20895 ACE Language (Yr 6) Structures and Language Features
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YEAR 6<br />
ENGLISH<br />
LANGUAGE:<br />
TEXT STRUCTURE AND ORGANISATION<br />
Text innovation: structures <strong>and</strong> language features<br />
Underst<strong>and</strong> how authors often innovate<br />
on text structures <strong>and</strong> play with language<br />
features to achieve particular aesthetic,<br />
humorous <strong>and</strong> persuasive purposes <strong>and</strong><br />
effects (<strong>ACE</strong>LA1518)<br />
Australian Primary Publisher<br />
of the Year 2015 <strong>and</strong> 2016
Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
Foreword<br />
Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6) is one in a series of seven teacher<br />
resource books that support teaching <strong>and</strong> learning activities in Australian Curriculum English. The books focus on<br />
the sub-str<strong>and</strong> of Text structure <strong>and</strong> organisation within the <strong>Language</strong> str<strong>and</strong> of the national English curriculum.<br />
The resource books include theoretical background information, activities to develop the content descriptions, blackline<br />
masters, resource sheets <strong>and</strong> assessment checklists, along with interrelated links to other English str<strong>and</strong>s <strong>and</strong> sub-str<strong>and</strong>s.<br />
Titles in this series are:<br />
• Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Foundation)<br />
• Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 1)<br />
• Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 2)<br />
• Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 3)<br />
• Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 4)<br />
• Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 5)<br />
• Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
Contents<br />
Format of this book .................................. iv – v<br />
<strong>Language</strong>: Text structure <strong>and</strong><br />
organisation .............................................. 2–94<br />
Underst<strong>and</strong> how authors often innovate on text<br />
structures <strong>and</strong> play with language features to achieve<br />
particular aesthetic, humorous <strong>and</strong> persuasive<br />
purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
–Teacher information ................................................. 2<br />
–Activities to develop the content description ....... 3–5<br />
– Blackline masters <strong>and</strong><br />
resource sheets .................................................. 6–55<br />
–Assessment checklist ............................................. 56<br />
–Interrelated English links ........................................ 57<br />
– Modes, capabilities <strong>and</strong> priorities covered by the<br />
activities in this content description ........................57<br />
Underst<strong>and</strong> the uses of commas to separate clauses<br />
(<strong>ACE</strong>LA1521)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
–Teacher information ................................................ 76<br />
–Activities to develop the content description .......... 77<br />
– Blackline masters<br />
<strong>and</strong> resource sheets .......................................... 78–91<br />
–Assessment checklist .............................................. 92<br />
–Interrelated English links ......................................... 93<br />
– Modes, capabilities <strong>and</strong> priorities covered by the<br />
activities in this content description ........................ 93<br />
Answers .................................................... 94–99<br />
Underst<strong>and</strong> that cohesive links can be made in texts<br />
by omitting or replacing words (<strong>ACE</strong>LA1520)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
–Teacher information ............................................... 58<br />
–Activities to develop the content description .......... 59<br />
– Blackline masters <strong>and</strong><br />
resource sheets ................................................. 60–73<br />
–Assessment checklist ............................................. 74<br />
–Interrelated English links ........................................ 75<br />
– Modes, capabilities <strong>and</strong> priorities covered by the<br />
activities in this content description ....................... 75<br />
R.I.C. Publications® www.ricpublications.com.au Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
iii
Format of the book<br />
This teacher resource book includes supporting materials for teaching <strong>and</strong> learning in the sub-str<strong>and</strong> of Text structure<br />
<strong>and</strong> organisation within the str<strong>and</strong> of <strong>Language</strong> in Australian Curriculum English. All content descriptions in the substr<strong>and</strong><br />
have been included, as well as teaching points based on the Curriculum’s elaborations.<br />
While the book focuses on the sub-str<strong>and</strong> of Text structure <strong>and</strong> organisation, activities <strong>and</strong> interrelated links to other<br />
str<strong>and</strong>s <strong>and</strong> sub-str<strong>and</strong>s have been incorporated.<br />
Each section supports a specific content description <strong>and</strong> follows a consistent format, containing the following<br />
information over several pages:<br />
• activites to develop the content descriptions • student blackline masters • resource sheets<br />
• interrelated English links<br />
• assessment checklist<br />
Answers relating to student blackline masters have been included at the back of the book.<br />
The length of each content description section varies.<br />
Teacher information includes background information relating to the content description, as well as<br />
related terms <strong>and</strong> desirable student vocabulary <strong>and</strong> other useful details which may assist the teacher.<br />
Related terms includes vocabulary<br />
associated with the content description.<br />
Many of these relate to the glossary<br />
in the back of the official Australian<br />
Curriculum English document;<br />
additional related terms may also have<br />
been added.<br />
Student vocabulary includes words<br />
which the teacher would use—<br />
<strong>and</strong> expect the students to learn,<br />
underst<strong>and</strong> <strong>and</strong> use—during English<br />
lessons.<br />
Further resources by R.I.C.<br />
Publications ® or other publishers<br />
or authors are included where<br />
appropriate.<br />
Text structure<br />
<strong>and</strong> organisation<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play Activities to<br />
with language features to achieve particular aesthetic, humorous <strong>and</strong><br />
persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
develop the<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012 content description<br />
?<br />
?<br />
What this means<br />
provides a general<br />
explanation of the<br />
content description.<br />
Teaching points<br />
provides a list of<br />
the main teaching<br />
points relating to the<br />
content description.<br />
Elaborations are a<br />
list of elaborations<br />
based on those<br />
in the content<br />
description.<br />
E1. Analyse <strong>and</strong> compare some elements of the text structure <strong>and</strong> language features of a range of texts,<br />
to identify the reasons for the writers’ choices.<br />
• Text types resource pages (pages 6 to 9)<br />
Some elements of the purpose, structure <strong>and</strong> language features of the following text types are summarised in tables on these four resource pages.<br />
• Narratives • Procedures • Recounts • Expositions<br />
• Explanations • Reports • Discussions • Descriptions<br />
Students at this stage should be expected to be familiar with some of the elements of different text types. But they also need to realise that few texts<br />
would exactly ’fit’ one of these.<br />
However, this type of information should be a helpful reference for students when they are looking at texts in order to identify <strong>and</strong> underst<strong>and</strong> some<br />
of the different choices a writer has made <strong>and</strong> why. They need to realise how much influence the intended audience <strong>and</strong> the purpose for writing a text<br />
influence writers’ choices <strong>and</strong> the text structure <strong>and</strong> language features they use.<br />
• Young cyclist remains in coma (Page 10) <strong>and</strong> Glen Wallace Primary School newsletter (page 11)<br />
The texts on these two resource sheets refer to the same incident. There are two activity pages based on these texts in which students are required to<br />
analyse, compare <strong>and</strong> contrast them <strong>and</strong> to identify the purpose for which they were written, some of the choices made by the writers <strong>and</strong> why they<br />
made them. (See pages 12 <strong>and</strong> 13.)<br />
The fi rst text is a newspaper report written to provide detailed information about an accident <strong>and</strong> to attract a reader’s interest with an attentiongrabbing<br />
headline. The text is written in the past tense, in the third person <strong>and</strong> there is some quoted speech from a witness <strong>and</strong> reported speech from<br />
the victim. Its purpose is to report to a wide audience <strong>and</strong> this is reflected in the language used. However, it could be argued that this text is in fact<br />
persuasive, because after reading it, many people may be more concerned <strong>and</strong> vigilant about their family members wearing bike helmets.<br />
By contrast, the second text is the victim’s personal account of the accident <strong>and</strong> what followed. It describes its impact on the victim, his family <strong>and</strong><br />
friends <strong>and</strong> was written to be included in a school newsletter for other students to read. It is an example of persuasive text in the form of a recount. Its<br />
purpose is to persuade others to always wear their bike helmets, but the writer’s position isn’t stated at the beginning of the text, as is usually the case.<br />
In the form of a recount, it is written in the past tense <strong>and</strong> in the first person. In common with other persuasive texts, it uses emotive language <strong>and</strong><br />
modal verbs of obligation <strong>and</strong> advice.<br />
• How hovercraft work (page 14) <strong>and</strong> Dance of the hovercraft (page 15)<br />
These two texts both refer to hovercraft. The two activities pages in which students analyse, compare <strong>and</strong> contrast them are on pages 16 <strong>and</strong> 17.<br />
The fi rst text is an explanation about how a hovercraft works. Its purpose is to explain something as clearly <strong>and</strong> as concisely as possible. As is usual with<br />
many explanations, it starts with a definition, includes technical vocabulary, provides clear, concise information in a logical sequence, is written in the<br />
third person in the present tense, links cause <strong>and</strong> effect <strong>and</strong> includes an evaluative comment <strong>and</strong> a diagram. The information is presented in paragraphs<br />
organised in a logical order.<br />
By contrast the second text is a descriptive recount. It provides relevant background information to orient the reader, describes signifi cant events in<br />
chronological order, is written in the first person in the past tense, uses descriptive, imaginative <strong>and</strong> metaphorical language <strong>and</strong> similes, encourages<br />
visual imagery, is organised in paragraphs <strong>and</strong> concludes with an evaluative comment.<br />
• Coyote (Canis latrans) (page 18) <strong>and</strong> Dogs’ tails - A traditional tale (page 19)<br />
These two texts are about coyotes <strong>and</strong> there are two related activity pages. (pages 20 <strong>and</strong> 21)<br />
The fi rst text is a report on the species. It is set out similarly to many reports starting with an introduction with a defi nition, followed by relevant<br />
information, organised in a logical manner under appropriate subheadings. Students should underst<strong>and</strong> that the purpose of organising text in this<br />
way is to make it easier for a reader to locate specific information. This is because readers may not require all the information presented in the report<br />
<strong>and</strong> they often have to find what they do need in the most efficient way possible. The report is written in the present tense <strong>and</strong> has subject-specific<br />
vocabulary, one word of which has been defined within the text.<br />
The second text is a narrative. It provides orienting information about the time, place <strong>and</strong> characters. The complication is explained <strong>and</strong> fi nally the<br />
resolution is described. The vocabulary may challenge some students, but it is generally supported by the context within the story. A narrative is often<br />
written to entertain <strong>and</strong> amuse, <strong>and</strong> unlike a report, it is not always necessary for a reader of narrative to underst<strong>and</strong> every word. Readers will often<br />
be able to continue to read <strong>and</strong> to maintain some level of interest <strong>and</strong> underst<strong>and</strong>ing of narrative text with a good idea of the gist of the story. Time<br />
connectives make the text more cohesive. It is made more descriptive by the choice of action verbs in the past tense, many with adverbs to further<br />
enhance their meaning. Some readers may find the visual image evoked by the concluding statement humorous. This was the intention of the writer.<br />
Activities to develop the content<br />
description includes descriptions or<br />
instructions for activities or games<br />
relating to the content descriptions<br />
or elaborations. Some activities are<br />
supported by blackline masters or<br />
resource sheets. Where applicable,<br />
these will be stated for easy reference.<br />
R.I.C. Publications® www.ricpublications.com.au Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
3<br />
Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6) www.ricpublications.com.au R.I.C. Publications ®<br />
iv
35<br />
30<br />
25<br />
20<br />
15<br />
10<br />
5<br />
1984 2012 1984 2012<br />
12-15yr olds<br />
16-17 yr olds<br />
Format of the bookum.<br />
A visit to Dr Paul White–1<br />
Simon considered himself a reasonably brave twelve-year-old. He enjoyed doing new<br />
things <strong>and</strong> finding out what he could <strong>and</strong> couldn’t do. At camp, he’d tried abseiling,<br />
rafting, rock climbing <strong>and</strong> even the flying fox. If he wasn’t very good at those things it<br />
didn’t matter, because at least he’d tried.<br />
Unfortunately, one biannual event always caused panic to erupt in Simon’s intrepid body.<br />
A visit to Dr Paul White for a check-up was definitely cause for panic. Mum was convinced<br />
that Dr White was an excellent dentist. Dr White was a nice enough person. He was tall<br />
<strong>and</strong> pleasant to look at. He had a mop of blonde hair, thick bushy eyebrows <strong>and</strong> twinkling<br />
brown eyes. He also liked to tell weird jokes. Dr White had attached several interesting<br />
pictures to the ceiling above the patients’ chair so they would have something to look at<br />
during examinations. Dr White, however, had one major fault—he loved cooking—usually<br />
with lots of garlic! Whenever he opened his mouth to speak, the odour of smelly garlic<br />
covered the nearest person. It seemed to hover in clouds around his body <strong>and</strong> permeate<br />
the whole room. It stung your eyes until they watered <strong>and</strong> stole your breath away until<br />
you wanted to gag. Dr White’s patients were not very sociable. They usually left as soon as<br />
they could.<br />
Today, despite his numerous failed protests, Simon’s mother was driving him to the dentist.<br />
Simon was determined to get the visit over <strong>and</strong> done with quickly. His mother parked the<br />
car, fed the parking meter <strong>and</strong>, together, they walked quickly to the surgery. They gave<br />
their names to the receptionist <strong>and</strong> settled down to wait.<br />
’Simon Bailey!’ the dental nurse called out <strong>and</strong> smiled at him. Simon took a deep breath<br />
<strong>and</strong> followed her into the examination room.<br />
’Hello, Simon!’ chortled Dr White cheerfully as he straightened the instruments on his tray.<br />
’How have you been?’<br />
’Hi!’ mumbled Simon to the back of Dr White’s head as he continued with his task. ’I’m<br />
fine.’<br />
’Did you hear the one about ...’ Dr White began as Simon stared at him in amazement.<br />
Buzzing bees seemed to fill Simon’s head as he tried to make sense of what he was seeing.<br />
’Not funny I know ...’ Dr White was saying, ’... but you know how I like my jokes!’<br />
As Simon continued to stare, Dr White seemed to notice his confusion.<br />
’Oh!’ he laughed. ’You’ve noticed the joke surgical mask my colleague<br />
brought from Germany. He’s working with me for six months <strong>and</strong><br />
thought my patients would like them. He’s a good cook too, so<br />
he’s teaching me how to make lots of German dishes!’<br />
That’s when Simon realised he could detect no garlic smell.<br />
He had been completely distracted by the stupidest mask<br />
he had ever seen!<br />
Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6) www.ricpublications.com.au R.I.C. Publications ®<br />
30<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
Blackline masters<br />
<strong>and</strong> resource sheets<br />
are provided to support<br />
teaching <strong>and</strong> learning<br />
activities for each content<br />
description. These include<br />
worksheets for class use,<br />
games, charts or other<br />
materials which the teacher<br />
might find useful to use or<br />
display in the classroom.<br />
For each blackline master or<br />
resource sheet, the content<br />
description to which it<br />
relates is given.<br />
Each section has a checklist<br />
which teachers may find useful as<br />
a place to keep a record of their<br />
observations of the activities to<br />
develop the content descriptions.<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> Interrelated English<br />
play with language features to achieve particular aesthetic,<br />
humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
links<br />
Below is a list of links within the <strong>Language</strong> str<strong>and</strong>, Literature str<strong>and</strong> <strong>and</strong> Literacy str<strong>and</strong> of English that are covered within the activities provided with the<br />
content description above:<br />
E1 Analyse <strong>and</strong> compare some elements of the text structure <strong>and</strong> language features of a range of texts, to<br />
identify the reasons for the writers’ choices.<br />
E2 Examine works which include humour <strong>and</strong> pathos to look at strategies the author used to tell the reader<br />
about the characters’ feelings, to develop empathy for their point of view or concern for them.<br />
E3 Examine the three elements of persuasion (ethos, pathos, logos) used by a writer to appeal to an<br />
audience.<br />
• Underst<strong>and</strong> the uses of objective <strong>and</strong> subjective language <strong>and</strong> bias (<strong>ACE</strong>LA1517)<br />
• Underst<strong>and</strong> how ideas can be exp<strong>and</strong>ed <strong>and</strong> sharpened through careful choice of verbs, elaborated tenses <strong>and</strong> a range of adverb groups/phrases<br />
(<strong>ACE</strong>LA23)<br />
• Identify <strong>and</strong> explain how analytical images <strong>and</strong> fi gures, tables, diagrams, maps <strong>and</strong> graphs contribute to our underst<strong>and</strong>ing of verbal information in<br />
factual <strong>and</strong> persuasive texts (<strong>ACE</strong>LA1524)<br />
• Investigate how vocabulary choices including evaluative language can express shades of meaning, feeling <strong>and</strong> opinion (<strong>ACE</strong>LA1525)<br />
• Analyse <strong>and</strong> evaluate similarities <strong>and</strong> differences in texts on similar topics, themes <strong>and</strong> plots (<strong>ACE</strong>LT1614)<br />
• Identify <strong>and</strong> explain how choices in language, for example modality, emphasis, repetition <strong>and</strong> metaphor, infl uence personal response to different texts<br />
(<strong>ACE</strong>LT1615)<br />
• Experiment with text structures <strong>and</strong> language features <strong>and</strong> their effects in creating literary texts, for example using imagery, sentence variation,<br />
metaphor <strong>and</strong> word choice (<strong>ACE</strong>LT1800)<br />
• Compare texts including media texts that represent ideas <strong>and</strong> events in different ways, explaining the effects of the different approaches (<strong>ACE</strong>LY1708)<br />
• Analyse how text structures <strong>and</strong> language features work together to meet the purpose of a text (<strong>ACE</strong>LY1711)<br />
• Analyse strategies authors use to infl uence readers (<strong>ACE</strong>LY1801)<br />
• Plan, draft <strong>and</strong> publish imaginative, informative <strong>and</strong> persuasive texts, choosing <strong>and</strong> experimenting with text structures, language features, images <strong>and</strong><br />
digital resources appropriate to the purpose <strong>and</strong> audience (<strong>ACE</strong>LY1714)<br />
• Investigate how complex sentences can be used in a variety of ways to elaborate, extend <strong>and</strong> explain ideas (<strong>ACE</strong>LA1522)<br />
• Identify the relationship between words, sounds, imagery <strong>and</strong> language patterns in narratives <strong>and</strong> poetry such as ballads, limericks <strong>and</strong> free verse<br />
(<strong>ACE</strong>LT1617)<br />
• Participate in <strong>and</strong> contribute to discussion, clarifying <strong>and</strong> interrogating ideas, developing <strong>and</strong> supporting arguments, sharing <strong>and</strong> evaluating information,<br />
experiences <strong>and</strong> opinions (<strong>ACE</strong>LY1709)<br />
• Select, navigate <strong>and</strong> read texts for a range of purposes, applying appropriate text processing strategies <strong>and</strong> interpreting structural features, for example<br />
table of contents, glossary, chapters, headings <strong>and</strong> subheadings (<strong>ACE</strong>LY1712)<br />
• Use comprehension strategies to interpret <strong>and</strong> analyse information <strong>and</strong> ideas, comparing content from a variety of textual sources including media <strong>and</strong><br />
digital texts (<strong>ACE</strong>LY1713)<br />
Modes, capabilities <strong>and</strong> priorities covered by the<br />
activities in this Content description<br />
<strong>Language</strong> modes General capabilities<br />
Listening ✔ Literacy<br />
✔<br />
Speaking ✔ Numeracy<br />
Reading<br />
Information <strong>and</strong> communication<br />
✔<br />
technology (ICT) capability<br />
Viewing ✔ Critical <strong>and</strong> creative thinking ✔<br />
Writing<br />
✔ Personal <strong>and</strong> social capability ✔<br />
Ethical behaviour<br />
Intercultural underst<strong>and</strong>ing<br />
Cross-curriculum priorities<br />
Aboriginal <strong>and</strong> Torres Strait Isl<strong>and</strong>er histories <strong>and</strong> cultures ✔<br />
Asia <strong>and</strong> Australia’s engagement in Asia<br />
Sustainability<br />
R.I.C. Publications® www.ricpublications.com.au Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
57<br />
Text structure<br />
<strong>and</strong> organisation<br />
Interrelated English links<br />
lists other links covered within<br />
the <strong>Language</strong> str<strong>and</strong>, Literature<br />
str<strong>and</strong> <strong>and</strong> Literacy str<strong>and</strong> of<br />
English that are incorporated in<br />
the activities provided with the<br />
content description. While the<br />
book’s approach focuses on the<br />
