Extended response imaginative spoken/multimodal response (25%)

Transcription

1 Extended response imaginative spoken/multimodal response (25%) This sample has been compiled by the QCAA to assist and support teachers to match evidence in student responses to the characteristics described in the instrument-specific marking guide (ISMG). Assessment objectives This assessment instrument is used to determine student achievement in the following objectives: 1. use patterns and conventions of an imaginative genre to engage audiences with a and invite them to reinterpret the base 2. establish and maintain the role of the speaker/signer/designer and relationships with audiences 3. create perspectives and representations of concepts, identities, times and places in a 4. make use of the ways cultural assumptions, attitudes, values and beliefs underpin s to invite audiences to reinterpret the base 5. use aesthetic features and stylistic devices in a to prompt emotional and critical responses 6. select and synthesise subject matter to support perspectives in the 7. organise and sequence subject matter to achieve particular purposes 8. use cohesive devices to emphasise ideas and connect parts of the 9. make language choices for particular purposes and cons 10. use grammar and language structures for particular purposes 11. use spoken/signed and non-verbal features (and complementary, if appropriate) to achieve particular purposes

2 Instrument-specific marking guide (ISMG) Criterion: Knowledge application Assessment objectives 3. create perspectives and representations of concepts, identities, times and places in a 4. make use of the ways cultural assumptions, attitudes, values and beliefs underpin s to invite audiences to reinterpret the base 5. use aesthetic features and stylistic devices in a to prompt emotional and critical responses The student work has the following characteristics: subtle and complex creation of perspectives and representations of concepts, identities, times and places in a manipulation of the ways cultural assumptions, attitudes, values and beliefs underpin s, to invite audiences to reinterpret the base aesthetic features and stylistic devices to prompt emotional and critical audience responses. effective creation of perspectives and representations of concepts, identities, times and places in a effective manipulation of the ways cultural assumptions, attitudes, values and beliefs underpin s, to invite audiences to reinterpret the base effective use of aesthetic features and stylistic devices to prompt emotional and critical audience responses. appropriate creation of perspectives and representations of concepts, identities, times and places in a appropriate use of the ways cultural assumptions, attitudes, values and beliefs underpin s, to invite audiences to reinterpret the base appropriate use of aesthetic features and stylistic devices to prompt audience responses. superficial creation of perspectives and representations of concepts, identities, times and places in a superficial use of the ways cultural assumptions, attitudes, values and beliefs underpin s, to invite audiences to reinterpret the base use of aspects of aesthetic features and stylistic devices that vary in suitability. creation of fragmented perspectives and representations of concepts, identities, times and places in a fragmented use of some ways ideas underpin s fragmented use of language features. Marks does not satisfy any of the descriptors above. 0 Page 2 of 8

3 Criterion: Organisation and development Assessment objectives 1. use patterns and conventions of an imaginative genre to engage audiences with a and invite them to reinterpret the base 2. establish and maintain the role of the speaker/signer/designer and relationships with audiences 6. select and synthesise subject matter to support perspectives in a 7. organise and sequence subject matter to achieve particular purposes 8. use cohesive devices to emphasise ideas and connect parts of the The student work has the following characteristics: the patterns and conventions of the chosen genre, and the role of the speaker/signer/designer, to engage audiences with a and invite them to reinterpret the base selection and synthesis of subject matter to support perspectives in a reimagined organisation and sequencing of subject matter to achieve particular purposes, including the cohesive devices to develop and emphasise ideas and connect parts of the. effective use of the patterns and conventions of the chosen genre, and the role of the speaker/signer/designer, to engage audiences with a and invite them to reinterpret the base effective selection and synthesis of subject matter to support perspectives in a reimagined effective organisation and sequencing of subject matter to achieve particular purposes, including the effective use of cohesive devices to develop and emphasise ideas and connect parts of the. suitable use of the patterns and conventions of the chosen genre, and the role of the speaker/signer/designer, to establish and maintain relationships with audiences suitable selection and synthesis of subject matter to support perspectives in a reimagined suitable organisation and sequencing of subject matter to achieve particular purposes, including the suitable use of cohesive devices to develop and emphasise ideas and connect parts of the. inconsistent use of the patterns and conventions of the chosen genre, and the role of the speaker/signer/designer, to establish relationships with audiences narrow selection of subject matter to support perspectives disjointed organisation and sequencing of subject matter, including some use of cohesive devices to connect parts of the. fragmented use of the patterns and conventions of the chosen genre and aspects of the role of the speaker/signer/designer fragmented selection of subject matter some connections between parts of the. Marks does not satisfy any of the descriptors above. 0 Page 3 of 8

