2019 hsc ADV ENG paper 1 practice 1 EXAM FOR PRACTICE PAPER 1 - WITH NESA MARKING CRITERIA PDF

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EXAM PAPER- PAPER 1 HUMAN EXPERIENCE- THERE ARE THE EXTRACTS AND PASSAGES WITH QUESTIONS AND THE ESSAY QUESTION...

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HIGHER SCHOOL CERTIFICATE EXAMINATION

English Advanced Paper 1 — Texts and Human Experiences PRACTICE PAPER 1

General Instructions

Total marks: 40

• • • •

Reading time – 10 minutes Working time – 1 hour and 30 minutes Write using black pen A Stimulus Booklet is provided with this paper

Section I – 20 marks • Attempt Questions 1– • Allow about 45 minutes for this section Section II – 20 marks • Attempt Question? • Allow about 45

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

minutes

for

this

section

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

Examine Texts 1, 2, 3, 4 and 5 in the Stimulus Booklet carefully and then answer the questions below. Question 1 (4 marks) English Advanced only Use Text 1 to answer this question. How is a sense of shared experience created in the image?

Question 2 (6 marks) English Standard and English Advanced Use Text 2 and 3 to answer this question Explore how the uniqueness of human experience is created in both texts. Question 3 (3 marks) English Standard and English Advanced Use Text 4 to answer this question. Explain how structure and form are used to inform readers about human experiences.

Question 4 (7 marks) English Advanced only Explain how Text 5 explores two values associated with human experiences. –3–

Section II 20 marks Attempt Question Allow about 45 minutes for this section

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 1 (20 marks) “Any text defines who we are and why we are here on earth”. Explore this statement with close reference to your prescribed text. The prescribed texts are listed in the Stimulus Booklet. End of Paper –4–

English Advanced Paper 1 — Texts and Human Experiences Stimulus Booklet for Section I and

List of prescribed texts for Section II Section I

• Text 1

–

Image

• Text 2

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Poem

• Text 3

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Story

• Text 4

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Facts List

• Text 5

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Feature Article with Distorted Narrative

Section II

• List of prescribed texts

Section I Text 1: IMAGE

Text 2: Poem

How Do They Do That? Some people jump out of bed Happily starting their day At first light of dawn. How do they do that? Some people can step into A room full of strangers And step out of it With a new friend How do they do that? Some people After a disappointment Are able to detach Let it go and move on. How do they do that? I have a friend Whose cell phone rang Once too often. He threw it in the sea, Paid his last bill, And never renewed. How did he do that? –2–

Some people Can hear disagreements Or stupid responses And stay calm and happy Instead of getting angry. How do they do that? I know someone Who said, "I didn't do any work yesterday. "I should do some tomorrow." He didn't measure up To his own expectations, But he still felt good About himself. How did he do that? Some people have jobs That they just cannot stand. Every day they go back And put out good work. How do they do that? Some people have careers That are not obsessions. They work and they stop. I work till I drop. How do they do that? Early Risers Socializers Sensible Detachers The "Don't look back"-ers The Centered The Self Assured The Steadfast And the Satisfied How do they do that? Mysteries all To me. 24 July 2001 by Bill Cattey

–3–

Text 3

A Story of Discovery

in which Camilla discovers her talent for pies and has a Great Idea Camilla didn't like school. And school didn't like poor Camilla. So they said “goodbye” to each other as soon as possible. But she did love kitchens. And everybody loved the things that Camilla made in kitchens. So after a little bit of thinking she decided that, instead of being a trapeze artist, a bank clerk or a prison warden, she would try to make people happy with her creative cooking talents.

