guilt at causing the illness of a loved one, a life with a lack of substance, and the loss of communication due to illness.
Hopefully you’re feeling better about how you might go about completing your creative response, and getting that 10/10 on your reflective commentary!
Imagine a friend tells you eerie accounts of her witnessing a ghostly presence in her home. You scoff and condescendingly humour her. But as her stories begin to manifest itself in her gaunt appearance, you alarmingly notice how she truly believes in the apparitions she recounts. You begin to doubt her sanity, you begin to doubt the certainty with which you dismissed her supernatural visions and now, you begin to doubt yourself. THE SUSPENSE BUILDS.
But let’s say this friend filmed the ghostly apparitions and showed them to you. Sure – the evidence of this ghost is frighteningly scary. But the suspense that was built in the doubt, uncertainty and ambiguity of your friend’s tale is now lost. The ghosts caught in film acts as another eyewitness and another medium to validate your friend’s narrative. Your friend is no longer the only person who sees these ghosts, shattering all doubt within you of the ghost’s existence. THE SUSPENSE – is gone.
Notice how the form and genre of the spoken word in the first example was meaningful in its the effect on the reader? But when the form changed to a film, the meaningful suspense and ambiguity that was unique and crucial in the original text, changed, and was no longer as pronounced. Yes – the film itself may be terrifying. But the very doubt and suspense around not knowing if your friend was a lunatic for seeing ghosts or if she was telling the truth all contributes to the meaning derived from the form of the ‘text’ in an unreliable first person narrative. This is the crux of adaptations and transformations, and what you need to identify and analyse – how the meaning is changed/altered when the form of the text is changed.
Here are 7 lucky tips for how to tackle the SAC:
Identify the unique conventions in the construction of the original text – characterisation, genre, tone, style, structure, point of view/narration (or any devices employed in constructing the text e.g. cinematic devices in a film such as camera angles, framing, lighting, costumes, interior/exterior settings, sound)
Now do step 1 with the adapted/transformed text
How do the two text forms differ? How are they the same? However, be sure you do not simply compare and contrast. The most crucial step is what meaning can be derived from the similarities and differences? How does the meaning change?
Note additions and omissions (and even silences) – do they change how readers/viewers perceive the narrative and alter your opinions and perceptions of the text?
Historical context and setting – what significance does the context have on the narrative? Has the adaptation/transformation been re-contextualised? Does that alter the meaning of the original text?
How does the change in form impact you as the reader/viewer? Analyse your own reactions and feelings towards each text form. Do you sympathise with a character more in the original text? How are we positioned to feel this way? Why do you lack the same level of sympathy for the adapted/transformed text?
Incorporate pertinent quotations from both forms of text to substantiate and support your ideas and key points.
Final questions to ponder
Most importantly is to share your original interpretation of what meaning and significance you can extract from the text, and how you believe it changes once the form alters.
What makes the text in its original form interesting or unique?
Is that quality captured in its adaptation/transformation?
As always with Literature, this task is designed for you to critically analyse and actively engage with the text, understanding its nuances inside and out in order to decipher its meaning. Be individual in comparing and contrasting the two texts – avoid the obvious similarities/differences everyone in your class will also notice. It is the insightful analysis of the subtleties of how meaning is altered that will help you stand out!
Let's all be honest here, Year 12 is endlessly tiring. Literature, for all its greatness, can also be endlessly tiring. Along with 3-4 other subjects, sometimes the idea of writing a practice piece, deeply analyzing the language of your text, or doing research into the context, views and values of the author are things you really, really don’t feel like doing.
Although these things are necessary and important, they’re also often difficult, taxing, and possibly not that interesting. Not too long before the Literature exam, my friend and I were texting, both feeling immense stress and guilt because we felt we hadn’t studied enough for the exam, but equally tired and unable to write any practice pieces. I’m sure many of you are very familiar with the paradox of not spending time studying because you are instead spending that time worrying about not studying.
However, there’s really no need to suddenly feel full of stress and anxiety when you have no motivation to do such work for Literature, that’s just wasted energy! Instead, accept that you’re going to have a little break from the serious stuff, and use that energy instead to improve your understanding and knowledge of your text (part of the exam criteria!!).
My friend and I decided we’d meet for coffee, and try and just discuss our exam texts together (Who’s Afraid of Virginia Woolf and Dark Roots).
‘Bring paper and the books’ she texted me ‘I’ve got an idea’. And that idea was...
