Go ahead and tilt your mobile the right way (portrait). The kool kids don't use landscape...
Imagine a friend tells you eerie accounts of her witnessing a ghostly presence in her home. You scoff and condescendingly humour her. But as her stories begin to manifest itself in her gaunt appearance, you alarmingly notice how she truly believes in the apparitions she recounts. You begin to doubt her sanity, you begin to doubt the certainty with which you dismissed her supernatural visions and now, you begin to doubt yourself. THE SUSPENSE BUILDS.
But let’s say this friend filmed the ghostly apparitions and showed them to you. Sure – the evidence of this ghost is frighteningly scary. But the suspense that was built in the doubt, uncertainty and ambiguity of your friend’s tale is now lost. The ghosts caught in film acts as another eyewitness and another medium to validate your friend’s narrative. Your friend is no longer the only person who sees these ghosts, shattering all doubt within you of the ghost’s existence. THE SUSPENSE – is gone.
Notice how the form and genre of the spoken word in the first example was meaningful in its the effect on the reader? But when the form changed to a film, the meaningful suspense and ambiguity that was unique and crucial in the original text, changed, and was no longer as pronounced. Yes – the film itself may be terrifying. But the very doubt and suspense around not knowing if your friend was a lunatic for seeing ghosts or if she was telling the truth all contributes to the meaning derived from the form of the ‘text’ in an unreliable first person narrative. This is the crux of adaptations and transformations, and what you need to identify and analyse – how the meaning is changed/altered when the form of the text is changed.
Here are 7 lucky tips for how to tackle the SAC:
Identify the unique conventions in the construction of the original text – characterisation, genre, tone, style, structure, point of view/narration (or any devices employed in constructing the text e.g. cinematic devices in a film such as camera angles, framing, lighting, costumes, interior/exterior settings, sound)
Now do step 1 with the adapted/transformed text
How do the two text forms differ? How are they the same? However, be sure you do not simply compare and contrast. The most crucial step is what meaning can be derived from the similarities and differences? How does the meaning change?
Note additions and omissions (and even silences) – do they change how readers/viewers perceive the narrative and alter your opinions and perceptions of the text?
Historical context and setting – what significance does the context have on the narrative? Has the adaptation/transformation been re-contextualised? Does that alter the meaning of the original text?
How does the change in form impact you as the reader/viewer? Analyse your own reactions and feelings towards each text form. Do you sympathise with a character more in the original text? How are we positioned to feel this way? Why do you lack the same level of sympathy for the adapted/transformed text?
Incorporate pertinent quotations from both forms of text to substantiate and support your ideas and key points.
Final questions to ponder
Most importantly is to share your original interpretation of what meaning and significance you can extract from the text, and how you believe it changes once the form alters.
What makes the text in its original form interesting or unique?
Is that quality captured in its adaptation/transformation?
As always with Literature, this task is designed for you to critically analyse and actively engage with the text, understanding its nuances inside and out in order to decipher its meaning. Be individual in comparing and contrasting the two texts – avoid the obvious similarities/differences everyone in your class will also notice. It is the insightful analysis of the subtleties of how meaning is altered that will help you stand out!
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With the Literary Perspectives essay can come mild confusion regarding its structure, extent (as well as form) of analysis and differentiability from your standard English text response - which is why I’m here to tell you that this confusion, while inevitable, is easily overcome! A text like Cat on a Hot Tin Roof is rife with complexities in both its narrative features and literary devices, all prime for discussion in your own essay.
Consider the following prompt: “Discuss the proposition that ‘Cat on a Hot Tin Roof’ is a condemnation of 1950’s American society.”
Don’t let this prompt’s simple exterior fool you. What it leaves room for - and what the assessor will ultimately be looking for - is the development of your own complex ideas. It is this metamorphosis from the simple to complex that, when evident in your own writing, allows your essay to truly shine. This is obviously applicable to English as well, but where a clear fork in the road lies is in the act of grouping those complex ideas under the umbrella of a specific critical lens (or multiple!).
For instance, this specific prompt is great in how a diverse range of literary perspectives can be applied to it due to its main subject being 1950s American society. These can include: feminist, psychoanalytical, queer, New Historicist, Marxist, and I’m sure many others!