It takes time to perfect such special skills. And it takes lots of mixing and chopping and baking and rolling and inventing and shopping and trying and failing to become really, really good. But Camilla became that good. In fact, she became so good that one-day she helped her friends open a café. A Very-Nice-One. People loved their café so much (and the food she invented for it) that they opened lots more. After that so many people loved eating Camilla's café food that a Great-Big-Coffee-Company came along and ate up all their little cafes. But they knew Camilla's irresistible recipes were the Secret-Of-Success so they made her ChiefOf-Food for their cafes all over the land! Camilla's food became quite famous. And even all her old school teachers loved it. She would scour the country for new ideas for all those cafes. But as Camilla searched and searched she soon realised that nobody could make a pie quite like her own. “Hmmmmmm”, she thought. Why is no-one making Really-Great-Pies? It was then that she had a Great Idea! The rest as they say is Higgidy...

–4–

Text 4 Facts List Amazing Facts 1. Discovery was the first ship built specifically for scientific research into Antarctica 2. There was one death on Discovery’s maiden voyage – that of a young Charles Bonner who fell from the main mast and hurtled headfirst to his death, his skull crushed on the iron deckhouse. 3. Scott’s fascination with Antarctica led to his death in 1912, on his return from the South Pole on his second polar expedition. 4. The farmers of New Zealand gifted Discovery a flock of 45 sheep for their journey so they could eat fresh meat. These sheep were slaughtered on arrival in the Antarctic and hung from the rigging to freeze. 5. Almost every man on smoked so on the maiden voyage 1,000 lbs of tobacco were taken on board Discovery. 8. The first Emperor Penguin egg was obtained on the 1901 trip to Antarctica. 7. As Discovery had no portholes, brass mushroom vents to provide light and air, were let into the deck and they were nicknamed ‘ankle bashers’ for obvious and painful reasons.

Text 5 — Feature Article with Distorted Narrative 'My Beautiful Broken Brain' My Beautiful Broken Brain chronicles Lotje Sodderland's extraordinary rediscovery of self and 'being' after a catastrophic stroke at age 34. Master the art of creative writing with renowned author James Patterson! When film-maker Lotje Sodderland suffered a severe and unexpected stroke, she lost the ability to speak, read, write or think coherently. Could she learn to live – and love – with a broken brain? I woke to the sound of nurses by my bed, discussing their Christmas plans. I thought I was talking to them, but they didn’t reply. I was aware of an existence, a me within my body. Had I disappeared? My brother and mother loomed down at me, and a funereal line of friends came to the ward. They looked at me with sad eyes; I wished I could say something to assuage their sadness. There is no silence more resounding than that of a cognitive communication malfunction. READ THE FULL ARTICLE We’d heard of places in Europe and Asia where curious explorers could discover secret clues, find hidden objects and race against the clock to find their way through secret doorways, but it seemed more like a video game than real life.The door is locked. The room is dark. The clock is ticking. We’re not sure what will happen if we don’t get out in time, and we sure as hell don’t want to find out. If you told us eight months ago that escaping from rooms by solving puzzles would become the biggest craze since paintball in the ’90s, then we would’ve told you to go back to whatever bizarre virtual reality world you came from. But here we are. Escape rooms have –5–

made their way from parts of Europe and Asia, and they each revolve around a different theme – and all manner of phobias. Time Out took the challenge of visiting six rooms all over the city. Whether we got out in time is a different matter.

The room is pitch black and eerie cello-driven music rises from an unknown source. Torchlight captures glimpses of our surroundings: a dusty book; a feather-filled birdcage; a locked trunk. The clues are nowhere, and everywhere. Nothing looks out of place, but hidden within objects and paintings are clues that lead us deeper into the mystery. Like children we’re soon completely lost in the story, pacing excitedly, talking in whispers, barely aware of the time that is slipping away. The puzzles are intricate and challenging, but there’s nothing that can’t be solved with persistence and logical thinking (plus one or two prompts over the walkietalkie). The experience doesn’t rely on shock tactics or complex mathematics: at its core, Escape Room is grounded in a deep curiosity about human behaviour. A crinkled letter sits on an antique table. It’s a message from our uncle, who has left us a series of clues that we’ll need to solve in order to return to reality. When we finally do escape, we emerge grasping each other by the arm and squinting into the sunlight. Owen congratulates us and receives our stunned faces with a knowing look. He’s seen this reaction before, and he’s about to see it a lot more.

