Login

Welcome, Guest. Please login or register.

March 29, 2024, 12:30:29 pm

Author Topic: English Resources and Sample Essays  (Read 426480 times)  Share 

0 Members and 1 Guest are viewing this topic.

heids

  • Supreme Stalker
  • Honorary Moderator
  • ATAR Notes Superstar
  • *******
  • Posts: 2429
  • Respect: +1632
Re: English Resources and Sample High Scoring Responses
« Reply #120 on: December 21, 2015, 05:30:29 pm »
+2
Two language analysis essays courtesy of one of our brilliant 50'ers, Splash-Tackle-Flail!

... actually okay, one essay.  AN's file size limitations are the worst :(

P.S.  Feel free to post in this thread yourselves, it's not a mod-only-thread so you don't have to come through me :)
VCE (2014): HHD, Bio, English, T&T, Methods

Uni (2021-24): Bachelor of Nursing @ Monash Clayton

Work: PCA in residential aged care

heids

  • Supreme Stalker
  • Honorary Moderator
  • ATAR Notes Superstar
  • *******
  • Posts: 2429
  • Respect: +1632
Re: English Resources and Sample High Scoring Responses
« Reply #121 on: December 21, 2015, 05:32:20 pm »
+1
... And a War Poems essay, also by Splash-Tackle-Flail.

There are two more essays coming, but I'm typing them so you don't have to download a million split files :P
VCE (2014): HHD, Bio, English, T&T, Methods

Uni (2021-24): Bachelor of Nursing @ Monash Clayton

Work: PCA in residential aged care

The Raven

  • Trailblazer
  • *
  • Posts: 48
  • Respect: +30
Re: English Resources and Sample High Scoring Responses
« Reply #122 on: December 21, 2015, 06:13:50 pm »
+3
That moment when both the texts you studied are no longer on the textlist. Here's one on King Henry on the topic (which I got from Atarnotes): To what extent do religion and morality influence the actions of the characters in Henry IV, Part 1?


Set amidst the ‘civil butchery’ and political deception of an early 15th century Lancastrian England, Shakespeare’s historical play 1 King Henry IV portrays a world where traditional notions of morality are questioned and religious order is dismissed for political expedience and gain. In the ‘rogue’ Falstaff, Shakespeare depicts the very antithesis of religious morality, this ‘thief’s’ brazen transgression of societal and religious standards establishes his position as a symbolic testament to the figure of Vice that populated early Medieval morality plays. More subtle, yet equally condemnable is King Henry’s own abominable ‘murder’ of his predecessor King Richard, which becomes not only an affront to the rigid honour of Hotspur, but represents a disregard for the Divine Right of King’s espoused by English monarchs. The wider disorder and immorality of King Henry’s country is indicative of his illegitimacy, and it is only once Prince Hal, the symbolic Christ-like saviour of the play, steps in does Shakespeare suggest that some semblance of social morality and religious order is restored. Yet ultimately, whether this political strength is indicative of religious and moral uprightness is questionable following Hal’s deceptions, and across the play, Shakespeare portrays the increasing irrelevance of religion and traditional morality on a political and social landscape dominated by deception and anarchy.

It is through Falstaff that Shakespeare reveals a character with complete disregard for religion and morality. Completely unhindered by these factors, Falstaff revels in ‘villainous’ greed and anarchy; not only does Falstaff readily admit to his love for ‘sack and sugar’, but in justifying his ‘sins’ through the ubiquity of such actions - ‘many and old host...is damned’ - and by characterising his thieving as a ‘vocation’, Falstaff seeks to not only live outside these common societal standards of moderation, but to redefine these very concepts themselves. To Falstaff, the notion of morals only serves to restrict his wanton behaviour, and for a character defined by his pleasure seeking ways, his generous frame hinting at his symbolic transgression of morality and social norms, such standards needn’t be adhered to or even considered. Yet while, Falstaff represents a complete dismissal of morality, in his completely outrageous behaviour, Falstaff inadvertently exposes the hypocrisy of these social constructs; his plea ‘banish plump Jack and banish all the world’ speaks to the inherent human foibles that we all possess, a key tenet of Shakespeare’s own humanist values. Indeed, in this way, Falstaff speaks to his Elizabethan audience, whose ability to relate to his justification of his ‘villainous’ behaviour only serves to make Falstaff more likeable. However, while this ‘unworthy’ behaviour is a source of humour and perhaps mild admiration from the audience early on in the play, Falstaff soon begins to embody the darker sides of a life lived outside the bounds of morality and religious order; his admittance to having ‘used the King’s press damnably’ echoes his previous characterisation under Hal as a ‘white-bearded Satan’ through the shared religious connotations of ‘damnable’ and ‘Satan’. Here, Falstaff is directly linked to the figure of Medieval ‘iniquity’, the ‘abominable misleader of youth’ that would attempt to entice and waylay the more righteous characters in the play, and it is here that Falstaff’s greed and selfishness begins to clash with the wider social and moral expectations of the country and with common decency. Falstaff’s callous dismissal of those under his charge as mere ‘food for powder’ highlights the Knight’s complete contempt towards his role as a protector of the realm, and Shakespeare’s audience is forced to consider the implications of such cruel and immoral behaviour from those with power. Across the play, Falstaff’s actions become increasingly self-centred as he demonstrates a complete indifference to religious and moral boundaries. While Falstaff may humorously expose the hypocrisy of such concepts, Shakespeare ultimately warns against a life lived completely with morality through the anti-social, self-serving motives of this ‘unworthy’ ‘rogue’.