Text structure <strong>and</strong> organisation<br />
sub-str<strong>and</strong>, the links show the<br />
integration across the three<br />
str<strong>and</strong>s.<br />
A table showing the <strong>Language</strong><br />
modes, General capabilities<br />
<strong>and</strong> Cross-curriculum priorities<br />
covered by the activities in each<br />
content description is provided.<br />
Answers for student worksheets<br />
are provided at the back of the<br />
book.<br />
Text structure<br />
<strong>and</strong> organisation<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong><br />
play with language features to achieve particular aesthetic,<br />
humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
Answers<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
All about the author – 2 page 47<br />
1. Writer 1: Against; Writer 2: For; Writer 3: Against<br />
2. (a) Teacher check. Possible answers include:<br />
Writer 1: He/She cares about people’s health but is frustrated that so<br />
many don’t take the effects of smoking seriously until it’s too late.<br />
Writer 2: He/She thinks people should be allowed to choose <strong>and</strong> if they<br />
do smoke, they should not be made to feel guilty.<br />
Writer 3: He/She thinks people should realise that smoking makes you<br />
socially unacceptable because it makes you smell.<br />
(b) Similarities: They are both against smoking.<br />
Differences: Writer 1 is against smoking because it damages your<br />
health <strong>and</strong> can kill you. Writer 3 is against smoking because it makes<br />
you smell.<br />
3. Writer 2 would be unlikely to convince an audience because many<br />
young children take up smoking <strong>and</strong> they are not mature enough to<br />
make an informed choice about smoking; there are many ways to<br />
overcome problems that do not damage health; he/she has a vested<br />
interest in people smoking; the phrase, ’life’s too short’ could relate to<br />
the effects of smoking; his/her gr<strong>and</strong>pa maybe almost 90 years old but<br />
he would be an exception<br />
Writer 3 would be likely to convince an audience because as an exsmoker,<br />
he/she can see the argument from both sides; he/she talks<br />
about the immediate rather than long-term effects of smoking; the<br />
smell cannot be disguised <strong>and</strong> no-one wants to be a social outcast<br />
All about the audience – 2 page 50<br />
1. Writer 1: concern for themselves; gravity of the problem; realism of the<br />
situation<br />
Writer 2: rebellion against parents, teachers, coaches; injustice against<br />
themselves; independence for themselves<br />
Writer 3: disgust against the smells of smoking; mistrust of advertising;<br />
despair of intolerance brought about by the smells of smoking<br />
2. (a) Speaks directly to the audience by using the pronoun ’you’.<br />
(b) Writer 1: a computer slowing down with each download<br />
Writer 2: other people telling you what to do – parents, teachers,<br />
coaches<br />
Writer 3: advertisements for air fresheners <strong>and</strong> mouthwash<br />
3. Teacher check<br />
All about the text – 2 page 53<br />
1. (a) known facts (b) statistics (c) anecdotal evidence<br />
2. Teacher check.<br />
3. (a)<br />
Chemicals in tar Description<br />
Arsenic well-known poison<br />
Benzene solvent used in petrol extraction<br />
Cadmium toxic metal used to make<br />
batteries<br />
Formaldehyde used to preserve bodies<br />
(b) See original for graph<br />
Fit for life – 2 page 55<br />
1. (a) The author: states his/her professional qualifi cation, recognises that<br />
sport is not for everyone, refers to credible resources <strong>and</strong> statistics,<br />
writes appropriately for the audience, using examples that are<br />
relevant to them.<br />
(b) The author: encourages the audience to be involved in the<br />
argument by asking them to consider questions, evokes feelings<br />
of concern in the audience, for their health, offers suggestions to<br />
evoke motivation to ’get up <strong>and</strong> do’, evokes sense of control in<br />
one’s future<br />
(c) The author presents known facts related to health problems<br />
associated with poor diet <strong>and</strong> fi tness, statistics related to childhood<br />
obesity, reasoned arguments related to the effects of reduced<br />
activity <strong>and</strong> increased snacking.<br />
2. (a) Teacher check.<br />
Answers may refl ect how the student feels about the way in which<br />
the author speaks to him /her, the appropriateness of the evidence<br />
given in support of the argument, the examples suggested for<br />
keeping fi t, that the author acknowledges that not everyone is<br />
keen on sport.<br />
(b) Teacher check<br />
R.I.C. Publications® www.ricpublications.com.au Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
97<br />
R.I.C. Publications® www.ricpublications.com.au Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
v
Text structure<br />
<strong>and</strong> organisation<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to<br />
achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
Related terms<br />
Teacher information<br />
Innovate<br />
To bring in something new; make changes in<br />
anything established.<br />
Aesthetic<br />
Having a sense of the beautiful; characterised by a<br />
love of beauty.<br />
Humorous<br />
Characterised by humour; amusing; funny.<br />
Imaginative text<br />
Texts whose purpose is to entertain through their<br />
imaginative use of literary elements. These include<br />
novels, traditional tales, poetry, stories, plays, fi ction<br />
<strong>and</strong> fi lm.<br />
Informative text<br />
Texts whose purpose is to inform. They include<br />
explanations <strong>and</strong> descriptions of natural<br />
phenomena, recounts of events, instructions <strong>and</strong><br />
directions, rules <strong>and</strong> laws <strong>and</strong> news bulletins.<br />
Persuasive text<br />
Texts whose purpose is to put forward a point<br />
of view <strong>and</strong> persuade the reader. They include<br />
advertising, debates, arguments, discussions etc.<br />
Text structure<br />
The ways information in texts is organised. Text<br />
structure <strong>and</strong> language features determine a text<br />
type <strong>and</strong> shape its meaning.<br />
<strong>Language</strong> features<br />
The features of language that support meaning.<br />
<strong>Language</strong> features vary according to text purpose,<br />
subject matter, audience <strong>and</strong> mode or medium of<br />
production.<br />
Writer’s position<br />
The point of view or opinion held by the author in a<br />
persuasive text; for example, a discussion or debate.<br />
Simile<br />
One thing compared with another using the words<br />
‘as‘ or ‘like‘.<br />
The hovercraft moved like a dancer on the water.<br />
Metaphor<br />
One thing compared with another without using the<br />
words ‘as‘ or ‘like‘.<br />
The hovercraft was a dancer on the water.<br />
Ethos<br />
The element of persuasive writing that appeals to<br />
the character of the writer.<br />
Pathos<br />
The element of persuasive writing that appeals to<br />
the emotions of the audience.<br />
Logos<br />
The element of persuasive writing that appeals to<br />
the validity of the text.<br />
?<br />
What this means<br />
• Students identify how authors adapt text structure to suit a specifi c purpose <strong>and</strong><br />
audience; for example, an explanation outlining how something works may follow<br />
a framework that includes the title, a statement, explanation <strong>and</strong> conclusion or it<br />
may follow one which includes greater detail <strong>and</strong> illustrations such as a defi nition,<br />
description (operation, application, special features) <strong>and</strong> evaluation.<br />
• Students recognise how authors use language features to create a desired effect; for<br />
example, the use of vocabulary <strong>and</strong> fi gures of speech to describe a scene, situation<br />
or character or to create a mood of joy, horror or tension.<br />
• Students recognise how authors use ethos, pathos <strong>and</strong> logos to create an effective<br />
persuasive text that highlights the authenticity of the writer, the importance of the<br />
audience <strong>and</strong> the validity of the text.<br />
Teaching points<br />
• Revise the structure <strong>and</strong> language features of different text types to ensure students<br />
are familiar with the st<strong>and</strong>ard form of each.<br />
• Compare <strong>and</strong> contrast examples of a text type to identify how the authors have<br />
altered the structure to suit the purpose of their writing.<br />
• Compare <strong>and</strong> contrast examples of a text type to identify how the authors, writing<br />
for the same purpose <strong>and</strong> audience, have used language features to engage the<br />
reader.<br />
• Expose students to a wide range of different texts including classifi ed<br />
advertisements, personal letters, telephone conversations, messages, instructions,<br />
labels, electronic mail, web pages, newsletters, notices, signs, timetables (everyday<br />
<strong>and</strong> community texts), poetry, myths, legends, fables, science fi ction, fantasy,<br />
explanations, reports, procedures <strong>and</strong> reviews. Give them opportunities to analyse<br />
their text structures <strong>and</strong> language features.<br />
Elaborations<br />
E1. Analyse <strong>and</strong> compare some elements of the text structure <strong>and</strong> language features<br />
of a range of texts, to identify the reasons for the writers’ choices.<br />
E2. Examine works which include humour <strong>and</strong> pathos to look at strategies the author<br />
used to tell the reader about the characters’ feelings, to develop empathy for their<br />
point of view or concern for them.<br />
E3. Examine the three elements of persuasion (ethos, pathos, logos) used by a writer<br />
to appeal to an audience.<br />
Further resources<br />
• Primary writing (Books E-G) R.I.C. Publications<br />
• Primary grammar <strong>and</strong> word study (Books E-G) R.I.C. Publications<br />
innovate<br />
aesthetic<br />
humorous<br />
imaginative text<br />
informative text<br />
persuasive text<br />
Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6) www.ricpublications.com.au R.I.C. Publications ®<br />
2<br />
Student vocabulary<br />
text structure<br />
language features<br />
writer’s position<br />
simile<br />
metaphor<br />
ethos<br />
pathos<br />
logos<br />
reason<br />
credibility<br />
validity
Text structure<br />
<strong>and</strong> organisation<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play<br />
with language features to achieve particular aesthetic, humorous <strong>and</strong><br />
persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
Activities to<br />
develop the<br />
content description<br />
E1. Analyse <strong>and</strong> compare some elements of the text structure <strong>and</strong> language features of a range of texts,<br />
to identify the reasons for the writers’ choices.<br />
• Text types resource pages (pages 6 to 9)<br />
Some elements of the purpose, structure <strong>and</strong> language features of the following text types are summarised in tables on these four resource pages.<br />
• Narratives • Procedures • Recounts • Expositions<br />
• Explanations • Reports • Discussions • Descriptions<br />
Students at this stage should be expected to be familiar with some of the elements of different text types. But they also need to realise that few texts<br />
would exactly ’fi t’ one of these.<br />
However, this type of information should be a helpful reference for students when they are looking at texts in order to identify <strong>and</strong> underst<strong>and</strong> some<br />
of the different choices a writer has made <strong>and</strong> why. They need to realise how much infl uence the intended audience <strong>and</strong> the purpose for writing a text<br />
infl uence writers’ choices <strong>and</strong> the text structure <strong>and</strong> language features they use.<br />
• Young cyclist remains in coma (page 10) <strong>and</strong> Glen Wallace Primary School newsletter (page 11)<br />
The texts on these two resource sheets refer to the same incident. There are two activity pages based on these texts in which students are required to<br />
analyse, compare <strong>and</strong> contrast them <strong>and</strong> to identify the purpose for which they were written, some of the choices made by the writers <strong>and</strong> why they<br />
made them. (See pages 12 <strong>and</strong> 13.)<br />
The fi rst text is a newspaper report written to provide detailed information about an accident <strong>and</strong> to attract a reader’s interest with an attentiongrabbing<br />
headline. The text is written in the past tense, in the third person <strong>and</strong> there is some quoted speech from a witness <strong>and</strong> reported speech from<br />
the victim. Its purpose is to report to a wide audience <strong>and</strong> this is refl ected in the language used. However, it could be argued that this text is in fact<br />
persuasive, because after reading it, many people may be more concerned <strong>and</strong> vigilant about their family members wearing bike helmets.<br />
By contrast, the second text is the victim’s personal account of the accident <strong>and</strong> what followed. It describes its impact on the victim, his family <strong>and</strong><br />
friends <strong>and</strong> was written to be included in a school newsletter for other students to read. It is an example of persuasive text in the form of a recount. Its<br />
purpose is to persuade others to always wear their bike helmets, but the writer’s position isn’t stated at the beginning of the text, as is usually the case.<br />
In the form of a recount, it is written in the past tense <strong>and</strong> in the fi rst person. In common with other persuasive texts, it uses emotive language <strong>and</strong><br />
modal verbs of obligation <strong>and</strong> advice.<br />
• How hovercraft work (page 14) <strong>and</strong> Dance of the hovercraft (page 15)<br />
These two texts both refer to hovercraft. The two activities pages in which students analyse, compare <strong>and</strong> contrast them are on pages 16 <strong>and</strong> 17.<br />
The fi rst text is an explanation about how a hovercraft works. Its purpose is to explain something as clearly <strong>and</strong> as concisely as possible. As is usual<br />
with many explanations, it starts with a defi nition, includes technical vocabulary, provides clear, concise information in a logical sequence, is written<br />
in the third person in the present tense, links cause <strong>and</strong> effect <strong>and</strong> includes an evaluative comment <strong>and</strong> a diagram. The information is presented in<br />
paragraphs organised in a logical order.<br />
By contrast the second text is a descriptive recount. It provides relevant background information to orient the reader, describes signifi cant events<br />
in chronological order, is written in the fi rst person in the past tense, uses descriptive, imaginative <strong>and</strong> metaphorical language <strong>and</strong> similes, encourages<br />
visual imagery, is organised in paragraphs <strong>and</strong> concludes with an evaluative comment.<br />
• Coyote (Canis latrans) (page 18) <strong>and</strong> Dogs’ tails - A traditional tale (page 19)<br />
These two texts are about coyotes <strong>and</strong> there are two related activity pages (pages 20 <strong>and</strong> 21).<br />
The fi rst text is a report on the species. It is set out similarly to many reports starting with an introduction with a defi nition, followed by relevant<br />
information, organised in a logical manner under appropriate subheadings. Students should underst<strong>and</strong> that the purpose of organising text in this way is<br />
to make it easier for a reader to locate specifi c information. This is because readers may not require all the information presented in the report <strong>and</strong> they<br />
often have to fi nd what they do need in the most effi cient way possible. The report is written in the present tense <strong>and</strong> has subject-specifi c vocabulary,<br />
one word of which has been defi ned within the text.<br />
The second text is a narrative. It provides orienting information about the time, place <strong>and</strong> characters. The complication is explained <strong>and</strong> fi nally the<br />
resolution is described. The vocabulary may challenge some students, but it is generally supported by the context within the story. A narrative is often<br />
written to entertain <strong>and</strong> amuse, <strong>and</strong> unlike a report, it is not always necessary for a reader of narrative to underst<strong>and</strong> every word. Readers will often<br />
be able to continue to read <strong>and</strong> to maintain some level of interest <strong>and</strong> underst<strong>and</strong>ing of narrative text with a good idea of the gist of the story. Time<br />
connectives make the text more cohesive. It is made more descriptive by the choice of action verbs in the past tense, many with adverbs to further<br />
enhance their meaning. Some readers may fi nd the visual image evoked by the concluding statement humorous. This was the intention of the writer.<br />
R.I.C. Publications ® www.ricpublications.com.au Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
3
Text structure<br />
<strong>and</strong> organisation<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong><br />
play with language features to achieve particular aesthetic,<br />
humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
Activities to<br />
develop the<br />
content description<br />
E1. Analyse <strong>and</strong> compare some elements of the text structure <strong>and</strong> language features of a range of<br />
texts, to identify the reasons for the writers’ choices. (continued)<br />
• Windfarms: how good are they? (page 22) <strong>and</strong> There are monsters … (page 23)<br />
These two texts are about windfarms <strong>and</strong> there are two related activity pages. (See pages 24 <strong>and</strong> 25.)<br />
The fi rst text is a discussion. The title poses a question <strong>and</strong> provides the reader with a subject <strong>and</strong> a context for the discussion. The introduction<br />
gives some background information about harnessing <strong>and</strong> using of the wind’s power in the past. Then, as some readers may not be familiar with<br />
windfarms, <strong>and</strong> may not know what they look like <strong>and</strong> what they do, further background information is provided, supported by an illustration. The<br />
writer then presents some discussion. Some information <strong>and</strong> claims about the positive features of windfarming are discussed, then this is balanced by<br />
some more negative ones. The writer’s concluding statement suggests more information is needed before any true evaluation about how good they<br />
are can be made.<br />
The writer chose to present the positives fi rst <strong>and</strong> not to challenge them. However, this information is prefaced with ’It is claimed ...’ which on careful<br />
reading is signifi cant. When discussing some of the negatives, the writer challenged some of them in a manner which suggested some hard cold facts<br />
about the matter are needed. This is reiterated in the concluding comments.<br />
The second text is a poem. It is one person’s emotional response to windfarms. There is no attempt to discuss the issue or to achieve any balanced<br />
view in this text. It simply states the author’s negative, fearful <strong>and</strong> somewhat fanciful response to windfarms. The metaphor of them as monsters is<br />
sustained throughout the poem. The repetition of ’There are monsters out there’ creates a sense of fear <strong>and</strong> expresses the author’s belief that he/she<br />
is being threatened by them <strong>and</strong> unable to escape the whirling, dancing ’swordsmen’.<br />
Interrelated English links: See page 57.<br />
E2. Examine works which include humour <strong>and</strong> pathos to look at strategies the author used to tell the<br />
reader about the characters’ feelings or build empathy with their point of view or develop concern<br />
for them.<br />
• Ensure students have the opportunity to listen to or read humorous texts such as books by Roald Dahl or Paul Jennings, or A series of unfortunate<br />
events by Lemony Snicket (pen name of Daniel H<strong>and</strong>ler). Books written for younger children such as And to think that I saw it on Mulberry<br />
Street by Dr Seuss may be read to the students <strong>and</strong> used as a basis for a writing activity where the students change characters, events or situations.<br />
Short texts such as knock knock jokes may also be included.<br />
• Humour in texts (pages 26 <strong>and</strong> 27)<br />
Some background information about humour in texts is provided to assist teachers. Writing humorous texts can be extremely diffi cult for adults as<br />
well as students. The information on these two pages may offer some ideas for times when students need to write their own texts. Remember: humour<br />
in texts (or anywhere) is extremely subjective, <strong>and</strong> what one person feels is funny may just make another cringe.<br />
• Humorous language (pages 28 <strong>and</strong> 29)<br />
Before expecting students to read <strong>and</strong> underst<strong>and</strong> longer texts of a humorous nature, make sure students are familiar with common literary devices<br />
such as similes, metaphors <strong>and</strong> hyperbole in shorter texts.<br />
• A visit to Dr Paul White (pages 30 <strong>and</strong> 31)<br />
Ordinary situations with a comical twist can be humorous. Read <strong>and</strong> encourage students to write about ordinary things that happen to them with<br />
changes for humour. Students may write about embarrassing incidents that happen to them, which others may fi nd amusing. The dental visit on page<br />
30 is an example of an ordinary incident with humour. Encourage the students to look for interesting words <strong>and</strong> phrases such as ’erupt’, ’permeate’,<br />
’buzzing bees fi lled his head’, ’hover in clouds’ etc. which create imagery <strong>and</strong> exaggerate feelings.<br />
• The skateboard lesson (pages 32 to 35)<br />
This text combines a number of different aspects of writing humorous texts—the unexpected happens, someone says something unexpected (at the<br />
end), something embarrassing happens to the someone, <strong>and</strong> someone does something clumsy. Teachers should use one text for a number of different<br />
teaching <strong>and</strong> learning activities. The two pages of questions dealing with this text cover both text structure <strong>and</strong> language features. Teachers should<br />
encourage students to look for interesting vocabulary which has been used instead of more common words; for example, ’plummeting’ instead of<br />
’falling’. The use of adjectives can add richness to a noun; for example, ’batty’ Great Aunt Mildred’, ’tangled limbs’, ’horrifi ed faces’, ’stricken face’ etc.<br />
• The solitary troll <strong>and</strong> the three skinny goats (pages 36 to 39)<br />
Fractured tales are stories which have been modifi ed in order to entertain the reader through unexpected characterisation, plot development or a<br />
contrary point of view. Students will enjoy listening to, reading, <strong>and</strong> writing fractured tales. Some examples to share include The book that Jack<br />
wrote by Jon Scieszka, The stinky cheese man <strong>and</strong> other fairly stupid tales by Jon Scieszka, The frog prince continued by Jon Scieszka,<br />
Politically correct bedtime stories by James Garner or Seriously, Cinderella is SO annoying!; The story of Cinderella as told by the<br />
wicked stepmother (Other Side of the Story) by Trisha Sue Speed Shaskan. Although fairytales are traditionally for younger children, older<br />
students will enjoy revamping them. This may be accomplished by rewriting a story as a poem or rap, telling it from a different point of view, taking<br />
a character from the story <strong>and</strong> telling another story concerning him/her, writing a different ending, making the main character a different type of<br />
