11Year

Robert Beardwood with

Sandra DuncansonVirginia Lee

Melanie Napthine

English

SAMPLE PAGES

insight E n g l i s h Y E a r 1 1 iiiiii

Table of contentsAreA of study 1 Reading and creating texts

Reading and comparing texts

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .v

Course overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vi

Chapter 1: Novels and short stories 2

Key features of narrative texts . . . . . . . . . . . . . . . . . . . . . .4

Special features of short stories . . . . . . . . . . . . . . . . . . . 14

Vocabulary for novels and short stories . . . . . . . . . . . . .15

Chapter 2: Film 17

Cinematography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Mise en scène . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Sample scene analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Vocabulary for film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Chapter 3: Drama 25

Special features of drama . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Stage directions and stage sets . . . . . . . . . . . . . . . . . . . 28

Dialogue, soliloquies and asides . . . . . . . . . . . . . . . . . . . . 29

Vocabulary for drama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Chapter 4: Non-fiction narratives 33

Types of narratives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Point of view and selection of events . . . . . . . . . . . . . . 35

Importance of context and setting . . . . . . . . . . . . . . . . . 36

Time lines and subjects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Vocabulary for non-fiction narratives . . . . . . . . . . . . . . 38

Chapter 5: Poetry 39

How to analyse a poem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Vocabulary for poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Chapter 6: Ideas, issues and themes 47

Themes and ideas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Analysing ideas, issues and themes . . . . . . . . . . . . . . . . 52

Chapter 7: Analytical text responses 53

Analyse the topic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Plan your text response . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Write your text response . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Edit your work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Build your skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Annotated sample responses . . . . . . . . . . . . . . . . . . . . . . 65

Chapter 8: Creative text responses 71

Planning a creative response . . . . . . . . . . . . . . . . . . . . . . . 72

Developing a creative response . . . . . . . . . . . . . . . . . . . . 73

Guidelines for a written explanation . . . . . . . . . . . . . . . . 75

Text types and sample responses . . . . . . . . . . . . . . . . . . 75

Chapter 9: Comparing texts: strategies and guidelines 91

Identifying shared ideas, issues and themes . . . . . . . 92

How texts present ideas, issues and themes . . . . . . 98

Exploring different perspectives . . . . . . . . . . . . . . . . . . 102

Chapter 10: Writing a comparative text response 111

How to structure a comparative essay . . . . . . . . . . . 112

Guidelines for writing a comparative essay . . . . . . . 114

Sample topics, analyses and annotated responses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

SAMPLE PAGES

insight E n g l i s h Y E a r 1 1iviv

Table of contentsAreA of study 2 Analysing and presenting

argument

Chapter 11: Understanding argument and persuasive language 134

Audience and purpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Main contention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Argument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Chapter 12: Newspaper texts 142

Print versus digital newspapers . . . . . . . . . . . . . . . . . . . 143

Choosing the news . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Headlines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Editorials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Opinion pieces and blog entries . . . . . . . . . . . . . . . . . . . 148

Letters to the editor and online comments . . . . . . . 150

Cartoons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Photographs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Chapter 13: Other media texts 155

Television news and current affairs . . . . . . . . . . . . . . . 156

Radio news and talkback programs . . . . . . . . . . . . . . . 157

Internet texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Speeches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Chapter 14: Argument: persuasive strategies and techniques 161

Understanding argument . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Structuring strategies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Summary table of argument techniques . . . . . . . . . . 166

Examples and activities . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

A holistic approach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Chapter 15: Persuasive language techniques 178

Summary table of persuasive language techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Examples and activities . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Chapter 16: Writing an analysis 188

Preparing your analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Planning your analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Writing your analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Sample issue and annotated analysis . . . . . . . . . . . . . 194

Chapter 17: Presenting a point of view 198

What is an issue? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

How to develop a reasoned point of view . . . . . . . . . 200

Sample issue and point of view . . . . . . . . . . . . . . . . . . . .202

Tips for oral presentations . . . . . . . . . . . . . . . . . . . . . . . .207

How to write a statement of intention . . . . . . . . . . . .208

Chapter 18: The exam 210

Format of the exam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .211

Timing in the exam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .211

Area of Study 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .211

Area of Study 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Proofreading and revising your answers . . . . . . . . . . 215

Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

SAMPLE PAGES

insight E n g l i s h Y E a r 1 1 vv

Analysing and presenting argument

IntroductionInsight’s English Year 11 is a practical, comprehensive textbook for VCE English Units 1 and 2. It is closely based on English in Year 11, with new chapters specifically written for the revised VCE English Study Design, which is accredited for Year 11 students from 2016.

