So the Literature study design has changed. As of 2017, there are a couple of key differences in terms of SAC requirements… but there’s also this scary new thing called “Literary Perspectives.” It’s 50% of the exam, and is a very important SAC in Unit 4. So what is a “Literary Perspectives” task and how do you do one??
Let’s start with the basics, straight from the study design…
To translate this out of VCAA-jargon, this is basically a task revolving around interpretations. Here, you’ll need to consider the writer’s intentions as well as potential reader interpretations. For your SAC, you will get two pieces of literary criticism, and will need to analyse both of these alongside the text.
And, as always, you need to link language to meaning. So if you’re dealing with a piece of criticism that argues the text suggests that women don’t have enough agency in society (meaning), it’s your job to locate a part of the text, like a female character whose voice is constantly interrupted (language) that backs this up.
Below are some examples of some SAC task material you could expect.
Heart of Darkness by Joseph Conrad: one piece could argue that the novel is a representation of the pitfalls of colonialism. Another could argue it is an encapsulation of Conrad’s own personal qualms and turmoils.
Pygmalion by George Bernard Shaw: one piece could argue the play has an enlightened, feminist message of empowerment. Another could argue it is inherently misogynistic.
A Doll’s House by Henrik Ibsen: one piece could argue that the play is about the liberation of a woman from patriarchal confinements. Another could argue it is about the liberation of one’s psyche from socio-economic constraints.
Dark Roots by Cate Kennedy: one piece could argue the text is optimistic about the human condition. Another could argue it presents a bleak view of human potential.
Selected Poems by Robert Browning: one piece could argue the collection is preoccupied with selfish self-fulfilment. Another could argue it is about finding shared or collective happiness.
Some of these interpretations will be very conventional (e.g. post-colonial, Marxist, or feminist). But you’ll also get others that are less rigid. You may even get pieces that argue about specific textual details. For instance, one piece might argue that the protagonist is a hero, whereas the other argues he is an anti-hero. Also, the critical pieces need not be in complete opposition. One piece might argue the characters in the text are sympathetic because of their situations, whilst another might argue that they’re sympathetic because of their attitudes.
What are the SAC requirements?
In short, the core skills assessed in this SAC are as follows.
Or, in other words:
1. Interpret the text you’re studying in a clear and plausible way. And do this by “analysing” the text (i.e. providing evidence of language linked to meaning!)
2. Correctly identify the interpretations in the pieces of criticism, and provide textual evidence that supports their views.
3. Discuss how a certain lens of interpretation colours how we view things. (For example: “when viewed from a feminist perspective, this moment is… but from a Marxist perspective, one may instead conclude that…)
4. Compare these critical interpretations with your own views and (in moderation) comment on which one(s) are weaker/stronger, and why.
Note that since this is a SAC and is marked internally, you should talk to your teacher about specifics. Some may want you to be hyper-critical of the critics. As such, your essay should engage with these opinions and point out advantages and flaws. For instance, you might have one critic whose conclusions aren’t closely based on textual evidence. This means you can actively point out ‘errors’ or instances of ‘weak’ readings in your Literary Perspectives SAC.
What makes a reading ‘strong’ or ‘weak’?
Consider the following excerpt from Harry Potter:
The rest of Harry’s sentence was drowned out by a high-pitched mewling from somewhere near his ankles. He looked down and found himself gazing into a pair of lamp-like yellow eyes. It was Mrs. Norris, the skeletal grey cat who was used by the caretaker, Argus Filch, as a sort of deputy in his endless battle against students.
“You’d better get out of here, Harry,” said Nick quickly. “Filch isn’t in a good mood – he’s got the flu and some third years accidentally plastered frog brains all over the ceiling in dungeon five. He’s been cleaning all morning, and if he sees you dripping mud all over the place -”
“Right,” said Harry, backing away from the accusing stare of Mrs. Norris, but not quickly enough. Drawn to the spot by the mysterious power that seemed to connect him with his foul cat, Argus Filch burst suddenly through a tapestry to Harry’s right, wheezing and looking wildly about for the rule-breaker. There was a thick tartan scarf bound around his head, and his nose was unusually purple.