This willing abuse of morality is taken to extremes through King Henry’s transgression of the Divine Order by his slaying of the former King. It is the revelation of this abuse of power that catalyses the rebellion against Henry’s rule, creating an atmosphere of political and social chaos where ‘land’ is as ‘cheap as stinking mackerel’. It is through this instability that Shakespeare suggests the wider consequences of King Henry’s transgression of the Divine Religious Order, and through this act of regicide, Shakespeare uses this greater social upheaval and immorality to hint at the illegitimacy of the King’s position. Unlike Falstaff complete embrace of his immorality, the King appears to at least purport a facade of religious fervour, his plan to send a new crusade to the ‘holy fields’ superficially attests to his adherence to the influence of religion on his Lancastrian world. However, this noble goal is ultimately undermined by his political scheming, and while the King suggests that such a crusade would serve to unite his countrymen to ‘be no more opposed’ to each other, emphasising its role as a political tool as much as religious valour, this plan more subtly hints at the King’s religious guilt and desire to make divine amends for his ungodly actions in ‘murder[ing]’ Richard. However, the eventual failure of this ‘expedience’ in the face of local rebellion suggests that the King’s actions are unredeemable, and this retrospective, token appeasement to religion is unable establish Henry’s legitimacy. On the other hand, Hotspur’s rebellion appears to oppose this desecration of Divine religious morality, his desire to unseat the ‘unthankful King’ may at first appear to represent a restoration of morality and religious order. However, Shakespeare ultimately questions the extent to which religion and morality influence the rebellion; instead it is Hotspur’s superficial desire for ‘vanities’ and ‘glories’ that motivates him, this self-serving plunge into war is in reality, completely at odds with altruistic morality and a reclamation of the throne. Hotspur, and by extension his allies, are not motivated by a sense of morality, but a desire for personal ‘honour’, and in the case of Worcester and Vernon, political ascendency, that will further the power of their own family. Here, Shakespeare portrays two sides largely uninfluenced by religion and morality, instead warring over personal and political means.

It is only in Prince Hal that Shakespeare portrays some hope of redemption, as the young Prince appears to assert a return back to civil order and peace. Hal’s position as a Christ-like figure is hinted at through his juxtaposition against Falstaff, Hal’s eventual promise to reject Falstaff and the world he offers is revealed through the short sentences ‘I do. I will’, that establish through their perfunctory nature, the young Prince’s conviction and desire to remove himself from the atmosphere of vice and disorder symbolised by Falstaff. Indeed, the magnitude of the situation created by the rebellion is realised by the burgeoning young leader, whose disgust at Falstaff’s jesting and excesses on the battlefield - ‘what is it a time to jest and dally?’ - begin to portray the separation of these two characters as Hal embraces the leadership and morality expected of him. However, it is not only this shift away from the world of vice that establishes Hal’s new position, through Vernon’s admiring depiction of the Prince as ‘feathered Mercury’, Shakespeare affirms Hal’s role as an almost deified figure, establishing his position among classical religious archetypes and presenting him as a ‘hope’ for ‘England’. Unlike Hotspur, it is Hal that is able to obtain this praise, even from his enemies, and thus Shakespeare positions his audience to view the young Prince as the true figure of redemption and hope in the play. Even then, the playwright ensures that Hal’s espousing of peace - ‘go to the Douglas and deliver him up to his pleasure, ransomless and free’ - is undermined by the former revelation of his deception to ‘falsify men’s hopes’. While Hal may at first appear to embody the morality that has been hitherto lost in the characters of the play, we are continually reminded of his ability to deceive, and that ultimately, while his actions may be altruistic, there remains doubt around the political motives of his behaviour. However, in moving England towards a less chaotic and more peaceful society, Hal establishes a wider morality stemming from a willingness to rule fairly and within the bounds of religious order. Even though, in the eyes of the audience, Hal may be haunted by his former deceptions, Shakespeare suggests that the morality Hal represents is not merely a personal sense of honour, but a willingness to dedicate himself to the wider country he governs.

In portraying a world governed largely by political expediency and self-serving actions, Shakespeare demonstrates the increasingly tenuous influence that traditional morality and religion has on the characters of 1 King Henry IV. By living ‘out of all order’, Falstaff willingly embraces the anarchy and immorality of his wanton ways, indulging in a repellent self-preserving callousness, while King Henry catalyses a wider societal unrest through his breach of the Divine Rights of Kings. Together, these characters demonstrate the pitfalls of a failure to heed moral and religious boundaries, and it is only through Prince Hal that Shakespeare realigns the tumultuous world of Lancastrian England with the religious and moral tenets of his time. Yet through the depiction of his character’s inherently human fallibility, Shakespeare ensures that the rigid definition of morality is never accomplished; and thus, while none of his characters are fully influenced and motivated by religion or a sense of overriding morality, Shakespeare still suggests that it is the direction of social betterment that allows Hal to ultimately succeed.

heids

  • Supreme Stalker
  • Honorary Moderator
  • ATAR Notes Superstar
  • *******
  • Posts: 2429
  • Respect: +1632
Re: English Resources and Sample High Scoring Responses
« Reply #123 on: December 21, 2015, 06:31:52 pm »
+3
This was Splash-Tackle-Flail's 30/30 Unit 3 Context SAC :)

Prompt: In encountering conflict, individuals, groups or nations inevitably reassess their values.

Statement of Intention

The cultural chasm in our nation

How can we hope to move forward if our own country’s values are so deeply entrenched in the past?

Last year, the Western Australian government declared the proposed closure of up to 150 of 274 Aboriginal remote communities, resulting in the forced eviction of potentially thousands of Indigenous people.  Recently, the self-declared “Prime Minister for Indigenous Affairs”, Tony Abbott, backed the decision, dismissing those living in remote communities as following a “lifestyle choice” that “we can’t endlessly subsidise”.  Yet while the Prime Minister’s comments shocked and outraged many, they are no surprise.  Tony Abbott’s remarks simply reflect the racial rift that has stifled the construction of any genuine relationship between Indigenous and non-Indigenous Australians.  If we ever want to close the cultural chasm that divides one Australian from another, we need to dispel any vestiges of prejudice beliefs and cultural arrogance.  Only then can we, as a nation, clarify what matters most – the creation of a united and equal Australia.

Unsurprisingly, the Western Australian government’s decision is not the first instance an Aboriginal remote community has been forcefully shut down.  In 2011, a remote community in Oombulgurri was deemed unviable by the state government due to issues such as alcoholism.  However, instead of addressing the Aboriginal people in the community, the community was closed down.  Amnesty International, an organisation that advocates human rights for everyone, reported that many Aborigines in Oombulgurri refused to leave their homes, but their defiance was met with the state government’s closure of the community’s health clinic, schools, shops, and the relinquishment of bare necessities such as power and running water.  As a result, many Aboriginal people were stripped of their ancestral homes, which were crushed by a bulldozer, and their cultural ties to the land that non-Indigenous Australians have not been able to fully appreciate.  The closure of this community led to social chaos, and exacerbated issues such as Aboriginal homelessness and alcoholism.  The government’s recent decision to close 150 of these remote communities demonstrates our inability to prioritise what’s most important as a nation, if we ever want to become the blooming egalitarian society many Australians strive to create.

