tuhituhi mo te panui
“Get a good idea and stay with it. Dog it, and work at it until it’s done right.”
—Walt Disney
te ao Māori principles
There are five key principals that we, as an English Department, consider important as part of a holistic study at school.
- Mana – The prestige and authority of the writer. Writers can build mana through impactful stories that uplift readers.
- Whanaungatanga – The connections and relationships between characters, writers, and readers. Literature brings people together.
- Kaitiakitanga – Guardianship and protection of stories, language, and knowledge. Writers have a duty to share stories responsibly.
- Wairuatanga – The spirituality and deeper meanings conveyed through literature. Stories can be profound and moving.
- Mauri – The essential life force or vitality of the writer coming through in their work. Writing with purpose and energy.
- Aroha – The empathy, compassion, and love writers show through their words. Literature builds understanding between people.
- Tikanga – The customs, protocols and values upheld through storytelling. Writers adhere to cultural principles.
Key Terms
| Conventions | a way in which something is usually done. |
| Protocol | the accepted or established code of procedure or behaviour in any group, organisation, or situation. |
| Nonfiction | prose writing that is informative or factual rather than fictional. |
| Subgenre | a subdivision of a genre of literature, music, film, etc. |
| Journalism | the activity or profession of writing for newspapers, magazines, or news websites or preparing news to be broadcast. |
| Article | a piece of writing included with others in a newspaper, magazine, or other print or online publication. |
| News Story | a written or recorded (or, occasionally, live) article or interview that informs the public about current events, concerns, or ideas. |
| Scripted Speech | an oral presentation, speech or broadcast that has been written before it is read or performed |
| Journal | a newspaper or magazine that deals with a particular subject or professional activity. |
| Diary | a daily record of news and events of a personal nature. |
| Construct | an idea or theory containing various conceptual elements, typically one considered to be subjective and not based on empirical evidence. |
| Rhetoric | the art of effective or persuasive speaking or writing, especially the exploitation of figures of speech and other compositional techniques. |
| Informational Text | relating to or characterised by facts about something; providing information. |
| Bias | inclination or prejudice for or against one person or group, especially in a way considered to be unfair. |
| Opinion | a view or judgement formed about something, not necessarily based on fact or knowledge. |
| Factual | concerned with what is actually the case. |
| Supplementary | texts that provide detail that complements or enhances the central knowledge of the main text. |
| Text book | a book used as a standard work for the study of a particular subject. |
| Advertising | the activity or profession of producing promotional material for commercial products or services. |
| Biography | an account of someone’s life written by someone else. |
| Autobiography | an account of a person’s life written by that person. |
| Profile | a short article giving a description of a person or organisation. |
| Entry | an item written or printed in a diary, list, account book, or reference book. |
| Review | a critical appraisal of something for publication in a newspaper or magazine. |
| Blog | a regularly updated website or web page, typically one run by an individual or small group, that is written in an informal or conversational style. |
| Letters | a written, typed, or printed communication, sent in an envelope by post or messenger. |
| Editorial | a newspaper article expressing the editor’s opinion on a topical issue. |
| Document (verb) | record (something) in written, photographic, or other form. |
Learning Objectives
- To recall the narrative constructions, characters, conflicts, symbolism, and patterns as part of analysis.
- To revisit macro analysis points such as APRICOT, SSPAGT, etc.
- To introduce students to the deeper nuances of nonfiction other than sub genres.
- To label texts based upon convention recognition.
- To relate one nonfiction text to another through macro analysis.
Exercises
Spelling
| movement | jumper | laziness | discussion | treasure |
| laughter | sweetness | completion | permission | exposure |
| walker | softness | politician | admission | character |
| dancer | loudness | musician | measure | neighbourhood |
Summary Builder
Below is a piece of writing that you should attempt to summarise into around 100 words.
The Power of Perspective: Seeing the World Through New Eyes
As teenagers navigating high school and approaching adulthood, it’s important to start broadening your perspective and seeing the world in new ways. Developing a more open, flexible mindset allows you to understand unfamiliar people, cultures, and ideas. It also helps you solve problems more creatively.
Perspective-taking starts with empathy. To understand someone else’s viewpoint, you have to temporarily let go of your own assumptions and imagine what it’s like to walk in their shoes. Talk to people different from yourself. Learn about different countries, religions, or time periods. Immerse yourself in new environments through books, films, or travel.
Expanding your perspective also means carefully examining your own beliefs. Are your opinions well-informed or just based on assumptions? Be willing to question your views and change them when presented with new evidence. Consider opposing angles on issues. Avoid thinking in extremes of black-and-white, right versus wrong. The world is complex.