When faced with a number of critical lenses you can choose from, it’s important to keep in mind the fact that focusing your essay on mainly two or three lenses will ensure it’s more streamlined and therefore easier to both write and read. I know incorporating more lenses as a means of adding variety within your essay is quite tempting, but this is sure to both hinder the depth of your analysis/discussion - which is where marks are ultimately rewarded - and run the risk of disrupting any form of cohesion in your writing. The lenses you choose will ultimately be dependent on the extent of their applicability to the prompt and how comfortable you are with using them (i.e don’t use a Marxist lens if you don’t know how to extensively discuss social classes). The combination of lenses you choose, coupled with your own interpretation, help to inform the development of your unique perspective of the text.
For this prompt, I personally chose to focus on using the critical lenses of New Historicism, psychoanalysis and queer theory. From here, I’m able to ask myself questions catered to each perspective such as “What specific cultural values are examined in COAHTR and how does Williams present them?” and, relating this to the prompt at hand by also asking: “Is this presentation condemnatory?”. The lenses you choose should be interlinked with your arguments and thus your analyses, enabling you to show the assessor you understand that this isn’t an English text response!
Introduction
A frequently asked question regarding the intro of a literary perspectives essay is whether or not to state the critical lens/es you are using. The answer to this is that it’s ultimately up to you! Some important points to consider however are:
Am I able to include this statement without it sounding janky and disruptive of flow?
If I were not to include it, am I able to make it clear enough to the assessor from the get-go what perspective/s I am using?
Outside of that, a literary perspectives intro is pretty similar to that of any other essay. One thing to remember however, especially with COAHTR, is to briefly explain certain significant concepts you choose to mention. A good example of this is the American Dream - demonstrating that you understand what it is at its core via a brief explanation in your intro is going to leave a far better impression on the assessor than not elaborating on it at all.
See mine below:
“Defined by its moral incongruity against socially upheld conservative values, Tennessee Williams’ play Cat on a Hot Tin Roof illuminates the debilitative effects of subscription to a belief system entrenched in immorality. By highlighting the ways in which values such as heteronormativity and the American Dream — deemed synonymous with “equal opportunity” — serve only as obstructions to genuine human connection, Williams underpins both his condemnation of such mores and, therefore, the eminent human struggle to attain true happiness."
As you can see, I personally chose not to explicitly state what critical lenses I was using in my essay. However, I did make sure to include certain words and phrases commonly associated with the critical lenses they represent.
For example:
New Historicism: “socially upheld conservative values”, “belief system”, “values such as heteronormativity and the American Dream”
Psychoanalytical: “moral incongruity”, “human connection/struggle to attain true happiness”
Queer theory: “heteronormativity”
This allows me to inform the assessor of what lenses I'm using in spite of an absent explicit statement. It’s also far more efficient in this case than having to use the janky phrase “Under the critical lenses of New Historicism, psychoanalysis and queer theory…”.
Body paragraphs:
As I'm sure you already know by now, Literature grants you a lot more freedom than English in terms of structure - and this is especially applicable to the body of your essay! It's important however to find a balance between what structure you’re most comfortable writing with and what’s going to impress the assessor (as opposed to abusing this freedom and floundering about with zero cohesion).
What I personally tend to be comfortable doing is loosely following a TEEL structure, while spicing it up a little by switching around the order here and there. This is especially evident in my first body paragraph below for the aforementioned prompt, in which I begin with some passage analysis rather than your typical topic sentence:
“Positioning the audience within an American plantation home’s “bed-sitting-room”, Williams immediately envelops the play’s moral foreground in domesticity and the conservative mores of 1950s American society that serve to define such an atmosphere. It being the bedroom of heterosexual couple Brick and Maggie evinces the nature of their exchanges as demonstrative of the morally debilitating effects of the values upheld by the society in which they live — illuminating Williams’ intention to present social mores as obstructive of genuine human connection. Such an intention is foregrounded by the disparity that exists between the external and internal; that is, the socially upheld status of Brick and Maggie’s heterosexual relationship — exempt from subjection to social “disgust” — and the “mendacious” reality of their marriage in its failure to provide either individual with the same sense of primordial wholeness Brick finds in his “clean”, “pure” and “true” homosocial relationship with Skipper. From the outset of the play, heteronormative values are debased as Williams subverts the domestically epitomised dynamic between husband and wife into an embodiment of the inhumane. Maggie is likened to a “priest delivering a liturgical chant”, her lines interspersed with “wordless singing” — alluding to her overly performative nature that compromises the genuineness of human connection. Brick’s visual absence during the play’s opening and his “masked indifference”, too, further undermine the social perception of heterosexuality as the pinnacle of love as it is this reticence that exemplifies the absence of happiness found in their marriage. This sense of disconnection, wherein “living with someone you love can be lonelier — than living entirely alone”, forces Maggie to navigate their relationship through the reductive mode of a “game” wherein it is only by detecting “a sign of nerves in a player on the defensive” that she can attempt to derive genuine emotion from her husband. To reduce human connection to a set of manoeuvrable tactics punctuated only by “the click of mallets” is an act portrayed by Williams as propagative of immorality, vehemently contrasting the reconciliation of the divided self afforded to Brick by the “one, great true thing” in his life: friendship with Skipper. By making the audience privy to the inhumanity lying at the helm of 1950s American social mores, Williams thus presents his scathing critique of such a system, reflecting its capacity for obstructing human connection and therefore the futility of conforming to its standards.”