character or an animal, adding new characters to tell the story, having characters from different fairytales meet or combining two stories into one.<br />
Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6) www.ricpublications.com.au R.I.C. Publications ®<br />
4
Text structure<br />
<strong>and</strong> organisation<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong><br />
play with language features to achieve particular aesthetic,<br />
humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
Activities to<br />
develop the<br />
content description<br />
E2. Examine works which include humour <strong>and</strong> pathos to look at strategies the author used to tell the<br />
reader about the characters’ feelings or build empathy with their point of view or develop concern<br />
for them. (continued)<br />
• Can you h<strong>and</strong>le it? (page 40) <strong>and</strong> Holidays that don’t ’suck’! (page 41)<br />
View <strong>and</strong> discuss some humorous television or visual print advertisements which use exaggeration to get the advertiser’s message across. Then read<br />
<strong>and</strong> complete the activities on pages 40 <strong>and</strong> 41. Encourage the students to record or write their own funny advertising material.<br />
• Gaya-dari the platypus (pages 42 <strong>and</strong> 43)<br />
Discuss the words, phrases <strong>and</strong> images in texts used for exaggeration to help readers underst<strong>and</strong> a character’s feelings. Use the text <strong>and</strong> questions to<br />
assist the students. Encourage the students to use exaggeration to over-dramatise the story.<br />
Interrelated English links: See page 57.<br />
E3. Examine the three elements of persuasion (ethos, pathos, logos) used by a writer to appeal to an<br />
audience.<br />
• Discuss the element of ethos in persuasive texts. Read texts <strong>and</strong> complete associated activity page (pages 44–47).<br />
• Discuss different situations when ethos is used to great effect; for example in advertising <strong>and</strong> in politics. Compile a list of specifi c examples such as:<br />
a used car salesperson, a party planner, an in-store sales promoter, a street vendor, a politician, an environmentalist. Consider what each wants to<br />
persuade the audience to do <strong>and</strong> how he/she does it.<br />
• Make a list of attributes that a writer/speaker needs to convince an audience of his or her authenticity.<br />
• Discuss situations where ethos is used to trick an audience; for example, a salesperson selling goods known to be faulty, a person in authority<br />
deliberately misleading the public, a person assuring a prospective employer or client that he or she has the necessary qualifi cations <strong>and</strong> experience to<br />
perform a job well.<br />
• In groups, role-play interview scenarios where three students apply for the same job. How will they present themselves <strong>and</strong> convince the panel of their<br />
qualifi cations, experience, integrity etc.?<br />
• Discuss the element of pathos in persuasive texts. Read texts <strong>and</strong> complete associated activity page (pages 48–50).<br />
• Compile a list of different emotions <strong>and</strong> discuss examples of when pathos could be used to evoke these emotions; for example, politicians inciting<br />
people to rise up <strong>and</strong> take arms against another nation, environmentalists encouraging people to save water, power etc., charities urging people to<br />
donate funds or resources to a worthy cause.<br />
• Choose a topic for persuasive writing <strong>and</strong> compile a list of emotive vocabulary that could be used to evoke the required emotion. Prepare an extract<br />
of the persuasive text that focuses on the pathos elements.<br />
• Discuss the element of logos in persuasive texts. Read texts <strong>and</strong> complete the associated activity page (pages 51–53).<br />
• Study examples of persuasive text that include evidence in different forms <strong>and</strong> record the different ways it is presented; for example, statistics relating<br />
to the childhood obesity or adolescent smokers over a period of time, facts related to global weather patterns or the movement of populations<br />
because of war <strong>and</strong> political instability, anecdotal evidence such as the increase in numbers of people playing sport when high profi le sports events<br />
are televised such as tennis during gr<strong>and</strong> slam competitions.<br />
• Study a wide range of persuasive texts to highlight the elements of ethos, pathos <strong>and</strong> logos. Consider how the presence of each element affects the<br />
overall appeal <strong>and</strong> presentation of the text.<br />
Interrelated English links: See page 57.<br />
R.I.C. Publications ® www.ricpublications.com.au Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
5
Text types<br />
Resource sheet<br />
Narrative text<br />
Purpose Structure <strong>Language</strong> features<br />
To entertain, amuse <strong>and</strong>/or<br />
teach<br />
Narratives present the reader<br />
with a problem or complication,<br />
then describe a series of events<br />
telling how it is eventually<br />
resolved.<br />
The narrative may be simply<br />
amusing <strong>and</strong> entertaining or<br />
it may aim to teach the reader<br />
something about problem<br />
solving <strong>and</strong> life.<br />
Procedural text<br />
Orientation: The main<br />
characters, the time <strong>and</strong> place<br />
are introduced.<br />
Complication: Something<br />
becomes a problem for one or<br />
more of the characters <strong>and</strong> this<br />
changes the expected pattern of<br />
events <strong>and</strong> often the characters<br />
too.<br />
Resolution: The problem is<br />
resolved in some way.<br />
Coda: (Optional) Ways in which<br />
people have changed <strong>and</strong>/or<br />
lessons that were learnt are<br />
described.<br />
Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6) www.ricpublications.com.au R.I.C. Publications ®<br />
6<br />
Time connectives to connect <strong>and</strong><br />
sequence events<br />
Textual cohesion maintained<br />
by the use of antonyms <strong>and</strong><br />
appropriate synonyms, including<br />
pronoun reference<br />
Paragraphs to link information<br />
<strong>and</strong> events<br />
Nouns to name particular<br />
people, places <strong>and</strong> things<br />
Adjectives to describe people<br />
<strong>and</strong> settings in more detail<br />
Verbs to tell what characters are<br />
thinking, feeling <strong>and</strong> doing<br />
Adverbs to describe how, when<br />
<strong>and</strong> where things happen<br />
Past tense<br />
Often told in the first or third<br />
person<br />
Purpose Structure <strong>Language</strong> features<br />
To instruct<br />
Procedures can tell the reader<br />
how to make or do something<br />
or give a set of rules to be<br />
followed.<br />
Goal: The task is stated.<br />
Materials: If any equipment is<br />
needed to complete the task it<br />
is listed.<br />
Steps: Each step is given<br />
in chronological order. All<br />
necessary steps are included.<br />
Test: (Optional) A way of<br />
accessing if the procedure has<br />
been followed successfully<br />
Comm<strong>and</strong> verbs usually start<br />
each instruction<br />
Precise vocabulary to provide<br />
details given using noun groups<br />
<strong>and</strong> adjectival phrases<br />
Concise wording, unnecessary<br />
words omitted<br />
Details of time, place, manner<br />
<strong>and</strong> condition provided using<br />
adverbial clauses<br />
Present tense<br />
Instructions are written in the<br />
second person; i.e. ’You should’<br />
is understood, but not stated<br />
Diagrams, illustration <strong>and</strong><br />
photographs may be used to<br />
clarify instructions<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012
Text types<br />
Resource sheet<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
Recount text<br />
Purpose Structure <strong>Language</strong> features<br />
To inform or entertain<br />
A factual recount retells a series<br />
of events <strong>and</strong> may provide some<br />
form of evaluation.<br />
A personal or story recount<br />
retells events in order <strong>and</strong> may<br />
include an opinion or comment<br />
to express the writer’s feelings<br />
<strong>and</strong> attitude. A recount may be<br />
factual or imaginative.<br />
Expository text<br />
Orientation: The people<br />
involved, the time <strong>and</strong> the<br />
place are introduced <strong>and</strong><br />
any necessary background<br />
information provided.<br />
Events: These are usually<br />
described in chronological order.<br />
Personal comments: There may<br />
be some form of comment<br />
given about particular events<br />
throughout the text.<br />
Conclusion: The writer may<br />
conclude by, for example,<br />
expressing an opinion, posing a<br />
question or making a prediction<br />
R.I.C. Publications ® www.ricpublications.com.au Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
7<br />
Descriptive language to explain<br />
people, places <strong>and</strong> things,<br />
including noun groups<br />
Time connectives to connect <strong>and</strong><br />
sequence events<br />
Textual cohesion maintained<br />
by the use of antonyms <strong>and</strong><br />
appropriate synonyms, including<br />
pronoun reference<br />
Action verbs are varied <strong>and</strong><br />
descriptive<br />
Passive verbs may be used in<br />
factual recounts<br />
Adverbial phrases indicating<br />
time, place <strong>and</strong> manner<br />
Paragraphs to link information<br />
<strong>and</strong> events<br />
Past tense<br />
First or third person<br />
Purpose Structure <strong>Language</strong> features<br />
To persuade<br />
Expositions argue for one side<br />
of a case or issue in order to<br />
persuade others to agree.<br />
Statement: The writer outlines<br />
the issue <strong>and</strong> states his/her<br />
position on it.<br />
Arguments: The writer’s<br />
strongest <strong>and</strong> most persuasive<br />
arguments are usually presented<br />
first. Each argument is<br />
elaborated <strong>and</strong> supported with<br />
evidence.<br />
Reinforcement of position: The<br />
most persuasive arguments<br />
supporting the position taken<br />
are restated, with reference to<br />
some of the others, in a brief<br />
conclusion <strong>and</strong> summary.<br />
Evaluative <strong>and</strong> emotive<br />
language to convince the reader<br />
Words <strong>and</strong> phrases to qualify<br />
statements<br />
Thinking verbs to present a<br />
point of view<br />
Modal verbs <strong>and</strong> adverbs<br />
to express the strength of<br />
statements <strong>and</strong> advice<br />
Connectives to link <strong>and</strong><br />
sometimes to prioritise ideas<br />
Conjunctions such as ’therefore’<br />
<strong>and</strong> ’because’ to show reasoning<br />
Paragraphs for each separate<br />
argument<br />
Present, past <strong>and</strong> future tenses<br />
Written in the first person<br />
when giving own opinion, in<br />
the second person to tell others<br />
what they should think <strong>and</strong> do<br />
or in the third person to record<br />
what others do, have done or<br />
should be doing in the future
Text types<br />
Resource sheet<br />
Explanatory text<br />
Report text<br />
Purpose Structure <strong>Language</strong> features<br />
To inform <strong>and</strong> explain<br />
Explanations tell how or why<br />
something occurs, is constructed<br />
or works.<br />
Statement: The subject of the<br />
explanation is stated <strong>and</strong> may<br />
be defined.<br />
Explanation: A clear account<br />
of the phenomenon is given,<br />
often supported by diagrams or<br />
illustrations.<br />
or<br />
Description: The components,<br />
operation, application <strong>and</strong><br />
special features are explained,<br />
often supported by diagrams or<br />
illustrations.<br />
Conclusion:(Optional) An<br />
evaluation <strong>and</strong> comment is<br />
given.<br />
Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6) www.ricpublications.com.au R.I.C. Publications ®<br />
8<br />
Precise, technical subject-specific<br />
vocabulary, including abstract<br />
nouns<br />
Linking words to show cause<br />
<strong>and</strong> effect<br />
Time conjunctions <strong>and</strong> adverbial<br />
phrases of time to show<br />
sequence<br />
Paragraphs used to organise <strong>and</strong><br />
connect information<br />
Present tense<br />
Third person<br />
Passive voice<br />
Purpose Structure <strong>Language</strong> features<br />
To inform<br />
Reports present information by<br />
classifying <strong>and</strong> describing both<br />
natural <strong>and</strong> constructed things.<br />
Classification: Often a general<br />
opening statement about the<br />
subject of the report, defining it<br />
Description: Accurate <strong>and</strong><br />
detailed information about the<br />
subject relating to aspects such<br />
as its features, location <strong>and</strong><br />
behaviour<br />
Conclusion: (Optional) A<br />
comment about the content of<br />
the report may be included.<br />
Technical <strong>and</strong> subject-specific<br />
vocabulary<br />
General terms <strong>and</strong> nouns rather<br />
than specific ones<br />
Verbs to explain the function<br />
of features <strong>and</strong> how they are<br />
related<br />
Paragraphs to first introduce the<br />
topic, then to organise related<br />
information using subheadings<br />
<strong>and</strong>/or topic sentences;<br />
elaboration then follows<br />
Third person<br />
Timeless present tense<br />
Passive voice<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012
Text types<br />
Resource sheet<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
Discussion text<br />
Purpose Structure <strong>Language</strong> features<br />
To explore, evaluate <strong>and</strong> make<br />
informed decisions<br />
Discussions provide<br />
opportunities to examine issues<br />
from at least two perspectives,<br />
review <strong>and</strong> evaluate the<br />
evidence before reaching<br />
conclusions <strong>and</strong> making<br />
decisions. Recommendations<br />
about the matter may then be<br />
made to others.<br />
Descriptive text<br />
Introductory statement:<br />
The issue is outlined <strong>and</strong>, if<br />
necessary, some background<br />
information may be provided.<br />
Arguments: Some arguments<br />
both for <strong>and</strong> against are<br />
presented. Each is supported<br />
with evidence. Some evaluative<br />
comments may be made.<br />
Conclusion: The arguments<br />
for both sides may be briefly<br />
summarised <strong>and</strong> evaluated. A<br />
recommendation may be made<br />
<strong>and</strong> explained.<br />
R.I.C. Publications ® www.ricpublications.com.au Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
9<br />
Connectives to link ideas<br />
Emotive language used to<br />
convince the reader<br />
Words <strong>and</strong> phrases to qualify<br />
statements<br />
Thinking verbs to present a<br />
point of view<br />
Modal verbs <strong>and</strong> adverbs<br />
to express the strength of<br />
statements <strong>and</strong> advice<br />
Conjunctions such as ’therefore’<br />
<strong>and</strong> ’because’ to show reasoning<br />
Present, past <strong>and</strong> future tenses<br />
Written in the first person<br />
when giving own opinion, in<br />
the second person to tell others<br />
what they should think <strong>and</strong> do<br />
or in the third person to record<br />
what others do, have done or<br />
should be doing in the future<br />
Purpose Structure <strong>Language</strong> features<br />
To describe<br />
Descriptions focus on<br />
a particular feature or<br />
characteristic of a person,<br />
place or thing. They can be<br />
imaginative or real <strong>and</strong> may<br />
st<strong>and</strong> alone or be part of<br />
another text type such as a<br />
narrative or a poem.<br />
Introduction: The subject or<br />
focus of the description is given.<br />
Characteristic features: Some<br />
of the notable features of the<br />
subject are described.<br />
Concluding comment: (Optional)<br />
There may be some personal<br />
comment, which may be<br />
evaluative.<br />
Detailed noun groups to provide<br />
descriptive information<br />
A variety of appropriate<br />
adjectives used to describe<br />
people <strong>and</strong> places<br />
Action verbs to describe what<br />
people <strong>and</strong> things do<br />
A variety of adverbs to tell<br />
more about how, where or<br />
when something happens or<br />
happened<br />
Visual images evoked by the<br />
careful selection of appropriate<br />
vocabulary<br />
Figurative language, such as<br />
similes <strong>and</strong> metaphors, to<br />
compare <strong>and</strong> contrast the<br />
subject with something<br />
Third person is often used<br />
Timeless present or the past<br />
tense often used<br />
Passive voice may be used
Young cyclist remains in coma<br />
Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6) www.ricpublications.com.au R.I.C. Publications ®<br />
10<br />
Resource sheet<br />
The Newtown Daily News<br />
Young cyclist remains in coma<br />
The eleven-year-old boy knocked off<br />
his bike late on Tuesday afternoon<br />
remains in a coma at the Prince Edward<br />
Hospital for Children, with head <strong>and</strong><br />
other injuries.<br />
Tom Richards of Glen Wallace was<br />
riding his bike in the car park of<br />
the local shopping centre when the<br />
accident occurred. Witnesses report<br />
that he had been jumping his bike over<br />
some obstacles when he lost control.<br />
He was thrown off his bike when it<br />
skidded onto Juniper Avenue, a major<br />
road on the northern perimeter of the<br />
car park.<br />
2 September<br />
The distressed driver of the truck which<br />
struck the boy said that there was no<br />
way he could have avoided hitting him.<br />
Mr Wayne Smith later told the police,<br />
’He just came across the footpath out<br />
of nowhere <strong>and</strong> hit the road so fast,<br />
I didn’t even get a chance to apply<br />
my brakes. I still can’t believe it. It all<br />
happened in a flash. I thought I’d killed<br />
him for sure’.<br />
Mr Mal Richards, the boy’s father,<br />
expressed his family’s gratitude to<br />
the many kind <strong>and</strong> capable people<br />
who had helped cared for Tom at the<br />
scene. Their ongoing concern <strong>and</strong> the<br />
countless well wishes <strong>and</strong> cards sent<br />
to their son had meant a great deal to<br />
him <strong>and</strong> his wife.<br />
He also praised the actions of the<br />
paramedics who fought hard to<br />
stabilise his son at the roadside<br />
before transferring him to hospital by<br />
ambulance.<br />
The distraught parents<br />
have remained at their<br />
son’s bedside at the<br />
children’s hospital since<br />
the tragedy.<br />
It is believed the boy<br />
was not wearing his<br />
helmet. It was later found<br />
still strapped to the<br />
h<strong>and</strong>lebars of his bike.<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012
Glen Wallace Primary School<br />
newsletter<br />
Resource sheet<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
To the principal from Tom Richards<br />
I have written this letter <strong>and</strong> I hope that you will print it in the school’s next<br />
newsletter. Please print it because it took me ages to write it <strong>and</strong> I want<br />
everyone to read it. I think it’s really important.<br />
If you ride a bike, do you ever think about having an accident? I want to tell<br />
you my story, because I thought nothing would ever happen to me, but it did.<br />
I ended up in hospital for two months with head injuries <strong>and</strong> a broken leg.<br />
And I’m still not right. I couldn’t remember what had happened when I came<br />
out of the coma. I was in hospital, my head really hurt when I tried to move<br />
<strong>and</strong> I couldn’t talk.<br />
Mum <strong>and</strong> Dad were there <strong>and</strong> they just kept squeezing my h<strong>and</strong> <strong>and</strong> crying.<br />
They were pretty upset because they’d been told I may never walk or talk<br />
again. This was because my brain had been badly knocked around. The<br />
doctors said it was really bad <strong>and</strong> they didn’t know if it would ever recover.<br />
Well, I have recovered ... well almost, but it didn’t just happen. I had to work<br />
hard. The physios were tough, really tough. They made me push <strong>and</strong> push<br />
myself <strong>and</strong> to do things <strong>and</strong> it hurt. It was terrible. I used to get so mad when I<br />
couldn’t do the things that used to be easy before my accident.<br />
Some of my friends came in to see me, but they didn’t want to stay long. I<br />
don’t think they knew what to do or say to me. I hated it when they told me<br />
about how our teams were going <strong>and</strong> what they’d all been doing. Everything<br />
they did sounded fun. And I still couldn’t even walk properly!<br />
One day, I was having a really<br />
bad day complaining about<br />
everything. Dad got mad with<br />
me <strong>and</strong> said that perhaps I<br />
should blame myself for a<br />
change instead of everyone<br />
else. He said that after<br />
all I was the one who<br />
hadn’t been wearing a<br />
helmet.<br />
Well, I really hated him<br />
saying it, but I know<br />
he’s right. It was my<br />
fault. I didn’t have my<br />
helmet on.<br />
If I ever do get back to riding<br />
a bike, that’s something I’ll<br />
never do again ... <strong>and</strong> nor<br />
should you!<br />
R.I.C. Publications ® www.ricpublications.com.au Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
11
Discussing the texts – 1<br />
Read the two texts about the same incident on pages 10 <strong>and</strong> 11. Answer the questions.<br />
1. (a) Who wrote the first text?<br />
(b) Is it written in the first, second or third person?<br />
(c) Does it contain more facts or opinions?<br />
(d) Who will be reading it?<br />
(e) Explain why you think it was written.<br />
(f) How did the writer engage the readers’ interest?<br />
2. (a) Who wrote the second text?<br />
(b) Is it written in the first, second or third person?<br />
(c) Does it express opinions or just give facts?<br />
(d) Explain why it was written.<br />
(e) Who will read it?<br />
(f) What does the writer want people to do?<br />
3. Both texts tell you that the boy wasn’t wearing a helmet.<br />
(a) Explain how the first text tells you this.<br />
(b) How does the second text give the reader this information?<br />
(c) Think about the purpose for writing each text <strong>and</strong> explain why they provide this<br />
information in different ways.<br />
Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6) www.ricpublications.com.au R.I.C. Publications ®<br />
12<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
Discussing the texts – 2<br />
Read the two texts on page 10 <strong>and</strong> 11. Answer the questions.<br />
1. Persuasive text often starts by stating the writer’s position on a topic <strong>and</strong> then<br />
provides arguments to support this view.<br />
(a) The second text is persuasive but it’s different from many others because it doesn’t<br />
do this. Explain how this text is organised.<br />
(b) Write some possible reasons why the writer changed this format.<br />
(c) Do you think this is effective?<br />
Yes No<br />
R.I.C. Publications ® www.ricpublications.com.au Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
13<br />
Why Why not?<br />
2. (a) The first text uses more formal language. Give an example:<br />
(b) The second text uses less formal language. Some examples are:<br />
3. The second text is more emotional. There was a personal cost to many people. Write<br />
some words you would use to describe how:<br />
(a) the boy felt.<br />
(b) his parents felt.<br />
(c) his friends felt when they went to see him.<br />
(d) you felt.<br />
4. Write the information provided in the first text about the accident.<br />
When?<br />
Where?<br />
What?<br />
How?<br />
Why?