VCE Literature Charades
How to play:1. Find a friend2. Think a concept, character, quote, theme, literary device or anything really from one of your texts3. Forget about your dignity4. Act it out until your friend guesses5. Swap and repeat.And once people started to stare as we theatrically mimed things like ‘metaphor’ and ‘the albatross’ we decided to tone it down a little bit, leading to the invention of...
VCE Literature Pictionary
How to play:1. Find a friend2. Think of a concept, character, quote, theme, literary device (you get the idea)3. Keep your dignity intact!4. Start drawing the idea until your friend eventually guesses (warning: could lead to many failed attempts at drawing ‘foreshadowing’)5. Swap and repeat.
So I know this seems ridiculous but I swear, without even realizing it you’re getting to know your text so much better. There’ll be that moment in the exam room when all you’re thinking is ‘what on earth is that quote’, and suddenly you’ll remember how you’re friend fell off her chair trying to mime it. Either way, it’s a much more valuable use of time than worrying about not studying, especially because you’ll spend most of the time laughing.
If you’re alone, and you really don’t feel like studying for literature, but you still kind of have to study for literature… don’t despair! Find a place in your house where you wont be disturbed (or disturb anyone) and pretend you’re running an information session on your text. I used to record endless minutes of myself rambling about all different facets of my text, with no comprehensible structure, just trying to say and explain everything I knew about it. I would delete them almost straight away, but trust me, taking on the role of a teacher can be very fun, and when no ones watching, you can really just go for it. Things are much more likely to stay in your memory when you’ve explained them aloud, so you’ll be super prepared for your SACS!
Of course, it is beyond important to make sure you write as many practice pieces as you think you need to, and to work on tasks that may at times be ‘boring’, but if you want to avoid burning out try making studying a little fun!
1. Don't focus just on ideas and avoid language engagement.
Language engagement is every bit as important as ideas. Sometimes, when you get stuck in philosophical musings, you might find yourself in a place where you're spouting on and on about solipsism or the intrinsic desire for independence in the 19th century Norwegian working class. Literature essays are all about finding balance, and here, that balance means language engagement. Whether you are writing about literary criticism or a passage analysis, you have to be able to support your interpretations with textual evidence.
Often, this requires some creative thinking. You can have a lot of fun with it and the examiners like you to pick up on small details and connect it to a grander scope.
Here's an example from Jane Eyre.
“my eyes seemed as if they had beheld the fount of fruition, and borrowed beams from the lustrous ripple.”
“I was not surprised...to feel...the breathing of a fresh and fragrant breeze...The rooks cawed, and blither birds sang; but nothing was so merry or so musical as my own rejoicing heart.”
In this passage, Jane is rejoicing over her marriage proposal, but readers are led to understand that this may be a false, idealistic dream of hers. Note the patterns of alliteration – the fricative 'f' shifting to the plosive 'b' in “fount of fruition” and “borrowed beams” then again from “fresh and fragrant breeze” to “blither birds”. What could it possibly mean?
Fricatives tend to indicate freedom, whereas plosives tend to indicate an abruptness – a harsh change. Perhaps, Jane's wild, free joy is immediately followed by plosive alliteration so as to illustrate how her happiness is cut short and her dream is a false one – she will attempt to achieve freedom through this romance, but she will be abruptly and unceremoniously prevented from attaining it.
Regardless, in any passage, there are always things to talk about and little language quirks to exploit to figure out an interpretation. Start from these little details, and build out and out until you tackle your big ideas. All of these ideas should be rooted in language.
2. Don't prioritise complicated language over ideas.
Often, when you think that expressive, complicated writing takes priority over ideas in Literature, you tend to end up with flowery material that becomes more convoluted than it is effective. If you are one of those people (I know it's hard) but kill your darlings. Focus on coming up with original ideas, and express them clearly. Cut out redundancies. Be expressive in a way that is natural and in a way where you know that first and foremost, your language is accurate. Don't go around using metaphors purely for the sake of sounding intellectual when you can express something equally eloquently and beautifully with simpler, fluent text.
Remember: this is not to say that you shouldn't be expressive in Literature. In fact, writing style and the ability to write well is a fundamental component to doing well in this subject. It is just vital that you strike the right balance. This is a good lesson to learn sooner rather than later - and you'll be steering into prime territory for the exam.