A key feature of this paragraph is the nature of my analysis - it is, essentially, very similar to what you’d find in a passage analysis essay. It’s important to note that the skills you’ve learnt for the latter can be easily implemented in a literary perspectives essay and is often what allows it to truly stand out! It also forces you to frequently reference the text with quotes in the same way you would in a passage analysis essay, which is glorious in any assessor’s eyes.
With “zooming in” on certain passages in the text (think analysing literary devices, setting, syntax, etc.) however must also follow “zooming out” and evaluating their overall meaning, especially in relation to their significance to the prompt.
A concise example of “zooming in and out” from the previous paragraph can be seen below:
“Maggie is likened to a “priest delivering a liturgical chant”, her lines interspersed with “wordless singing” — alluding to her overly performative nature that compromises the genuineness of human connection.”
Below is another example from a different body paragraph for the same essay:
“Hateful figures transformed into animalistic grotesques, the children of Mae and Gooper are depicted as “no-neck monsters” with “dawg’s names”, with the “fat old body” of Big Mama herself alternating in appearance from “an old bulldog” to a “charging rhino”. Here the moral degradation of a society so heavily reliant on the atomisation of its individuals is made most conspicuous, with Big Daddy’s semblance to a large animal who “pants and wheezes and sniffs” serving as a further testament to such a notion.”
Conclusion:
This is yet another portion of your essay granted freedom by the nature of VCE Literature, so whether or not you choose to intertwine it with your last body paragraph or separate it completely is entirely up to you. What you choose to emphasise in your conclusion is also very similar to that of any other essay as the main focus is to hammer home your interpretation of the text in relation to the prompt!
See my example below:
“Williams, by presenting 1950’s American society as both propagative of atomisation and obstructive of innate morality, ultimately highlights the futility that lies in assimilating to such a belief system as a means of attaining true happiness. The pressure to subscribe to morally reductive values wherein any remnants of the innate are wholly ignored only further shrouds the possibility of happiness at all, and it is here where Williams’ portrayal of the human struggle to attain this ideal is made most conspicuous.”
This is your ultimate guide to everything you need to know to get started with VCE Literature. We will be covering all the sections within Units 3 and 4, and have included resources that will help improve your skills and make you stand out from the rest of your cohort!
'The study of VCE Literature fosters students’ enjoyment and appreciation of the artistic and aesthetic merits of stories and storytelling, and enables students to participate more fully in the cultural conversations that take place around them. By reading and exploring a diverse range of established and emerging literary works, students become increasingly empowered to discuss texts. As both readers and writers, students extend their creativity and high-order thinking to express and develop their critical and creative voices.'
'Throughout this study, students deepen their awareness of the historical, social and cultural influences that shape texts and their understanding of themselves as readers. Students expand their frameworks for exploring literature by considering literary forms and features, engaging with language, and refining their insight into authorial choices. Students immerse themselves in challenging fiction and non-fiction texts, discovering and experimenting with a variety of interpretations in order to develop their own responses.'
...but don't worry if the above is vague, we'll take you through exactly what you need to know for Year 12 Literature! Let's get into it!