Sadly, thousands of kilometres away, there are other countries suffering from a similar cancer, evidence that a re-evaluation of values is neither inevitable nor necessarily positive.  On the 12th of April, Baltimore citizen Freddie Gray was apprehended and subjected to police brutality.  A witness describe Gray’s arrest as ‘folding’, where one officer beat the 25 year-old’s lower leg, to the “point it look like he broke it”, while the other pressed his knee into Gray’s neck.  Later one, Gray was found beaten unconscious in the back of a police transport van; doctors identified three fractured vertebrae, and Gray’s spine was severed at the neck.  The 25 year old died the following week.  Gray’s death continues the legacy of African American men falling victim to the conflict of social division.  It is bitterly disappointing that the cultural arrogance that justified African American slaves hundreds of years ago still plagues our societies today.  Despite the plethora of police attacks targeting African American men, who are 20 times more likely to be fatally shot than white men, there has been no evident reassessment of the nation’s priorities, and no real action towards racial equality.  There should be no smugness amongst the voters either; they have discarded the cherished values that define a peaceful, respectable community.  Reports have shown 113 police officers have been injured, 2 civilians have been shot, and nine million dollars in damages occurred as a result of rioting, arson, and looting.  Although the overthrowing of draconian values can be understood, and even encouraged, this destructive, toxic retaliation is not conducive to what we should be fighting for – genuine racial equality, and demonstrates how difficult it can be to identify what’s really important when we are blinded by raw, irrational anger.

Both the Baltimore riots and the closure of Aboriginal remote communities in Australia have demonstrated our inability to meaningfully reassess our own values in times of cultural conflict.  Perhaps we need to look to the lessons of Lieutenant Daniel Rooke in Kate Grenville’s novel, The Lieutenant.  Lieutenant Rooke is intrinsically introverted, besotted with the wonders of mathematics, astronomy and later on the Aboriginal language and fascinating culture of the natives.  However, despite his interest and compassion towards the Indigenous people, Rooke would often respond to Aboriginal subjugation and British dominance with avoidance and complicity.  When the native girls Tagaran and Tugear [typist’s note: dunno if those names are right :P] run into Rooke’s observatory crying and wounded, Rooke refuses to confront the British sailor who hurt them: “Kanara was not going to help her… what Tagaran wanted was impossible”.  Rooke only realises what he values most after his deep reflection of the punitive mission he participated in at the behest of Silk and Governor Gilbert.  Through moody introspection, Rooke grapples with his loyalty to Gilbert as a British soldier and his moral integrity.  As Rooke gazes as the rolling, uncoiling waves on a New South Wales shore, he realises in a moment of divine revelation, “I cannot be a part of this”.  From reflecting on his priorities, and the morality of his actions, Rooke is able to voice his scruples with the British justice system and is subsequently empowered with inner peace, strength, and self-respect.  Rooke eventually devotes his life toward freeing slaves in Antigua, a symbol of his newfound purpose and sense of fulfilment, as he is no longer burdened with the idea he once betrayed his moral values.

Although Rooke is just an individual, his story carries valuable lessons to both America and Australia.  We need to reconsider what matters most – learning to understand the importance of these remote communities to the Aboriginal people, and to express this understanding with compassion and empathy.  Perhaps, in light of the dark timeline of cultural conflict between Indigenous and non-Indigenous Australians, this is the message Kate Grenville is trying to deliver.   A reasoned re-evaluation of our whole nation’s values is necessary to move towards peace, process, and improved sustainable relations.  If our country, and in particular our leaders, cannot see and accept this, the creation of a better Australia will remain a forlorn hope.
« Last Edit: December 25, 2015, 10:11:37 am by bangali_lok »
VCE (2014): HHD, Bio, English, T&T, Methods

Uni (2021-24): Bachelor of Nursing @ Monash Clayton

Work: PCA in residential aged care

thaaanyan

  • Guest
Re: English Resources and Sample High Scoring Responses
« Reply #124 on: December 23, 2015, 12:38:18 am »
+9
Hey there,
This is one for Medea by Euripides (Vellacott translation), it's a full copy of the half sample I posted up earlier; just typed up the other half (please forgive any errors!!).  I've noticed that we don't have a lot of language analysis pieces, and since it's a piece of the study design that's carrying over for the 2017er's i'll look for one of those next.:)

Medea has just cause to be angry and violent. Jason deserves our utter contempt.

Written in a strictly patriarchal society, Euripides’ Medea aims to explore the human psyche and the motivations behind passionate acts of brutal violence.  Thus, Euripides asserts, Medea has just cause to be angry against a social system which seeks to repress and subjugate those that it deems to be ‘Other.’ However while Medea has just cause to remain angry, she has no right to be violent, as it is when she is violent that Medea crosses the boundary into extremity – with violence Medea becomes a herald of suffering and annihilation, destroying both the remnants of her family and her morality. Despite this, it is Jason’s initial actions which force Medea to commit such atrocities, indeed he is worthy of nothing but the audience’s utter contempt. Hence, Euripides’ Medea delves deeply into the emotional and social causes of anger and violence, castigating the extremity of both individuals and social systems which are not moderate in nature.

Euripides seeks to castigate the motivations behind Jason’s betrayal of Medea, and through his downfall highlights to audiences the limitations of logic and rationality in perceiving the world. The logical nature of Jason’s personality is evident in the very syntax of his speech, as he prefaces his argument with the methodical “To begin with,” in order to support the rationality of his argument. It is this extremity of logic which Euripides condemns – the phallocentric nature of Greek society allows Jason to dismiss Medea as “weak [and] passive,” for as a barbarian and a woman Jason logically perceives that she presents no threat to him. As such it is with little pathos or emotion that Jason tells Medea that “if women didn’t exist,/Human life would be rid of all its miseries.” Here Vellacott’s translation employs use of sharp, laconic sentence structure to imply the cold, sterile nature of Jason’s character as one that is “not swayed by passion.” It is this extremity of logic that Euripides condemns; as Jason’s logical decision to abandon his “Asiatic wife” in favour of more prestigious “royal blood” results in the contempt of audiences who recognises he is “acting wrongly.” Jason’s rational decision to abandon his wife and become an “oath breaker” is made all the more detestable to audiences as he ‘logically’ attempts to validate his actions under the guise of providing for both “[Medea’s] interests and [his] children’s.” Highhandedly Jason claims his marriage has allowed him “to ensure [Medea’s] future” and “to give [his] sons brothers.” However it is the pithy and blunt manner, in which he tells Medea “you are banished,” that reveals his true lack of regard for both his wife and the oath he took as her husband. Thus Euripides highlights that Jason is worthy of contempt not just due to the nature of his betrayal of Medea, but also due to his lack of moderation: the extremity with which Jason bases his character on logic and rationality is the pivotal cause of his complete destruction at the hands of Medea.