The main new elements of the course are:

● a creative text response in Area of Study 1 (Unit 1)

● a comparative text response in Area of Study 1 (Unit 2)

● the analysis of argument as well as persuasive language in Area of Study 2 (Units 1 and 2).

These elements are specifically addressed in chapters on creative responses (Chapter 8), comparative responses (Chapters 9 and 10) and the analysis of argument (Chapter 14). However, all the chapters contribute in important ways to developing your overall understanding of the subject, and your ability to complete the required tasks.

Throughout this book there are many explanations, word banks, model paragraphs and complete sample responses to show what you need to know as well as how you need to write. In addition, there are numerous activities that are graded from those that require short, simple answers up to extended paragraphs. Completing the activities will build your detailed knowledge of texts, as well as your confidence in writing. Knowledge and skills are very closely linked: put your knowledge into practice as soon as possible, and as often as possible.

Each assessment task is covered in detail, with at least one complete sample response. The annotations point out the elements of each response that satisfy the task requirements, as well as the key things your teachers will be looking for in your writing.

English Year 11 gives you all the tools you need for a successful Year 11, and provides ideal preparation for Year 12.

SAMPLE PAGES

insight E n g l i s h Y E a r 1 1vivi

Course overview

UNIT 1 UNIT 2

Reading and creating texts Reading and comparing texts

area

of

sTUd

y 1 En

glis

h

You will study:

• two texts selected by your school.

You will produce:

• analytical responses to texts

• creative responses to texts.

You will study:

• two texts selected by your school.

You will produce:

• analytical responses to a pair of texts, comparing their presentation of ideas, issues and themes.

EA

L

You will study:

• one text selected by your school.

You will produce:

• analytical responses to a text

• creative responses to a text.

You will study:

• two texts selected by your school.

You will produce:

• analytical responses to a pair of texts, comparing their presentation of ideas, issues and themes.

Analysing and presenting argument Analysing and presenting argument

area

of

sTUd

y 2

Engl

ish

You will produce:

• analyses of how argument and persuasive language are used to position an audience

• texts to position an audience.

You will produce:

• analyses of how argument and persuasive language are used to attempt to influence an audience

• texts to present a point of view.

EA

L

You will produce:

• analyses of how argument and persuasive language are used to position an audience

• texts to position an audience.

You will produce:

• analyses of how argument and persuasive language are used to attempt to influence an audience

• texts to present a point of view.

oral

re

qUIr

emeN

T

One (and only one) assessment task for Unit 1 must be in oral or multimodal form.

All assessment tasks for Unit 2 must be in written form.

SAMPLE PAGES

insight E n g l i s h Y E a r 1 1 | AreA of Study 1 1

AreA of Study

In thIs sectIon

1 Novels and short stories

2 Film

3 Drama

4 Non-fiction narratives

5 Poetry

6 Ideas, issues and themes

7 Analytical text responses

8 Creative text responses

9 Comparing texts: strategies and guidelines

10 Writing a comparative text response

GettInG started

Studying texts is a major part of your VCE English course. Area of Study 1 focuses on reading and understanding texts such as novels, stories, plays, films and poetry, then responding to them, usually in an extended piece of writing. In Year 11 English you will study four texts in detail, two in each semester. Year 11 EAL students study three texts during the year.

Your set texts will explore a range of situations and events, and offer insights into human experience. Such texts help us to reflect on how individuals respond to challenge and adversity, what they value, what gives them hope and why they behave the way they do.

In Unit 1 the focus is on responding to each text individually, either analytically or creatively. In Unit 2 your text responses will analyse a pair of texts, comparing and contrasting their exploration of shared ideas, issues and themes.

To use this book, first go to the chapter relevant to your text type: Chapter 1 for novels and short stories, Chapter 2 for film, Chapter 3 for plays, Chapter 4 for non-fiction narratives, Chapter 5 for poetry. Then look at the text’s wider meaning – the ideas, issues and themes it explores – using the tools and strategies in Chapter 6.