How hovercraft work<br />
Resource sheet<br />
A hovercraft is a vehicle that flies above the surface of water or across l<strong>and</strong> on a cushion<br />
of pressurised air.<br />
This all-terrain vehicle is powered by an engine which is designed to turn one or two<br />
large fans. The power of the air blown by one fan lifts the hovercraft up by forcing air<br />
under it. A second fan is usually used to push the vehicle forwards. It does this by blowing<br />
air backwards in a similar way to a jet engine.<br />
The three main components of a hovercraft are:<br />
• the main body<br />
• the fans<br />
• the skirt.<br />
Air is forced under the hovercraft, where the skirt traps it between the ground <strong>and</strong> the<br />
main body. The vehicle hovers <strong>and</strong> ’flies’ on this air.<br />
The hovercraft glides across the surface. There is little friction, so it doesn’t require much<br />
power to move the craft forward. Some can travel at speeds of up to 130 kph.<br />
Rudders like those used in aircraft are located behind the fans. They are used to steer the<br />
hovercraft.<br />
Stopping a hovercraft is not so simple. This can be done by turning the craft 180 degrees<br />
<strong>and</strong> using the thrust of the fan to push it back in the direction it came from.<br />
Hovercraft are environmentally friendly <strong>and</strong> economical to run. Their footprint pressure<br />
on the Earth has been described as less than that of a seagull st<strong>and</strong>ing on one leg. They<br />
are versatile, very safe vehicles which are popular with the military.<br />
These craft, while amazing, actually operate on a quite a simple scientific principle.<br />
main body<br />
skirt<br />
cushion of air<br />
cockpit<br />
drive<br />
shaft<br />
engine<br />
central fan<br />
Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6) www.ricpublications.com.au R.I.C. Publications ®<br />
14<br />
drive shaft<br />
cushion of air<br />
rear fan<br />
airflow<br />
vertical<br />
rudders<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012
Dance of the hovercraft<br />
Resource sheet<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
Hovercraft have always fascinated me. Ever since I first saw one on television, dancing<br />
sideways from ocean to s<strong>and</strong>, I had dreamed of a flight in one. But unlike a lot of my<br />
dreams, this one was about to come true.<br />
The hovercraft was bigger than I’d expected, but sleek <strong>and</strong> powerful from its purposefully<br />
rounded bow to its huge twin ’fans’ at the back.<br />
When the pilot started the rumbling engine, the yellow machine rocked <strong>and</strong> then rose on its<br />
skirt, like a majestic beast waking up—or a ballet dancer rising to her feet.<br />
We clambered aboard eagerly <strong>and</strong> settled into our seats. The engine rumble increased<br />
<strong>and</strong> we began to move, gliding so effortlessly down the concrete ramp, across the brown<br />
mudflats <strong>and</strong> onto the water.<br />
Then we were flying over the bay, pirouetting gracefully as we followed the shoreline. We<br />
turned in long, sliding arcs, travelling sideways as effortlessly as we had travelled forward.<br />
At the end of the aquamarine bay we tiptoed onto a beach as orange as rust, <strong>and</strong> the<br />
hovercraft, like a ’ship of the desert’, sank gently to its knees.<br />
We climbed out to look at fossilised dinosaur footprints there on the beach. They were<br />
millions of years old. To be st<strong>and</strong>ing where those ancient creatures had once walked, <strong>and</strong><br />
left behind their tracks, was truly amazing.<br />
But for me ... I just wanted to go dancing again.<br />
R.I.C. Publications ® www.ricpublications.com.au Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
15
Discussing the texts – 1<br />
Read the two texts about hovercraft on pages 14 <strong>and</strong> 15 <strong>and</strong> answer the questions.<br />
1. The first text is an explanation. Does it have the following features?<br />
(a) Begins with a precise statement or definition.<br />
Yes No<br />
(b) Includes specific vocabulary <strong>and</strong> technical language.<br />
Yes No<br />
(c) Gives clear information in a logical sequence.<br />
Yes No<br />
(d) Uses simple present tense verbs.<br />
Yes No<br />
(e) Links cause <strong>and</strong> effect.<br />
Yes No<br />
(f) Includes an evaluation.<br />
Yes No<br />
(g) Includes a diagram to support <strong>and</strong> explain the text.<br />
Yes No<br />
2. The second text is a descriptive recount. Tick the features you can identify in this text.<br />
(a) Relevant background information about:<br />
who where when what why<br />
(b) Significant events in detail <strong>and</strong> in order.<br />
(c) Vocabulary to suggest the passing of time.<br />
(d) Verbs in the past tense.<br />
(e) Text organised in appropriate paragraphs.<br />
(f) A conclusion or evaluative comment.<br />
3. (a) Some examples of specific <strong>and</strong> technical vocabulary used in the first text are:<br />
(b) Descriptive verbs used in the second text include:<br />
(c) Descriptive adjectives used in the second text include:<br />
Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6) www.ricpublications.com.au R.I.C. Publications ®<br />
16<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012
Discussing the texts – 2<br />
Read the texts about hovercraft on pages 14 <strong>and</strong> 15 <strong>and</strong> answer the questions.<br />
1. (a) Write the title of the first text.<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
(b) What did you work out about this text from its title?<br />
(c) The title of the second text is:<br />
(d) Explain why you think the author called it Dance of the hovercraft.<br />
2. One of the ways the writer links flying in a hovercraft to dancing is by using dancing<br />
vocabulary. Some of the phrases associated with dancing from the text are:<br />
In descriptive writing something is often compared with something else to explain<br />
what it’s like <strong>and</strong> to create a visual image for the reader. This is known as a simile.<br />
For example: The hovercraft was like ’a majestic beast waking up’.<br />
Another way of creating an image to explain what something looks or feels like is by<br />
saying it is something. This is called a metaphor.<br />
For example: The writer says that the hovercraft is dancing.<br />
3. (a) Write an example of a simile from the text.<br />
(b) The hovercraft is called a dancer. Continue this metaphor by writing something<br />
the ’dancer’ does.<br />
4. Hovercraft don’t have knees. Explain what the writer meant when he described the<br />
hovercraft stopping on the beach by saying it ’sank gently to its knees’.<br />
R.I.C. Publications ® www.ricpublications.com.au Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
17
Coyote (Canis latrans)<br />
Resource sheet<br />
The coyote is a member of the dog family. Its name means<br />
’barking dog’ <strong>and</strong> it is related to the jackals of Asia, Africa<br />
<strong>and</strong> Europe, to grey <strong>and</strong> red wolves <strong>and</strong> to domestic dogs.<br />
Coyotes howl at night to communicate <strong>and</strong> to keep other<br />
males away. This distinctive sound causes fear for some,<br />
while other people refer to it affectionately as ’the song of<br />
the west’.<br />
Description<br />
This small mammal is about the size <strong>and</strong> shape of a collie dog with a round, bushy tail<br />
which is held out. It becomes bushier <strong>and</strong> more horizontal to display aggression.<br />
Coyotes living in valleys or deserts weigh about 10 kilograms <strong>and</strong> are light grey or tan with<br />
a black-tipped tail. Mountain coyotes are larger (22 kilograms) with darker, thicker fur<br />
much prized by hunters, especially in winter when it is longer <strong>and</strong> silkier. Their coats are<br />
often almost white underneath <strong>and</strong> some have a white-tipped tail.<br />
Coyote have five digits on their forefeet <strong>and</strong> four on their hind feet. They are ’digitigrade’,<br />
which means they walk with only their toes on the ground.<br />
Distribution <strong>and</strong> habitat<br />
Coyotes are found throughout North America from Alaska in the west to New Engl<strong>and</strong> in<br />
the east <strong>and</strong> south through to Mexico. They have been steadily extending their territory<br />
<strong>and</strong> have been sighted in Canada <strong>and</strong> in Florida too.<br />
Although their natural habitat is grassl<strong>and</strong>s, coyotes move to where there is food. They dig<br />
their own den or may modify that of another animal. They usually range over an area of<br />
about 25–30 square kilometres. Mountain coyotes may need both a winter <strong>and</strong> a summer<br />
hunting ground.<br />
Food <strong>and</strong> hunting<br />
Coyotes are very adaptable animals <strong>and</strong> have a varied diet. They will eat almost anything,<br />
but mostly mice, rabbits, squirrels, fish, insects, berries <strong>and</strong> even reptiles. Poultry, sheep<br />
<strong>and</strong> even deer are killed by coyotes. They will eat both fresh <strong>and</strong> spoiled foods <strong>and</strong> even<br />
the desert’s unpalatable coyote melons. They find what water they can or they sometimes<br />
dig for it. They also get moisture from what they eat.<br />
These clever animals are excellent hunters either alone or in small packs. Their sight,<br />
hearing <strong>and</strong> sense of smell are very good <strong>and</strong> they have great stamina. They can track <strong>and</strong><br />
stalk their quarry for 20–30 minutes, then strike when it is exhausted.<br />
Breeding<br />
A female has one litter of 3–9 pups in spring, when food is more plentiful. The pups are<br />
born blind. They suckle for 5–7 weeks <strong>and</strong> remain in the den until they start hunting at<br />
6–10 weeks. The male brings food, but is not permitted to enter the den. The pups are<br />
independent by 12 months <strong>and</strong> leave.<br />
Despite sustained efforts to eradicate them by agriculturalists <strong>and</strong> biologists, fearing either<br />
for their stock or for other native species, coyotes have survived. This appears unlikely to<br />
change given the nature of these adaptable, resourceful animals.<br />
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Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012
Dog's tails<br />
Resource sheet<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
This traditional tale is one of many told about coyote by generations of American Indians.<br />
They believe the coyote to be cunning, savvy <strong>and</strong> very willing <strong>and</strong> capable of tricking<br />
others.<br />
A very long time ago, an important dog leader decided to hold a meeting. Leaders of dog<br />
packs from all around the world were cordiality invited to attend—with one exception ...<br />
Coyote.<br />
’He’s really not one of us, he’s too different. We really don’t want one of his kind here, so<br />
let’s just forget about him’, the haughty dog leader had explained.<br />
But, when Coyote learnt a meeting was to be held in the great tipi <strong>and</strong> that he was to be<br />
excluded, he was extremely upset. He went to the venue <strong>and</strong> cleverly concealed himself<br />
in some bushes nearby. From this secluded position, he watched as all the dog leaders<br />
proudly entered the tipi. There were dogs of every shape, size <strong>and</strong> colour in attendance.<br />
The noise was deafening.<br />
Now, before I continue with this tale, there’s something I need to check. Are you all aware<br />
of the one dog-meeting rule that can never be broken? I’ll explain. It’s the one that says<br />
that those attending must remove their tails <strong>and</strong> leave them outside the tipi in a special<br />
place set aside for that purpose. Coyote watched enviously as every dog followed this<br />
tradition <strong>and</strong> removed its tail before entering the tipi.<br />
Finally, the participants were all inside <strong>and</strong> the meeting commenced. Coyote could hear<br />
drums beating rhythmically. They masked any noise he made as he carefully approached<br />
the tipi. He stood silently listening to the drums <strong>and</strong> the talking coming from the inside<br />
until he could bear it no longer. He felt ostracised <strong>and</strong> miserable. He had to do something,<br />
but what?<br />
Then, the enormous pile of tails caught his attention. Racing over, he determinedly tossed<br />
them this way <strong>and</strong> that. When they were in a tangled mess, he ran around the perimeter<br />
of the tipi shouting at the top of his lungs, ’Mad bear! Mad bear!’<br />
Well, there is no love lost between dogs <strong>and</strong> bears. In fact bears are one of the few<br />
animals dogs are afraid of. What a panic! Dogs started rushing out of the tipi, clumsily<br />
tripping over each other in their haste to escape. When they finally made their way<br />
outside, they had difficulty locating their own tails. In terror, they frantically snatched any<br />
tail <strong>and</strong> desperately raced off into the woods with it.<br />
That is why to this day, whenever dogs meet, they always check the other’s tail, attempting<br />
to identify which dog it really belongs to.<br />
R.I.C. Publications ® www.ricpublications.com.au Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
19
Discussing the texts – 1<br />
Read the two texts about coyotes on pages 18 <strong>and</strong> 19 <strong>and</strong> answer the questions.<br />
1. Circle the correct words in these sentences.<br />
(a) Coyote is a narrative/report <strong>and</strong> is written in the past/present tense. It was written<br />
to inform/entertain.<br />
(b) Dogs’ tails is a narrative/report <strong>and</strong> is written in the past/present tense. It was<br />
written to inform/entertain.<br />
2. Identify some of the features of these two texts by writing ’A’ for the text on page 18,<br />
’B’ for the text on page 19 <strong>and</strong> ’AB’ for both texts.<br />
(a) Tells a story<br />
(c) Uses topic-related vocabulary<br />
(e) Has a complication<br />
(g) Presents facts clearly<br />
(i) Is imaginative<br />
(k) Has characters <strong>and</strong> a setting<br />
Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6) www.ricpublications.com.au R.I.C. Publications ®<br />
20<br />
(b) Is organised in paragraphs<br />
(d) Describes characteristics<br />
(f) Uses powerful verbs<br />
(h) Uses descriptive adverbs<br />
(j) Has subheadings<br />
(l) Starts with a general statement<br />
3. The texts are organised in paragraphs. One way the paragraphs in one are different<br />
from those in the other is:<br />
4. Add more examples of the subject-specific vocabulary used in the report, Coyote, to<br />
this list: adaptable, stamina,<br />
5. Add some examples of time connectives used in the narrative, Dogs’ tails.<br />
For example: when Coyote learnt, whenever dogs meet,<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012
Discussing the texts – 2<br />
Read the two texts about coyotes on pages 18 <strong>and</strong> 19 <strong>and</strong> answer the questions.<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
1. Adverbs can be used to enhance verbs by describing how or the manner in which<br />
something happens. In narrative text, this often allows a reader to picture or ’see’ the<br />
action <strong>and</strong> to underst<strong>and</strong> the characters better; e.g. watched enviously.<br />
Make a list of adverbs used in this way in the second last paragraph of Dogs’ tails.<br />
2. The descriptive language used in a report can provide more information about<br />
something. Adjectives can be used to describe <strong>and</strong> explain what things (nouns <strong>and</strong><br />
pronouns) are like; e.g. a round, bushy tail.<br />
Make a list of adjectives used in the first paragraph in Coyote about food <strong>and</strong> hunting.<br />
3. A report should present facts clearly <strong>and</strong> in an organised way. Find this information in<br />
the text.<br />
(a) What is a coyote?<br />
(b) Write two facts about coyote food.<br />
(c) Write two interesting facts about coyote pups.<br />
(d) Explain why finding the information in Coyote was hard or easy.<br />
4. The writer tried to provide some subtle humour in Dogs’ tails.<br />
(a) Do you think he/she succeeded? Yes No<br />
(b) What image do you think was meant to be humorous?<br />
(c) What would add to the humour of a traditional narrative which was spoken<br />
not written?<br />
R.I.C. Publications ® www.ricpublications.com.au Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
21
Windfarms: how good are they?<br />
Resource sheet<br />
The use of wind as a free <strong>and</strong> readily available source of power is not new. Ancient sailors<br />
captured wind to sail long distances <strong>and</strong> explore the world. Farmers have also used wind for<br />
generations, to turn windmills pumping water for their stock <strong>and</strong> crops, <strong>and</strong> for grinding<br />
their grain.<br />
Today windfarms use wind to generate electricity by turning two or three huge 60-metre long<br />
propeller-like blades set high up on a 20-storey tower where they can capture more wind<br />
energy. There are many of these turbines clustered over a large area at a windfarm. They<br />
are positioned where the wind is fairly strong <strong>and</strong> constant; some on l<strong>and</strong> that is unsuitable<br />
for other purposes <strong>and</strong> some on l<strong>and</strong> still used<br />
for farming. Offshore windfarms have also<br />
been established.<br />
It is claimed the wind energy industry is<br />
booming <strong>and</strong> that by 2050, one-third of<br />
the world’s electricity will be generated<br />
by wind. Electricity produced by<br />
windfarms is renewable <strong>and</strong> costs are<br />
low once a turbine is erected. Less<br />
fossil fuel is being burned to make<br />
electricity <strong>and</strong> greenhouse gases are<br />
being reduced. They cause no air or<br />
water pollution <strong>and</strong> do not harm the<br />
environment.<br />
Interestingly, this source of electricity,<br />
while enthusiastically embraced by many<br />
of the world’s populations, is not without<br />
controversy. It has been reported that some existing<br />
windfarms have been shut down because of costs <strong>and</strong> some strongly voiced opposition has<br />
been widely reported in the media. Complaints were made about blade glint <strong>and</strong> noise. So,<br />
low-reflective coating was added to sails <strong>and</strong> people were told windfarm noise is inaudible<br />
to humans. But the main concerns involve health issues, such as anxiety, epilepsy caused<br />
by shadow flicker, insomnia, hearing loss, <strong>and</strong> speech <strong>and</strong> learning difficulties in children.<br />
Research so far is inconclusive, but it is known that anxiety itself can cause these symptoms.<br />
Birds are another issue. A log of the birds killed by rotating sails has been kept at many<br />
windfarms. Although bird migratory routes are now taken into account by developers,<br />
many are still dying.<br />
As world energy consumption continues to rise, sustainable solutions are essential. Despite<br />
some people’s aversion to the strange, almost alien appearance of these huge machines<br />
’visually polluting’ the l<strong>and</strong>scape, they are one part of the solution. However, some people<br />
have expressed concerns about production costs <strong>and</strong> the health questions deserve further<br />
research.<br />
Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6) www.ricpublications.com.au R.I.C. Publications ®<br />
22<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012
There are monsters ...<br />
Resource sheet<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
There are monsters out there; I’ve heard them roar<br />
When the night is dark <strong>and</strong> deep<br />
There are monsters out there; I’ve heard them roar<br />
When the world is hushed in sleep<br />
There are monsters out there; I’ve seen their arms<br />
Each sharp as a razor blade<br />
There are monsters out there; I’ve seen their arms<br />
In endless ranks arrayed<br />
There are monsters out there; I’ve seen them whirl<br />
Swordsmen in a dance<br />
There are monsters out there; I’ve seen them whirl<br />
That deadly, flashing lance<br />
There are monsters out there; I hear them now<br />
And it’s too late to flee<br />
There are monsters out there; I hear them now<br />
I know they come for me<br />
There are monsters out there; I feel their breath<br />
Send shivers down my spine<br />
There are monsters out there; I feel their breath<br />
As they form their battle line<br />
There are monsters out there; don’t let them near<br />
My home, my family, my friends<br />
There are monsters out there; don’t let them near<br />
Or this is where it ends<br />
R.I.C. Publications ® www.ricpublications.com.au Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
23
Discussing the texts – 1<br />
Read the two texts about windfarms on pages 22 <strong>and</strong> 23. Answer the questions.<br />
1. The first text is a discussion. Does it have the following features?<br />
(a) Begins with a precise statement or definition.<br />
Yes No<br />
(b) Makes an introductory statement which includes some background information.<br />
Yes No<br />
(c) Presents more than one side of an argument.<br />
Yes No<br />
(d) Has a conclusion with a recommendation.<br />
Yes No<br />
(e) Uses only present tense verbs.<br />
Yes No<br />
(f) Links cause <strong>and</strong> effect.<br />
Yes No<br />
(g) Includes a diagram to support <strong>and</strong> explain the text.<br />
Yes No<br />
2. (a) How does the writer of the discussion indicate that he/she thinks the information<br />
in Paragraph 3 is debatable?<br />
(b) Write three of the positives about windfarms made in this paragraph.<br />
3. (a) Is Paragraph 4 arguing for or against windfarms?<br />
(b) Write two of the negatives about windfarms made in this paragraph.<br />
(c) How do windfarm developers explain the complaints they have received about the<br />
health issues associated with windfarms?<br />
4. Some people have referred to wind turbines negatively, as huge, strange, almost alien<br />
machines that pollute the l<strong>and</strong>scape. Write a more positive description.<br />
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24<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
Discussing the texts – 2<br />
Read the two texts about windfarms on pages 22 <strong>and</strong> 23. Answer the questions.<br />
1. The poet who wrote There are monsters ... presents a very personal view of windfarms<br />
<strong>and</strong> makes it very clear that he/she doesn’t like them.<br />
(a) Do you think the poem was written to inform, entertain or persuade?<br />
(b) Describe how it made you feel.<br />
(c) Do you think this is the way the poet wanted you to feel?<br />
(d) How did the poet make you feel this way?<br />
(e) What is the effect of the repetition used in the poem?<br />
(f) What effect does the use of rhyme have?<br />
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25<br />
Yes No<br />
2. Poets often use metaphor to evoke visual images <strong>and</strong> to create effects by saying one<br />
thing is something else.<br />
(a) Two examples of metaphor in There are monsters ... are:<br />
(b) Choose one of them <strong>and</strong> describe what you think it means.<br />
(c) Do you think this is an effective metaphor?<br />
Yes No<br />
Give<br />
reasons.<br />
(d) Write a metaphor you would use reflecting your attitude towards windfarms.