Euripides further asserts Medea is justified in her anger against a social system which labels her existence as little more than a “miser[y].” The calcified social structure of Athenian society seeks to subordinate women to the power of men.  Though Euripides’ use of stage direction highlights that Medea is “cool and self-possessed,” Medea is type casted to be little more than a “mad bull” and a “lioness guarding her cubs,” as her nature as an ‘Other’ results in her subsequent dehumanisation as a barbarian possessing little self-restraint and rational thinking. Jason’s accusations that Medea acts with “ungoverned rage” both against himself and against the Athenian society which provides “no justice” to “the most wretched” women highlights the patriarchal nature of the Greek world, as the complexity of Medea’s motivations are reduced to “mere sex jealousy.” In reality Jason’s actions have destroyed Medea’s very existence; she cries out, lamenting “[her] poor right hand” and “[her] knees/which [Jason] then clung to.” Jason’s actions have violated every part of Medea’s body – from her hands to her knees, her entire existence as predicated on the love and relationship they shared together, has been nullified by Jason’s breaking of their marriage oath. The sheer physicality of her pain in a social structure that validates Jason’s actions to be a “thing [that] is common” justifies Medea’s feelings of anger and frustration. Euripides thus demonstrates the social ironies of Athenian society which claims that “force yields place to law” and yet provides justice to all accept women, emphasising that Medea’s persecution allows her to justly feel anger against the Athenian social matrix.

While this anger may be justified, Euripides argues that Medea’s violence is worthy of the audiences condemnation, as Medea’s actions are extreme in their passion. Euripides highlights the moral degradation as caused by such acts of violence, as evident in the manner in which Medea’s decision gain vengeance against Jason has warped the nature of her character; “You’ll give me/double pleasure if their death was horrible,” she tells the Messenger, as the gruesome pleasure she takes from the deaths of Creon and Glauche highlights the disintegration of her moral character. Medea has now thus become the “Tuscan Scylla,” and the “wild bull” Jason has accused her of being – she is a monster ruled foremost by her bloody passions. The moral cost of such violent action is evident in the play’s climax as Medea changes her mind four times when deliberating whether or not to kill her children, shouting “No! No! No! By all the fiends of hate in hell’s depths, no.” Here Vellacott’s use of punctuation strongly articulates the visceral nature of Medea’s passion as she rises up against her children, her violent need to procure revenge against Jason obliterating the gentle love she has for her “own little ones.” Euripides thus reveals to that audience the central tragedy of the play as one wherein violent passions overcomes reason and logic, as Medea’s transformation from flawed human to immoral beast acts as condemnation of the moral repercussions of partaking in violent actions.

Indeed Medea acts to highlight the breadth and depth of the human condition, as passionate anger and violence are an intrinsic facets of man. As such Euripides does not seek to condemn passion, but rather understands it to be a just cause of anger, in a social system that is based firmly on the foundations of masculine logic. It is thus when this anger is morphed into extremity that man faces moral repercussion, and Euripides advocates for an ideal of moderation between the extremes of unrestrained passion and restrictive logic.

heids

  • Supreme Stalker
  • Honorary Moderator
  • ATAR Notes Superstar
  • *******
  • Posts: 2429
  • Respect: +1632
Re: English Resources and Sample High Scoring Responses
« Reply #125 on: December 25, 2015, 10:05:13 am »
+1
(front page updated, thanks all contributors and keep it coming! and yes please for that LA, thaaanyan!)

And a language analysis by Splash-Tackle-Flail :)

(sorry, I'm certain there are typist's errors in it, Splash's handwriting wasn't... so good on this one :P)

The Boozy Country – A language analysis

Untimed planning, 61 minutes writing

1.   Depiction of alcohol
2.   Australia’s relationship to alcohol over the years
3.   Current issues is alcohol --> uncontrolled

Following the recent prevalence of alcohol-related violence and disruption Andrew Clark has written a features article in the Australian Financial Review titled “The Boozy Country” (25-27/1-2014).  Clark appeals to predominantly mature readers, especially those familiar with alcohol and its effects when consumed to expose the drugs true horrific potential, that is only heightened by lenient government administration of it.  Backed by a range of substantiating graphical visuals, Clark seeks to produce newfound disgust in alcohol, subtlely prompting a public call for stricter alcohol regulations.

By introducing his article with an anecdotal depiction of convicts in 1788, “fuelled by rum” in a “drunken orgy”, Clark immediately exposes alcohol potential to influence immoral behaviour such as rape and crime, compelling readers to concede that alcohol is perhaps more potent than the social drink it is depicted as today.  Clark further relates alcohol to moral corruption, as he elaborates how “convicts were assigned to masters” and prompted to work through “alcohol”; this relation of the drink to a means to encourage slaves positions readers to view the drug as a source of corruption and misdemeanour.  This is heightened by Clark’s use of historical examples, as a means to substantiate his disdainful perspective of alcohol while simultaneously presenting himself to readers as well researched, and hence, reasoned and credible in his opinion.  The involving of the “Rum Rebellion of 1808”, described as the “only successful armed takeover of government in Australian history” further reiterates alcohol’s penchant for inciting violence, even to the extent of public dissent, and eventual administrative upheaval.  As Clark reminds, this Rum Revolution coincided with Australia’s [… content lost in scanning…] statistical evidence.  However, this acknolwedgment is a means to exude a sense of authenticity in his attempts to denounce alcohol’s destructive capabilities, suggesting Clark’s resolve is truthful, not sensationalising, thus urging readers to share his disgust, and perhaps fear, of alcohol’s potential for violence.

Clark also explores Australia’s historical attitude to alcohol; perhaps his remarks on the nation’s long-lasting relationship to the drink appeals to the reader’s sense of patriotism as a proud citizen in “simply a nation of drunkards”.  Through interesting, alcohol-related factual evidence, such as how Prime Minister Bob Hawke, “held the Guiness beer drinking record”, Clark concedes that alcohol is an intrinsic fact of Australian culture, thus coming off as reasoned, yet still reminds us that consequently alcohol induced violence has emerged as a relevant issue.  The significance of alcohol in Australian lifestyles is highlighted in phrases such as “Australian literature is drenched in alcohol”: the verb “drenched” connotes alcohol’s overwhelming prevalence in our society.  Each of these acknowledgements, however, are quickly followed by quoted statements such as how alcohol’s role in Australia has “changed but it’s almost like it’s come full circle”, a reference shocking readers into realising, with a sense of urgency, the nation’s gradual descent towards the alcohol related ____ behaviour of penal convicts.  Contrarily, Clarke adopts a more admiring voice to reveal Australia’s conservative attitude to alcohol in the Victorian era, which he depicts as “morally upright”, a “powerful inhibitor on drinking”.  Clark relates this attitude to the era’s “good manners and good dress”, juxtaposing their lifestyle to Australia’s current one, characterised as a looming “convict stain” of drunkenness and debauchery, seeking to position us to view alcohol as even toxic to society’s sense of manner and respect.  More importantly, the exposure of Australia’s Middle-class, 1850s separation from alcohol covertly acts as a hopeful reminder of our nation’s potential to adopt a more diligent, controlled attitude to alcohol.