Finally, go to the chapter or chapters relevant to the text response you need to create. For an analytical response, see Chapter 7. For a creative response, see Chapter 8. When you are writing a comparative essay on two texts, see Chapters 9 and 10. Remember, every text response must be based on a close knowledge and thorough understanding of your set texts.

1 Reading and creating texts

Reading and comparing texts

SAMPLE PAGES

91

chap

ter

insight E n g l i s h Y E a r 1 1 | AreA of Study 1

Comparing texts: strategies and guidelines

* Identifying shared ideas, issues and themes

* How texts present ideas, issues and themes

* Exploring different perspectives

In thIs chapter

9A comparative essay demonstrates your close knowledge and understanding of two texts. It enables you to consider each text in detail, and also to compare and contrast the two, using each text as a means to see what is unique and insightful about the other. The process of reading and responding to two texts together will enhance your understanding of each.

This chapter shows you how to build ideas and gather evidence through your close study of the texts. You will be looking for similarities or parallels, as well as differences in their perspectives on shared ideas, issues and themes. The ideas themselves might vary slightly between the texts, especially if they were written in very different times or places. Just as crucially, creators of texts can present similar ideas and themes in ways that contrast significantly, depending on their choice of form and their use of features such as narrative viewpoint, setting, plot, language and imagery.

Your response will be a formal written essay on a set topic or question – see Chapter 10 for detailed guidelines as well as sample topics, analyses and responses.

SAMPLE PAGES

insight E n g l i s h Y E a r 1 192

Chapter 9 Comparing texts: strategies and guidelines

Identifying shared ideas, issues and themes

When comparing texts, your focus will be on the ideas, issues or themes they share. Once you have identified these shared concerns, you can analyse the different perspectives each text brings to them, such as:

● considering similar ideas in different historical, social or cultural contexts

● presenting different points of view on an idea or issue

● asking different ‘big questions’ about an idea

● exploring different consequences of an idea or an issue in society

● using features of the text form (e.g. novel, play, film, non-fiction narrative) to highlight problems or explore questions – which is especially relevant when the two texts have different forms.

Text pairs used for examplesThroughout this and the next chapter, the following texts are used to provide examples of various approaches to comparing two texts. Even if you are not familiar with these texts, the analyses and sample responses will still provide useful models for your own writing. You will be able to apply the general guidelines and activities to your own texts.

The dates in brackets indicate when the print text was first published or, for a film, the year of first release.

Texts Key ideas, issues & themes

Larry Watson, Montana 1948 (novel, 1993)

Reginald Rose, Twelve Angry Men (play, 1955)

• justice

• integrity

• prejudice

• negotiating/resolving conflict

Tracy Chevalier, Girl with a Pearl Earring (novel, 1999)

Martin Scorsese (director), The Age of Innocence (film, 1993)

• women asserting power in the face of limited opportunities and freedoms

• subverting strict social conventions

• love

• appearances versus underlying reality

• things that remain unsaid

Geraldine Brooks, Year of Wonders (novel, 2001)

Stephen Soderbergh (director), Contagion (film, 2011)

• fear in response to plague

• remaining true to one’s values under pressure

• family and community bonds being tested

• how people respond when facing death

• truths revealed/exposed in times of crisis

SAMPLE PAGES

insight E n g l i s h Y E a r 1 1 | AreA of Study 1 93

Comparing texts: strategies and guidelines Chapter 9

Texts Key ideas, issues & themes

Kazuo Ishiguro, Never Let Me Go (novel, 2005)

Ridley Scott (director), Blade Runner (film, 1982)

• oppression/inequality

• what it means to be human

• the importance of human dignity and individuality

• technology leading to ethical problems

• love

• the importance of memory to identity

• confronting mortality

Michael Gow, Away (play, 1986)

Ivan Sen, Beneath Clouds (film, 2001)

• the search for identity

• journeys/quests

• discovery

• family (tensions and fragmentation)

• experiences of loss

• city versus country/coast

Elia Kazan (director), On the Waterfront (film, 1954)

Robert Bolt, A Man for All Seasons (play, 1960)

• integrity

• standing up to external pressures

• power being enforced through violent means

• corruption

• religious values/leadership

Brian Friel, The Freedom of the City (play, 1973)

Chloe Hooper, The Tall Man (non-fiction, 2008)

• responses of people caught up in violent conflict

• the fallibility or corruption of the legal/justice system

• the struggle for human rights

• colonial powers using violent means to persecute people in their homeland

Themes: similarities and differences between textsConsider the mind maps for Twelve Angry Men on pages 48 and 49. The first map shows several major themes in the play – and if you are studying this text you could easily add more. Identify as many shared ideas, issues and themes as you can in the texts you are comparing; don’t limit your thinking to one or two main ideas. You might even find that additional themes come into the foreground in the process of your comparison.