3. Don't treat Literature like an English essay. Be free!
Good Literature essays generally tend to be more lively and expressive than English essays. Why? Because Literature just doesn't operate under the same criteria, and it shouldn't be treated as such.
Don't feel like putting in an introduction/conclusion? No need! Don't feel like sticking to a TEEL structure? No problem!
Your focus is creating writing that moves along at a natural, expressive pace, moving through textual evidence to broader ideas. You don't have a structure. You don't have a paragraph quota. You have free reign over a lot of how you write your Literature essays – so find out what works for you.
4. Come up with original interpretations and don't stick with popular readings.
Literature is one of very few subjects in the entirety of VCE that rewards original thinking. You don't need to go with the crowd consensus on how to read your text: as long as you have the evidence to support your reading! The examiners will reward complex, creative, and unique ideas. Every passage analysis you write should be approached with a fresh perspective – base your interpretation around the text in front of you, and not a dogmatic set of ideas that you bring with you.
5. Let the text before you provide you with the ideas, don't force your ideas into the text.
By reading literary criticism and expanding the scope of your ideas, you can apply original readings to each set of passages you have. Your essays stand out when they cover new, uncharted territory.
Literature is all about balance. If you can find it in you to balance language engagement, interpretation, and writing style, I'd say you have yourself a pretty good essay.
Remember not to fall into any of the common traps of the subject, and you'll have put yourself on solid footing to become a true literati.
So there’s approximately a month to go before the Literature exam. Nervous? Confident? Over it?! You might be thinking that they best way to study up until the exam is to just churn out essays after essays after essays. This is a common misconception, and may even hurt your chances for the exam. You want your essays to be ‘fresh’ with original insight, not stale pieces that sound like you’ve written this a hundred times and you’re getting bored. Here are a few tips on how to study for the exam while still keeping your mind activated about Literature!
Critique critical commentary
Google critical commentary on your text. You might pick up a new insight or perspective that you’ve never thought of. These can help you inform your own original and individual interpretation of the text. It is important to note that while reading critical commentary is incredibly useful in providing ‘clever’ interpretations, examiners are really looking for your own interpretation – not a regurgitated version of other people’s analyses. Rather than passively reading critical commentary, critique it yourself! Acknowledge and file away its good points, but also form your own stance with whether you agree or disagree with that point of view. Ask yourself why that is your perspective. Developing this critical analysis skill is extremely valuable, and will put you in the mindset for the exam to provide your own original interpretation that pushes the boundaries and the envelope.
Choose random passages and annotate
Close your eyes and pick a random a couple of passages from your text. Photocopy them, print them, however you like, but the most important thing is to spend time annotating them in as much detail as possible. Focus on analysing the language for how the author constructs the text to create meaning. Note sentences that can link to the wider text. This really forces you to analyse the most random passage in the text in extreme detail, which you might have skipped over in class or in your own reading, because it might not have seemed important at the time. Who knows, the exam could throw in a surprise passage that students might not have thought to study in great detail, and you have because you’ve been analysing passages at random – not just the major key events!
Examiner reports and word bank
Look through VCAA examiner reports for sample excerpts from high scoring responses. Highlight words and phrases that sound ‘good’ – and adapt them to use yourself! There’s nothing wrong with drawing inspiration (stealing) from the examiner reports essays… after all they’re there for you to learn from. Key: you’re drawing inspiration from words, not ideas or sentences – otherwise that’s just plagiarism and won’t help at all. Create a word bank of vocabulary that suit your texts, which can be a great prompter when you’re struggling to think of a word that accurately expresses on paper what you want to say in your mind.
Timed conditions
The biggest issue with every literature student in the exam is timing. There’s always so many things you want to write and include, that it is simply not possible to include everything. Time yourself. Practice writing in timed conditions. Be disciplined with your time – going over time for the first essay to include maybe one more good point, is to sacrifice finishing your second essay.
Exams are without a doubt a stressful period of time for all VCE students, and it can be easy to get caught up and overwhelmed with expectations, wanting to prove yourself and balancing the workload of your other exams. Find time to do small things to benefit yourself for the exam without compromising your mental power (after a very long marathon). Good luck and believe in yourself!
1. Don't focus just on ideas and avoid language engagement.
Language engagement is every bit as important as ideas. Sometimes, when you get stuck in philosophical musings, you might find yourself in a place where you're spouting on and on about solipsism or the intrinsic desire for independence in the 19th century Norwegian working class. Literature essays are all about finding balance, and here, that balance means language engagement. Whether you are writing about literary criticism or a passage analysis, you have to be able to support your interpretations with textual evidence.