An example of a strong reading of this passage is that Harry is a character who is dependent on others, since Nearly Headless Nick is offering advice for Harry’s own well-being.
An example of a weak reading of this passage is that Harry actually wants to transfigure himself into a cat. He “gazes” into the eyes of Mrs. Norris, and sees them as “lamp-like,” which is a symbol of hope, warmth, and happiness. And he attempts to “back away” from her because he fears his true desires will become known.
…we could try and argue for that second reading. And if you try really hard to make the evidence fit, maybe you could expound on this for a whole paragraph. But realistically, it’s not a strong reading. It requires us to ‘stretch’ a lot of the evidence, and ignore other (more substantial) ideas.
Chances are you won’t get a critical piece that argues your protagonist secretly wants to become a cat. But you may get a piece that is markedly ‘stronger’ or ‘weaker’ then another. The amount of evaluation you do will depend on your teacher’s preferences, but being able to discern the strength and validity of an interpretation is a key skill for the Literary Perspectives AOS.
What’s the difference between the Literary Perspectives SAC and the exam task?
On the flip side, the exam task is a horse of an entirely different colour.
For those of you who are studying VCE English concurrently with Lit (or have done English in Year 11), just think of the Literary Perspectives task on the exam as akin to a Text Response essay.
For those who don’t, here’s all you need to know.
You’ll get a prompt in the form of either a statement or a question about your text. You then have to discuss this statement, using textual evidence to support your contention. For example:
There are more examples in VCAA’s 2017 sample exam. Unfortunately none of these apply to the 2017 texts… (round of applause to VCAA for such a relevant sample exam -.-). But the structure of these questions/statements should give you a general idea.
Unlike the English exam’s Section A, you will not get a choice of prompts. The one on the page is the one you must write on, and you must write a piece that is relevant to this prompt.
To unpack these prompts, you should start by assuming that the text is complex. Whether you think this is true or false is irrelevant. If you write an essay that takes a definitive stance and argues ‘the text categorically says XYZ,’ you’re unlikely to score highly. For example…
‘The characters in Persuasion are oppressed by society’s rules and expectations.’
→ but it’s more complex than that! The characters exacerbate their own oppression. They also oppress one another. And the rules/expectations are only oppressive because of other, broader issues that the author critiques.‘None of the characters in Jane Eyre are truly independent.’
→ but it’s more complex than that! Their independence is not necessarily contingent on their own actions/attitudes. And societal factors also affect their independence. And the author suggests that independence isn’t always a good thing.‘Despite its fantasy elements, Love in the Time of Cholera is pervaded by a sense of death and decay.’
→ but it’s more complex than that! Death, decay, and fantasy elements actually work together to create meaning. Some of the fantasy elements actually heighten the sense of death and decay. And the author uses these elements to recontextualise the meaning of death and decay.
The other important part of this task revolves around your interpretation.
It’s vital that over the course of your Literary Perspectives essay, you substantiate your ‘reading’ of the text. In fact, if we look at the exam criteria…
…your interpretation is basically at the heart of each of these points! Most importantly: your reading must be informed (i.e. draw from the text accurately), relevant (i.e. about the right ideas), and plausible (i.e. well-justified!)
This can be confusing at first, but think of it this way. There is such thing as a ‘wrong’ answer or a ‘wrong’ interpretation in Literature. And there are multiple ‘right’ interpretations. But the assessors only care about one thing. A WELL-JUSTIFIED INTERPRETATION!
So how do I write a Literary Perspectives piece in the exam?
Essay structure is very much up to your personal preference. Much like Close Analysis (i.e. Section B) you could stick with the English-y convention of three/four big body paragraphs. Or, your essay could consist of twelve mini-paragraphs that you break up when you transition to a new point or idea.
So long as that interpretation is your focus, and you are linking language to meaning, you’re all good!
If you have other questions about VCE Lit, be sure to check out the Literature boards for more info and advice!