–6–

Section II The prescribed texts for Section II are: Prose Fiction Anthony Doerr, All the Light We Cannot See Amanda Lohrey, Vertigo George Orwell, Nineteen Eighty-Four Favel Parrett, Past the Shallows Poetry Rosemary Dobson, 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 Kenneth Slessor, Selected Poems The prescribed poems are: Wild Grapes Gulliver Out of Time Vesper-Song of the Reverend Samuel Marsden William Street Beach Burial Drama Jane Harrison, Rainbow’s End, from Vivienne Cleven et al., Contemporary Indigenous Plays Arthur Miller, The Crucible Shakespearean Drama

William Shakespeare, The Merchant of Venice

Nonfiction Tim Winton, The Boy Behind the Curtain * 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 Malala Yousafzai and Christina Lamb, I am Malala Film

–7–

Stephen Daldry, Billy Elliot Media Ivan O’Mahoney Go Back to Where You Came From – Series 1: Episodes 1, 2 and 3 and The Response Lucy Walker, Waste Land

End of Section II

–8–

English Advanced — Paper 1 Marking Guidelines Section I Example A: English Advanced only Criteria

Marks

• Compares skilfully how each text creates a sense of shared human experience

4

• Compares how each text creates a sense of shared human experience

3

• Describes a sense of shared human experience that is created in the texts

2

• Provides some relevant information about the text(s) and/or human experience

1

B English Standard and English Advanced Criteria

Marks

• Compares skilfully how the two texts explore the paradoxes in the human experience using detailed, well-chosen supporting evidence

6

• Compares how the two texts explore the paradoxes in the human experience using appropriate supporting evidence

4–5

• Describes how the texts explore the human experience with minimal supporting evidence

2–3

• Provides some relevant information about the text(s) and/or human experience

1

C English Standard and English Advanced

–1–

Criteria

Marks

• Explains skilfully how different aspects of family experience are represented in the text, including well-chosen supporting evidence from the text

7

• Explains effectively how different aspects of family experience are represented in the text, including supporting evidence from the text

5–6

• Explains how different aspects of family experience are represented in the text, including some supporting evidence from the text

3–4

• Demonstrates limited understanding of how family experience is represented in the text

1–2

D Advanced only Criteria • Explains skilfully the significance of remembering and memories in the individual human experience, including well-chosen supporting evidence from the text

Marks

7

• Demonstrates a developed control of language • Explains effectively the significance of remembering and memories in the individual human experience, including supporting evidence from the text

5–6

• Demonstrates a sound control of language • Explains the significance of remembering and memories in the individual human experience, including some supporting evidence from the text

3–4

• Demonstrates variable control of language • Demonstrates limited understanding of the significance of remembering and/or memory in the text

–2–

1–2

Section II

Criteria • Expresses deep understanding of complex ideas about human experiences represented in texts • Presents a skilful response with detailed analysis of well-chosen textual references from the prescribed text

Marks

17–20

• Writes a coherent and sustained response using language appropriate to audience, purpose and context • Expresses thoughtful understanding of ideas about human experiences represented in texts • Presents an effective response with analysis of well-chosen textual references from the prescribed text

13–16

• Writes an organised response using language appropriate to audience, purpose and context • Expresses some understanding of ideas about human experiences represented in texts • Presents a response with some analysis of textual references from the prescribed text

9–12

• Writes an adequate response using language appropriate to audience, purpose and context • Expresses limited understanding of ideas about human experiences represented in texts • Describes aspects of the text

5–8

• Attempts to compose a response with limited language appropriateness to audience, purpose and context • Refers to text in an elementary way

1–4

• Attempts to compose a response

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