By describing alcohol-induced violent incidents in 2012 as “Scene two”, Clark immediately establishes in readers a relationship between the current alcohol-induced violence, and 1788’s barbaric “drunken orgy”, suggesting to readers that the “blow” that “sends Kelly’s head smashing into the concrete” and Loveridge’s “unprovoked attack” of 18-year-old Thomas Kelly are present day echoes of alcohol’s corruptive, inhibiting influence.  Revulsion and indignation are evoked in readers over these easily preventable tragedies that are then targeted towards “politicians historically suborned by the powerful grog lobby”; we are angered that Australia has not learned from its past alcohol-related mistakes, and this is directed towards politicians – those Clark deems responsible for these incidents through their lenience.  Current alcohol induced violence is further depicted in the range of graphical visuals, such as a time series indicating the overall rise in non-domestic alcohol related assault.  A bar graph demonstrates a high proportion of “high risk” young adult drinkers, further evidenced by a column graph revealing Australian citizens’ preference to drink at home, where alcohol consumption is unregulated.  A bar graph further reveals a drastic increase in violence as a result of alcohol and steroids; the recent staggering increase reminding readers of the issue’s relevance and the urgent need for it to be addressed.  All these statistical illustrations highlight the significance of alcohol, and its correlation to the increasingly common incidents of violence, in particular by young adults.  This is encapsulated by Waterhouse’s statement, “problems of binge drinking and alcohol-fuelled violence among the young” are due to “ease of access to alcohol”, clearly and concisely offering readers a solution they can support.

Clark concludes his piece by returning to Australia’s former “middle-class respectability” and how “once this was gone it all fell apart”.  From this readers are given a resounding sense of hope a solution to the alcohol induced violence can be achieved, predominantly through changing Australia’s attitude to alcohol.
« Last Edit: December 25, 2015, 10:11:59 am by bangali_lok »
VCE (2014): HHD, Bio, English, T&T, Methods

Uni (2021-24): Bachelor of Nursing @ Monash Clayton

Work: PCA in residential aged care

Pawnpusher

  • Guest
Re: English Resources and Sample High Scoring Responses
« Reply #126 on: January 02, 2016, 06:47:16 pm »
+2
This Boy's Life Thematic/Quote Analysis.

This Boy's Life is a wonderful book. I enjoyed it tremendously studying it, and over my year 12 year I compiled many analysis's of the book. This are some of the ones I found particularly good.
 
Disclaimer: There is a lot of "Wolff this" and "Wolff that".  Much like an essay.

Chapter by Chapter Analysis

Fortune

The story begins with the car [falling] hundreds of feet. It is a metaphor by Wolff to symbolize Jack and Rosemary's journey. It foreshadows them relentlessly moving forward, without time for pause, heading inevitably towards disaster. It can also be linked with Rosemary’s incautious decision to send Jack away with Dwight, a man she did not know well, or even if she wanted to be with him. This similarly embodies a car without brakes. A decision made in haste, bound for disaster.

They ran to get away from a man my mother was afraid of and to get rich on Uranium.(p.3) An implausible plan. Its the contrary of the American Dream. The American Dream stands at hard work = success. However, in this case, it suggest the naivety of young Jack and his mother; To suddenly get rich with little work suggests a lack of understanding about how success works. Again this idea is correlated when Jack exclaimed that everything was going to change when my mother went out West. (p.4)
Again it suggests that their dreams are simply fantasies, as Wolff juxtaposes his mother’s ‘dream’ with his naive idea that simply moving location would fix their problems.

Their naive mindset is also brought forth in the instance where when they headed to Salt Lake City because there must be some ore somewhere around here (p.6) This exemplifies Rosemary's fallacious belief that the Universe will provide for her and that there is innate justice in the world, despite all evidence to the contrary.

Ah Rosemary mate, at this point in the book i called gg for her. I think she is a wonderful character but Wolff portrays her as very naive early on. Wolff implicitly demonstrates that Rosemary constantly makes the wrong choices. There is several instances in this chapter.

1) Rosemary drew the wrong conclusions. The fact that nobody else had found any meant we would have the place pretty much to ourselves (P.6) Here rather than understanding that the absence of ore means that its already taken, they take it as evidence of their success.

2) But his letter was so friendly. My mother just knew she'd get a job out of him. (Pg 6) Not much to be said here, i would be regurgitating from the previous points.

Okay some stuff about Toby/Jack now.
He is an interesting character. For me, it starts at his games (archery + shooting). Jack's own analysis of the arrow game - never admitting what the real object was; to bring somebody down. p.9. Here we see the start of Jack's cruelty, and the enduring theme of how the suffering of others can help cover his own insecurities. His insecurity is still there when he admits that everybody but my mother saw through me and did not like they saw. (p9). The reader is hinted at Jack's lack of self-worth.

Jack is complicated.

With Roy, Jack accepts that strangeness as he admits that over the years, it [became] ordinary to me (p.12) Strange = normal becomes a common aspect in Jack's life. This is proven as he later fails to question situations which he should.

Its never black or white with Jack. While he is rebellious, he is often compliant and eager to please. This is seen as Roy smiled at me and I gave in. I smiled back. (p.13) This shows he can be manipulated. It also shows that he complies with others.

Another theme early on. Power.
A couple of quotes.
Power can only be enjoyed if it is recognized and feared. (Pg 20)
Wolff examines the way having power is not satisfying in itself, it has to impart fear on others and allow one to enjoy the superiority that their status gives them.
I had to shoot. (Pg 21)
The temptation to enact of control over something or someone is born from those who have no control. Jack’s compulsion to shoot reflects his desperate desire to take control.