Often, this requires some creative thinking. You can have a lot of fun with it and the examiners like you to pick up on small details and connect it to a grander scope.
Here's an example from Jane Eyre.
“my eyes seemed as if they had beheld the fount of fruition, and borrowed beams from the lustrous ripple.”
“I was not surprised...to feel...the breathing of a fresh and fragrant breeze...The rooks cawed, and blither birds sang; but nothing was so merry or so musical as my own rejoicing heart.”
In this passage, Jane is rejoicing over her marriage proposal, but readers are led to understand that this may be a false, idealistic dream of hers. Note the patterns of alliteration – the fricative 'f' shifting to the plosive 'b' in “fount of fruition” and “borrowed beams” then again from “fresh and fragrant breeze” to “blither birds”. What could it possibly mean?
Fricatives tend to indicate freedom, whereas plosives tend to indicate an abruptness – a harsh change. Perhaps, Jane's wild, free joy is immediately followed by plosive alliteration so as to illustrate how her happiness is cut short and her dream is a false one – she will attempt to achieve freedom through this romance, but she will be abruptly and unceremoniously prevented from attaining it.
Regardless, in any passage, there are always things to talk about and little language quirks to exploit to figure out an interpretation. Start from these little details, and build out and out until you tackle your big ideas. All of these ideas should be rooted in language.
2. Don't prioritise complicated language over ideas.
Often, when you think that expressive, complicated writing takes priority over ideas in Literature, you tend to end up with flowery material that becomes more convoluted than it is effective. If you are one of those people (I know it's hard) but kill your darlings. Focus on coming up with original ideas, and express them clearly. Cut out redundancies. Be expressive in a way that is natural and in a way where you know that first and foremost, your language is accurate. Don't go around using metaphors purely for the sake of sounding intellectual when you can express something equally eloquently and beautifully with simpler, fluent text.
Remember: this is not to say that you shouldn't be expressive in Literature. In fact, writing style and the ability to write well is a fundamental component to doing well in this subject. It is just vital that you strike the right balance. This is a good lesson to learn sooner rather than later - and you'll be steering into prime territory for the exam.
3. Don't treat Literature like an English essay. Be free!
Good Literature essays generally tend to be more lively and expressive than English essays. Why? Because Literature just doesn't operate under the same criteria, and it shouldn't be treated as such.
Don't feel like putting in an introduction/conclusion? No need! Don't feel like sticking to a TEEL structure? No problem!
Your focus is creating writing that moves along at a natural, expressive pace, moving through textual evidence to broader ideas. You don't have a structure. You don't have a paragraph quota. You have free reign over a lot of how you write your Literature essays – so find out what works for you.
4. Come up with original interpretations and don't stick with popular readings.
Literature is one of very few subjects in the entirety of VCE that rewards original thinking. You don't need to go with the crowd consensus on how to read your text: as long as you have the evidence to support your reading! The examiners will reward complex, creative, and unique ideas. Every passage analysis you write should be approached with a fresh perspective – base your interpretation around the text in front of you, and not a dogmatic set of ideas that you bring with you.
5. Let the text before you provide you with the ideas, don't force your ideas into the text.
By reading literary criticism and expanding the scope of your ideas, you can apply original readings to each set of passages you have. Your essays stand out when they cover new, uncharted territory.
Literature is all about balance. If you can find it in you to balance language engagement, interpretation, and writing style, I'd say you have yourself a pretty good essay.
Remember not to fall into any of the common traps of the subject, and you'll have put yourself on solid footing to become a true literati.
One of the most prominent questions I receive from students is this: “do I need to write an introduction?”. This is usually followed with “how do I write an introduction?”.
Firstly, yes, I believe all students should be writing introductions as they are an excellent way to showcase your ability to provide an insight into your personal “reading” of the text, interpret the passages and allow you an avenue through which to begin your discussion of the material. In this guide, I will be explaining two of the key elements to be utilised to create a strong introduction.
When constructing introductions, it is important to note that the VCAA Literature Exam Criteria is as follows:
understanding of the text demonstrated in a relevant and plausible interpretation
ability to write expressively and coherently to present an interpretation
understanding of how views and values may be suggested in the text
analysis of how key passages and/or moments in the text contribute to an interpretation
analysis of the features of a text and how they contribute to an interpretation
analysis and close reading of textual details to support a coherent and detailed interpretation of the text
What you need to include in your Close Analysis introduction
Considering these points, your introduction should feature these 2 elements: your personal reading of the text and your interpretation of the passages.