For example, a comparison of Twelve Angry Men with Montana 1948 might focus on the shared themes of justice, prejudice and integrity. However, if you compare their approaches to resolving conflict, you might decide that this is a much more central theme in each text than you had thought.

SAMPLE PAGES

insight E n g l i s h Y E a r 1 194

Chapter 9 Comparing texts: strategies and guidelines

Venn diagrams showing themes in two texts

A Venn diagram is a concise visual way to show similarities and differences between themes and ideas in two texts. Below is a simple Venn diagram showing some of the main themes in Twelve Angry Men and Montana 1948.

Draw a Venn d iagram to show themes

CreateaVenndiagramshowingarangeofthemesinyourtwotexts.Thinkcarefullyaboutwhereyouplaceeachone;youmightfindthetwotextshavemoreincommonthanyoufirstimagined.Keepthethemesandideassimpleatthisstage–usesinglewordsorshortphrases,asintheexampleabove.Youcanaddtothisasyoucontinueyourstudyofthetexts.

ActiVity

The second map in Chapter 6 for Twelve Angry Men (page 49) shows different aspects or forms of the main theme of justice. Even when two texts have a main theme or idea in common, each author will take up different aspects of the theme, and express different points of view on it, in relation to the story they are telling and the characters they have created. Identifying different aspects of a main theme will therefore give you some key points for comparing and contrasting two texts.

twelVe Angry Men

truth

human fallibility

compassion

doubt/certainty

MontAnA 1948

family

growing up

power

gender roles

When comparing texts your focus is, of course, on the themes in the intersection of the two circles. However, you should still think about the themes that fall only in one circle, as they might well influence the way in which a text explores one of the shared themes.

In Twelve Angry Men, the difficulty of establishing the truth about events leading up to the murder of the accused’s father is central to the exploration of justice. In Montana 1948, in contrast, there is never any doubt about Frank’s guilt. Yet the novel also explores doubts and uncertainties – such as those experienced by Frank’s brother Wes, the town sheriff.

justice

prejudice

integrity

SAMPLE PAGES

111insight E n g l i s h Y E a r 1 1 | AreA of Study 1

chap

ter Writing a

comparative text response

* How to structure a comparative essay

* Guidelines for writing a comparative essay

* Sample topics, analyses and annotated responses

10In thIs chapter

Comparative text responses share many features with analytical text responses on a single text. Each response:

● is a coherent essay, with an introduction, body paragraphs and a conclusion

● takes a position on a given essay topic

● presents a line of argument about, and a consistent interpretation of, the texts

● includes detailed textual evidence, including brief quotations, to support the argument and reasoning.

On the other hand, comparing two texts requires a balancing act – a balance between the two texts, and between writing about an individual text and writing about two texts together. Some of your analysis will focus on a single text, showing your in-depth understanding of characters, plot, narrative and language. Other paragraphs will compare and contrast both texts. This will be particularly important in your final paragraph or two.

The following sections show you ways to structure your comparative essays, appropriate language for comparing and contrasting texts, and strategies for analysing the main types of topics. The three sample responses at the end of this chapter include notes on planning the essays as well as detailed annotations. Even if you are not studying these particular texts, use the notes and annotations as guides for your own writing.

SAMPLE PAGES

Introduction: state your position or argument in response to the topic, with brief reasons, referring to both texts.

Discuss both texts, indicating similarities and differences, finishing with one or two concluding statements.

Discuss ideas, issues and themes in text 1.

Discuss the same or similar ideas in text 2.

insight E n g l i s h Y E a r 1 1112

Chapter 10 Writing a comparative text response

How to structure a comparative essayThe diagrams and explanations below show you three main ways to structure a comparative response. Each structure ensures that your essay is coherent – that is, it develops an argument in a consistent and logical manner.