Unit 3
In Unit 3, students consider how meaning is created through form, and how different interpretations may be developed out of a singular text. First, students understand how writers adapt and transform texts, and how their interpretation of the text impacts this transformation into a different form. Secondly, students use another text to develop their own interpretations of a text with regard to its context, and views and values. Unit 3 School-Assessed Coursework is worth 25 per cent of your total study score!
AoS 1: Adaptations and Transformations
This task is designed for you to critically analyse and actively engage with the text, understanding its nuances inside and out in order to decipher its meaning. Be individual in comparing and contrasting the two texts – avoid the obvious similarities/differences everyone in your class will also notice. It is the insightful analysis of the subtleties of how meaning is altered that will help you stand out!
Here are some important aspects to consider and questions to ask yourself while tackling this SAC:
Identify the unique conventions in the construction of the original text
Now do Step 1 with the adapted/transformed text
How do the two text forms differ? How are they the same? The most crucial step is what meaning can be derived from the similarities and differences? How does the meaning change?
Note additions and omissions (and even silences)
Historical context and setting
How does the change in form impact you as the reader/viewer?
Incorporate pertinent quotations from both forms of text to substantiate and support your ideas and key points.
Most importantly, share your original interpretation of what meaning and significance you can extract from the text, and how you believe it changes once the form alters.
Also ask yourself these questions:
What makes the text in its original form interesting or unique?
Is that quality captured in its adaptation/transformation?
Developing interpretations is an AoS that focuses on investigating the meaning and messages in texts, as evidenced by the text itself, it’s author and their context. As per the study design:
'Students first develop their own interpretations of a set text, analysing how ideas, views and values are presented in a text, and the ways these are endorsed, challenged and/or marginalised through literary forms, features and language. These student interpretations should consider the historical, social and cultural context in which a text is written and set. Students also consider their own views and values as readers.'
Following this, you investigate a supplementary reading which will offer another interpretation of the text, which may enrich or challenge your interpretation by agreeing or disagreeing with your interpretation. Using this supplementary reading, you reconsider your initial interpretation and apply your new understanding of the text to key moments.
The SAC for Developing Interpretations is a little bit weird. It’s worth 50% of unit 3 (or 25% of your total study score), but is split into two parts:
Part A: An initial interpretation of the text’s views and values within its historical, social and cultural context.
Part B: A written response that compares/interweaves and analyses an initial interpretation with a subsequent interpretation, using a key moment from the text.
Your teacher might do the two parts together, or separately. In any case, Part B will include the use of a passage from the set text that you must engage with. How does the passage help you to interpret the text, and how does that interpretation agree or disagree with the interpretation presented in the supplementary reading?
The most difficult part of the SAC for this AoS is balancing your interpretation, the textual evidence, and the alternative interpretation of the supplementary reading. It is vital that if you are doing Literature this year, that you know your 3.2 text like the back of your hand, and that you practice writing loads and loads. It is also worth trying to make your interpretation incredibly specific, so that you can go in-depth into one idea, rather than simply skimming over 3 or 4 big ideas.
The most important part of this task is that you must have a highly convincing connection between the original text and your creative response.
There must be a tangible relationship present, through an in-depth understanding of the original text’s features. These features include characterisation (what motivates these characters), setting, context, narrative structure, tone and writing/film style.
You can establish this relationship by:
Adopting or resisting the same genre as the original text
Adopting or resisting the author’s writing/language style
Adopting or resisting the text’s point of view
Adopting or resisting the original setting, narrative structure or tone
Writing through a peripheral character’s perspective
Developing a prologue, epilogue or another chapter/scene
Rewriting a key event/scene from another character’s point of view: Does this highlight how important narrative perspective is?
The VCAA Literature Study Design also determines that students must submit a ‘close analysis of a key passage’. This aspect of the assessment counts for 20 of the 60 marks available for the Create Response outcome. The study design elaborates that students must produce:
‘A close analysis of a key passage from the original text, which includes reflections on connections between the creative response and the original text.’
In short, VCAA wants you to not only analyse the original text and use it as the basis for your Creative Response, they want you to be able to closely analyse a section of the original text, and link it to and reflect upon your creative response. This is different from previous years and the same task in English, the Reflective Commentary. You must use the skills of close analysis in this task. To include these things, look to the key knowledge and skills outlined in the study design.