Your personal reading is simply your perception of the text. Though the key facets of the text such as the plot and the characters are generally viewed by the majority in a similar fashion, each student will have their own opinions of the text. This can range from resonating with particular scenes or placing a greater emphasis on a certain concept or relationship.
Your interpretation of the passages is the way in which you view the excerpts given to you. Akin to your personal reading, the core aspects of the passages will likely be viewed similarly by most students, however your point of difference will come from how you perceive the passages suggest views and values and how features and moments contribute to an interpretation (factors coming from the criteria).
In terms of structure, try to begin with a sentence or two explaining your personal reading of the text. The key to doing so in a manner befitting Close Analysis however, is to utilise quotes from the passages to supplement your assertion.
Here is a sample written about George Bernard Shaw’s “Pygmalion”:
George Bernard Shaw’s “Pygmalion” contrasts the absence of morality in the titled upper class of 19th century England who dehumanise common citizens as “pebbles on the beach” and the under privileged but morally conscious lower class, “intimidated” by the socio-economic chasm, but living with “middle class morality”.
This highlights my personal reading of Pygmalion as a whole, supported by quotes from the passages I was provided.
To build on this, proceed by writing a sentence or two that demonstrates your interpretation of the passages and how they discuss views and values and create meaning.
Though Shaw implies that one can ascend the ranks through Doolittle’s “lecturing them blue in the face” and Eliza’s gradual self-actualisation, ultimately Shaw quashes any prospect of one permanently invading the upper class by deploying the repetitive “I will” catchphrase throughout Eliza’s ventures. The indefatigable delivery ironically conveys the notion that in spite of Eliza’s effort, she “won’t” achieve.
In these sentences I have commented briefly on the events within the passages and utilised them to exemplify how they are utilised to delve into views and values and create meaning in the overall context of the text. These factors encompass my interpretation of the passages.
Introductions which contain these two key features will score well as they directly target numerous parts of the assessment criteria. This allows students to explicitly outline their overall reading of the text in a style which will efficiently show off your writing skills. Here's the introduction altogether:
Sample A+ Introduction
George Bernard Shaw’s “Pygmalion” contrasts the absence of morality in the titled upper class of 19th century England who dehumanise common citizens as “pebbles on the beach” and the under privileged but morally conscious lower class, “intimidated” by the socio-economic chasm, but living with “middle class morality”. Though Shaw implies that one can ascend the ranks through Doolittle’s “lecturing them blue in the face” and Eliza’s gradual self-actualisation, ultimately Shaw quashes any prospect of one permanently invading the upper class by deploying the repetitive “I will” catchphrase throughout Eliza’s ventures. The indefatigable delivery ironically conveys the notion that in spite of Eliza’s effort, she “won’t” achieve.
Arguably one of the greatest modern playwrights of our time, Tennessee Williams produced some of the best post-war 1950’s American plays that have now engrained themselves as classics. After the conclusion of the second world war, America was pervaded with hypermasculinity, deep levels of insecurity and a desperate need to regain the pre-war success of the 1920s. During the 1950s, the United States began to regain its economic success and spirits were high as ever; however, this may only have been ostensible. Beneath the surface of such success lurked unshaken expectations on both men and women and deep-rooted bigotry.
In this article, we will get to know how these concepts are explored in ‘Cat on a Hot Tin Roof’ and examine why this text is important in the context of Lit Perspectives and Close Analysis.
Characters Analysis
Brick
Brick is too numb to feel much of anything any more; he is a drunk and cold shell of what he once was. Since the death of his friend Skipper, Brick has retreated into solitude and emotional aloofness, and the only emotions that he can express are disgust and boredom. The other characters can only coax an emotional response out of him when they mention Skipper
Maggie
Maggie is a traditional 1950’s beauty, she is lively, gorgeous and has a deeply sexual presence. She spends the majority of the play trying to get Brick to sleep with her- both to satisfy her own needs, and to allow her to conceive a baby. This which would guarantee her share of the Pollitt family wealth.
Big Daddy
Big Daddy, like Brick, gets a lot of undeserved attention and love; this is because he sits upon the Pollitt wealth he built. He worked hard for economic success, and now he wants to enjoy it. He is uninterested in Big Mama and treats her with little affection or respect.
