English (Standard) and English (Advanced) of Smart - HSC... · · 2016-09-21English (Standard)...

English (Standard) and English (Advanced)

Paper 1 – Area of Study

General Instructions

• Reading time – 10 minutes • Working time – 2 hours • Write using black pen

Total marks – 45 Section I Pages 2–7 15 marks • Attempt Question 1 • Allow about 40 minutes for this section Section II Pages 8–9 15 marks • Attempt Question 2 • Allow about 40 minutes for this section Section III Pages 10–11 15 marks • Attempt Question 3 • Allow about 40 minutes for this section

Copyright © 2016 Art of Smart Education

www.artofsmart.com.au

- 2 -

Section I 15 marks Attempt Question 1 Allow about 40 minutes for this section Answer the question on pages 2−7 of the Paper 1 Writing Booklet.

Your answers will be assessed on how well you:

• demonstrate understanding of the way perceptions of discovery are shaped in and through texts

• describe, explain and analyse the relationship between language, text and context

Question 1 (15 marks) Examine Texts 1, 2, 3 and 4 carefully and then answer the questions on page 7. Text 1 - Poem Like an advent'rous seafarer am I, Who hath some long and dang'rous voyage been, And, call'd to tell of his discovery, How far he sail'd, what countries he had seen; Proceeding from the port whence he put forth, Shows by his compass how his course he steer'd, When East, when West, when South, and when by North, As how the Pole to every place was rear'd, What capes he doubled, of what Continent, The gulfs and straits that strangely he had past, Where most becalm'd, where with foul weather spent, And on what rocks in peril to be cast: Thus in my love, Time calls me to relate My tedious travels and oft-varying fate.

MICHAEL DRAYTON ‘Sonnet I: Like an Adventrous Seafarer’

Michael Drayton (1563 – 23 December 1631) was an English poet who came to prominence in the Elizabethan era.



- 3 -

Text 2 - Image

Painting of ‘Wanderer Above the Sea of Fog’ by Caspar David Friedrich



- 4 -

Text 3 – Article

‘Untouched Paris Apartment Discovered after 70 years. Includes Painting worth $3.4M’

Before the start of World War II, the owner of this apartment in Paris fled to the south of France. For reasons not entirely known, she never returned and the apartment remained untouched for 70 years.

In 2010 the owner passed away at the age of 91. Her executor discovered the apartment and a team was sent to investigate. What they found was astonishing. Under a thick layer of dust was a trove of turn-of-the-century objects including several paintings that were set aside for further analysis.

One painting in particular, a portrait of a lady in a pink dress, would turn out to be an incredible find.

After analysis, the painting was discovered to be painted by 19th century Italian artist Giovanni Boldini. It turns out the woman in the pink muslin evening dress was his muse, an actress by the name of Marthe de Florian. In addition to Boldini, de Florian had a long list of admirers, including the 72nd Prime Minster of France, George Clemenceau.

The painting, which was completed in 1894, showed de Florian at the age of 24. What’s even more fascinating is that the owner of the apartment was actually the granddaughter of Marthe de Florian! After going to auction, the painting fetched a cool $3.4 million, a record price for the artist.

Text from Twisted Sifter 4 January 2014



- 5 -

Text 4 – Nonfiction Extract I found my squad leader, Sergeant Guarnere, the guy whose brother had just been killed in Italy, in a field. I also found one of our assistant rile-squad leaders, Joe Toye. But, initially, nobody else. Toye had jumped a leg bag, and when his chute opened, the rope that secured the bag released too soon. It was wound around his arm and forearm, then cinched down to his wrist, peeling off a thin layer of skin almost down to his hand.

“Joe, we gotta get that patched up,” I said.

“Hell, Malark, I’m fine,” he said. That was Joe Toye for you.

Paratroopers, before anything else, are riflemen. So, with our semiautomatic M1 Garands in hand, we moved toward what we thought was the coast.

One of our guys spoke German fairly well, and we informed them that if we got fired upon, they were to remain standing in the road while the rest of us took cover. We hadn’t gone more than a quarter mile when exactly that happened. A German machine gun started firing. We hit the ditches. The German soldiers all stood in the road, as told. Except one. He dove in the ditch. Guarnere promptly shot him in the back. We threw him on the cart and he died later that morning. From then on, we had no problem with prisoners standing up as we took cover.

An hour before our boys in the air started the bombardment of the coastline, we reached the road that paralleled the beach, about a mile inland. We knew we weren’t supposed to penetrate beyond that point until after the naval and air force bombing had ceased so we held up. Fields. Orchards. Farms. The smell of wet grass and gunpowder. That’s what I remember as it started to get light.

We could hear big guns shelling the beach from the sea, bombs bursting after having been dropped. We knew our guys were coming ashore. Occasionally, you’d hear the pop of a rifle, the chatter of a machine gun. We ran into a bunch more paratroopers who were halfway assembled and told them that a portion of the 2nd Battalion was about a half mile east of us. Guarnere, Toye and I left the group and headed up a road where our battalion and part of the company was supposed to be. We hadn’t gone more than a couple hundred yards when I saw it for the first time: death. A sickening sight. The dead bodies of a bunch of American paratroopers scattered about, along with even more Germans dead on the road. It was strange because it look as if both had been herded up and shot execution-style. The krauts had already been looted; I wanted a Luger, if for no other reason than to prove I’d gotten some revenge from the country that had killed my two uncles. But even if someone else hadn’t beat me to the punch, I don’t know if I’d have gone looking. I was too sickened by the scene.