Humour in texts – 1<br />
Resource sheet<br />
This set of pages is to provide background information for teachers <strong>and</strong> to give assistance<br />
to students when writing their own humorous texts.<br />
NOTE: Humour in texts is very subjective. What one person considers humorous another<br />
person may not.<br />
Sources of humour in texts can be described as broadly covering the following scenarios:<br />
• something unexpected happens<br />
• something says something unexpected<br />
• something terrible happens to someone else<br />
• something embarrassing happens to someone else<br />
• someone does something silly, awkward or clumsy.<br />
Specific elements of humour in long or short texts may include:<br />
1. Subject matter being dealt with; for example, bodily functions.<br />
2. Situations:<br />
• what you see or hear is different to expectations; for example, a policeman who is<br />
afraid of criminals<br />
• a certain expectation is set up, then a twist or surprising ending occurs; for example,<br />
a bomb explodes but is full of soap bubbles<br />
• the usual rules of reason are relaxed <strong>and</strong> the impossible becomes possible; for<br />
example, a shy person becomes the lead singer in a rock b<strong>and</strong><br />
• examining issues which are sociably unacceptable or taboo usually within a safe<br />
framework of jokes; for example, ’If you had half a brain, it would be lonely’<br />
• switching identities, roles or functions; for example, parent <strong>and</strong> child take on each<br />
other’s bodies<br />
• authority figures such as teachers or parents become adversaries; for example, ’No<br />
more pencils. No more books. No more teachers’ dirty looks’<br />
• an author’s work, song or an idea is made fun of or imitated; for example, ’There<br />
was an old woman who swallowed a fly’ becomes ’There was an old bloke who<br />
swallowed a chook’<br />
• humour relating to a specific topic or ’in’ jokes; for example, Q: At which sport do<br />
waiters excel? Ans: Tennis, because they serve so well.<br />
• exaggeration leads to disastrous consequences; for example, a teacher who can’t<br />
sing at all takes a music class<br />
• absurd things; for example, a hyena becomes a wildlife warden<br />
• something does not fit into its proper place or situation; for example, an astronaut<br />
takes a flying lesson<br />
• a character does or says the opposite of what he/she means to, as in irony (a figure<br />
of speech or literary device in which the literal meaning is the opposite of that<br />
intended)<br />
• funny human predicaments; for example, someone losing their swimming costume<br />
after diving into a pool.<br />
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26<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012
Humour in texts – 2<br />
Resource sheet<br />
3. Characters:<br />
• with fears or flaws; for example, an absent-minded professor<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
• who are unusual or extreme; for example, an athlete who thinks only about his/her<br />
sport<br />
• with unusual or funny names; for example, Amelia Bedelia, Stretch Oddfellow<br />
• who are conflicted so they suffer; for example, forgetting your speech in a publicspeaking<br />
competition<br />
• who are funny but not trying to be; for example, someone learning to skateboard<br />
who keeps falling off.<br />
4. Funny words:<br />
• puns (the humorous use of a word in such a manner as to bring out different<br />
meanings or applications, or of words alike or nearly alike in sound but different<br />
in meaning; a play on words); for example, ’Jill broke her finger today, but on the<br />
other h<strong>and</strong> she was completely<br />
fine’<br />
Why were the early days of<br />
history called the dark ages?<br />
• double meanings or ambiguities;<br />
for example, ’Stock up <strong>and</strong> save.<br />
Because there were so<br />
Limit: One’ or ’Q: What did baby<br />
many knights!<br />
corn say to momma corn? Ans:<br />
Where’s pop corn?’<br />
• word plays; for example, ’If a<br />
teacher teaches <strong>and</strong> a singer sings,<br />
what do authors do?’<br />
• made-up or nonsense words; for example, ’thimmy-ma-jig’<br />
• exaggeration; for example, ’I’m so hungry, I could eat a horse’<br />
• understatements; for example, ’It’s a bit warm’ (stated on a very hot day)<br />
• plain talk; for example, ’You have lettuce between your teeth’<br />
• turning things upside down or inside out; for example, ’We need more school rules’<br />
• jokes, for example, ’Knock Knock. Who’s there? Ivor! Ivor who? Ivor good mind not<br />
to tell you now!’<br />
• internal dialogue or thoughts; for example, a character saying ’Sure. I’ll do that!’<br />
but really thinking ’Forget it! No way am I doing that!’<br />
• anecdotes; for example, ’Did you hear about the lawyer who ...’<br />
• language or behaviour which is usually unacceptable (or taboo); for example,<br />
belching, picking your nose etc.<br />
• substituting or switching words; for example, ’Bag of fruit (suit).’<br />
5. Timing: finding the right moment to do something; for example, a policeman pursuing<br />
a criminal in <strong>and</strong> out of a series of doors which open <strong>and</strong> close at times so that the<br />
policeman keeps missing the criminal each time.<br />
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27
Humorous language – 1<br />
Many literary devices can be used to create humour. Similes <strong>and</strong> metaphors are two such<br />
devices.<br />
A simile is a figure of speech which compares two different things<br />
using the words ’like’ or ’as’; for example, ’as quick as a fox’, ’as white<br />
as a sheet’, ’eat like a horse’ etc.<br />
1. Complete the ending of these common similes.<br />
(a) to fight like (b) as blind as a<br />
(c) as cold as (d) to sleep like a<br />
(e) to work like a (f) as light as a<br />
(f) as slow as a (g) to sing like an<br />
2. Write some similes of your own using the words provided. These may be longer than a<br />
single word or two as long as the description suits the word. They can also be funny!<br />
(a) slow<br />
(b) peanut butter<br />
(c) black<br />
(d) smelly<br />
(e) eat like<br />
A metaphor is a figure of speech which compares without using ’like’ or ’as’. It says<br />
something IS something else; for example, ’His hair is bone white’; ’She has a heart<br />
of gold’.<br />
3. Complete these well-known metaphors. After each say what it means.<br />
(a) The soldier has the heart of .<br />
(b) His wife was the light of .<br />
(c) The children were jumping .<br />
(d) After their lottery win, they were rolling .<br />
(e) The teacher told the children to pull .<br />
(f) It rained cats .<br />
4. Write some metaphors of your own using the words given. They can be funny!<br />
(a) The meal was .<br />
(b) The baby’s face was .<br />
(c) A clear conscience is .<br />
(d) Technology is .<br />
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Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
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Humorous language – 2<br />
Hyperbole is a figure of speech which uses obvious <strong>and</strong> intentional<br />
exaggeration to provide emphasis <strong>and</strong> humour.<br />
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Examples include: I am so tired I could sleep for a week; Her gr<strong>and</strong>father<br />
is older than the hills; I’ll die if I don’t get another chocolate bar!<br />
1. Write an alternative expression for these examples of hyperbole.<br />
(a) The textbooks in my backpack weigh a tonne.<br />
(b) His brain is the size of a peanut.<br />
(c) She’s got a truckload of money.<br />
(d) I’m so hungry, I could eat a horse!<br />
(e) The boys ate so much junk food I thought they would explode.<br />
(f) If I’ve told you once I’ve told you a million times to clean up your room!<br />
(g) She’ll go insane when she finds out I’ve won the concert tickets.<br />
(h) Bill Gates has enough money to feed an entire continent!<br />
Hyperbole may be included in other figures of speech such as similes: for example, ’The<br />
team swam that race like greased lightning!’<br />
2. Write a simile that includes hyperbole for the following. (Don’t forget to use ’like’ or ’as’.)<br />
(a) She is so skinny<br />
(b) The music at the party was so loud<br />
(c) Dad’s new sports car moves<br />
.<br />
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29<br />
.<br />
.
A visit to Dr Paul White – 1<br />
Simon considered himself a reasonably brave twelve-year-old. He enjoyed doing new<br />
things <strong>and</strong> finding out what he could <strong>and</strong> couldn’t do. At camp, he’d tried abseiling,<br />
rafting, rock climbing <strong>and</strong> even the flying fox. If he wasn’t very good at those things it<br />
didn’t matter, because at least he’d tried.<br />
Unfortunately, one biannual event always caused panic to erupt in Simon’s intrepid body.<br />
A visit to Dr Paul White for a check-up was definitely cause for panic. Mum was convinced<br />
that Dr White was an excellent dentist. Dr White was a nice enough person. He was tall<br />
<strong>and</strong> pleasant to look at. He had a mop of blonde hair, thick bushy eyebrows <strong>and</strong> twinkling<br />
brown eyes. He also liked to tell weird jokes. Dr White had attached several interesting<br />
pictures to the ceiling above the patients’ chair so they would have something to look at<br />
during examinations. Dr White, however, had one major fault—he loved cooking—usually<br />
with lots of garlic! Whenever he opened his mouth to speak, the odour of smelly garlic<br />
covered the nearest person. It seemed to hover in clouds around his body <strong>and</strong> permeate<br />
the whole room. It stung your eyes until they watered <strong>and</strong> stole your breath away until<br />
you wanted to gag. Dr White’s patients were not very sociable. They usually left as soon as<br />
they could.<br />
Today, despite his numerous failed protests, Simon’s mother was driving him to the dentist.<br />
Simon was determined to get the visit over <strong>and</strong> done with quickly. His mother parked the<br />
car, fed the parking meter <strong>and</strong>, together, they walked quickly to the surgery. They gave<br />
their names to the receptionist <strong>and</strong> settled down to wait.<br />
’Simon Bailey!’ the dental nurse called out <strong>and</strong> smiled at him. Simon took a deep breath<br />
<strong>and</strong> followed her into the examination room.<br />
’Hello, Simon!’ chortled Dr White cheerfully as he straightened the instruments on his tray.<br />
’How have you been?’<br />
’Hi!’ mumbled Simon to the back of Dr White’s head as he continued with his task. ’I’m<br />
fine.’<br />
’Did you hear the one about ...’ Dr White began as Simon stared at him in amazement.<br />
Buzzing bees seemed to fill Simon’s head as he tried to make sense of what he was seeing.<br />
’Not funny I know ...’ Dr White was saying, ’... but you know how I like my jokes!’<br />
As Simon continued to stare, Dr White seemed to notice his confusion.<br />
’Oh!’ he laughed. ’You’ve noticed the joke surgical mask my colleague<br />
brought from Germany. He’s working with me for six months <strong>and</strong><br />
thought my patients would like them. He’s a good cook too, so<br />
he’s teaching me how to make lots of German dishes!’<br />
That’s when Simon realised he could detect no garlic smell.<br />
He had been completely distracted by the stupidest mask<br />
he had ever seen!<br />
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Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
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A visit to Dr Paul White – 2<br />
Complete the answers after reading the text on page 30.<br />
1. Narrative texts usually begin with an orientation which tells who, when <strong>and</strong> where.<br />
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(a) Where is the orientation in this text <strong>and</strong> what does it include?<br />
(b) How has the author commenced the text, <strong>and</strong> why do you think he/she did this?<br />
2. Tick the other aspects of narrative text structure which have been included.<br />
(a) complication (b) events in order (c) resolution<br />
(d) ending<br />
(e) other<br />
3. Tick the language features of narrative texts which have been included.<br />
(a) verbs in the past tense<br />
(c) appropriate paragraphs<br />
(b) conjunctions to join ideas<br />
(d) other<br />
4. Write some examples of words or phrases which show exaggeration in:<br />
(a) Simon’s panic at the thought of visiting Dr White<br />
(b) the smell of garlic emanating from Dr White<br />
5. Explain how the words of exaggeration help you empathise better<br />
with Simon’s feelings about visiting the dentist.<br />
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The skateboard lesson – 1<br />
1. Despite all the arguments Tess put forward, her parents stubbornly refused to buy her<br />
a skateboard like her two elder brothers.<br />
2. ’They’re too dangerous! I’ve seen kids flying up <strong>and</strong> down the roads on them’, stated<br />
Mum. ’They skate all over the footpath <strong>and</strong> bowl over nearly every pedestrian in<br />
sight.’<br />
3. ’It’s not fair!’ mumbled Tess. ’I’ll die if I don’t get a skateboard! Bec has one <strong>and</strong> she’s<br />
younger than me! All the cool kids have one!’<br />
4. ’Maybe for your next birthday!’ Mum said emphatically, ending the discussion.<br />
5. One Sunday afternoon, Mum <strong>and</strong> Dad paid their monthly visit to batty Great Aunt<br />
Mildred <strong>and</strong> left Tess with her brothers.<br />
6. ’This is the perfect chance to prove I’m old enough for a skateboard. I’ll practise while<br />
Mum <strong>and</strong> Dad are away, <strong>and</strong> master the basics before they get back. Steve <strong>and</strong> Paul<br />
always let me do what I want!’ Tess thought.<br />
7. Before long, Tess was st<strong>and</strong>ing on her oldest bother’s skateboard on the footpath<br />
outside her home, feet positioned correctly, feeling very confident. Even Spot the cat<br />
came to watch.<br />
8. ’Now take one foot off, <strong>and</strong> push slowly until you start moving’, Steve ordered.<br />
9. Tess pushed hard—a bit too hard!<br />
The skateboard shot forward like<br />
a speeding bullet while Tess shot<br />
backward. She l<strong>and</strong>ed heavily on<br />
her bottom with her left h<strong>and</strong><br />
pressing on Spot’s tail. With<br />
immense horror, she watched<br />
Spot speed away. Her white face<br />
deepened to beetroot red as the<br />
skateboard flew in the opposite<br />
direction with Steve in hot pursuit.<br />
10. Spot hissed <strong>and</strong> bolted between Paul’s legs just as he was about to take a mouthful<br />
of red diet cordial. The drink cascaded down the front of his new white T-shirt; the<br />
remainder flowed onto the footpath like a sticky pool of blood. Spot, in a tizzy,<br />
dived under the outdoor table, upending it <strong>and</strong> sending a ceramic pot plant of herbs<br />
plummeting to the pavers.<br />
11. The skateboard, meanwhile, continued onto the road towards Old Man Grump<br />
cycling back from the market with fruit <strong>and</strong> vegetables in his basket. Swerving to<br />
avoid the obstacle that had careered into his path, he upended the basket. Colourful<br />
vegetables splattered <strong>and</strong> bounced everywhere, while Old Man Grump struggled to<br />
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Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
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The skateboard lesson – 2<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
control his wobbling vehicle. Keeping an eye on his disappearing dinner, now bruised<br />
<strong>and</strong> bloodied, <strong>and</strong> straightening an upset bicycle, proved just too much for Old Man<br />
Grump! He l<strong>and</strong>ed in an untidy heap of tangled limbs in Mrs Carstairs’ prize rose<br />
garden, flattening her precious blooms. Steve, meanwhile, continued his pursuit of the<br />
escaping skateboard, dodging bicycles <strong>and</strong> squashed fruit <strong>and</strong> vegetables, in a failed<br />
attempt to stop it.<br />
12. The symphony of discordant noises drew the attention of the boys who lived across<br />
the street. Soon, they too were out on the footpath surveying the action. Much to<br />
Tess’s embarrassment, Elijah, her latest crush, was among them. Unable to burrow into<br />
the ground, she stood gingerly <strong>and</strong> turned her eyes to the street as if discovering what<br />
was happening for the first time. Her eyes stung with unshed tears <strong>and</strong> her shoulders<br />
hunched as if she could pull her body inside itself <strong>and</strong> disappear for good.<br />
13. As a very familiar car turned the corner into the street, Tess groaned. Two curious<br />
parents surveyed the wreckage along the street <strong>and</strong> wondered what serious<br />
conversation Old Man Grump <strong>and</strong> Mrs Carstairs could be engaged in so heatedly. They<br />
could almost see steam emerging from the ears of the combatants.<br />
14. The skateboard, unconcerned, came to a rest under Sergeant Plod’s police car. Steve,<br />
still closing in quickly on his prey, bumped ignominiously into the bonnet <strong>and</strong> sprang<br />
back like a puppet on a string, straight into the path of his parents’ approaching car.<br />
S-c-r-e-e-ch! The car slammed to a halt as horrified faces stared back at each other.<br />
15. ’What IS going on here?’ bellowed Sergeant Plod<br />
across the neighbourhood, stopping everyone in<br />
their tracks. Tess’s parents joined the crowd on<br />
the footpath <strong>and</strong> everyone began chattering<br />
at once, attempting to present their version<br />
of the events.<br />
16. As he scanned the stunned faces in the<br />
street, Sergeant Plod’s laser eyes zeroed in<br />
on Tess’s stricken face. A crowd of interested<br />
faces slowly turned in her direction.<br />
17. ’Well! What have you to say for yourself?’<br />
he questioned Tess.<br />
18. ’I think I need a bit more practice’, Tess said<br />
as she rubbed her sore behind <strong>and</strong> brushed<br />
her embarrassing tears away. Spot agreed.<br />
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33
The skateboard lesson – 3<br />
Complete the answers about text structure after reading the text on pages 32 <strong>and</strong> 33<br />
1. Narrative texts usually begin with an orientation which tells who, when <strong>and</strong> where.<br />
(a) Where is the orientation in this text <strong>and</strong> what does it include?<br />
(b) Why do you think the author included the four short paragraphs before the actual<br />
orientation?<br />
2. Explain the complication in this narrative <strong>and</strong> where it can be found.<br />
3. Events in a narrative are given in the order in which they occur. Why is this especially<br />
important in this narrative?<br />
4. Narratives usually include a resolution to a complication. Is there a resolution to<br />
the complication in this narrative? If yes, what is it? If not, explain why you think a<br />
resolution was not given.<br />
5. Endings in a narrative usually show what has changed. Does this happen in this<br />
narrative? If yes, what is it? If not, why do you think the author left the narrative<br />
without a change?<br />
6. Is the title appropriate? Suggest one or two more<br />
humorous titles below.<br />
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Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
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The skateboard lesson – 4<br />
Complete the answers about the language features<br />
relating to the text on pages 32 <strong>and</strong> 33.<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
1. Write four examples of:<br />
(a) verbs in the past tense<br />
(b) conjunctions to join ideas<br />
2. A simile is a figure of speech which compares two different things using ’like’ or<br />
’as’; for example, ’The lake was as clear as a mirror’. Write one example each from<br />
paragraphs 9, 10 <strong>and</strong> 14.<br />
3. Personification occurs when authors apply human characteristics or attributes to<br />
inanimate objects. Write a word or phrase in Paragraph 11 which personifies:<br />
(a) Old Man Grump’s fruit <strong>and</strong> vegetables<br />
(b) the skateboard<br />
4. Exaggeration helps readers identify with a character’s feelings. Select four examples of<br />
words or phrases which illustrate Tess’s embarrassment.<br />
•<br />
•<br />
•<br />
•<br />
5. Write phrases which exaggerate:<br />
(a) Mum’s statement about the actions of other skateboarders.<br />
(b) the argument between Old Man Grump <strong>and</strong> Mrs Carstairs.<br />
(c) Tess’s desire to own a skateboard.<br />
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35
The solitary troll <strong>and</strong> the three skinny goats – 1<br />
1. Once upon a time, in the l<strong>and</strong> of Sc<strong>and</strong>ia, there was<br />