Big Mama
She is an older version of Maggie - more dramatic, needier, having let herself go. She loves her husband unconditionally despite his cruelty and indifference to her. Like Big Daddy, she cannot help but prefer Brick to Gooper because he is so much like Big Daddy.
Gooper
Brick’s older brother but has lived in his shadow since the day he was born. While Brick got the attention with looks and football, Gooper married into society and became a successful lawyer. But the unfair attention and focus on Brick has made Gooper vengeful and petty, and so it is out of both greed and spite that he actively campaigns for control of Big Daddy’s estate.
Mae
Gooper’s wife who has all of his greed and sourness, without any of his justifying history. She taunts Maggie’s lack of motherhood by parading her plethora of children around the house.
Concepts and Concerns
TIP: Concepts and concerns should form the basis of your analysis whether you are doing a close analysis or a literary perspectives essay!
MENDACITY VS TRUTH
The central tension in the play is underscored by mendacity, lying and deception. The repressed truth is constantly on the verge of being unleashed and it is the “inadmissible thing” that pervades the family. The two primary sources of mendacious repression are Brick’s homosexual desires and Big Daddy’s imminent death from cancer. Ironically, it is these two who value integrity and honesty the most.
When Big Daddy finally finds out the truth about his impending death he exclaims: “By all the goddam lies and liars that I have had to put up with, and all the goddam hypocrisy that I lived with all these forty years that we(big mama) been living together”
In a final moment of existential dread and disgust, Brick resignedly claims that “mendacity is a system that we live in. Liquor is one way out and death is another”. These are the fates that are destined for Brick and Big Daddy respectively.
The truth (if there can be such a thing) is that both Brick and Big Daddy are loved so ardently by their partners, but they blinded by their dishonesty to themselves. It is because Brick cannot come to terms with his own sexuality and Big Daddy cannot fathom his inevitable death that lies, and deceit is perpetuated in the text.
MASCULINITY AND HOMOSEXUALITY
Williams himself was gay and lived in a society that constantly repressed and shamed it as a deeply sinful practice and associated it with failed masculinity. Thus, he explores the deep turmoils of homosexuality in the 1950s and its implications on manliness, bigotry and society.
Whilst not stated explicitly, it is implied that Skipper confessed his love to Brick; whilst Brick felt the same way, he knew this would not be accepted by society. Consequently, he shuts Skipper down and later that night, Skipper commits suicide. Brick cannot admit the truth to himself because in his mind “purity” and “homosexuality” are mutually exclusive, due to his own internalized homophobia and even when Big Daddy makes Brick face his desires and the guilt that pervades him; he cannot escape the bigoted societal norms imbued within him
Williams paints an image of distress, pain and grief caused by the prevailing homophobia of the 1950s. Brick is crippled both by his failure as a man and his failure to be true to himself.
THE AMERICAN DREAM
Back in the 1950s, the American Dream was the dream that everyone was expected to aspire for was much more conservative. It included a traditional family with a stay at home mother, hard-working and masculine father, 2-3 children, a home and money, lots of it!
The Pollitt family truly embodied the American Dream. With their self-made fortune, successful sons (though Brick is now a mess) and even grandchildren. In many aspects, Gooper and Mae fulfil the expectations of the American Dream much more than Brick and Maggie do; they have children, success and ambition. They attempt to use this to their advantage in their bid to win over Big Daddy’s estate but even that fails to sway Big Daddy’s favouritism for Brick.
Brick is as resigned and aloof to the idea of wealth and tradition as he is to his wife Maggie. His repressed homosexuality already divorces him from the ingrained social expectation of the American Dream and it disappoints him to pretend to desire the same things his brother Gooper does. This, ironically, only makes him more favoured by his parents.
In a world of strict expectations and immovable bigotry, there is no room for homosexuality, and this disappoints no one more than Brick himself. In his world, the very essence of his being contradicts the dream that everyone is taught to value. Williams asks readers to consider the consequences of such restrictive beliefs, he questions the American dream at a fundamental level by asking: so why do we all have to want the same thing?
MOTHERHOOD AND FEMININITY
What does it mean to be a woman? For Mae, that means being a loving housewife and being able to bear children. In the petty feud for Big Daddy’s will, she insults Maggie’s childless state, she is less of a woman because of it. Of course, the reason Maggie cannot have children is that Brick is unwilling to sleep with her. Again, even though Mae has provided Big Daddy and Big Mama with a plethora of grandchildren, they still prefer Maggie’s young and sensual energy.