Practicing perspective-taking makes you intellectually flexible. You become more open to ideas outside your comfort zone. Your thinking nimbly adapts to new situations instead of getting stuck in rigid mindsets. Cognitive psychologists believe this mental agility is key to creative problem-solving and innovation.
As you mature into thoughtful adults, keep exploring unknown territory. Immerse yourself in diversity. Continually challenge your own assumptions. Seek out new vantage points. You gain wisdom and resilience by embracing the complexity of life. Broad perspective allows you to connect ideas in original ways. Stay curious. The wider the lens, the more clearly you see.
Non-Fiction As Genre
tuhituhi mo te panui
Non-Fiction Texts and Supplementary Texts
This unit is a little different to the previous text studies for a couple of reasons: firstly it is based on a nonfictional text, i.e. one that is based on factual rather than imaginative information; secondly that it will require you to look at supplementary texts. These are texts that add or complement the knowledge that is included in your main text.
For example: let’s say you are studying the autobiography of a sportsperson. Supplementary texts may include articles in magazines, new stories, speeches made by the person, a journal or diary entry (if that is available) and basically any information that will give you more knowledge and more contextual information about the time period, the individual, or the story.
Then, as part of your response, you will be required to write an essay response to a question similar to that of a novel study. In that response, the expectation will be on presenting information from the stimulus text (the central reading for this unit) as well as the supplementary information.
Examples
Let’s imagine that your studied text is ‘The Diary of a Young Girl: Anne Frank’
How do you find supplementary texts?
First: Establish some information, because context is the central component to the whole process.
- What is the context?
- Geographical: Amsterdam, Netherlands
- Social: Jewish people marginalised in society and expected to surrender to the Nazi oppressors
- Political: German occupation of The Netherlands
- Historical: World War Two
- Authorial: Anne Frank was a young Jewish girl who spent a significant time in hiding in a small attic with her family before being taken to a concentration camp and being killed at 16. Her diary was found by the surviving member of the Frank family and released as a book to document the existence of many Jewish people during this difficult time.
Once you have established these key elements, it is important to begin research into these key elements in order to help you understand. Not everything you find will be used in the essay, but it provides information to assist with your overall knowledge.
- What to look for in supplementary texts
- Information that gives additional or supplementary knowledge about the context areas
- Geographical: Maps, Photographs, Descriptions from other diaries or articles, news stories of Amsterdam Jewish communities
- Social: Articles, news stories, editorials, speeches, films, documentaries
- Political: Political documents, news stories, reports, journals
- Historical: Archive material about the progress of the war effort, the Nazi manifesto
- Authorial: Any other biographies, or historical books about Anne Frank or the Frank family
Studying a novel versus a non-fiction text.
Perhaps one of the most important aspects to be mindful of when it comes to studying a text and learning about the elements that combine to construct the narrative, is the three broad focused areas of context:
| The Writer
When were they writing? Where were they writing? What are the environments in which they wrote? How did the context affect the way that they wrote? |
The Text When was this happening? Where is the action? What are the environments in which the characters exist? How did the context affect the action? |
The Reader When is the reader reading the text? Where is the reader reading the text? What are the environments in which the reader exists? How did the context affect the reader? |
Take the example of The Diary of Anne Frank, it’s very easy to recognise that the writer’s context, and the reader’s context is very different. And that’s a vital piece of the analysis puzzle for us, as readers, to consider. In that same example, the writer and the text and intrinsically linked – one must have the other (that is the nature of a diary, it is the documentation of personal information).
However, a biography of a famous person after their death has three separate contexts, and it’s easy to recognise that there may be differing opinions from one generation to the next. Take the idea of a biography about Captain James Cook written just after he returned from discovering New Zealand – most likely a celebration of the pioneering spirit and the continued growth and dominance of the British Empire. A biography about Captain James Cook written now may have a different perspective on the negative impacts of colonisation for countries like Aotearoa New Zealand.
Studying a novel versus a non-fiction text.
Like Context, much of the same material covered in the novel unit in Year 10 can be adapted to a nonfiction environment.
Characterisation – the methods that writers use to create characters – all still exist. Only, this time, the characters are real individuals. The choices that the writer makes in regard to how they speak, interact, and form relationships are chosen, and therefore warrant closer investigation. What is not there is as important as what is. Just like poetry!
Conflict – the separation of internal conflict (conscience) and external conflict (person vs person; tech; nature; society etc.) – play a vital role in non fiction.
Story Telling – At the end of the day, a nonfiction text or fiction text tells a story, the narrative construction of story telling still applies. From Aristotle, to Hero’s Journey, to the Classical Narrative structure – all of them are important parts of the process.
Broader ideas or themes – And, finally, all those key real world connectors like ‘the importance of family’ or ‘appearance vs reality’ all have an impact on the understanding of a nonfiction text.