Key Knowledge:
Understanding of the point of view, context and form of the original text
The ways the literary form, features and language convey the ideas of the original text
Techniques used to create, recreate or adapt a text and how they represent particular views and values
Key Skills:
Discuss elements of construction, context, point of view and form particular to the text, and apply understanding of these in a creative response
Analyse closely the literary form, features and language of a text
Reflect on how language choices and literary features from the original text are used in their adaptation
As you write, ensure you are discussing how the author uses point of view, context, form, elements of construction and stylistic features in their text. It is imperative that you describe how you have similarly used such device in your creative response. Ensure that you also discuss how you are involving the ideas and themes of the text in your creative piece, and how you are discussing them further, or exploring them in greater depth. Obviously only talk about those that are relevant to your creative response!
'In this area of study students focus on a detailed scrutiny of the language, style, concerns and construction of texts. Students attend closely to textual details to examine the ways specific passages in a text contribute to their overall understanding of the whole text. Students consider literary forms, features and language, and the views and values of the text. They write expressively to develop a close analysis, using detailed references to the text.'
In plain words, your teacher (and eventually examiner in the end of year exam) will give you 3 passages from your text. You'll be asked to read each of these passages, identify key ideas or themes present in each of the passages, and write an essay in response.
Writing the Introduction
Introductions are an excellent way to showcase your ability to provide an insight into your personal “reading” of the text, interpret the passages and allow you an avenue through which to begin your discussion of the material.
When constructing introductions, it is important to note that the VCAA Literature Exam Criteria is as follows:
Understanding of the text demonstrated in a relevant and plausible interpretation
Ability to write expressively and coherently to present an interpretation
Understanding of how views and values may be suggested in the text
Analysis of how key passages and/or moments in the text contribute to an interpretation
Analysis of the features of a text and how they contribute to an interpretation
Analysis and close reading of textual details to support a coherent and detailed interpretation of the text
Considering these points, your introduction should feature these 2 elements: your personal reading of the text and your interpretation of the passages.
In terms of structure, try to begin with a sentence or two explaining your personal reading of the text. The key to doing so in a manner befitting Close Analysis however, is to utilise quotes from the passages to supplement your assertion.
Literature is probably one of your hardest VCE subjects. If it’s not, then go you! (please tell me your secrets).
However, if you’re anything like me, then you probably look a bit like this when you begin considering the overall meaning of a text, the author’s views and values, and how any three passages in the text create the meaning.
When I became awash with confusion, like our old pal Ryan Renolds, the first thing I did (after eating a whole block of chocolate), was ensure I understood the context of the text. Without a clear understanding of the context of your text, you cannot fully comprehend the views and values of the author, nor the overall meaning of a text (it’s also part of the criteria for literary perspectives)!
So if you want to be feeling like this after you write a piece for literature:
Consider the following:
AUTHOR’S CONTEXT VS. READER’S CONTEXT
Austen was hunched over her small writing desk in the village of Chawton during England’s Georgian era as she wrote Persuasion. You are more likely reading it in a cozy bed, listening to Taylor Swift and half considering what you’re going to watch on Netflix later. Remember, your current social and cultural context can have a great influence on how you read a text, so it’s always important to imagine the author’s own context – whether this be very similar, or very different from the context of their text. It’s as easy as a Google search!
The social context of a text is the way in which the features of the society it is set in impact on its meaning. There are two aspects to social context: the kind of society in which the characters live, and the one in which the author’s text was produced.
Charlotte Brontë’s Jane Eyre was set in the same social context she herself lived in. It was one in which women were seen as the lesser sex, there was a great divide between the wealthy and lower class, and strict class boundaries were enforced. All of these societal features are key in determining Brontë’s views on the importance of social inclusion, and her championing of the strength of women. Or just listen to Phoebe:
HISTORICAL CONTEXTS
The historical context of a text is entangled with its social context, as underlying norms and convention are historically specific. The historical context is important to note especially when large changes have occurred between the time the work was produced, and our current day, so it is not assessed by our own concerns alone.
Aeschylus’ Agamemnon was first performed in 458BC, in Ancient Greece, a time vastly different from our own. Therefore, it is important to be aware of how the play was delivered, at the festival of Dionysus as part of a trilogy. Also have an understanding of the myths surrounding the Trojan War as well as those surrounding Agamemnon, Cassandra and Clytemnestra.