Williams attempts to undermine the characteristics that were supposed to define women as feminine through Maggie. Moreover, women were supposed to be passive players in the family, to do their husbands bidding and to be polite and proper at all times. Maggie is none of these things. She is unapologetically sexual, unwaveringly ambitious in her pursuit of the Pollitt family wealth and determined to cement herself as Brick’s partner although she knows of his homosexual desires. In a society where women were not supposed to have dreams let alone pursue them, Maggie is a “cat on a hot tin roof”, chasing her dreams with careless disregard of established hetero norms.
Literary Perspectives
Now we get into the tricky stuff! This is one part of your exam and is the Unit 4 Outcome 1 SAC so it’s important that you get a competent grasp of the task! TIP: Follow this link to get an overview of the literary perspectives task (I’m thinking of linking the ultimate lit perspectives guide here, let me know what you think)
Some prevalent perspectives should jump out at you immediately just by looking at the Concepts and Concerns. Remember that you don’t have to choose just one perspective, it’s more important that you develop an overall interpretation of the text and incorporate the buzzwords that reflect your perspective. Use your perspective/interpretation as a lens to the concepts and concerns mentioned above as a springboard for your analysis
Literary Perspectives
Now we get into the tricky stuff! This is one part of your exam and is the Unit 4 Outcome 1 SAC so you must get a competent grasp of the task! TIP: Follow this link to get an overview of the literary perspectives task (I’m thinking of linking the ultimate lit perspectives guide here, let me know what you think)
Some prevalent perspectives should jump out at you immediately just by looking at the Concepts and Concerns. Remember that you don’t have to choose just one perspective, it’s more important that you develop an overall interpretation of the text and incorporate the buzzwords that reflect your perspective. Use your perspective/interpretation as a lens to the concepts and concerns mentioned above as a springboard for your analysis
Here are some general perspectives that you might want to think about:
Feminism
Think about the role the women in this text play and how they are portrayed. You have three vastly different women who all reflect the social standards that defined the 1950s in varying degrees.
Maggie does not seem to care much about what Brick wants as much as she cares about her own needs proven when she attempts to force him to do things he doesn’t care much for (pretending he remembered Big Daddy’s birthday or sleeping with her). She stands in diametric opposition to Big Mama and Mae who are both stereotypical women of their times, always forgoing their own desires for their husbands’. In this sense, our sympathy for Maggie only confirms Williams’ notion that women should be able to freely chase their ambitions and break free of restrictive stereotypes.
These societal standards that reinforce traditional gender roles, heterosexuality and the pervasive male gaze form what literary critics call heteronormativity. This is a key notion in feminism and extends this perspective to more than just an analysis of women in society. It also asks us to question how these hetero norms may influence overarching definitions of masculinity. We can see how these hetero norms have forced Brick into an empty cripple whose only clutch is alcohol and the “click” of peace he drinks for.
TIP: Heteronormativity can also be linked to Marxism as it forms part of the superstructure (institutions and culture considered to result from and reflect the economic system underlying society) that perpetuates the belief that men must be the breadwinner to support their housewives and children. In other words, if you are not supporting your family financially, you are not considered a true man.
Marxism
Some might argue that the central conflict in the play comes down to who will inherent Big Daddy’s wealth after his death and is only inflamed by Brick’s repressed sexuality. The American Dream is literally underscored by the chasing of money!
Consider how the class impacts the tension in the story. Because of their high social status, Brick’s sexuality is only more scandalous. Funnily enough, despite the fact that Maggie knows he does not love her, she could not care less. As I’ve probably hammered in enough by now, she has more regard for the money than Brick (though she does love him). Furthermore, Gooper’s job as a lawyer, in his mind, only further cements him claim to the Pollitt family throne because it pays well and is highly respected.
Psychoanalysis
Pain, trauma, guilt, desire, gaze and the unconscious. All these things come into play when thinking about psychoanalysis. Popularised by Sigmund Freud who believed (and I’m simplifying here) that psychological theories and techniques could help people better understand their unconscious thoughts, feelings and desires. This is turn, would help them explain their behaviours.