an extremely ugly troll, with protruding eyes <strong>and</strong> a<br />
nose as long as a tree trunk. His name was Trevor.<br />
2. His unpleasant features deterred others from<br />
approaching him. He had no troll friends <strong>and</strong> spent<br />
most of his time in solitary occupations. Unlike the<br />
others of his species, Trevor was a vegetarian. His one<br />
dream was to find a place of his own <strong>and</strong> live his life<br />
without censure.<br />
3. After much searching, Trevor found a comfortable<br />
abode beneath a bridge. It had a sturdy roof of<br />
wooden planks, <strong>and</strong> was close to cool, clean drinking<br />
water. The hillside nearby was coming to life with<br />
lush, green grass <strong>and</strong> other edible delights.<br />
4. The first few nights spent in the new dwelling were rather uncomfortable. Spring had<br />
yet to take a firm hold on the weather. The nights were still bitterly cold <strong>and</strong> Trevor<br />
had yet to fill his home with his possessions or decorate it to his satisfaction. It was<br />
draughty <strong>and</strong> chilly instead of warm <strong>and</strong> cosy. As a result, Trevor soon found himself<br />
with a runny nose, scratchy throat <strong>and</strong> a rumbling voice. Trevor had troll flu, <strong>and</strong> was<br />
feeling far from happy. Each day, he laboured to finish decorating his home <strong>and</strong> fell<br />
into a fitful, feverish sleep at night. Gradually, his home began to feel ’lived in’ <strong>and</strong> his<br />
flu improved. His voice, however, remained rough <strong>and</strong> scratchy.<br />
5. One day, just as he was waking, Trevor heard a noise on his roof. ’Trip! Trap! Trip!<br />
Trap!’ went the bridge.<br />
6. ’Who’s that tripping over my bridge?’ roared the troll, in his raspy voice.<br />
7. ’It is only I, Junior Billy Goat Buff’, said a timid voice. ’I’m going up to the hillside to<br />
make myself fat.’<br />
8. ’Wait! I’ll hobble up <strong>and</strong> go with you!’ said Trevor, eager to meet his new neighbours.<br />
9. ’Oh, no! Please don’t gobble me up!’ replied Junior Billy Goat Buff. ’I’m too little! Wait<br />
for the Intermediate Billy Goat Buff! He’s much bigger!’<br />
10. ’I’m not going to gobble you up!’ roared the troll. ’I’ll come with you!’ But the staccato<br />
of tiny hooves could be heard above, skipping across the bridge heading towards the<br />
hillside.<br />
11. ’Perhaps Intermediate Billy Goat Buff is less skittish!’ Trevor contemplated. ’I’ll wait for<br />
him.’<br />
12. Shortly afterwards, Intermediate Billy Goat Buff began to cross the bridge.<br />
13. ’Trip! Trap! Trip! Trap!’ went the bridge.<br />
14. ’Who’s that tripping over my bridge?’ roared the troll, in his raspy voice.<br />
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Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
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The solitary troll <strong>and</strong> the three skinny goats – 2<br />
15. ’It is only I, Intermediate Billy Goat Buff’, said a louder voice. ’I’m going up to the<br />
hillside to make myself fat.’<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
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16. ’Wait! I’ll hobble up <strong>and</strong> go with you!’ repeated Trevor.<br />
17. ’Oh, no! Please don’t gobble me up!’ replied Intermediate Billy Goat Buff. ’I’m not very<br />
big! Wait for Senior Billy Goat Buff! He’s much bigger!’<br />
18. ’I’m not going to gobble you up!’ roared the troll. ’I’ll come with you!’ But the staccato<br />
of hooves could be heard above, skipping across the bridge heading towards the<br />
hillside.<br />
19. ’Perhaps Senior Billy Goat Buff is less skittish!’ Trevor contemplated. ’I’ll wait for him.’<br />
20. Shortly afterwards, Senior Billy Goat Buff began to cross the bridge.<br />
21. ’Trap! Trap! Trap! Trap!’ went the bridge, as loud thudding hooves ventured onto the<br />
bridge. The wooden planks of the troll’s house began to echo <strong>and</strong> tremble.<br />
22. ’Who’s that trapping over my bridge?’ roared the troll, in his raspy voice.<br />
23. ’It is I, Senior Billy Goat Buff’, said a very loud voice. ’I’m going up to<br />
the hillside to join my brothers who are busily making themselves<br />
fat.’<br />
24. ’If you wait, I’ll hobble up <strong>and</strong> go with you!’ replied Trevor.<br />
25. ’Well, come along! I’ve two gorgeous horns<br />
Which have only improved since the day I was born.<br />
I’ve got, besides, four sleek polished hooves <strong>and</strong> a body so fit.<br />
There is no h<strong>and</strong>somer animal. I dare you to prove it!’<br />
26. That was what the Senior Billy Goat Buff said, as Trevor<br />
emerged cautiously from beneath the bridge. Surely such<br />
a fine, confident animal would be utterly appalled at his<br />
horrendous appearance. He braced for the ridicule that usually followed.<br />
27. At the sight of the protruding eyes <strong>and</strong> nose as long as a tree trunk, the eyes of Senior<br />
Billy Goat Buff widened in amazement. His mouth opened <strong>and</strong> closed as he struggled<br />
to find his voice.<br />
28. ’I beg your pardon, sir, for my obnoxious behaviour. If I had known I was in the<br />
presence of such illustrious company, I would never have bragged about myself.<br />
Your appearance leaves me totally flummoxed. Never in my life have I seen such fine<br />
examples of olfactory or ocular organs. You are a king among the stupendous. In this<br />
region, the unusual is revered <strong>and</strong> treasured’, Senior Billy Goat Buff waffled.<br />
29. So Trevor joined the goats on the hillside <strong>and</strong> became very fat. And if Trevor has not<br />
changed his dietary habits, they continue to coexist quite happily.<br />
30. SO: If you want to live a happy life, ’do your own thing’ <strong>and</strong> when others confront you<br />
... well ... you can cross that bridge when you come to it!<br />
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The solitary troll <strong>and</strong> the three skinny goats – 3<br />
Complete the answers about text structure after<br />
reading the text on pages 36 <strong>and</strong> 37.<br />
A fairytale follows a basic narrative format.<br />
1. Write the title <strong>and</strong> an alternative.<br />
2. Where does the orientation occur in this text <strong>and</strong> which features does it include? Write<br />
each part of the orientation.<br />
3. Copy one or two examples from the text which tell about the complication. After each,<br />
in brackets, state the paragraph (para.) where it was found.<br />
4. State the main events in the correct order they occurred.<br />
5. Briefly explain how the complication was resolved.<br />
6. Was it resolved to your satisfaction? Yes No Explain.<br />
7. What changed at the end?<br />
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Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
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The solitary troll <strong>and</strong> the three skinny goats – 4<br />
Complete the answers about the language features<br />
relating to the text on pages 36 <strong>and</strong> 37.<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
1. The word ’deterred’ in paragraph 2 is an example of a verb in the past<br />
tense. Find <strong>and</strong> write four examples of simple past tense verbs from the text.<br />
2. The author has substituted a number of different words for ’said’ to enrich the<br />
vocabulary of the text. Find three other verbs with the same meaning as ’said’.<br />
3. Conjunctions join ideas in a text. Write the two ideas as separate sentences in the<br />
examples given. Underline the conjunctions.<br />
(a) After much searching, Trevor found a comfortable abode beneath a bridge.<br />
•<br />
•<br />
(b) Gradually, his home began to feel ’lived in’ <strong>and</strong> his flu improved.<br />
•<br />
•<br />
4. Exaggeration can be achieved in many ways. Find examples of each in the text.<br />
Paragraphs where they can be found are given.<br />
(a) a simile (a figure of speech which compares two different things using ’like’ or ’as’)<br />
which shows how ugly Trevor feels his nose is. (Para. 1)<br />
(b) hyperbole (obvious <strong>and</strong> intentional exaggeration) to illustrate:<br />
(i)<br />
Senior Billy Goat Buff’s ’over the top’ reaction to seeing Trevor for the first<br />
time. (Para. 27)<br />
(ii) Trevor’s feelings about how others will react to him (Para. 25)<br />
5. Write some interesting words which paint visual images in the text.<br />
(a) short, sharp noises, size <strong>and</strong> how quickly Junior Billy Goat Buff went across the<br />
bridge (Para. 10)<br />
(b) Trevor’s unhappiness (Para. 2)<br />
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39
Can you h<strong>and</strong>le it?<br />
Many advertisers use exaggeration <strong>and</strong> humour to grab the viewer’s attention <strong>and</strong> to<br />
convince them to buy their products.<br />
1. Read <strong>and</strong> view the mobile phone advertisement below.<br />
2. Give examples of exaggeration that illustrate the advertiser’s <strong>and</strong> manufacturer’s<br />
opinion that this mobile phone:<br />
(a) is something that you cannot live without.<br />
(b) has many good features.<br />
(c) is of a very good quality.<br />
3. Give two examples of the author’s attempts at humour.<br />
4. Why would the author use the adverbs ’forever’ <strong>and</strong> ’always’ in the text?<br />
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40<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
Holidays that don’t ’suck’!<br />
Many advertisers use exaggeration <strong>and</strong> humour to grab the viewer’s attention <strong>and</strong> to<br />
convince them to buy their products.<br />
1. Read <strong>and</strong> view the advertisement below.<br />
2. Which adjectives exaggerate the positive experience of holidaying in Transylvania in<br />
Paragraph 1?<br />
(a) holiday (b) Transylvania<br />
The author has used exaggeration <strong>and</strong> attempts at humour following a vampire theme to<br />
grab the attention of the readers <strong>and</strong> entice them to consider booking a holiday through<br />
them to Transylvania.<br />
3. Write all the examples from the text in the box below.<br />
4. Suggest one or two other exaggerations of a humorous nature using the vampire<br />
theme that could be included in the holiday advertisement.<br />
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41
Gaya-dari the platypus – 1<br />
1. Long ago in the Dreamtime, a young duck had developed<br />
the habit of swimming by herself in the creek. The elders of<br />
her tribe warned her repeatedly that Mulloka the water devil<br />
would capture her if she continued to swim alone. Of course,<br />
being headstrong <strong>and</strong> immature, she paid no attention to<br />
their persistent warnings.<br />
2. One day, having swum a long way down the creek, she<br />
stopped on the bank to rest <strong>and</strong> feed. While she was<br />
consuming some tender green grass, an enormous water rat<br />
emerged from hiding <strong>and</strong> seized her. Biggoon was urgently<br />
seeking a wife because he was extremely lonely.<br />
3. In a soothing voice, he explained that if she agreed to stay with him, he would not<br />
harm her. However, he threatened that if she struggled or tried to escape, he would<br />
strike her on the head with the spear he carried.<br />
4. The duck was utterly terrified so she obeyed her captor’s comm<strong>and</strong>s. From that day<br />
onwards, to lure him into complacency, she pretended to enjoy her new life <strong>and</strong><br />
that she would remain forever. Eventually, Biggoon began to believe the duck was<br />
contented with her new life, <strong>and</strong> ceased guarding her day <strong>and</strong> night. He returned to<br />
his former practice of sleeping for long periods during the daytime.<br />
5. One day, while Biggoon slept soundly, the duck slipped stealthily into the river <strong>and</strong><br />
swam away as swiftly as she could towards her old camp. When she finally reached<br />
camp, she told her tribe how Biggoon had captured her <strong>and</strong> forced her to remain with<br />
him as his wife, <strong>and</strong> about her eventual escape. So the young duck was able to resume<br />
her old life.<br />
6. When the time came, the young duck established a nest <strong>and</strong> covered her eggs with<br />
mirria bushes beside the creek. She had quickly forgotten her ordeal with the water<br />
rat. When her two babies hatched, their appearance was immensely different from<br />
that of the other tribal members. Their bodies were covered with soft fur instead of<br />
downy feathers; they had duck bills <strong>and</strong> four webbed feet instead of two. On the back<br />
of the feet were spear points like the one Biggoon perpetually carried.<br />
7. Much to her dismay, the tribe banished the young duck <strong>and</strong> her scorned children<br />
because they were so dissimilar to the other members. So the small family retreated<br />
upstream to hide from the tribe <strong>and</strong> Biggoon. Finally, she found a narrow, scrubby<br />
creek in the mountains where she could live unseen on the banks with her children.<br />
Soon her children began to see how different her appearance was from theirs <strong>and</strong><br />
they too avoided her. Too lonely <strong>and</strong> miserable to even search for food, the desolate<br />
little duck began to waste away. In the mountains far from her old hunting ground,<br />
she died, forgotten, in grief.<br />
8. Her children, however, flourished <strong>and</strong> produced more babies like themselves. The<br />
mountain creeks became the habitat of the Gaya-dari, the platypus. And a new tribe<br />
was created from the mournful experiences of a young duck.<br />
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42<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
Gaya-dari the platypus – 2<br />
Authors use pathos—a literary device—to try to develop feelings<br />
of pity or sympathy for characters in a text. Certain words,<br />
phrases or images help readers underst<strong>and</strong> how the characters<br />
are feeling.<br />
1. Biggoon was really committed to having the duck for a wife. What two methods did he use<br />
to make her comply with his wishes? Which words tell you this?<br />
2. The tale does not say how Biggoon felt after he discovered that the duck had<br />
disappeared. What words <strong>and</strong> phrases in Paragraph 4 tell you he may have been really<br />
disappointed?<br />
3. Which words in the first sentence in Paragraph 5 tell you that the young duck had to<br />
be sneaky <strong>and</strong> dishonest about her actions when she escaped the rat? Would you have<br />
done the same thing? Explain.<br />
4. Which words or phrases in Paragraph 7 emphasise the duck’s situation <strong>and</strong> her feelings<br />
about it?<br />
5. What are your feelings about what happened to the duck? Do you feel that one silly<br />
action should result in her exile <strong>and</strong> eventual death? Explain.<br />
6. The young duck is never given a name. What do you think is<br />
the reason for this?<br />
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43
The rhetorical triangle<br />
Resource sheet<br />
The ancient Greek philosopher Aristotle stated that a person’s ability to persuade an<br />
audience depended on how effectively he or she appealed to them at three different levels.<br />
The three levels or elements are:<br />
• ethos, which refers to the credibility <strong>and</strong> authenticity of the writer.<br />
• pathos, which refers to the emotional response of the audience to the text.<br />
• logos, which refers to the validity of the evidence used to support an opinion <strong>and</strong> how<br />
effectively the author has argued his or her point.<br />
The rhetorical triangle is an illustration of how these three elements of writing should be<br />
balanced within a text.<br />
Pathos<br />
(about the audience)<br />
Ethos (about the writer)<br />
Logos<br />
(about the text)<br />
Authors strive to balance ethos, pathos <strong>and</strong> logos within their writing but an author may<br />
alter this balance depending on the purpose of the writing <strong>and</strong> the audience for whom it is<br />
intended.<br />
It is important to remember that these elements are not separated within a text but blend<br />
together to form a creative, balanced text. Any aspect of a text can include more than<br />
one element; for example, an author can appeal to the values of an audience (pathos) by<br />
giving statistical evidence (logos) of the numbers of people benefitting from the proceeds<br />
of a charity event. If the author also refers to his or her role in organising the event, this<br />
presents him or her as a caring person who is involved in the event (ethos).<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
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44
Ethos<br />
Resource sheet<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
Ethos appeals to the character of an author. When ethos is used in persuasive<br />
writing, the author’s image is the key ingredient in persuading the audience that<br />
the point of view is valid. The author aims to convince the reader that he or she<br />
is qualified to speak on the subject <strong>and</strong> does so honestly. An author has a greater<br />
chance of persuading the audience if he or she has their respect.<br />
The ethos element of a persuasive text is characterised when the writer:<br />
• states his or her qualifications <strong>and</strong> experience on the subject under discussion or outlines<br />
his or her interest in the subject<br />
• treats other points of view with respect even though he or she does not agree with them<br />
• refers to credible sources or evidence that validate his or her argument <strong>and</strong> show that<br />
other points of view are misguided<br />
• uses appropriate word choice <strong>and</strong> formality for his or her audience<br />
• presents the written text in an organised manner using a recognised format for<br />
persuasive writing with an introduction, arguments presented in a logical manner from<br />
strongest to weakest <strong>and</strong> a conclusion<br />
• delivers the text in a confident manner without a suggestion of arrogance or disapproval<br />
towards those holding other points of view.<br />
The ethos element of a persuasive text can be harmed if the writer verbally attacks the people holding<br />
different opinions rather than just questioning their opinions. This tactic is often used when politicians<br />
from opposing parties want to highlight the differences between their policies. The idea is to create a<br />
great divide in the electorate so that at election time voters are sure of the party they want to vote for.<br />
The ethos element of persuasive text can be deceptive if it is delivered by another person chosen on<br />
the basis of popularity or charisma. This tactic is often used in advertising when the physical appeal of<br />
actors or models is used to sell products.<br />
DICTIONARY<br />
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45<br />
notes
All about the author – 1<br />
Resource sheet<br />
For an effective piece of persuasive text, the writer uses ethos to convince the<br />
audience that he or she is someone worth listening to. For an audience to be<br />
persuaded by the text, they must believe in the authenticity of the writer.<br />
Examine the extracts of the three persuasive texts <strong>and</strong> consider how you feel about the<br />
author of each.<br />
Writer 1 – Smoking kills<br />
So, you want to look cool, act older, feel independent. OK. Go ahead.<br />
Do it. Say ’yes’ the next time someone offers you a cigarette. You’ve<br />
heard all about the health problems but you’re young, you’re invincible.<br />
Nothing bad will happen to you. But that’s where you’re wrong. Smoking<br />
kills!<br />
I have been a doctor for over 20 years <strong>and</strong> have seen so much suffering<br />
because people thought that nothing bad would happen to them.<br />
Smoking is the catalyst that causes multiple fatal diseases to different<br />
parts of the body. Think of them as a hail of arrows on a Middle Ages<br />
battlefield. It only takes one to kill you <strong>and</strong> as there are so many of them,<br />
one is bound to get you. Let me tell you about some of the cases I have<br />
had to deal with ...<br />
Writer 2 – Smoking rocks<br />
At the end of the day, whether you smoke or not is your choice. No-one can<br />
live your life for you <strong>and</strong> if smoking makes you feel better, then do it. Let’s<br />
face it, we all have so many problems these days, why shouldn’t we be free<br />
to enjoy a cigarette when we want to?<br />
I’ve been a sales representative for a cigarette company for almost 20<br />
years <strong>and</strong> I know the pleasure people get from having a cigarette. I know<br />
some are a bit expensive <strong>and</strong> people keep going on about them being bad<br />
