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North Sydney Girls 2021 English Trial Paper 1

english advanced (Loreto Kirribilli)

Studocu is not sponsored or endorsed by any college or university

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Student Number

TRIAL
HIGHER SCHOOL
CERTIFICATE
EXAMINATION

2021

English Advanced

Paper 1 — Texts and Human Experiences

General • Reading time – 10 minutes

Instructions • Working time – 1 hour and 30 minutes
• Write using black pen
• A Stimulus Booklet is provided with this paper
• Write your Student Number at the top of this page for
Section I
• Write your Student Number at the top of any writing
booklets used for Section II

Total marks: Section I – 20 marks (pages 3–8)

40 • Attempt Questions 1–5
• Allow about 45 minutes for this section

Section II – 20 marks (pages 9–12)

• Attempt Question 6
• Allow about 45 minutes for this section

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Section I

20 marks
Attempt Questions 1–5
Allow about 45 minutes for this section

Read the texts on pages 2–7 of the Stimulus Booklet carefully and then answer the questions in
the spaces provided. These spaces provide guidance for the expected length of response.

Your answers will be assessed on how well you:

• demonstrate understanding of human experiences in texts
• analyse, explain and assess the ways human experiences are represented in texts

Question 1 (3 marks)

Text 1 – Illustration

Analyse how the illustration represents an idea about childhood engagement with fiction 3
and narrative.

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Question 2 (3 marks)

Text 2 – Poem

Analyse how Carol Ann Duffy uses imagery in her poem to capture the human 3
experience of early education.

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Question 3 (4 marks)

Text 3 – Prose fiction extract

How does the protagonist of the prose fiction extract express her insights into adulthood? 4

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Question 4 (4 marks)

Text 4 – Personal essay extract

How does Kephart explore the significance of the concept of home as experienced by 4
children and adolescents?

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Question 5 (6 marks)

Text 1, Text 2, Text 3 and Text 4

Compare how TWO texts from the Stimulus Booklet represent the relationship between 6
literature and the human experience of growing up. In your response, you must analyse
the way in which language techniques are used in each text.

You may mention language techniques that you have already identified in previous
responses.

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Section II

20 marks
Attempt ONE question from Questions 6(a) – 6(n)
Allow about 45 minutes for this section

Answer the question in the Writing Booklet provided. Extra Writing Booklets are available.

Your answer will be assessed on how well you:

• demonstrate understanding of human experiences in texts
• analyse, explain and assess the ways human experiences are represented in texts
• organise, develop and express ideas using language appropriate to audience, purpose and
context

Question 6 (20 marks)

Prose Fiction

(a) Anthony Doerr, All the Light We Cannot See

To envision a better tomorrow is the singular purpose of imagination.

To what extent does this statement align with your understanding of Doerr’s exploration
of human experience in All the Light We Cannot See?

OR

(b) Amanda Lohrey, Vertigo

To understand the past is the singular purpose of memory.

To what extent does this statement align with your understanding of Lohrey’s exploration
of human experience in Veritgo?

OR

(c) George Orwell, Nineteen Eighty-Four

To overcome adversity is the singular purpose of resistance.

To what extent does this statement align with your understanding of Orwell’s exploration
of human experience in Nineteen Eighty-Four?

OR

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(d) Favel Parrett, Past the Shallows

To support our dreams is the singular purpose of family.

To what extent does this statement align with your understanding of Parrett’s exploration
of human experience in Past the Shallows?

OR

Poetry

(e) Rosemary Dobson, Rosemary Dobson Collected

To capture emotion is the singular purpose of language.

To what extent does this statement align with your understanding of Dobson’s
exploration of human experience in Rosemary Dobson Collected?

The prescribed poems are:

• Young Girl at a Window
• Over the Hill
• Summer’s End
• The Conversation
• Cock Crow
• Amy Caroline
• Canberra Morning

OR

(f) Kenneth Slessor, Selected Poems

To reframe experience is the singular purpose of creativity.

To what extent does this statement align with your understanding of Slessor’s exploration
of human experience in Selected Poems?

The prescribed poems are:

• Wild Grapes
• Gulliver
• Out of Time
• Vesper-Song of the Reverend Samuel Marsden
• William Street
• Beach Burial

OR

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Drama

(g) Jane Harrison, Rainbow’s End, from Vivienne Cleven et. A., Contemporary
Indigenous Plays

To achieve independence is the singular purpose of growth.

To what extent does this statement align with your understanding of Harrison’s
exploration of human experience in Rainbow’s End?

OR

(h) Arthur Miller, The Crucible

To achieve justice is the singular purpose of truth.

To what extent does this statement align with your understanding of Miller’s exploration
of human experience in The Crucible?

OR

Shakespearean Drama

(i) William Shakespeare, The Merchant of Venice

To challenge authority is the singular purpose of interrogation.

To what extent does this statement align with your understanding of Shakespeare’s
exploration of human experience in The Merchant of Venice?

OR

Nonfiction

(j) Tim Winton, The Boy Behind the Curtains

To understand place is the singular purpose of observation.