4 Criterion: Textual features Assessment objectives 9. make language choices for particular purposes and cons 10. use grammar and language structures for particular purposes 11. use spoken/signed and non-verbal features (and complementary, if appropriate) to achieve particular purposes. The student work has the following characteristics: language choices for particular purposes in a specific con combination of a range of grammatically accurate/appropriate language structures to achieve particular purposes spoken/signed and non-verbal features (and complementary, if appropriate) to achieve particular purposes: effective language choices for particular purposes in a specific con effective use of a range of grammatically accurate/appropriate language structures to achieve particular purposes effective use of spoken/signed and non-verbal features (and complementary, if appropriate) to achieve particular purposes: suitable language choices for particular purposes in a specific con suitable use of a range of mostly grammatically accurate/appropriate language structures to achieve particular purposes suitable use of spoken/signed and non-verbal features (and complementary, if appropriate) to achieve particular purposes: language choices that vary in suitability uneven use of grammar and language structures use of spoken/signed and non-verbal features (and complementary, if appropriate) that vary in suitability: inappropriate language choices fragmented use of grammar and language structures variable and inappropriate use of spoken/signed, nonverbal and complementary (if appropriate) features: Marks does not satisfy any of the descriptors above. 0 Page 4 of 8

5 Task Con In this unit, you have explored representations of identity and its relationship with language and culture in a range of literary s, including short stories. As a developing writer, you have experimented with manipulating aesthetic features and stylistic devices in your own imaginative s to reinterpret ideas and prompt critical and emotional responses. You have developed a writing journal in which you have recorded your ideas and understandings about crafting imaginative s, and worked towards developing editorial independence by using strategies for planning, drafting and refining your style. The you will now create and present is an opportunity to share your creative work. Task Create, script and present an imaginative spoken or multimodal response to a short story by one of the writers on the Literature prescribed list. Your response should: be a reimagining of a character and/or representations of concepts, identities, times and places from the original short story be set in a different con from the original short story invite the audience to question or reflect on the dominant cultural assumptions, attitudes, values and beliefs that underpin the original short story and/or the new cultural con. You may respond in any imaginative form that allows you to demonstrate the assessment objectives. Page 5 of 8

6 Sample response Criterion Marks allocated Result Knowledge application Assessment objectives 3, 4, 5 Organisation and development Assessment objectives 1, 2, 6, 7, 8 Textual features Assessment objectives 9, 10, Total The annotations show the match to the instrument-specific marking guide (ISMG) performancelevel descriptors. The video can be accessed via the QCAA Portal: Textual features [6 7] spoken/signed and non-verbal features (and complementary, if appropriate) to achieve particular purposes The response uses sound effects and silence to engage the audience. Knowledge application [8 9] aesthetic features and stylistic devices to prompt emotional and critical audience responses Anniversary [Sound of cows mooing] Today. [A long sigh]. Today I ll help in the dairy we will usher in the herd, corral the cows, their udders heavy with milk for baying calves left abandoned in the paddock. They ll look at me with their soft brown eyes, and I ll know yet again that I m a coward, because I ll do nothing to help the poor creatures escape their lot. I ll let him leave those cattle babies baying, and I ll be glad that there will be milk for our porridge and butter for our bread. And he will mutter darkly that I m soft and foolish, and he will be right, because I am. [Sound of salt being rubbed between fingers] So soft, like butter that s been left too close to the fire, melting, so that it s no good for anyone s bread. No good. Not wanted. Ready to be thrown away. He would throw me away, I think, except he needs the pair of hands. Red and raw as they are, he needs someone who doesn t object to tying the bales after the hay s been threshed, who scrubs the milk vats with iodine, who feeds the abandoned calves under the sparse light of a silvery dawn. These hands are cheap, and even though they can t do what a man s might, the fact that they come without an exchange of silver matters to him. [Sound of lightning and muffled male voices] Organisation and development [8 9] the patterns and conventions of the chosen genre The response uses the patterns and conventions of a monologue to engage audiences with the and invite them to begin reinterpreting James Joyce s short story Eveline. Note: Part of this paragraph is not included in the video or transcript. Page 6 of 8