for you but hey, life’s too short to be worrying all the time. All my family<br />
smoke <strong>and</strong> my Gr<strong>and</strong>pa is still going strong at nearly 90. He’s got a bit of a<br />
cough but what do you expect at that age? Let me tell you about him <strong>and</strong><br />
how he got started ...<br />
Writer 3 – Smoking stinks<br />
’Phew! What is that smell?’ I asked myself as I walked past a group of<br />
young teenagers. You’ve got it! They were smoking, all of them <strong>and</strong> it<br />
was disgusting. I could almost see the cloudy haze developing above<br />
them. The problem is, the smell doesn’t disappear once the cigarette is<br />
put out. It lingers, on your clothes, in your hair <strong>and</strong> on your breath. The<br />
bottom line is, smoking <strong>and</strong> smokers stink.<br />
If a person smells for some other reason, we would all agree that it’s<br />
not very attractive. Why then, is it so hard to convince people not to<br />
take up smoking? Surely they’re smart enough to know that no amount<br />
of deodorant, perfume or toothpaste will stop them smelling like a<br />
stale ash tray! Let me tell you about what made me stop smoking ...<br />
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46<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012
All about the author – 2<br />
Read <strong>and</strong> discuss the texts on pages 45 <strong>and</strong> 46 before answering the questions.<br />
1. Circle For or Against smoking for each writer.<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
Writer 1: For Against Writer 2: For Against Writer 3: For Against<br />
2. (a) Briefly explain each writer’s stance on smoking.<br />
Writer 1:<br />
Writer 2:<br />
Writer 3:<br />
(b) Compare <strong>and</strong> contrast the opinions on smoking of Writer 1 <strong>and</strong> Writer 3.<br />
Similarities<br />
(c) Would you be interested to hear the things each writer wants to tell you? Circle.<br />
Writer 1: Yes No Writer 2: Yes No Writer 3: Yes No<br />
3. As a doctor, Writer 1 is professionally qualified to discuss the health problems<br />
associated with smoking <strong>and</strong> has a good chance of convincing his audience that his<br />
arguments are valid.<br />
But what of Writers 2 <strong>and</strong> 3? Evaluate their chances of convincing an audience to<br />
agree with their opinions.<br />
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47<br />
Differences<br />
Writer 2 Writer 3
Pathos<br />
Resource sheet<br />
Pathos appeals to the emotions, empathy, beliefs <strong>and</strong> values of the audience. When writers use<br />
pathos in their work, they want the audience to respond emotionally. People can win support for their<br />
cause if their audience can imagine being the person or being in the situation that is described. While<br />
pathos often conjures up an image of sadness, it includes all emotions. Our emotions do influence the<br />
decisions we make <strong>and</strong> this is considered by writers of persuasive texts, including political speeches<br />
<strong>and</strong> advertising campaigns.<br />
The pathos element of a persuasive text is characterised when the writer:<br />
• focuses on emotions he or she can genuinely relate to<br />
• addresses the values <strong>and</strong> interests of the audience to bring them into the argument,<br />
making them feel personally involved<br />
• addresses the audience from the text, referring to them in a positive way<br />
• evokes empathy in the audience so they can identify with the writer’s point of view<br />
• uses narrative <strong>and</strong> powerful descriptive language such as metaphors <strong>and</strong> similes to<br />
create an image that evokes the required emotion <strong>and</strong> inspires the audience to adopt<br />
the point of view<br />
• uses an appropriate style that is appealing to the audience<br />
• evokes emotions that inspire the audience to agree with his or her point of view <strong>and</strong><br />
disagree with those of his or her adversaries<br />
• delivers the text in a controlled, objective manner, thus emphasising the emotional<br />
nature of the text.<br />
The pathos element of a persuasive text can be harmed if the writer evokes the wrong emotion in an<br />
attempt to shock the audience into agreeing with his or her point of view.<br />
Pathos is deemed to be manipulative if the writer attempts to evoke in the audience an emotion he or<br />
she does not personally feel.<br />
The effect of pathos is lost if the text is presented in an emotional way. This creates in the audience a<br />
feeling that the writer is too emotionally involved to produce a credible text.<br />
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48<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012
All about the audience – 1<br />
Resource sheet<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
For an effective piece of persuasive text, the writer uses pathos to stir the emotions<br />
of the audience to respond positively to his or her arguments. Before writing, an<br />
author will consider who the audience is <strong>and</strong> adjust the style <strong>and</strong> vocabulary to suit<br />
them.<br />
Examine the extracts of the three persuasive texts <strong>and</strong> consider how each writer attempts to evoke<br />
feelings in the audience.<br />
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49
All about the audience – 2<br />
Read <strong>and</strong> discuss the texts on pages 48 <strong>and</strong> 49 before answering the questions.<br />
1. Each writer is attempting to evoke a different emotion in his or her audience. What do<br />
you think they are?<br />
Writer 1:<br />
Writer 2:<br />
Writer 3:<br />
2. (a) What simple strategy does each writer use to immediately engage the audience in<br />
the text?<br />
(b) Each writer uses examples to illustrate his or her arguments. What are they <strong>and</strong><br />
how effective are they at engaging your interest in their arguments?<br />
Writer 1:<br />
Writer 2:<br />
Writer 3:<br />
3. Rate each writer for his/her attempts to engage you as the audience.<br />
Writer 1: Poor<br />
Writer 2: Poor<br />
Writer 3: Poor<br />
Excellent<br />
Excellent<br />
Excellent<br />
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50<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
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Logos<br />
Resource sheet<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
Logos appeals to reason <strong>and</strong> how effectively the author has presented the text. Writers<br />
who uses logos are basing their arguments on reasoning. They use statistics, known facts,<br />
scientific <strong>and</strong> mathematical evidence <strong>and</strong> observed patterns to explain objectively how or<br />
why their opinions <strong>and</strong> argument are valid. If readers recognise the validity of the evidence<br />
<strong>and</strong> follow the writer’s reasoning, they are likely to accept his or her point of view.<br />
The logos element of a persuasive text is characterised when the writer:<br />
• focuses clearly on specific arguments rather than giving a general opinion<br />
• supports the argument with simple reason <strong>and</strong> valid evidence<br />
• chooses evidence that is relevant to the topic<br />
• uses validated statistics sparingly for good effect<br />
• is direct <strong>and</strong> to the point <strong>and</strong> keeps the argument moving forward from the most to<br />
the least significant points<br />
• uses an appropriate style that is appealing to the audience<br />
• evokes emotions that inspire the audience to agree with his or her point of view <strong>and</strong><br />
disagree with those of his or her adversaries<br />
• delivers the text in a controlled, objective manner, thus emphasising the reasoned<br />
nature of the text<br />
The logos element of a persuasive text can be harmed if the writer includes too much data in support<br />
of an argument as this can detract from the message of the text.<br />
Using logos inspires in the audience the feeling that the writer knows what he or she is talking about.<br />
Unless the reader/listener has valid evidence to the contrary, it is likely that he or she will accept the<br />
writer’s point of view.<br />
Some evidence used to support the logos element of a persuasive text is anecdotal. This type of<br />
evidence is a commonly-held belief based on the personal experiences of many people.<br />
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All about the text – 1<br />
Resource sheet<br />
For an effective piece of persuasive text, the writer uses logos to support his or her<br />
argument. Using statistics, known facts <strong>and</strong> other forms of valid evidence, writers can<br />
present an argument based on reason.<br />
Examine the extracts of the three persuasive texts <strong>and</strong> consider how each writer uses logos to<br />
convince the audience to accept his or her point of view.<br />
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52<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
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All about the text – 2<br />
Read <strong>and</strong> discuss the texts on pages 51 <strong>and</strong> 52 before answering the questions.<br />
1. Match the text with form of evidence used.<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
(a) Smoking kills • • anecdotal evidence<br />
(b) Smoking rocks • • known facts<br />
(c) Smoking stinks • • statistics<br />
2. Describe your response to the evidence of each argument.<br />
(a) Smoking<br />
kills<br />
(b) Smoking<br />
rocks<br />
(c) Smoking<br />
stinks<br />
3. Facts <strong>and</strong> statistics are often presented in graphic organisers to make the evidence<br />
easier to absorb.<br />
(a) Use this table to present the evidence given in the text, Smoking kills.<br />
(b) On squared paper, draw a graph to present the evidence given in the text,<br />
Smoking rocks.<br />
R.I.C. Publications ® www.ricpublications.com.au Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
53
Fit for life – 1<br />
Resource sheet<br />
Keeping fit does not mean the same as playing sport. For many people, the idea of taking part in sport<br />
is abhorrent, but this does not mean that they want to be or should be destined to live an unfit life.<br />
Keeping fit refers to looking after your physical health. In an age when modern technology has greatly<br />
reduced the need or desire for movement, keeping fit is more important than ever. As a paediatrician<br />
<strong>and</strong> a university Professor of Child Health, I have discovered through research that a poor diet <strong>and</strong> lack<br />
of exercise in young children is increasing their risk of heart disease, diabetes <strong>and</strong> stroke. A recent study<br />
shows that today just over 30% of primary school students <strong>and</strong> 25% or preschoolers are overweight or<br />
obese.<br />
The foundations of adult health are laid down in childhood. The habits you develop now will be with<br />
you for life. Take time to consider your current lifestyle. Be honest with yourself. Is it healthy? Can you<br />
see where you can make improvements?<br />
A young animal’s natural inclination is to be active. Can you imagine any young animal choosing to sit<br />
for hours, crossed-legged in front of a computer screen instead of being active? When you reduce your<br />
activity, your metabolism slows down. But when you’re less active, you also have more time to snack<br />
on foods like chips <strong>and</strong> sweets. Think about it. You’re less active, you burn fewer calories, you eat more<br />
food. What do you think is going to happen? You don’t need to be a genius to work out the answer!<br />
There are many ways to keep fit that don’t involve sport; for example, get around by walking, cycling,<br />
skating or riding your scooter; meet up with friends to have fun at a local park or the beach instead of<br />
at each other’s homes; help your parents in the house or garden. Have you ever considered what great<br />
workouts hanging out the washing, weeding, washing windows or the cars, vacuuming <strong>and</strong> ironing can<br />
be? Whatever you choose, it all adds up.<br />
Keeping fit is easy. The difficult thing is the initial step, making the decision to change your ways. But<br />
this decision must come from within you. Others are important for motivation <strong>and</strong> support but without<br />
your commitment, it will always be an uphill struggle. Your future is in your h<strong>and</strong>s.<br />
Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6) www.ricpublications.com.au R.I.C. Publications ®<br />
54<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012
Fit for life – 2<br />
Read <strong>and</strong> discuss the text on page 54 before answering the questions.<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong> play with language features to achieve particular aesthetic, humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
1. Explain how the author has used the elements of ethos, pathos <strong>and</strong> logos to present<br />
the argument.<br />
(a) Ethos<br />
(b) Pathos<br />
(c) Logos<br />
2. (a) Describe what you like <strong>and</strong> dislike about the way the writer has presented the<br />
argument. (Note: This does not mean whether you agree or disagree with the<br />
author’s opinion.)<br />
Like<br />
R.I.C. Publications ® www.ricpublications.com.au Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
55<br />
Dislike<br />
(b) Has the author made you seriously consider your fitness for life?
Text structure<br />
<strong>and</strong> organisation<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong><br />
play with language features to achieve particular aesthetic,<br />
humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
Assessment<br />
checklist<br />
Student Name<br />
Underst<strong>and</strong>s why writers<br />
choose a particular text type<br />
to suit their purpose<br />
Analyses <strong>and</strong> compares<br />
particular elements of text<br />
structures <strong>and</strong> language<br />
features chosen by writers<br />
Identifi es language features<br />
used to create humour in<br />
text<br />
Identifi es the elements of<br />
ethos used in texts<br />
Identifi es the elements of<br />
pathos used in texts<br />
Identifi es the elements of<br />
logos used in texts<br />
Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6) www.ricpublications.com.au R.I.C. Publications ®<br />
56
Text structure<br />
<strong>and</strong> organisation<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong><br />
play with language features to achieve particular aesthetic,<br />
humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
Interrelated English<br />
links<br />
Below is a list of links within the <strong>Language</strong> str<strong>and</strong>, Literature str<strong>and</strong> <strong>and</strong> Literacy str<strong>and</strong> of English that are covered within the activities provided with the<br />
content description above:<br />
E1. Analyse <strong>and</strong> compare some elements of the text structure <strong>and</strong> language features of a range of texts, to<br />
identify the reasons for the writers’ choices.<br />
E2. Examine works which include humour <strong>and</strong> pathos to look at strategies the author used to tell the reader<br />
about the characters’ feelings, to develop empathy for their point of view or concern for them.<br />
E3. Examine the three elements of persuasion (ethos, pathos, logos) used by a writer to appeal to an<br />
audience.<br />
• Underst<strong>and</strong> the uses of objective <strong>and</strong> subjective language <strong>and</strong> bias (<strong>ACE</strong>LA1517)<br />
• Underst<strong>and</strong> how ideas can be exp<strong>and</strong>ed <strong>and</strong> sharpened through careful choice of verbs, elaborated tenses <strong>and</strong> a range of adverb groups/phrases<br />
(<strong>ACE</strong>LA23)<br />
• Identify <strong>and</strong> explain how analytical images <strong>and</strong> fi gures, tables, diagrams, maps <strong>and</strong> graphs contribute to our underst<strong>and</strong>ing of verbal information in<br />
factual <strong>and</strong> persuasive texts (<strong>ACE</strong>LA1524)<br />
• Investigate how vocabulary choices including evaluative language can express shades of meaning, feeling <strong>and</strong> opinion (<strong>ACE</strong>LA1525)<br />
• Analyse <strong>and</strong> evaluate similarities <strong>and</strong> differences in texts on similar topics, themes <strong>and</strong> plots (<strong>ACE</strong>LT1614)<br />
• Identify <strong>and</strong> explain how choices in language, for example modality, emphasis, repetition <strong>and</strong> metaphor, infl uence personal response to different texts<br />
(<strong>ACE</strong>LT1615)<br />
• Experiment with text structures <strong>and</strong> language features <strong>and</strong> their effects in creating literary texts, for example using imagery, sentence variation,<br />
metaphor <strong>and</strong> word choice (<strong>ACE</strong>LT1800)<br />
• Compare texts including media texts that represent ideas <strong>and</strong> events in different ways, explaining the effects of the different approaches (<strong>ACE</strong>LY1708)<br />
• Analyse how text structures <strong>and</strong> language features work together to meet the purpose of a text (<strong>ACE</strong>LY1711)<br />
• Analyse strategies authors use to infl uence readers (<strong>ACE</strong>LY1801)<br />
• Plan, draft <strong>and</strong> publish imaginative, informative <strong>and</strong> persuasive texts, choosing <strong>and</strong> experimenting with text structures, language features, images <strong>and</strong><br />
digital resources appropriate to the purpose <strong>and</strong> audience (<strong>ACE</strong>LY1714)<br />
• Investigate how complex sentences can be used in a variety of ways to elaborate, extend <strong>and</strong> explain ideas (<strong>ACE</strong>LA1522)<br />
• Identify the relationship between words, sounds, imagery <strong>and</strong> language patterns in narratives <strong>and</strong> poetry such as ballads, limericks <strong>and</strong> free verse<br />
(<strong>ACE</strong>LT1617)<br />
• Participate in <strong>and</strong> contribute to discussion, clarifying <strong>and</strong> interrogating ideas, developing <strong>and</strong> supporting arguments, sharing <strong>and</strong> evaluating information,<br />
experiences <strong>and</strong> opinions (<strong>ACE</strong>LY1709)<br />
• Select, navigate <strong>and</strong> read texts for a range of purposes, applying appropriate text processing strategies <strong>and</strong> interpreting structural features, for example<br />
table of contents, glossary, chapters, headings <strong>and</strong> subheadings (<strong>ACE</strong>LY1712)<br />
• Use comprehension strategies to interpret <strong>and</strong> analyse information <strong>and</strong> ideas, comparing content from a variety of textual sources including media <strong>and</strong><br />
digital texts (<strong>ACE</strong>LY1713)<br />
The above links are reproduced with permission from ACARA.<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
Modes, capabilities <strong>and</strong> priorities covered by the<br />
activities in this Content description<br />
<strong>Language</strong> modes<br />
Listening ✔<br />
General capabilities<br />
Literacy<br />
✔<br />
Speaking<br />
✔<br />
Numeracy<br />
Information <strong>and</strong> communication<br />
technology (ICT) capability<br />
Critical <strong>and</strong> creative thinking<br />
Reading<br />
✔<br />
Viewing<br />
✔<br />
✔<br />
Writing<br />
✔<br />
Personal <strong>and</strong> social capability<br />
✔<br />
Ethical behaviour<br />
Intercultural underst<strong>and</strong>ing<br />
Cross-curriculum priorities<br />
Aboriginal <strong>and</strong> Torres Strait Isl<strong>and</strong>er histories <strong>and</strong> cultures<br />
✔<br />
Asia <strong>and</strong> Australia’s engagement in Asia<br />
Sustainability<br />
R.I.C. Publications ® www.ricpublications.com.au Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
57
Text structure<br />
<strong>and</strong> organisation<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong><br />
play with language features to achieve particular aesthetic,<br />
humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
Answers<br />
Young cyclist remains in coma ........................page 12<br />
1. (a) a newspaper reporter<br />
(b) third<br />
(c) facts<br />
(d) the general public<br />
(e) It was written to give information.<br />
(f) Answers may include: a headline so readers will read on to fi nd out<br />
what happened, a photo of the boy, comments by the boy’s father<br />
<strong>and</strong> the truck driver<br />
2. (a) The boy<br />
(b) fi rst<br />
(c) It expresses opinions as well as facts.<br />
(d) It was written to persuade others to wear their helmets.<br />
(e) parents, teachers <strong>and</strong> students from the school<br />
(f) wear bike helmets<br />
3 (a) It says the helmet was found on the h<strong>and</strong>lebars.<br />