To what extent does this statement align with your understanding of Winton’s
exploration of human experience in The Boy Behind the Curtains?

The prescribed chapters are:

• Havoc: A Life in Accidents
• Betsy
• Twice on Sundays
• The Wait and the Flow
• In the Shadow of the Hospital
• The Demon Shark
• Barefoot in the Temple of Art

OR

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(k) Malala Yousafzai and Christina Lamb, I am Malala

To achieve equality is the singular purpose of rebellion.

To what extent does this statement align with your understanding of Yousafzai and
Lamb’s exploration of human experience in I am Malala?

OR

Film

(l) Stephen Daldry, Billy Elliot

To find freedom is the singular purpose of art.

To what extent does this statement align with your understanding of Daldry’s exploration
of human experience in Billy Elliot?

OR

Media

(m) Ivan O’Mahoney, Go Back to Where You Came From

To promote empathy is the singular purpose of experience.

To what extent does this statement align with your understanding of O’Mahoney’s
exploration of human experience in Go Back to Where You Came From?

The prescribed episodes are:

• Series 1: Episodes 1, 2 and 3
• The Response

OR

(n) Lucy Walker, Waste Land

To save the planet is the singular purpose of progress.

To what extent does this statement align with your understanding of Walker’s exploration
of human experience in Waste Land?

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TRIAL
HIGHER SCHOOL
CERTIFICATE
EXAMINATION

2021

English Advanced

Paper 1 — Texts and Human Experiences

Stimulus Booklet

Pages
Section I • Text 1 – Illustration ….………………………………… 2
• Text 2 – Poem …….……………………………………. 3
• Text 3 – Prose fiction extract ……...………...………. 4–5
• Text 4 – Personal essay extract ...……………………. 6–7

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Section I
Text 1 – Illustration

Illustration by RICARDO SIRI

for Rebecca Solnit’s letter from A Velocity of Being: Letters to a Young Reader,
edited by Maria Popova and Claudia Zoe Bedrick.

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Text 2 – Poem

In Mrs Tilscher’s Class

You could travel up the Blue Nile

with your finger, tracing the route
while Mrs Tilscher chanted the scenery.
Tana. Ethiopia. Khartoum. Aswân.
That for an hour, then a skittle of milk
and the chalky Pyramids rubbed into dust.
A window opened with a long pole.
The laugh of a bell swung by a running child.

This was better than home. Enthralling books.

The classroom glowed like a sweet shop.
Sugar paper. Coloured shapes. Brady and Hindley
faded, like the faint, uneasy smudge of a mistake.
Mrs Tilscher loved you. Some mornings, you found
she’d left a good gold star by your name.
The scent of a pencil slowly, carefully, shaved.
A xylophone’s nonsense heard from another form.

Over the Easter term, the inky tadpoles changed

from commas into exclamation marks. Three frogs
hopped in the playground, freed by a dunce,
followed by a line of kids, jumping and croaking
away from the lunch queue. A rough boy
told you how you were born. You kicked him, but stared
at your parents, appalled, when you got back home.

That feverish July, the air tasted of electricity.

A tangible alarm made you always untidy, hot,
fractious under the heavy, sexy sky. You asked her
how you were born and Mrs Tilscher smiled,
then turned away. Reports were handed out.
You ran through the gates, impatient to be grown,
as the sky split open into a thunderstorm.

CAROL ANN DUFFY

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Text 3 – Prose fiction extract

Miles Franklin’s acclaimed novel is written from the perspective of 16-year-old Sybylla
Melvyn who is raised in rural Australia at the end of the 19th century.

metaphor
As a tiny child I was filled with dreams of the great things I was to do when grown up.
simile My ambition was as boundless as the mighty bush in which I have always lived. As I
grew it dawned upon me that I was a girl--the makings of a woman! Only a girl--merely
this and nothing more. It came home to me as a great blow that it was only men who could
take the world by its ears and conquer their fate, while women, metaphorically speaking,
were forced to sit with tied hands and patiently suffer as the waves of fate tossed them
personification
hither and thither, battering and bruising without mercy. metaphor
alliteration + metaphor
Familiarity made me used to this yoke; I recovered from the disappointment of being a
girl, and was reconciled to that part of my fate. In fact, I found that being a girl was quite
pleasant until a hideous truth dawned upon me--I was ugly! That truth has embittered my
whole existence. It gives me days and nights of agony. It is a sensitive sore that will never
heal, a grim hobgoblin that nought can scare away. In conjunction with this brand of hell
I developed a reputation of cleverness. Worse and worse! Girls! girls! Those of you who
have hearts, and therefore a wish for happiness, homes, and husbands by and by, never
develop a reputation of being clever. It will put you out of the matrimonial running as
effectually as though it had been circulated that you had leprosy. So, if you feel that you
are afflicted with more than ordinary intelligence, and especially if you are plain with it,
irony hide your brains, cramp your mind, study to appear unintellectual--it is your only chance.
Provided a woman is beautiful allowance will be made for all her shortcomings. She can
be unchaste, vapid, untruthful, flippant, heartless, and even clever; so long as she is fair
to see men will stand by her, and as men, in this world, are "the dog on top", they are the
power to truckle to. A plain woman will have nothing forgiven her. Her fate is such that
the parents of uncomely female infants should be compelled to put them to death at their
birth. contrast