CULTURAL CONTEXTS
Culture refers to a particular ‘way of life’, involving religion, race and nationality, as well as things like food, dress code and manners. Furthermore, culture can relate to art, music, writing and literature itself. Cultural context, which is similarly linked with social, historical and ideological context, is especially important to note if the author is attempting to make a comment on an aspect of culture, or the clash of two cultures.
Cross cultural contact between an Indigenous tribe in Western Australia, and the British colonizers of this land, is explored by Kim Scott in his novel That Deadman Dance. He reveals aspects of culture largely unknown to current members of Australian society, as well as explores whether assimilation can be seen as a harmonious sign of friendship, or an intrusive loss of culture. The evolution, damage and protection of culture is an important context in this novel, and has a large bearing on the overall meaning of the text, as well as Scott’s views and values.
IDEOLOGICAL CONTEXTS
Ideology refers to the systems of beliefs and ideas that underpin our attitudes and behavior. Such ideology may be valued by society as a whole, or be the basis of conflict. Ideology is a context that is in many ways ‘invisible’. This is because our own is largely internalized and normalized, we act accordingly to our assumptions and social norms.
Many texts explore ideological context, either challenging or championing it. In his play Who’s Afraid of Virginia Woolf? Edward Albee challenged perceptions at the time of the family unit, portraying a couple that symbolizes the immense dissatisfaction caused by idealistic portrayals of marriage, and the fallacies of the American Dream. He illuminates how George and Martha escape from meaningless by creating fantasies and illusions, but how these eventually lead to the breakdown of their mental health.
So next time you’re struggling to get started on a literature piece, remember to think deeply about the different aspects of your text’s context!
If you’ve been studying John Donne’s metaphysical poetry, you’ve probably noticed that his works are riddled with different symbols and motifs. Embedded throughout his poetry, these literary devices may seem slightly abstruse to the reader. You may find yourself asking: What do they mean? And in relation to what? Even Donne’s contemporaries failed to appreciate his poetry. The neoclassical poet John Dryden rejected Donne’s works because it “affects the metaphysics” and “perplexes the minds of the fair sex with nice speculations of philosophy, when he should engage their hearts, and entertain them with the softnesses of love”.
One thing that you should understand about Donne’s romantic poetry, is that while his stark images of compasses and spheres may seem foreign to you, they were also alien to his predecessors too. So, if you’re struggling to comprehend his enigmatic poetry, not to fear! Because John Donne’s poetic peers didn’t initially get it either.
The reason for this is because Donne refused to conform to the poetic conventions of the time. The poet emerged as an idiosyncratic in the Elizabethan era, the Renaissance. Unlike his contemporaries, he didn’t employ elaborate descriptions of symbol natural landscapes, classical myths and female beauty. The reason for this was because Donne did not believe in the one-sided love and emotional frustrations that his contemporaries tried so hard to convey in such imagery.
Donne’s poetry was so different because he rejected and even openly mocked the idea of such a high-minded religious worship in literary romance. In “A Valediction Forbidding Mourning,” Donne criticises the “tear-floods” and “sigh-tempests” of the “dull sublunary lovers.”. In a similar vein, Donne satirises the “sighs” and “tears” (The Canonisation) so prevalent in Petrarchan works.
Instead, Donne advocated for a different kind of love. He espoused a love that comprised of the Body and the Soul, which was a dominant intellectual issue in the literary treatment of love in the 1590s. More specifically, Donne embraced the balance between Platonic love and the Ovidian love.
Platonic: Platonic love is essentially love that surpasses the mere sensual and physical. It is a very spiritual concept and is based on reason, affection, respect, intellect and compatibility.
Ovidian: Ovidian love
The idea of balance derived from discoveries being made about the human body during the Elizabethan era. The Renaissance was fundamentally a time of discovery (particularly in the area of science). Elizabethans believed that elements in the body needed to be balanced,
Top Tip: When you’re analysing John Donne’s poetry and writing essays, be aware of Donne’s overarching message in his romantic poetry. Most explanations about his use transcendent relationship with his lover is thus determined by obtaining a balance between the spiritual and earthly pleasures. Most examination questions will leave room for to discuss the connection between the material and the divine world! Make sure to understand this, because this is a huge component to his poetry.
So there’s approximately a month to go before the Literature exam. Nervous? Confident? Over it?! You might be thinking that they best way to study up until the exam is to just churn out essays after essays after essays. This is a common misconception, and may even hurt your chances for the exam. You want your essays to be ‘fresh’ with original insight, not stale pieces that sound like you’ve written this a hundred times and you’re getting bored. Here are a few tips on how to study for the exam while still keeping your mind activated about Literature!