To finish off this section we'll get to a favorite part of mine. Here, late Christmas present, have a big quote.
...did an imitation of someone praying, then did an imitation of someone receiving divine reassurance. I stopped crying. I smiled to myself and forced a feeling of warmth into my chest. Then I climbed back into my bed and looked at the ceiling with a blissful expression until I went to sleep. (p21).
Jack skips real prayer to go straight to its pale imitation. This mirrors many later instances when he opts to offer what he thinks is expected rather than genuine emotion or remorse. Similarly, in the way that genuine repentance is impossible, genuine reassurance is as well. Interestingly, even though Jack knows that his repentance he is asking for his fake and the forgiveness he is asking for is non-existing, he still receives reassurance from the act and goes to sleep with a ‘blissful expression’. Wolff suggests that while Jack has an inability to receive assistance and no chance of genuine ‘reassurance’ he will provide it for himself through imitated acts of contrition; a genuine coping strategy.

Uncool

American Dream will be looked at here.

As Rosemary Rosemary and Jack walked around stopping in front of different houses to consider them as candidates for future purchase. We went for the biggest and most pretentious. Despite all odds, they still believe in the American Dream and their chance to ‘make it.’ As if suddenly moving up the ladder, skipping many rungs is possible.

People at a party braced themselves and put on joviality like a party hat. Even I could see the hopelessness in their imitation of gaiety. (p51). The American Dream is a veneer. The happy expressions Wolff sees at parties and on families are false. He is conscious of this and cynical of it, yet there is always the desire to belong.

Jack in this chapter:
The silence made me uncomfortable and in my discomfort I smiled at Silver. Again, despite personal discomfort Jack projects a false representation of himself to match what he thinks he should be presenting.

Jack and his mates attack on the rich handsome young man was an attack on the rigid social structure that excluded them from the American Dream. Wolff suggests that Jack has outgrown his naïve belief that he can overcome the odds with optimism and he shows the bitterness that instills in people.

Rosemary time:
The price was right, next to nothing, and she believed in it’s possibilities, a word used often by he man who showed it to her. P.47 Rosemary has a defiant belief in ‘possibilities’. The salesman’s use of this phrase suggests how fallacious this belief is.

As Rosemary [listened] with narrowed eyes to show she was shrewd and would not be easily taken in….ended up agreeing….signed a contract on the hood of the mans car while he held a flashlight over the paper.’ 47.
Wolff uses irony here to suggest that Rosemary is not shrewd, the place is not close to perfect and she makes a poor decision.

She was so good at making us see it her way that we began to feel that everything needful had already been done p.48 Wolff examines the way that Rosemary constructs hope and instills it in others. Even when it is unfounded, hope can be infectious

But Daddy left some marks on her. One of them was a strange docility, almost paralysis with men of a tyrant breed.P.49. Wolff explores how Rosemary’s manipulative and tyrannical father has made her powerless to oppose other men like this. He suggests that our upbringing can be responsible for our later problems.

Rosemary also has a contradictory hatred of coercion. She’d never been able to spank me….That wasn’t the way she wanted to be with me and she didn’t think I needed it anyway. 49 Rosemary incorrectly assumes that Jack doesn’t need discipline. She gives him none because she dislikes giving it, rather than diagnosing it as unnecessary.

Oooo Dwight time. This guy lmao, if he was a meme he'd be a rare pepe. After visiting Dwights home in

Chinook, Dwight points out Salmon to Jack. They came a long way from the ocean to spawn here, Dwight said, and then they would die…They were dying already… Long strips of flesh hung off their bodies…p.62 Wolff is metaphorically suggesting that Jack and Rosemary’s movement away from their home into the unknown is doomed. More broadly, he is examining the way that the constant journey looking for change and security is futile. More than that, the toll it takes is as visible as the ‘strips of flesh’ hanging from the body.

A Whole New Deal

As Dwight had gone out of his way to run over a beaver. It shows an ominous sign of cruelty.

Just a few things about Jack in this chapter.
‘Unlike my mother, I was fiercely conventional’ p.74 At this point Wolff allows jack’s desire to belong to supersede his rebellion.
‘I was tempted by the idea of belonging to a conventional family.’ P.74 Wolff juxtaposes belonging and conformity. Jack definitely desires community but he is ‘tempted’ by it, rather than convinced by it. Similarly, he is drawn to the ‘idea’, rather than the reality.
‘I could introduce myself as … a boy of consequence’ p.74 This example of reinvention suggests that this description is different to how he actually is.

Citizenship In The Home

‘Dwight’s bill of particulars contained some truth…. It never ended and it lost it’s power to hurt me.’ P.83 Jack is aware of his many flaws however there are so many of them that he refuses to be weighed down by them.

We always left the meetings together, like father and son, smiling and waving goodbye, then walking home in silence.’ P.84 This is food for thought, was this charade from a sense of obligation or desire to belong?

‘Boy’s Life’ – the scout magazine that he ‘read in a trance, accepting without question its narcotic invitation to believe that I was really no different from the boys whose hustle and pluck it celebrated. This reflects Jack’s innate desire to belong and to fit into America’s definite of what a healthy young male is. However Wolff’s use of the words ‘accepting without question’ suggests that the belief is delusional and unrealistic.

Of Dwight’s fighting technique; ‘It was simple really. You just walked up to someone and kicked them in the balls.’ Dwight’s technique reflects what he has learnt from life; the odds are so stacked against you that you can’t be honest in attempting to face them. You have to be duplicitous and snatch whatever advantage you can get.

Skipper becomes emotional when he hears a song about a man who kills another man but the man never finds out that the jury has acquitted him on grounds of self defence.’ 103 Skipper, who has a clear escape plan himself, can already recognise the tragedy of running needlessly and endlessly, and empathises with those who are doomed to his own fate.

Citizenship in School

Teacher asks them to name their favourite amendment. Every knew the answer was ‘the Right to Bear Arms’ but she wrote ‘Freedom of Speech’. It shows that even in matters of opinions, there is apparently correct answers.

Of Arthur ‘I knew he was no citizen and he knew I was no outlaw’ ‘that I was not hard or uncaring of the future, or contemptuous of the opinion’ 186. Jack is incredulous that his mask and attempt at transformation has not succeeded

‘Knowing that everything comes to an end is a gift of experience, a consolation gift for knowing that we ourselves are coming to an end. Before we get it, we live in continuous present, and imagine the future as more of that present. Happiness is endless happiness, innocent of it’s own sure passing. Pain is endless pain.’ 194 Wolff literally states the knowledge he has over his younger self. He has learnt that experiences are fleeting and both positive and negative experiences move on.