We walked on, eventually reaching our battalion, then headed up the road. A bunch of German prisoners, about twenty of them, were clumped to my right, just off the road. All standing up quite tall, as if out of respect.

Text 4 continues on page 6.



- 6 -

“Where the hell are you guys from, Brooklyn?” asked some wise guy in our company.

“No, Portland, Oregon,” said a German master sergeant, just off my shoulder. What? I couldn’t believe it – that the guy not only spoke perfect English, but said he was from Portland.

“No kidding, Portland?” I said eagerly. “I’m from Astoria.”

The company walked on. I hung back, amazed at this coincidence.

“I worked in Portland until 1938,” he said, “and came home when Hitler called all loyal Germans to return to the fatherland.”

“So where’d you work in Portland?” I asked.

“Schmitz Steel Company.”

“You gotta be kidding.” I said. “The owners of that company were friends of my family. And I worked for Monarch Forge and Machine Works right across the street.”

By now, a few of my fellow soldiers passing by were giving me the eye.

“Well now, what do you think about that decision now to return to your homeland?” I asked, scanning his POW pals around him.

“I think I made a big mistake,” he said.

“Malark, let’s go,” yelled Guarnere, peeved that I was fraternising with the enemy.

I nodded at the soldier. “You take care,” I said, and walked on. I’d only been at war a few hours, and already I was learning stuff I hadn’t been taught in training. Namely, that the guy trying to kill you – and that you’re trying to kill – could be somebody who once worked in an American defense plan, across the street from where you later worked.

Strange thing, war.

DONALD MALARKEY WITH BOB WELCH Adapted from ‘Easy Company Soldier’

Copyright © 2008 by Donald Malarkey with Bob Welch



- 7 -

Question 1 (continued)

Text 1 – Poem

(a) What images does the composer construct in order to illustrate the act of discovering?

Text 2 - Image

(b) How does the image represent an individual who is making a discovery?

Text 3 - Article

(c) Explain how the article portrays ‘Rediscovering something that has been lost, forgotten or concealed’.

Text 4 - Nonfiction Extract

(d) Analyse how the text portrays the difficulties of how discoveries and discovering offer renewed perceptions of ourselves and others.

Text 1, Text 2, Text 3 and Text 4 – Poem, Image, Article and Nonfiction Extract

(e) Compare how TWO of the texts explore the impact of discoveries as being far-reaching and transformative for the individual and for broader society.

2 2 3 3 5



- 8 -

Section II 15 marks Attempt Question 2 Allow about 40 minutes for this section Answer the question on pages 8−9 of the Paper 1 Writing Booklet.

Your answer will be assessed on how well you:

• express understanding of discovery in the context of your studies • organise, develop and express ideas using language appropriate to

audience, purpose and context Question 2 (15 marks) Compose a piece of imaginative writing which explores the unexpected impact of discovery. Use ONE of the images on the next page as the central element of your writing.

Question 2 continues on page 9



- 9 -

Question 2 (continued)

End of Question 2



- 10 -

Section III 15 marks Attempt Question 3 Allow about 40 minutes for this section Answer the question on pages 10−11 of the Paper 1 Writing Booklet.

Your answer will be assessed on how well you:

• demonstrate understanding of the concept of discovery in the context of your study

• analyse, explain and assess the ways discovery is represented in a variety of texts

• organise, develop and express ideas using language appropriate to audience, purpose and context

Question 3 (15 marks) The ramifications of particular discoveries may differ for individuals and their worlds. How is this perspective on discovery explored in your prescribed text and ONE other related text of your own choosing? The prescribed texts are listed on the next page.

Question 3 continues on page 11



- 11 -

Question 3 (continued) The prescribed texts are: • Prose Fiction – James Bradley, Wrack

– Kate Chopin, The Awakening – Tara June Winch, Swallow the Air

• Nonfiction – Bill Bryson, A Short History of Nearly Everything – Ernesto ‘Che’ Guevara, The Motorcycle Diaries

• Drama – Michael Gow, Away – Jane Harrison, Rainbow’s End from Vivienne Cleven et al., Contemporary Indigenous Plays

• Shakespearean Drama

– William Shakespeare, The Tempest

• Film – Ang Lee, Life of Pi • Poetry – Rosemary Dobson, Rosemary Dobson Collected

The prescribed poems are: * Young Girl at a Window * Wonder * Painter of Antwerp * Traveller’s Tale * The Tiger * Cock Crow * Ghost Town: New England

– Robert Frost, The Poetry of Robert Frost The prescribed poems are: * The Tuft of Flowers * Mending Wall * Home Burial * After Apple-Picking * Fire and Ice * Stopping by Woods on a Snowy Evening – Robert Gray, Coast Road The prescribed poems are: * Journey: the North Coast * The Meatworks * North Coast Town * Late Ferry * Flames and Dangling Wire * Diptych

• Media – Simon Nasht, Frank Hurley – The Man Who Made History – Ivan O’Mahoney

* Go Back to Where You Came From – Series 1: Episodes 1, 2 and 3

and * The Response

End of Paper



- 12 -

English (Standard) and English (Advanced) of Smart - HSC... · · 2016-09-21English (Standard)...

Documents

Transcript of English (Standard) and English (Advanced) of Smart - HSC... · · 2016-09-21English (Standard)...