So what’s different?
Nonfiction texts deal in truths, they are real stories about real things. Much of your own writing and reading after school will be based within the realms of nonfiction. Reading and writing in this way will assist you with this requirement, plus it will add to your kete of knowledge regarding critical thinking, wider reading, and comprehension of language.
Exercises
Your teacher will have given your copies of the nonfiction book you will be reading. At this point you should consider everything you know about the general concept presented. For example, if it was Anne Frank’s Diary then you need to consider what you know about the second world war. Similarly, if it was about Edmund Hillary’s ‘High Adventure’ then have a look at all the elements involved in his life.
- Context
- Geographical
- Social
- Political
- Historical
- Authorial
At this point, you need to be thinking about what you already know. From there there is the opportunity to develop your knowledge.
Types of supplementary texts
Here is a list of the possibly supplementary texts that you could use.
- advertisements,
- brochures,
- leaflets,
- editorials,
- news stories,
- articles,
- reviews,
- blogs,
- investigative journalism,
- letters,
- podcasts,
- autobiographies
- biographies,
- travel writing,
- diaries,
- essays,
- scripted speech,
- narrative writing,
- textbooks, and
- descriptive writing
Make a list of these in your English book, and find definitions to help your understanding of the options around supplementary texts.
APRICOT
You may recall from Year 10 that there are seven key elements of discussion in approaching a text. They are
- Audience
- Purpose
- Register
- Imagery + Representation
- Content + Context
- Organisation
- Tone
There are some key questions you can ask as part of this analysis
| Audience | Who is this written for? There is never going to be a piece of text offered to you which is designed to be read by teenagers in an exam room with the expectation for those teenagers to write about it. A newspaper news report is to pass on information to those in the local area, to warn, to remind, to give more insight etc. You need to work through who the audience are. Be aware of the way the writer uses language to fit with this audience. |
| Purpose | What is the goal of the writer in putting pen to paper, or fingers to the keyboard. The purpose of this book, for example, is to explain ideas to students studying a course for an examination. I, as the writer, want you to do well and therefore want to help you. The purpose of a text is broadly broken down into 4 areas (but this is just scraping the surface and you must go further): to inform, to persuade, to instruct or to entertain. |
| Register | This is about formality. What level of informal writing are they using? Be aware of the use of slang, of conversational language and of any pattern of contractions. These all tend to suggest the use of informal language. The next question therefore is, why have they chosen to write in that way? This links with the audience and the purpose. |
| Imagery (and Representation) | How is the subject being presented in the text? Consider the use of the five senses and their imagery specific language (visual, olfactory, gustatory, aural and tactile). From this point you can look at any sort of bias or representation of that subject. Is it positive? Is it scathing? Is it celebratory? How is the subject being presented to the audience and, again, why? |
| Context (and Content) | Texts don’t exist in a vacuum or just in thin air. Therefore there are two areas to really focus on; How (physically) is this being presented to the audience ie online/in a glossy magazine, through a folded leaflet? And secondly; what is the social, geographical, and historical context of the text. A speech at the climatic point of WWII has significant impact on the lives of a lot of people so the language may be used very cautiously. What is the context of this text?
The Content is an area that is largely underrated by students. A number of students spend a lot of time explaining and exploring the language techniques that they forget to relate it back to the big idea, or the big picture of the text. CIE call this ‘part to whole’ analysis – how does one small device have an impact on the text as a whole. Explaining what is actually going on in the text is a significant skill, and follows on from the IGCSE programme where you were required to summarise the text. Don’t overlook this important step. |
| Organisation | What is the structure of the text? Is there a climactic point? How do you recognise this as a climatic point? How is syntax used to create interest as the text progresses? Are there many paragraphs or few? Are the sentences largely long or short? Is there a change in one passage of the text to create an effect? The way that the ‘plot’ of the text is put together is a highly underutilised aspect of the analysis but can add a lot to your answer. |
| Tone | In trying to be as specific in this regard as possible, what is the created atmosphere of this piece? Is it largely exciting? Academic? Emotional? Try to create a list of descriptive words to assist in your creation of tone |
GST (Genre Specific Techniques)
Each genre has its own set of conventions. We have already developed these in each of the units:
Rhetoric:
Ethos; Pathos; Logos; Rule of Three; Gesture etc etc
Poetry
Stanza, caesura, sonnet, rhyme, rhythm etc etc
Shakespeare
Dramaturgy, Stage, Prop, Actor, Shared Lines etc etc
Novel
Chapters, Conflict, Characterisation, Narrative POV etc etc
Now each of the above 20 areas (supplementary texts) have their own expectations and conventions. Make a chart of all 20 and see if you can establish any conventions that you associate with the language of the genre. e.g. Autobiographies are from a person’s perspective (first person) and usually follows a chronological order.