The Amen Corner

‘He wanted a good life. The good life he had in mind for himself was just as conventional as the one that I had mind for myself, though without it’s epic pretensions.’ 215 Jack is aware that the desire of others to be secure is reasonable but he desire to be loved and admired is not.

‘Chuck held onto his dream as if it were actual. He was prepared to go to prison for it.’ 215 Belief can be a powerful motivator. Chuck’s belief that there was something better for him meant more to him than his freedom.

Amen

‘If I worked hard I could stay afloat, as soon as I relaxed I went under.’ 241. While Wolff is referring to his schooling, this could easily be applied to his broader life.

‘Then I went into the army. I did so with a sense of relief and homecoming. It was good to find myself in the clear life of uniforms and ranks and weapons.’ 241. His long-standing belief that the military would fix him shows Jack’s desire for control and order.

‘All I needed was a war. Be careful what you wish for.’ Food for thought. Read the quote above. Interesting huh, there's a toll in everything, even in control and order.

I obviously did not examine everything, probably a small % of the book, however, these notes helped me tremendously and i pass them on as i go onto university. Good Luck.





 
« Last Edit: January 02, 2016, 06:58:08 pm by Pawnpusher »

literally lauren

  • Administrator
  • Part of the furniture
  • *****
  • Posts: 1699
  • Resident English/Lit Nerd
  • Respect: +1423
Re: English Resources and Sample High Scoring Responses
« Reply #127 on: January 25, 2016, 12:21:26 pm »
+1
The following piece was a high scoring creative Context piece from user ST0123 in response to the Whose Reality prompt: 'We can evade reality but we can't evade the consequences of doing so.' Set text was 'The Lot' by Michael Leunig.

Pleasure Spots

The following is an essay written by the journalist-writer Benedict Eve, which was published in The Sunday Age.

"Illusions commend themselves to us because they save us pain and allow us to enjoy pleasure instead. We must therefore accept it without complaint when they sometimes collide with a bit of reality against which they are dashed to pieces." – Sigmund Freud.

Many years ago I went to Las Vegas to visit my sister who had just given birth to her first daughter. Living in a small city apartment, there was no room for me to stay with her and her husband, so Bree (my sister) helped me book a room in a nearby hotel. Expecting it to be a quaint little place that would provide for my simple accommodation needs, I was completely astounded by the colossal chained-brand hotel where I stayed: The Venetian resort. 

I can safely say that my stay at the “five-star” casino-hotel was the most distressing and discomforting experience I have ever had in my life that has probably caused me to age five years in the space of five days. In the heart of the complex was an indoor canal with “genuine and authentic” gondolas steered by less authentic and definitely not-Italian gondoliers who wore cringe-worthy uniforms that were garnished with a straw hat probably made in China. On both sides of the canal stood a line of boutiques, cafes and restaurants with “river-side views” built in the Romanesque and Gothic styles with balconies looking down on the scene below. Like the actual Venice in summer, in the hotel, the sky above the canal was and always will be a sapphire blue speckled with clouds – the only difference being that the sky is painted on the ceiling in the hotel (but not in actual Venice). The hotel boasted of ten different pools including three indoor heated water parks, indoor movie theatres and clubs, making guests’ stay a “slice of Venice”.

Almost seventy years ago, George Orwell wrote a sardonic essay, Pleasure Spots, which condemned the blue print of a post war pleasure resort with “sliding roofs”, “dance floor[s ] made of translucent plastic”, “a battery of skittle alleys” and “sunlight lamps” over “pools to simulate high summer” during winter. I wonder what he would have to say about The Venetian hotel or the even more outrageous terrarium in the south of Berlin, the Tropical Island resort. Thousands each year flock to this indoor beach resort with a forest, whirlpools and waterfalls housed in an old airship hanger protected from the weather outside. I think dear George would have been mortified.

It is surprising how many people stay at The Venetian when the real Venice is only thirteen hours away by plane and even more surprising how popular replica resorts have become around the world when previously, travelling around the globe was the dream for most. I suppose that to many, the idea of entering a quasi-Venice or Egypt is enticing as it is a way to escape from everyday life. Just like novels, film and television, these hotels allow people to enter a bubble of artifice, a bubble that contains a completely different world to their actual reality, the life that they have lived and will continue live for the entirety of their existence. Protected from the weather by being protected with cement walls, replica resorts are loved as they simulate the perfect world – a world where everything is just a little bit brighter and a little bit better. There is a sort of exhilaration, a possibility of the unknown, where people can shed their responsibilities and live another life, be who they’ve always wanted be and do what they always wanted to do for just a moment. As Orwell put it, these resorts are a place where we can evade “consciousness”.

In a world of harsh truths – war, famine, poverty and the fact that we still have to deal with Abbott for two more years, it is understandable, and in fact, healthy that people sometimes need to take breaks from the world we live in, our reality. Every time we reach for Robinson Crusoe rather than the newspaper is a perfectly acceptable indulgence, and we can happily return back to the ‘real world’ after this small diversion, more restful and peaceful at mind.

So when does a preference for illusions and fantasies become a problem and what does this mean for “beloved” hotels such as The Venetian resort? I suppose that although horrific to Orwell, “destroy[ing] consciousness” may not be as disastrous at it first seems. Indeed, it may not be bliss for philosophers, but many of society are content to live ignorantly and do so even in the present day. When it comes to politics and government, many citizens vote based on their preconceptions, prejudices and from the depictions of ministers they’ve witnessed on media. It seems that a true understanding of democracy and our Australian government has dwindled in recent years; however, this has not caused wide spread suffering. We only regrets that we must witness the embarrassment of elected Prime Ministers on social media for three years.

When we reflect on history, ignorance and unconsciousness have not greatly threatened our lifestyles as Homo sapiens have been able to thrive even from the most primitive Stone Ages when we lacked cognitive abilities. I suppose this isn’t exactly escaping reality, but rather limiting it. Consequences as such do not arise from a lack of consciousness but rather when the distinction between “reality”, the external world, and fantasy become blurred. Perhaps the most prominent character who demonstrates this is Willy Loman from Arthur Miller’s Death of a Salesman. A man who fails to attain the American Dream but believes it is him, rather than the system at fault, Willy evades the reality that he is a failure by creating a façade for both himself and his family that he is a successful salesman. Ultimately, the chasm between his reality, the truth of his situation, and the veneer he displays is impossible to reconcile that he rejects his reality, preferring his illusions.