Note that the boxes in the flow charts indicate the overall structure, rather than the number of paragraphs required. The in-depth discussion of each text might cover two or even three paragraphs, depending on paragraph length and the overall length of your essay.

A block essayThis is the most straightforward structure. It ensures that you deal with both texts in detail, and that your response focuses on the ideas, issues or themes identified in the introduction. It does restrict your comparison of the two texts to the final paragraph or two, so remember to make this part of the response just as detailed and thorough as the rest.

The introduction ‘sets up’ your discussion by stating your point of view, or main contention, in response to the topic. In the body paragraphs, link back to your main contention; the final sentence of a paragraph is a good place to make this link. You might also wish to add a brief conclusion to sum up and restate your position on the topic.

Block essay with transition paragraphThis structure is slightly more complex than the block approach above. If you can become comfortable with it, your responses should have:

● more fluency, as there is a smooth transition from discussion of one text to the next

● more detailed discussion of similarities and differences between the texts.

In this structure, you can devote more space to a side-by-side comparison of the texts, examining both similarities and differences. As in your detailed discussion of each individual text, your comparison of the two texts must be supported by textual evidence. You might emphasise similarities or focus on differences and contrasts, depending on the topic and your interpretation of the texts.

SAMPLE PAGES

Introduction: state your position or argument in response to the topic, with brief reasons, referring to both texts.

Introduction: state your position or argument in response to the topic, with brief reasons.

Discuss both texts in a concluding paragraph.

Discuss both texts in a concluding paragraph.

Discuss similar ideas in text 2.

Discuss another key similarity or difference.

Discuss ideas, issues and themes in text 1.

Discuss one key similarity or difference between the texts.

In a transitional paragraph, discuss similarities and differences between the texts.

Discuss another key similarity or difference.

insight E n g l i s h Y E a r 1 1 | AreA of Study 1 113

Writing a comparative text response Chapter 10

A more complex structure based on ideasThis structure organises the paragraphs according to the ideas discussed, rather than discussing the texts one after the other. Comparison of the two texts occurs throughout the response, rather than just in particular paragraphs.

To give this response more shape and coherence, you could begin with similarities and move on to consider differences, or vice versa. Planning is very important when using this structure, as each key similarity or difference needs to be clearly identified in a topic sentence.

As in the previous two structures, it is very important that you write in depth and detail on each text. You still need to convey a thorough understanding of each text, as well as examine the similarities and differences between them. If you adopt this integrated approach, avoid shifting back and forth between your texts too many times in each paragraph. Write in detail on one text, then discuss the same point in relation to the other.

SAMPLE PAGES

insight E n g l i s h Y E a r 1 1 | AreA of Study 2 133

AreA of study

In thIs sectIon

11 Understanding argument and persuasive language

12 Newspaper texts

13 Other media texts

14 Argument: persuasive strategies and techniques

15 Persuasive language techniques

16 Writing an analysis

17 Presenting a point of view

GettInG started

Persuasive texts are part of our daily lives. We hear them on the radio and on television in news, current affairs and radio talkback programs and, of course, in advertisements. We read and view them in the opinion columns of newspapers, media websites and blogs.

To be effective, persuasive texts combine an argument with persuasive language. The argument is the overall point of view or message being conveyed, as well as the supporting reasons and evidence. Arguments can be presented in a very logical way, emphasising facts and figures; or they can be presented in a very emotional way, seeking to arouse and influence people’s feelings. Often they combine the two approaches, appealing to both ‘head’ and ‘heart’ to create the strongest impact on a reader or listener.

To support the argument, a range of persuasive language techniques will be used to position the reader or listener and influence their viewpoint on an issue. The language will also be carefully chosen to achieve the writer’s purpose with their intended audience. That is, argument and language work together to present a point of view in the most convincing and effective way possible.

In your study of media texts you will analyse how argument and language are used in relation to an issue that is currently being debated – perhaps locally, or across the nation, or even internationally. You will also present your own point of view on an issue, combining argument and persuasive language to persuade others to agree with you.