(b) The boy tells them he wasn’t wearing his helmet <strong>and</strong> it was his<br />
fault, <strong>and</strong> that they should wear theirs.<br />
(c) Answers will vary but may include information about the purposes<br />
for which the two texts were written; i. e. one to give information<br />
to the public <strong>and</strong> the other to persuade students <strong>and</strong> others to<br />
wear bike helmets, the intended audience, the media it was written<br />
for <strong>and</strong> the people who wrote it.<br />
Glen Wallace Primary School newsletter .......page 13<br />
1. (a) The text tells the story of what happened, then tells people what<br />
the writer thinks they should think about <strong>and</strong> do.<br />
(b) Answers will vary but may include that the boy did it for a more<br />
dramatic effect, that he wanted his readers to know the whole<br />
story, or he thought it would be more persuasive if he did it that<br />
way.<br />
(c) Answers will vary. Teacher check<br />
2. (a) Examples include: ’remains in a coma’, ’expressed his family’s<br />
gratitude’, ’praised the actions’, ’Their on-going concern’ <strong>and</strong> ’the<br />
actions of the paramedics’<br />
(b) Examples include: ’I ended up in hospital’, ’They were pretty upset’,<br />
’The physios were tough’, ’Dad got mad with me’, ’still not right’<br />
<strong>and</strong> ’having a really bad day’<br />
3. Answers may include:<br />
(a) sad, sorry, regretful, miserable, foolish, embarrassed, stupid, sore,<br />
upset, worried, jealous, frightened<br />
(b) anxious, worried, frightened, angry, cross, grateful, concerned,<br />
hopeful, sad, miserable<br />
(c) embarrassed, worried, uncertain, confused, anxious, sympathetic<br />
(d) sad, angry, concerned, admiring, determined, grateful<br />
4. When: Tuesday afternoon<br />
Where: Juniper Avenue near the local shopping centre<br />
What: A boy was knocked off his bike <strong>and</strong> is in a coma<br />
How: He was hit by a truck<br />
Why: He lost control of his bike <strong>and</strong> it skidded onto the road.<br />
How hovercraft work ......................................page 16<br />
1. (a) Yes (b) Yes (c) Yes (d) Yes (e) Yes (f) Yes (g) Yes<br />
2. (a) who, where, what <strong>and</strong> why should be ticked (b) ticked (c) ticked<br />
(d) ticked (e) ticked (f) ticked<br />
3. (a) Examples include: pressurised air, all-terrain vehicle, main body,<br />
skirts, hovers, glides, friction, rudders, thrust, environmentally,<br />
footprint, pressure, scientifi c principle<br />
(b) Examples include: rocked, rose, waking up, rising, clambered,<br />
gliding, pirouetting, tiptoed, sank<br />
(c) Examples include: sleek, powerful, purposefully, rounded, rumbling,<br />
aquamarine, fossilised, ancient<br />
Dance of the hovercraft ..................................page 17<br />
1. (a) How hovercraft work<br />
(b) It would be an explanation with information about hovercraft.<br />
(c) Dance of the hovercraft<br />
(d) The author wanted to compare the way hovercraft move with<br />
dancing <strong>and</strong> to say how special it is.<br />
2. dancing sideways, like a ballet dancer rising to her feet, pirouetting<br />
gracefully, tiptoed onto the beach<br />
3. (a) like a ballet dancer rising to her feet, as orange as rust, like a ship<br />
of the desert (i.e. a camel)<br />
(b) dancing sideways, pirouetting gracefully, tiptoed onto the beach<br />
4. When it stopped it very gently settled down onto the s<strong>and</strong> like a camel.<br />
Coyote (Canis latrans) .....................................page 20<br />
1. (a) ’report’, ’present’ <strong>and</strong> ’to inform’ should be circled<br />
(b) ’narrative’, ’past’ <strong>and</strong> ’to entertain’ should be circled.<br />
2. (a) B (b) AB (c) A (d) A (e) B (f) B (g) A (h) B (i) B (j) A (k) B (l) A<br />
3. Possible answer: There are sub headings for each paragraph in ’Coyote’<br />
4. Answers may include: howl, mammal, digits, forefeet, hind feet,<br />
digitigrade, territory, natural habitat, den, stalk, track, quarry<br />
5. A very long time ago; Now, before I continue; Finally; Then; When they<br />
were in a tangled mess; When they fi nally<br />
Dogs’ tails .........................................................page 21<br />
1. clumsily tripping, fi nally made, frantically snatched, desperately raced<br />
off<br />
2. adaptable, varied, fresh spoiled, unpalatable<br />
3. (a) Canis latrans – a member of the dog family<br />
(b) Answers may include: varied diet; eats mice, rabbits, squirrels, fi sh,<br />
insects, berries, reptiles, poultry, sheep <strong>and</strong> deer; eats both fresh<br />
<strong>and</strong> spoiled food; will eat unpalatable coyote melons<br />
(c) Answers may include: born blind, suckle for 5–7 weeks, remain<br />
in den until they start hunting at 6–10 weeks, independent by 12<br />
months<br />
(d) Teacher check<br />
4. (a) Teacher check<br />
(b) Possible answer: It may be referring to the image of dogs looking<br />
<strong>and</strong> sniffi ng at each other’s tail<br />
(c) Possible answers: some actions, facial expressions, voice changes,<br />
sound effects<br />
Windfarms: how good are they? ...................page 24<br />
1. (a) No (b) Yes (c) Yes (d) Yes (e) No (f) Yes (g) No<br />
2. (a) The words ’It is claimed ...’ start the paragraph.<br />
(b) Answers may include: the wind energy industry is booming, by<br />
2050 one third of the world’s electricity will be generated by wind,<br />
electricity produced by windfarms is renewable, costs are low, less<br />
fossil fuel is being burned, greenhouse gases are being reduced,<br />
They cause no air or water pollution, do not harm the environment.<br />
3. (a) against<br />
(b) Answers may include: Some have been shut down because of high<br />
costs; there have been complaints about blade glint <strong>and</strong> noise;<br />
health issues such as anxiety, epilepsy, insomnia, hearing loss; <strong>and</strong><br />
children’s speech <strong>and</strong> learning diffi culties; bird deaths<br />
(c) They say the health issues could be caused by people’s anxiety, not<br />
the windfarms.<br />
Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6) www.ricpublications.com.au R.I.C. Publications ®<br />
94
Text structure<br />
<strong>and</strong> organisation<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong><br />
play with language features to achieve particular aesthetic,<br />
humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
Answers<br />
4. Answers will vary. Teacher check<br />
There are monsters … .....................................page 25<br />
1. (a) to persuade<br />
(b)–(f) Answers will vary. Teacher check<br />
2. (a) Answers may include: they are roaring monsters, their sails are<br />
arms; they are whirling, dancing swordsmen, their sails are deadly,<br />
fl ashing lances; they are breathing; they are organised in battle<br />
lines.<br />
(b)–(d) Answers will vary. Teacher check<br />
Humorous language – 1 ..................................page 28<br />
1. (a) cats <strong>and</strong> dogs<br />
(b) bat/mole<br />
(c) ice/stone<br />
(d) log/baby<br />
(e) dog<br />
(f) feather<br />
(g) snail<br />
(h) angel<br />
2. Teacher check<br />
3. (a) gold/He is very brave.<br />
(b) his life/He loved her very much.<br />
(c) for joy/They were extremely happy.<br />
(d) in dough/They were very rich.<br />
(e) up their socks/They had to work harder.<br />
(f) <strong>and</strong> dogs/It rained heavily.<br />
4. Teacher check<br />
Humorous language – 2 ..................................page 29<br />
1.–2. Teacher check<br />
A visit to Dr Paul White ...................................page 31<br />
1. (a) The orientation is in the third paragraph <strong>and</strong> includes when<br />
(Today), who (Simon) <strong>and</strong> where (to the dentist’s [offi ce]).<br />
(b) The author has commenced the text with a description of Simon’s<br />
character, including his bravery when facing ordeals. Answers will<br />
vary about why; it may be to introduce a different ordeal.<br />
2. All parts of narrative text structure should be ticked.<br />
3. All language features should be ticked.<br />
4. (a) ’caused panic to erupt in Simon’s intrepid body’ (b) ’the odour of<br />
smelly garlic covered the nearest person; it stung your eyes until<br />
they watered, <strong>and</strong> stole your breath away until you wanted to gag’<br />
5. Answers will vary but may be similar to the following: You can<br />
underst<strong>and</strong> why Simon wanted to avoid visiting the dentist if the smell<br />
of garlic directly in your face was so bad.<br />
The skateboard lesson – 3 ...............................page 34<br />
1. (a) The orientation begins in the fi fth paragraph <strong>and</strong> includes<br />
who (Tess, Mum, Dad, Tess’s brothers) <strong>and</strong> when (One Sunday<br />
afternoon).<br />
(b) Including the four short paragraphs before the orientation sets up<br />
the situation for the main events to follow. It gives background<br />
information for the main focus of the narrative. It gains reader<br />
interest by using the non-st<strong>and</strong>ard orientation format.<br />
2. The complication is found in the fi rst paragraph. Tess really wanted a<br />
skateboard like her friends at school <strong>and</strong> her parents weren’t willing to<br />
give her one.<br />
3. One event leads to other events causing a ’ripple’ effect.<br />
4. Answers will vary according to student opinion. The complication<br />
may not be very obvious. Students may decide that the complication<br />
is not resolved because Tess does not convince her parents to get a<br />
skateboard for her. Tess’s aim was to show her parents how competent<br />
she was on a skateboard <strong>and</strong> this did not happen.<br />
5. Answers will vary. It is obvious that Tess realises that she needs to<br />
practise more before she gets her own skateboard. However, she has<br />
not changed her parents’ minds about getting one.<br />
6. Teacher check<br />
The skateboard lesson – 4 ...............................page 35<br />
1. (a) Teacher check. Answers may include: ordered, pushed, watched,<br />
fl ew, hissed, refused, seen, stated, mumbled, paid<br />
(b) Despite (Para. 1), the second ’<strong>and</strong>’ (para. 2), as (para. 9), <strong>and</strong><br />
(para. 10), meanwhile (para. 11), while (para. 11), As (para. 13), as<br />
horrifi ed faces (para. 14)<br />
2. like a speeding bullet, like a sticky pool of blood, like a puppet on a<br />
string<br />
3. (a) bruised <strong>and</strong> bloodied<br />
(b) escaping<br />
4. Answers may include: immense horror, Her white face deepened to<br />
beetroot red, unable to burrow into the ground, her shoulders slumped<br />
as if she could pull her body inside itself <strong>and</strong> disappear for good.<br />
5. (a) fl ying up <strong>and</strong> down the roads, skate all over the footpath <strong>and</strong> bowl<br />
over nearly every pedestrian in sight<br />
(b) They could almost see steam emerging from the ears of the<br />
combatants.<br />
(c) ’I’ll die if I don’t get a skateboard. All the cool kids have one!’<br />
R.I.C. Publications ® www.ricpublications.com.au Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
95
Text structure<br />
<strong>and</strong> organisation<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong><br />
play with language features to achieve particular aesthetic,<br />
humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
Answers<br />
The solitary troll <strong>and</strong> the<br />
three skinny goats – 3 .....................................page 38<br />
1. The solitary troll <strong>and</strong> the three skinny goats; Teacher check alternative<br />
titles.<br />
2. The orientation occurs in the fi rst paragraph. It includes who (ugly troll,<br />
Trevor), when (Once upon a time) <strong>and</strong> where (the l<strong>and</strong> of Sc<strong>and</strong>ia).<br />
3. Trevor had unpleasant features (which) deterred others from<br />
approaching him (para. 2). He had no troll friends (para. 2) .... His one<br />
dream was to fi nd a place of his own <strong>and</strong> live his life without censure<br />
(para 2.).<br />
4. Trevor found a nice home under a bridge. He caught troll fl u which<br />
gave him a rough voice. The fi rst Billy Goat Buff crossed the bridge <strong>and</strong><br />
was frightened by Trevor. The second Billy Goat Buff crossed the bridge<br />
<strong>and</strong> was frightened by Trevor. The third Billy Goat Buff came onto the<br />
bridge <strong>and</strong> conversed with Trevor, boasting how attractive he was.<br />
Trevor appeared <strong>and</strong> the third Billy Goat Buff seemed to think he was<br />
unique. Trevor was appreciated <strong>and</strong> went to the hillside to eat with the<br />
goats.<br />
5. Trevor was appreciated for his uniqueness <strong>and</strong> who he was, <strong>and</strong><br />
becomes friends with the goats.<br />
6. Teacher check<br />
7. Trevor made friends, was not lonely <strong>and</strong> he was appreciated for who he<br />
was.<br />
The solitary troll <strong>and</strong> the<br />
three skinny goats – 4 .....................................page 39<br />
1. Answers will vary but may include the following: laboured, remained,<br />
roared, replied, contemplated, repeated, ventured, emerged, braced,<br />
widened, opened, closed, joined<br />
2. Answers may include: roared, replied, contemplated, repeated, waffl ed<br />
3. (a) ’After’ should be underlined. Sentences may vary slightly but should<br />
be similar to: Trevor searched for a long time before he found a<br />
home. Trevor found a comfortable abode beneath a bridge.<br />
(b) ’<strong>and</strong>’ should be underlined. Sentences may vary slightly but should<br />
be similar to: Gradually, his home began to feel ’lived in’. Gradually,<br />
his fl u improved.<br />
4. (a) as long as a tree trunk<br />
(b) (i) obnoxious behaviour, such illustrious company, totally<br />
fl ummoxed, such fi ne examples of olfactory or ocular organs, a king<br />
among the stupendous, revered, treasured (ii) emerged cautiously,<br />
utterly appalled, horrendous appearance, braced for the ridicule<br />
that usually followed<br />
5. (a) staccato, skipping<br />
(b) solitary occupations, one dream was to ... live life without censure<br />
Can you h<strong>and</strong>le it? ...........................................page 40<br />
1. Teacher check<br />
2. (a) ... solution to all your problems; cater for all your needs<br />
(b) most compact, user-friendly device ever invented; operated simply<br />
<strong>and</strong> easily<br />
(c) connoisseurs of distinction, surpasses others by a country mile, only<br />
the best manufacturers<br />
3. Put your h<strong>and</strong> up for one today!, Now you really do have a reason to<br />
stick your fi ngers in your ears!<br />
4. Answers will vary but should indicate exaggeration.<br />
Holidays that don’t ’suck’! ..............................page 41<br />
1. Teacher check<br />
2. (a) unique<br />
(b) extraordinary<br />
3. Holidays that don’t ’suck’!, Count Tours, pale imitations, clan, sink their<br />
fangs into, slayer, lord of the clan, life’s blood, Don’t get sucked into ...,<br />
dead holiday, cross, stake, still light outside<br />
4. Teacher check<br />
Gaya-dari the platypus ....................................page 43<br />
1. At fi rst Biggoon was cajoling <strong>and</strong> unthreatening; then he tried to<br />
intimidate her with violence/soothing, threatened<br />
2. Biggoon began to believe the duck was contented with her new life<br />
<strong>and</strong> ceased guarding her day <strong>and</strong> night. He returned to his former<br />
practice of sleeping for long periods during the daytime.<br />
3. stealthily, swum away as swiftly as she could. Teacher check student<br />
explanations<br />
4. dismay, banished, scorned, retreated, hide, unseen, too lonely <strong>and</strong><br />
miserable, desolate, waste away, forgotten, in grief<br />
5. Teacher check<br />
6. Answers will vary but may include: Her name may not be known; The<br />
duck herself may not be important to the storyteller, rather she is simply<br />
a means to explain how the platypus was created.<br />
Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6) www.ricpublications.com.au R.I.C. Publications ®<br />
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Text structure<br />
<strong>and</strong> organisation<br />
Underst<strong>and</strong> how authors often innovate on text structures <strong>and</strong><br />
play with language features to achieve particular aesthetic,<br />
humorous <strong>and</strong> persuasive purposes <strong>and</strong> effects (<strong>ACE</strong>LA1518)<br />
© Australian Curriculum: Assessment <strong>and</strong> Reporting Authority 2012<br />
Answers<br />
All about the author ...................................... page 47<br />
1. Writer 1: Against; Writer 2: For; Writer 3: Against<br />
2. (a) Teacher check. Possible answers include:<br />
Writer 1: He cares about people’s health but is frustrated that so<br />
many don’t take the effects of smoking seriously until it’s too late.<br />
Writer 2: He thinks people should be allowed to choose <strong>and</strong> if they<br />
do smoke, they should not be made to feel guilty.<br />
Writer 3: He thinks people should realise that smoking makes you<br />
socially unacceptable because it makes you smell.<br />
(b) Similarities: They are both against smoking.<br />
Differences: Writer 1 is against smoking because it damages your<br />
health <strong>and</strong> can kill you. Writer 3 is against smoking because it<br />
makes you smell.<br />
(c) Teacher check<br />
3. Writer 2 would be unlikely to convince an audience because many<br />
young children take up smoking <strong>and</strong> they are not mature enough<br />
to make an informed choice about smoking; there are many ways<br />
to overcome problems that do not damage health; he has a vested<br />
interest in people smoking; the phrase, ’life’s too short’ could relate to<br />
the effects of smoking; his gr<strong>and</strong>pa maybe almost 90 years old but he<br />
would be an exception.<br />
Writer 3 would be likely to convince an audience because as an exsmoker,<br />
she can see the argument from both sides; she talks about the<br />
immediate rather than long-term effects of smoking; the smell cannot<br />
be disguised <strong>and</strong> no-one wants to be a social outcast.<br />
All about the audience .................................. page 50<br />
1. Writer 1: concern for themselves; gravity of the problem; realism of the<br />
situation<br />
Writer 2: rebellion against parents, teachers, coaches; injustice against<br />
themselves; independence for themselves<br />
Writer 3: disgust against the smells of smoking; mistrust of advertising;<br />
despair of intolerance brought about by the smells of smoking<br />
2. (a) Speaks directly to the audience by using the pronoun ’you’.<br />
(b) Writer 1: a computer slowing down with each download<br />
Writer 2: other people telling you what to do – parents, teachers,<br />
coaches<br />
Writer 3: advertisements for air fresheners <strong>and</strong> mouthwash<br />
3. Teacher check<br />
All about the text ........................................... page 53<br />
1. (a) known facts<br />
(b) statistics<br />
(c) anecdotal evidence<br />
2. Teacher check<br />
3. (a)<br />
Chemicals in tar Description<br />
Arsenic well-known poison<br />
Benzene solvent used in petrol extraction<br />
Cadmium toxic metal used to make<br />
batteries<br />
Formaldehyde used to preserve bodies<br />
(b)<br />
Percentage of smokers<br />
35<br />
30<br />
25<br />
20<br />
15<br />
10<br />
5<br />
1984 2012 1984 2012<br />
12–15yr olds<br />
16–17 yr olds<br />
Fit for life ........................................................ page 55<br />
1. (a) The author: states his/her professional qualifi cation, recognises that<br />
sport is not for everyone, refers to credible resources <strong>and</strong> statistics,<br />
writes appropriately for the audience, using examples that are<br />
relevant to them.<br />
(b) The author: encourages the audience to be involved in the<br />
argument by asking them to consider questions; evokes feelings<br />
of concern in the audience, for their health; offers suggestions to<br />
evoke motivation to ’get up <strong>and</strong> do’; evokes sense of control in<br />
one’s future.<br />
(c) The author: presents known facts related to health problems<br />
associated with poor diet <strong>and</strong> fi tness, statistics related to childhood<br />
obesity, reasoned arguments related to the effects of reduced<br />
activity <strong>and</strong> increased snacking.<br />
2. (a) Teacher check.<br />
Answers may refl ect how the student feels about the way in which<br />
the author speaks to him/her, the appropriateness of the evidence<br />
given in support of the argument, the examples suggested for<br />
keeping fi t, that the author acknowledges that not everyone is<br />
keen on sport.<br />
(b) Teacher check<br />
R.I.C. Publications ® www.ricpublications.com.au Australian Curriculum English – <strong>Language</strong>: Text structure <strong>and</strong> organisation (Year 6)<br />
97