However, Willy is not the only one living in the threshold between reality and fantasy; we, as modern citizens experience this tension everyday through institutions such as replica hotels, reality television where fantasy seems to supersede reality. These “replicas” of the world have gained a foothold, resulting in an actualisation of Baudrillard’s simulation-simulacra theory. First simulating the external world through imitating famous holiday destinations and quotidian life, hotels like the Venetian and reality television shows have now manifested from a representation to being perceive as portraying the world as it is. In fact, as Woody Allen exclaimed, “life doesn’t imitate art, it imitates bad television”. It is no one wonder that many like Leunig have described humanity as being in the midst of social madness when we do not interact with the world itself but a layer of veneer that superficial replicates it. Although there have been no serious consequences yet, I’m sure that when, if we ever, surface from fantasy to reality, where our illusions will be “dashed to pieces” there will be a subsequent riot and anarchy. Hopefully, people will also reflect on existence and seek Satre and Plato for guidance.

Perhaps the common man will reach an epiphany that we need to interact authentically and there will be a riot in which hotels like The Venetian will be torn down in a defiant relinquishment of facade. Or perhaps all will despair and seek further solace from fantasy. But until then, I will think of the guests in The Venetian, the tired individuals each seeking some pleasure and escape in the resort, and pray that they find what they seek, but resurface from the hotel with a hunger and love for life, their lives. 

bluetongue

  • Victorian
  • Fresh Poster
  • *
  • Posts: 1
  • Respect: 0
Re: English Resources and Sample Essays
« Reply #128 on: June 29, 2016, 08:57:26 pm »
+1
Sorry if I've made any mistakes by posting this, it's my first post after lurking on here for so long...

zunguzungu's 5 part analysis of In the Country of Men
okay, so that only took me 3 tries to format because it's been years since I've used BBcode...
A fantastic analysis that mainly focuses on the symbols in ITCOM; I came across this gem just by typing "In the country of men symbols". zunguzungu has a idiosyncratic name, sure, but it's also hard to remember...

Perdue Online Writing Lab (or Perdue OWL): Developing Strong Thesis Statements
Very thorough, sometimes jargon-heavy articles on how to write well. Ironically I cannot write a good sentence that describes this resource This is just one of the many pages it has, I suggest you keep on clicking around. It really breaks down the writing process and helps you understand what you are writing, and by understanding how you write, you know how to write better.

That's all I've got so far. Most other resources came from here :P

HopefulLawStudent

  • Victorian
  • Forum Leader
  • ****
  • Posts: 822
  • Respect: +168
Re: English Resources and Sample Essays
« Reply #129 on: December 16, 2016, 11:48:29 am »
+3
Bump!

If anyone has any essays, notes or pretty much anything that they want to contribute (and aren't selling or anything), please feel free to either post in the thread or PM an English mod. From memory, text response is largely unchanged under the new study design as is language analysis. You can keep your Context essays though because it no longer exists under this new study design (RIP Context, you might be missed).

TheCommando

  • Forum Obsessive
  • ***
  • Posts: 316
  • Respect: +6
Re: English Resources and Sample Essays
« Reply #130 on: March 30, 2017, 12:02:17 am »
0
Hi, doesnt seem like there is much on creative writing but since i have a sac on it are there any high scoring responses of this as there wasnt a list. Its for beyond the beautiful forevers

TheCommando

  • Forum Obsessive
  • ***
  • Posts: 316
  • Respect: +6
Re: English Resources and Sample Essays
« Reply #131 on: July 14, 2017, 09:03:23 pm »
0
For the final aos are there any comparitive resources?

HopefulLawStudent

  • Victorian
  • Forum Leader
  • ****
  • Posts: 822
  • Respect: +168
Re: English Resources and Sample Essays
« Reply #132 on: July 22, 2017, 06:34:20 pm »
+2
Didn't notice these posts til now and I'm going to reply anyway just in case you were still looking. Unfortunately, as this is the first year of the new study design, there aren't really all that many VCE resources on the creative or the comparative (from what I've seen anyway).

Hi, doesnt seem like there is much on creative writing but since i have a sac on it are there any high scoring responses of this as there wasnt a list. Its for beyond the beautiful forevers

Unfortunately, I haven't been able to find any high scoring creatives yet (but if anyone has any, I will be sure to shower anyone who adds creatives with +1's and lots of love so please, feel free to post some up or if you're feeling shy, please feel free to message me your creative and I'll happily post it up for you anonymously). There should also be a couple of creatives up on the English Submissions and Markings board but I don't think there are any for Beyond the Beautiful Forevers (not that I could see anyway).

For the final aos are there any comparitive resources?

Same problem with creative resources in that there aren't all that many as of yet which is frustrating, I know. With that said though, have you checked out my lecture slides from ATARNotes' free July lectures? There was a whole content block devoted to comparative resources in that lecture and should serve as a nice starting point.

TheCommando

  • Forum Obsessive
  • ***
  • Posts: 316
  • Respect: +6
Re: English Resources and Sample Essays
« Reply #133 on: July 22, 2017, 07:54:54 pm »
+1
Didn't notice these posts til now and I'm going to reply anyway just in case you were still looking. Unfortunately, as this is the first year of the new study design, there aren't really all that many VCE resources on the creative or the comparative (from what I've seen anyway).

Unfortunately, I haven't been able to find any high scoring creatives yet (but if anyone has any, I will be sure to shower anyone who adds creatives with +1's and lots of love so please, feel free to post some up or if you're feeling shy, please feel free to message me your creative and I'll happily post it up for you anonymously). There should also be a couple of creatives up on the English Submissions and Markings board but I don't think there are any for Beyond the Beautiful Forevers (not that I could see anyway).

Same problem with creative resources in that there aren't all that many as of yet which is frustrating, I know. With that said though, have you checked out my lecture slides from ATARNotes' free July lectures? There was a whole content block devoted to comparative resources in that lecture and should serve as a nice starting point.
No, i have the notes book though
Damm that sucks cause compartive is on the exam.
The lack of resources for Creative writing  reallyt doesnt mattee as i dont have to do it anymore

Will search for the slides on the notes section
Thanks

J_Rho

  • MOTM: MARCH 20
  • Forum Leader
  • ****
  • Posts: 935
  • Respect: +756
Re: English Resources and Sample Essays
« Reply #134 on: September 24, 2019, 02:28:41 pm »
+1
Resources of comparative???
— VCE —
English 30, Further Maths 33, Biology 33, Legal Studies 27, Psychology 32

— University —
Bachelor of Nursing @ Monash
Bachelor of Counselling & Psychological Science @ ACAP