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Text 3 (continued)

The next unpleasant discovery I made in regard to myself was that I was woefully out of
my sphere. I studied the girls of my age around me, and compared myself with them. We
had been reared side by side. They had had equal advantages; some, indeed, had had
greater. We all moved in the one little, dull world, but they were not only in their world,
they were of it; I was not. Their daily tasks and their little pleasures provided sufficient
oil for the lamp of their existence--mine demanded more than Possum Gully could supply.
They were totally ignorant of the outside world. Patti, Melba, Irving, Terry, Kipling,
Caine, Corelli, and even the name of Gladstone, were only names to them. Whether they
were islands or racehorses they knew not and cared not. With me it was different. Where
I obtained my information, unless it was born in me, I do not know. We took none but the
local paper regularly, I saw few books, had the pleasure of conversing with an educated
person from the higher walks of life about once in a twelvemonth, yet I knew of every
celebrity in literature, art, music, and drama; their world was my world, and in fancy I
lived with them. My parents discouraged me in that species of foolishness. They had been
fond of literature and the higher arts, but now, having no use for them, had lost interest
therein.

I was discontented and restless, and longed unendurably to be out in the stream of life.
"Action! Action! Give me action!" was my cry.

MILES FRANKLIN
Extract from My Brilliant Career

End of Text 3

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Text 4 – Personal essay extract

visual imagery Childhood was rooms and doors, gaping lace in open windows, potted parsley in yellow
kitchens, splintered floorboards, buckled carpets, the bug-zapper sound that the basement
light made when your father pulled the string, and then that tube of violet light abuzz over
his box of tools. Childhood was place as much as it was people, geometry as much as
conversation, material as much as mood.

There’s the evidence of it in photographs. There are the neighborhoods to which we

return, then circle. And, sometimes, there are the houses themselves—still standing. If we
knock, and the door opens, we are rushed with a confusion of past and present. …
Installed in the moment. Awash with history.
contrast
We have been shaped by the houses and the land of our past. We remember, through
them, what we have gained and what we have lost, what we were offered and what we
were denied, what we have decided about transience, permanence, and most things in
between. As memoir writers we must ultimately wrestle with our beliefs about home. We
need to answer questions: Is home an act of creation? Is home where we know and are
known? Is home where we find ease? Is home where we tell the truth or keep our secrets?
Is home what we must finally leave?

What, in the end, is home? And how do we write it?

rhetorical question
Simply quantifying the architectural facts of our childhood houses—stone, brick, siding;
color of doors and arrangement of windows; tones and hues; furnishings; the arrangement
of mail slots or mailboxes; monthly rent or purchase price—will not, alone, advance our
plots. We must find within those facts our stories, our metaphors, our truths, our most
elemental memories. …

It’s one thing to take a measuring tape to a set of architectural blueprints and announce a
series of dimensions. It’s quite another to think and write of a house proportionately.
What was small and what was large, and in relationship to what, precisely?
intertextual reference
Think of the work Sandra Cisneros does in The House on Mango Street, a house that is,
personification + she tells us, “small and red with tight steps in front and windows so small you’d think
visual imagery they were holding their breath.” The language is simple. The effect is enormous. The
windows are holding their breath and so are we. We feel the impact of this claustrophobic
place on a girl with expansive dreams.

If we were to think of our childhood houses in terms of proportions—how the sizes of

things shaped our relationship to them and to ourselves—what would happen to our
stories? How might we understand, and write them, better? …

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Text 4 (continued)

Many of us look back on our childhood homes with our eyes. Photographs orient us, after
all. Those blueprints, if we have them.

But story lives equally within the province of sound—the way the roof whistled when the
wind blew, the inherent creak of the fifth stair, the front-door squeal, the hush-swirl of
the water draining from the tub. …

What echoed, literally, in our childhood homes? What echoes now, as we write our way
back to the children we were, eyes closed in the dark, listening? How might the echoes
become metaphors, or meaning? …

Our childhood houses offered, at their most basic, shelter. But they also served as round-
the-clock stage sets, as a kind of theatre in which we were both actor and audience. …

This might be our ambition, then: to write the physical places that shaped us with such
evocative specificity that those who read our pages will feel not just the wind blowing
through but the lives themselves—the gathering, the yearning, the inevitably inadequate
but elementally human attempts at shaping and keeping.

Our childhood houses were where we learned proportion and relationship, colour and
shine, function and dysfunction, echo. Our childhood houses were our theatres in the
round. Our privilege, and our challenge, is to write them, to convert the house into a home.

BETH KEPHART
“House as Home: Writing the Places That Raised Us”

End of Text 4

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