Critique critical commentary
Google critical commentary on your text. You might pick up a new insight or perspective that you’ve never thought of. These can help you inform your own original and individual interpretation of the text. It is important to note that while reading critical commentary is incredibly useful in providing ‘clever’ interpretations, examiners are really looking for your own interpretation – not a regurgitated version of other people’s analyses. Rather than passively reading critical commentary, critique it yourself! Acknowledge and file away its good points, but also form your own stance with whether you agree or disagree with that point of view. Ask yourself why that is your perspective. Developing this critical analysis skill is extremely valuable, and will put you in the mindset for the exam to provide your own original interpretation that pushes the boundaries and the envelope.
Choose random passages and annotate
Close your eyes and pick a random a couple of passages from your text. Photocopy them, print them, however you like, but the most important thing is to spend time annotating them in as much detail as possible. Focus on analysing the language for how the author constructs the text to create meaning. Note sentences that can link to the wider text. This really forces you to analyse the most random passage in the text in extreme detail, which you might have skipped over in class or in your own reading, because it might not have seemed important at the time. Who knows, the exam could throw in a surprise passage that students might not have thought to study in great detail, and you have because you’ve been analysing passages at random – not just the major key events!
Examiner reports and word bank
Look through VCAA examiner reports for sample excerpts from high scoring responses. Highlight words and phrases that sound ‘good’ – and adapt them to use yourself! There’s nothing wrong with drawing inspiration (stealing) from the examiner reports essays… after all they’re there for you to learn from. Key: you’re drawing inspiration from words, not ideas or sentences – otherwise that’s just plagiarism and won’t help at all. Create a word bank of vocabulary that suit your texts, which can be a great prompter when you’re struggling to think of a word that accurately expresses on paper what you want to say in your mind.
Timed conditions
The biggest issue with every literature student in the exam is timing. There’s always so many things you want to write and include, that it is simply not possible to include everything. Time yourself. Practice writing in timed conditions. Be disciplined with your time – going over time for the first essay to include maybe one more good point, is to sacrifice finishing your second essay.
Exams are without a doubt a stressful period of time for all VCE students, and it can be easy to get caught up and overwhelmed with expectations, wanting to prove yourself and balancing the workload of your other exams. Find time to do small things to benefit yourself for the exam without compromising your mental power (after a very long marathon). Good luck and believe in yourself!
1. Don't focus just on ideas and avoid language engagement.
Language engagement is every bit as important as ideas. Sometimes, when you get stuck in philosophical musings, you might find yourself in a place where you're spouting on and on about solipsism or the intrinsic desire for independence in the 19th century Norwegian working class. Literature essays are all about finding balance, and here, that balance means language engagement. Whether you are writing about literary criticism or a passage analysis, you have to be able to support your interpretations with textual evidence.
Often, this requires some creative thinking. You can have a lot of fun with it and the examiners like you to pick up on small details and connect it to a grander scope.
Here's an example from Jane Eyre.
“my eyes seemed as if they had beheld the fount of fruition, and borrowed beams from the lustrous ripple.”
“I was not surprised...to feel...the breathing of a fresh and fragrant breeze...The rooks cawed, and blither birds sang; but nothing was so merry or so musical as my own rejoicing heart.”
In this passage, Jane is rejoicing over her marriage proposal, but readers are led to understand that this may be a false, idealistic dream of hers. Note the patterns of alliteration – the fricative 'f' shifting to the plosive 'b' in “fount of fruition” and “borrowed beams” then again from “fresh and fragrant breeze” to “blither birds”. What could it possibly mean?
Fricatives tend to indicate freedom, whereas plosives tend to indicate an abruptness – a harsh change. Perhaps, Jane's wild, free joy is immediately followed by plosive alliteration so as to illustrate how her happiness is cut short and her dream is a false one – she will attempt to achieve freedom through this romance, but she will be abruptly and unceremoniously prevented from attaining it.
Regardless, in any passage, there are always things to talk about and little language quirks to exploit to figure out an interpretation. Start from these little details, and build out and out until you tackle your big ideas. All of these ideas should be rooted in language.