Key Takeaways
Each genre of text has a set of conventions (some conventions will be used in each). Think about APRICOT elements and how it may have an effect on the conventions expected.
Patterns (Close Analysis)
At this point we have looked at the macro analysis (APRICOT), the specifics of the Genre (GST) and now the close analysis requires a little more work.
One metaphor is not helpful, a pattern of figuratively language is helpful in working out what the writer is trying to achieve.
Patterns are the central element of close analysis. The patterns can be summarised through the following approach
- Methods of Characterisation
- Purpose
- Diction
- Organisation
- Attitude
- Syntax
- Narrative
- Imagery
- Tone
- Figurative Language
You can remember this through: ‘My Poor Dad Once Ate Six Nuggets In The Freezer’
Straight away you will recognise that there are double-ups: Tone, Organisation, Imagery. These come from APRICOT.
Think of it a little like a funnel. Each layer is a little more precise than the previous.
Each week we will look at a few of supplementary texts that will assist with your analysis. Here is the list again:
Types of supplementary texts
Here is a list of the possibly supplementary texts that you could use.
- advertisements,
- brochures,
- leaflets,
- editorials,
- news stories,
- articles,
- reviews,
- blogs,
- investigative journalism,
- letters,
- podcasts,
- autobiographies
- biographies,
- travel writing,
- diaries,
- essays,
- scripted speech,
- narrative writing,
- textbooks, and
- descriptive writing
Let’s look at the first five.
-
advertisements,
Advertisements are really helpful to get a feel for the tone of language that is present during the time of the publishing. If we look at advertisements from the era of Anne Frank you will find the language to be highly formal. It may also give an indication of some of the societal norms of the time – the place of women, the representation of colour, the expectation of society (e.g. white teeth, trustworthy cars etc)
Take this advertisement about the importance of rationing, and how to use up the excess vegetables by preserving:
QUESTION: What does this advertisement reveal about the expectations on society, on life, and on the socio-political times.
-
brochures, / leaflets,
Brochures and leaflets have been combined here, they typically provide knowledge to a wide group of people. Like advertising, they give a sense of what is going on in the society. Consider the war time brochures which are often direct communique from the government.
QUESTION: This is a brochure about savings bond to help the war effort. Consider why this would be important for the time.
-
editorials,
Editorials come, unsurprisingly, from the editor of a major newspaper. The media has been a significant aspect of society since its inception. Reading editorials was a vital part of the society – especially during times of crisis. Read the following editorial, and – for this example – consider the tone of the writing, and the style.
The Price of Freedom is High
from September 23, 1944
Those who have lost sons or husbands in this war inevitably resent statements that the casualties are “only” a fraction of what some extravagantly pessimistic people predicted they would be. In the homes which have been darkened by the death of a soldier, or which have welcomed back the shattered remnants of vigorous youth, the burden of war’s tragedy is little lightened by assurance that it might have been worse.
Already there is a heavy toll of sacrifice. On almost any street you pick can be found a home already visited by bereavement. There will be many more before the final accounting. Nevertheless, there are grounds for hope that the awful price will not be as great as many believed. The June invasion of France cost the United States 69,526 casualties, including 11,026 killed, as against the” half million casualties” freely predicted in certain quarter at home. The soldier in England who said to a visitor, “I don’t mind going over there, but I don’t want to be counted out in advance,” is at least vindicated by the result.
There is no cause for overconfidence. Undoubtedly there will be other Tarawas and Saipans in the Pacific. But the overall results so far makes it plain that the business of landing in enemy countries, preparatory to rolling ahead in a 1944 adaptation of the 1940 blitzkrieg, was accomplished with less loss of human life than even the most hopeful prophets believed was possible. For that fact, which in no way lightens the sorrows of the victims of war’s grim lottery, we can all be grateful.
For Many There Will be No Rejoicing
QUESTION: How does this viewpoint echo the feelings of others in the war time effort? What do you notice about the formality, and the style?
-
news stories,
Finding news stories from the time are a wonderful source of knowledge. These can take some time to find, but often libraries have online catalogues to help collection of newspaper clippings that give more insight into events. Here is one from a 1944 newspaper about the release of reports about the killings at Osweiscim (Auschwitz).
QUESTION: What can news stories add to your knowledge about the subject? Looking through old articles about the content of your study will add to your contextual knowledge and so are important to research. Remember to be thoughtful about how you go about searching for these resources. Remember the CRAAP test!
Ko te reo te tuakiri | Language is my identity.
Ko te reo tōku ahurei | Language is my uniqueness.
Ko te reo te ora. | Language is life.