The best way to start a psychoanalysis of ‘Cat on a Hot Tin Roof’ is to think about what each character wants, how they are behaving and how their past might influence this. Brick’s homosexuality and the guilt he feels at Skipper’s death is a great place to start. This is also a great way to integrate to touch on other perspectives if you think about the ways in which heteronormativity or social status may have influenced his decisions back then.
Close Analysis
TIP: Just because it’s close analysis, doesn’t mean you can forego an overall interpretation!! Remember the Concepts and Concerns of the author! Here is a link to help you out with more general close analysis advice (again same idea as previous section, to
Marxism
Some might argue that the central conflict in the play comes down to who will inherit Big Daddy’s wealth after his death and is only inflamed by Brick’s repressed sexuality. The American Dream is underscored by the chasing of money!
Consider how the class impacts the tension in the story. Because of their high social status, Brick’s sexuality is only more scandalous. Funnily enough, even though Maggie knows he does not love her, she could not care less. As I’ve probably hammered in enough by now, she has more regard for the money than Brick (though she does love him). Furthermore, Gooper’s job as a lawyer, in his mind, only further cements him claim to the Pollitt family throne because it pays well and is highly respected.
Psychoanalysis
Pain, trauma, guilt, desire, gaze and the unconscious. All these things come into play when thinking about psychoanalysis. Popularised by Sigmund Freud who believed (and I’m simplifying here) that psychological theories and techniques could help people better understand their unconscious thoughts, feelings and desires. This is turn, would help them explain their behaviours.
The best way to start psychoanalysis of ‘Cat on a Hot Tin Roof’ is to think about what each character wants, how they are behaving and how their past might influence this. Brick’s homosexuality and the guilt he feels at Skipper’s death is a great place to start. This is also a great way to integrate to touch on other perspectives if you think about how heteronormativity or social status may have influenced his decisions back then.
Close Analysis
TIP: Just because it’s close analysis, doesn’t mean you can forego an overall interpretation!! Remember the Concepts and Concerns of the author! Here is a link to help you out with more general close analysis advice (again same idea as the previous section, to link the ultimate guides)
The close analysis essentially wants you to analyse the nitty-gritty of your text. Demonstrate to VCAA that you understand how language creates meaning and can support the overarching values of the author. Questions of form, structure, language devices and literary techniques all come in to play when thinking about how Tennessee Williams created meaning in the play. Think of yourself as a detective who must find the most forensic examples in supporting your overall perspective. Here are a few things you might want to consider when closely analysing ‘Cat on a Hot Tin Roof’.
The Form – Play
The Play as a form is one of the most distinct types. It is a show for an audience and does not have as much intimacy as a novel. It has stage directions that the audience does not see and even minute punctuation that must be portrayed by actors. It is important that you can demonstrate you understand this!
Different stage directions will impact the audience in a multitude of ways. For example, Williams had detailed ‘Notes for the Designer’ that closely depicted the setting and atmosphere of the play. In it, he detailed the story of “Jack Straw and Peter Ochello, a pair of old bachelors” who were rumoured to be gay. This instantly establishes homosexuality as a backdrop of the play, it is woven into the setting.
Or you might want to analyse the stage directions that constantly punctuate Brick’s dialogue; every time he speaks it is “absently”, “dreamily” or “vaguely”, which further emphasises his cool and aloof nature. This is in contrast to when he speaks about Skipper in which he suddenly becomes defensive; his dialogue graduates from resigned one-liners to profuse emotional rants.
Structure – The Acts, the Setting, characters, timeframe
Whilst the form of a play is unique in itself, there are certain aspects of ‘Cat on a Hot Tin Roof’ that differentiates it from others.
For example, the play in its entirety occurs within one day. This emphasises the extent to which the Pollitt family had already been teetering on the edge of unleashing the secrets of the family. The confirmation of Big Daddy’s death only opens this up further and unwinds the atmosphere of secrecy, denial and mendacity in merely a few hours.
This is only heightened by the fact that the entire play occurs in one room, the “bed-sitting-room” of the plantation home. Therefore, no matter how hard the family tries to escape the truth, the claustrophobia created by having so many of them in one room together acts as a catalyst for the truth to be revealed.
Also, consider how these characters are established! What has been said explicitly and what has been alluded to. For example, it is never explicitly said that Brick is gay or that Big Daddy will die (to his face at least). In some ways, despite the fact that everyone knows the truth, it is still a truth too difficult to bear and speaking it out loud will only confirm what they have been in denial about for so long.
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