2 Analysing and presenting

argument

SAMPLE PAGES

161insight E n g l i s h Y E a r 1 1 | AreA of Study 2

chap

ter

In thIs chapter * Understanding argument

* Structuring strategies

* Summary table of argument techniques

* Examples and activities

* A holistic approach

14Argument: persuasive strategies and techniques

An argument is a clear contention justified by supporting reasons. Strong arguments use logic and reasoning to demonstrate the validity of the writer's or speaker's viewpoint. Constructing a strong argument involves making careful choices about the order in which to present supporting reasons and appropriate techniques to persuade the audience and rebut opposing arguments. Strong arguments are also presented in appropriately persuasive language. (See Chapter 15 for more information about persuasive language techniques.)

SAMPLE PAGES

insight E n g l i s h Y E a r 1 1166

Chapter 14 Argument: persuasive strategies and techniques

Summary table of argument techniquesUse this table as a quick reference to build your understanding of argument techniques and strategies and how they are used to persuade the reader, viewer or listener.

Argument technique and definition How the technique persuades Example

Ad hominem attack

Attacking or insulting a person rather than their opinion or the facts.

➜ Gains attention; adds emphasis; often in headlines.

➜ Draws attention to key words.➜ Not persuasive on its own but can be when

used with other techniques.

Anyone who objects to hunting animals for sport but isn’t a vegan is a self-righteous hypocrite whose opinion lacks any moral weight or validity.

Analogy

A comparison between two things that helps the reader to draw conclusions about their similarities.

➜ Explains a complex point in more familiar terms.

➜ Can help to make the contention look simple and obvious by linking it to something that readers know well.

Yes, poaching is more damaging than trophy hunting. Murder is worse than grievous bodily harm, technically, but I’m comfortable strongly objecting to both.

Anecdote

A story about someone or something that the writer has experienced or heard about.

➜ Personal experience lends weight/credibility to the writer’s viewpoint.

➜ Gives a human angle, making the issue seem more relevant or ‘real’.

Incredibly, the idiot motorist who didn't see me cycling along Beach Road and sent me to hospital for five months did not even get a fine.

Appeal to family values

Suggests that families are good, especially traditional nuclear families.

➜ Invokes the reader’s desire for emotional security and a protective, nurturing environment for children.

➜ Can be implicit when antisocial behaviour is blamed on broken or dysfunctional families.

The new childcare package provides nothing for families who believe that for babies and young children, bonding with parents in the home is superior to care provided by strangers, however well trained they may be.

Appeal to fear and insecurity

Arouses fear and anxiety by suggesting that harmful or unpleasant effects will follow.

➜ Makes the reader want to lessen the threat to themselves or society by taking the writer’s advice.

➜ Plays on people’s fears.

Hoon drivers are recklessly and callously putting innocent lives in serious danger.

Appeal to the hip-pocket nerve

Suggests that people should pay the least amount possible, either individually or as a society.

➜ Positive impact: makes the reader pleased about getting value for money.

➜ Negative impact: makes the reader annoyed about paying too much or about the misuse of money.

Over the past decade, Australian gas and electricity prices have ballooned, leaving an alarming number of Australians struggling to afford these basic necessities.

Appeal to loyalty and patriotism

Suggests that readers should be loyal to their group and love their country.

➜ Invokes feelings of pride, a shared identity and common purpose.

➜ Often uses inclusive language to emphasise these feelings.

We mustn’t lose sight of the values this wonderful country of ours was built on – equality and a fair go for all.

Appeal to tradition and custom

Suggests that traditional customs are valuable and should be preserved.

➜ Traditional customs have positive associations, e.g. with ideas of family and social unity, inclusiveness, sharing.

➜ Often compared positively with ‘modern’ lifestyles to make readers feel that social cohesion is being lost.

All businesses should be closed on Anzac day to observe and maintain the traditional day of respect.

Begging the question

Occurs when the premise of an argument is the same as the conclusion.

➜ Reassures the reader through a familiar expression.

➜ Lulls the reader into an uncritical mindset.➜ Often has a comic effect. This can produce

a lighthearted, amusing tone, or a sarcastic, critical tone.

Eating well is the best way to improve our health outcomes both individually and collectively, because eating well will result in fewer illnesses and improved wellbeing.

deductive reasoning

Examining general rules and facts about a group to form a specific conclusion about one part of the group.

➜ Encourages the reader to respond on an emotional level.

➜ The reader’s emotional response positions them to share the writer’s viewpoint.

Students often get anxious about exams so the three students absent from class today are probably trying to avoid the test.

SAMPLE PAGES