7 Textual features [6 7] combination of a range of grammatically accurate/appropriate language structures to achieve particular purposes Knowledge application [8 9] subtle and complex creation of perspectives and representations of concepts, identities, times and places in a The response establishes the setting and the main character in creating a sense of mid-20th century rural Australia. manipulation of the ways cultural assumptions, attitudes, values and beliefs underpin s, to invite audiences to reinterpret the base The response uses ways cultural assumptions, attitudes, values and beliefs about class, success, marriage and women underpin this to invite audiences to reflect on Eveline s perspective in Joyce s short story. aesthetic features and stylistic devices to prompt emotional and critical audience responses The response uses the image of the hope chest, its strong associations with mid- 20th century rural Australia, and its link to the title Anniversary to prompt audience empathy and at the same time to invite the audience to challenge the narrator s view of her unmarried state. We all have our price. The prodigal son, Harry, managed to get away from this little patch of earth to his new regular work in business, and with his fine house and fine wife, Father is very pleased. Father is like a bantam rooster when they grace us with their presence at church on Sunday chest all puffed out and tail feathers prancing. She is a lovely thing, Addie, lovely because she has never had to toil under a sun that licks your face like an old dog, lovely because she has never had to drag her boot out of a puddle filled with cow muck and dead grass, lovely because she does not need to concern herself with shelf dusting and silver polishing. [Sound of a storm] And unlike me, she is our victorious prize we can hold her up to show the town that unlike the other Cleary s, Henry can do well. And after our performance at prayers and penitence, in front of the cooing audience of admirers, Addie invites us to her well-kept home, and Father and I pretend to be at ease. [Music] But we are as out of place as rusty shovels in a fancy dining room we are a threat and an omen all in one. Henry stars as the carver and Addie the vegetable roaster for our little feast, and more than once I ve caught them exchanging a little glance. This will soon pass, their look seems to say. And then we can be alone in our little house in town, and we can share the clean, fresh things that belong to just us. And when I see that, the bright, shining flush of their intimacy, I can barely swallow my food. [Sound of a storm] My rage slithers its way out of my stomach and encircles my throat, pulling tighter and tighter on the sinews of my windpipe. Rage so fierce that it could destroy a house, a town, a world; a rage made and fueled in a primordial place. The rage of my envy is boundless and blinding, and it renders me lost, here, without hope. Hope. Some girls in the town keep hope chests places to store things for the day their suffering as unwedded females ends. I ve contributed, in my dull way, to the chests of others stitched doilies and towels, hemmed blankets and edged face washers. And with each stitch, I am reminded my suffering stretches further into a barren future. The toil of this farm, marked only by the rise and fall of a distant Textual features [6 7] language choices for particular purposes in a specific con Organisation and development [8 9] organisation and sequencing of subject matter to achieve particular purposes, including the cohesive devices to develop and emphasise ideas and connect parts of the Page 7 of 8

8 Knowledge application [8 9] manipulation of the ways cultural assumptions, attitudes, values and beliefs underpin s, to invite audiences to reinterpret the base The response invites audiences to reinterpret and reflect on perspectives about marriage and women offered in Joyce s short story. Organisation and development [8 9] selection and synthesis of subject matter to support perspectives in a organisation and sequencing of subject matter to achieve particular purposes, including the cohesive devices to develop and emphasise ideas and connect parts of the The responses selects and sequences relevant subject matter, such as images and details, to support perspectives about pain, suffering, loss and regret in the. sun, is the only future for a fool like me. Hope is as alien to me as that ball of fierce energy in the sky unreachable, unknowable, unachievable. I ve waited for today. Counted the days on the calendar, like treasures, for today should be my wedding anniversary day. Such a day could have been mine if I d had the certainty of an Addie, if I d been able to beat down my fears with my desires. Oh, the desires I had! For a little place of my own, where I could make the butter with a little extra salt if I wanted, for an adventure with a young man who called my name with such tenderness, for a house where a hand was not raised to me in harshness. All this I might have had but my fears imprisoned me here under the drum of the seasons and the weight of promises. If only I d learned from my dear mother s suffering on her death bed, if I d listened to her lament, I might have left on that train with Frank. I might have let him sing me his songs, and I might have known a moment s gladness [Sound of a storm and music] Pain. That is what I know sharp and certain. I can push it down, bury it under a thin smile to keep Father s hand from my face. It will be strong when I look at those bellowing cows this morning. I will know my old companion, envy, as I watch those docile creatures who allow their suffering a voice. Fool that I am, the only thing that knows my suffering is this old tea pot. That s a hard place to look for comfort, and this sad, little kitchen is a harder place to give my soul voice. In its dusty recesses, my words die, just like my dreams Today. [Sigh]. Today. Best to get on with it before there s a scene. Best to go through the motions. Best to forget. Textual features [6 7] spoken/signed and non-verbal features (and complementary, if appropriate) to achieve particular purposes: pronunciation, phrasing and pausing, audibility and clarity, volume, pace, silence facial expressions, gestures, proximity, stance, movement graphics, still and moving images, design elements, music and sound effects (if appropriate) Imaginative spoken/multimodal response to the short story Eveline by James Joyce This sample has been selected because it demonstrates a the spoken monologue to engage audiences in a reimagining of the character Eveline in a different cultural con, and makes the ways cultural assumptions, attitudes, values and beliefs about women, marriage and identity underpin both Joyce s short story and the. In doing this, the response invites audiences to reinterpret and reflect on the base and its underpinning cultural assumptions. This response makes aesthetic features and stylistic devices and their effects such as the motif of the hope chest and its associations; the teapot and the sounds of tea being made; the sights and sounds of the dairy; and so on to prompt emotional and critical audience responses, and to allow for the subtle and complex creation of concepts, identities, times and places in the. Page 8 of 8