2. Don't prioritise complicated language over ideas.
Often, when you think that expressive, complicated writing takes priority over ideas in Literature, you tend to end up with flowery material that becomes more convoluted than it is effective. If you are one of those people (I know it's hard) but kill your darlings. Focus on coming up with original ideas, and express them clearly. Cut out redundancies. Be expressive in a way that is natural and in a way where you know that first and foremost, your language is accurate. Don't go around using metaphors purely for the sake of sounding intellectual when you can express something equally eloquently and beautifully with simpler, fluent text.
Remember: this is not to say that you shouldn't be expressive in Literature. In fact, writing style and the ability to write well is a fundamental component to doing well in this subject. It is just vital that you strike the right balance. This is a good lesson to learn sooner rather than later - and you'll be steering into prime territory for the exam.
3. Don't treat Literature like an English essay. Be free!
Good Literature essays generally tend to be more lively and expressive than English essays. Why? Because Literature just doesn't operate under the same criteria, and it shouldn't be treated as such.
Don't feel like putting in an introduction/conclusion? No need! Don't feel like sticking to a TEEL structure? No problem!
Your focus is creating writing that moves along at a natural, expressive pace, moving through textual evidence to broader ideas. You don't have a structure. You don't have a paragraph quota. You have free reign over a lot of how you write your Literature essays – so find out what works for you.
4. Come up with original interpretations and don't stick with popular readings.
Literature is one of very few subjects in the entirety of VCE that rewards original thinking. You don't need to go with the crowd consensus on how to read your text: as long as you have the evidence to support your reading! The examiners will reward complex, creative, and unique ideas. Every passage analysis you write should be approached with a fresh perspective – base your interpretation around the text in front of you, and not a dogmatic set of ideas that you bring with you.
5. Let the text before you provide you with the ideas, don't force your ideas into the text.
By reading literary criticism and expanding the scope of your ideas, you can apply original readings to each set of passages you have. Your essays stand out when they cover new, uncharted territory.
Literature is all about balance. If you can find it in you to balance language engagement, interpretation, and writing style, I'd say you have yourself a pretty good essay.
Remember not to fall into any of the common traps of the subject, and you'll have put yourself on solid footing to become a true literati.
1. Don't focus just on ideas and avoid language engagement.
Language engagement is every bit as important as ideas. Sometimes, when you get stuck in philosophical musings, you might find yourself in a place where you're spouting on and on about solipsism or the intrinsic desire for independence in the 19th century Norwegian working class. Literature essays are all about finding balance, and here, that balance means language engagement. Whether you are writing about literary criticism or a passage analysis, you have to be able to support your interpretations with textual evidence.
Often, this requires some creative thinking. You can have a lot of fun with it and the examiners like you to pick up on small details and connect it to a grander scope.
Here's an example from Jane Eyre.
“my eyes seemed as if they had beheld the fount of fruition, and borrowed beams from the lustrous ripple.”
“I was not surprised...to feel...the breathing of a fresh and fragrant breeze...The rooks cawed, and blither birds sang; but nothing was so merry or so musical as my own rejoicing heart.”
In this passage, Jane is rejoicing over her marriage proposal, but readers are led to understand that this may be a false, idealistic dream of hers. Note the patterns of alliteration – the fricative 'f' shifting to the plosive 'b' in “fount of fruition” and “borrowed beams” then again from “fresh and fragrant breeze” to “blither birds”. What could it possibly mean?
Fricatives tend to indicate freedom, whereas plosives tend to indicate an abruptness – a harsh change. Perhaps, Jane's wild, free joy is immediately followed by plosive alliteration so as to illustrate how her happiness is cut short and her dream is a false one – she will attempt to achieve freedom through this romance, but she will be abruptly and unceremoniously prevented from attaining it.
Regardless, in any passage, there are always things to talk about and little language quirks to exploit to figure out an interpretation. Start from these little details, and build out and out until you tackle your big ideas. All of these ideas should be rooted in language.
2. Don't prioritise complicated language over ideas.
Often, when you think that expressive, complicated writing takes priority over ideas in Literature, you tend to end up with flowery material that becomes more convoluted than it is effective. If you are one of those people (I know it's hard) but kill your darlings. Focus on coming up with original ideas, and express them clearly. Cut out redundancies. Be expressive in a way that is natural and in a way where you know that first and foremost, your language is accurate. Don't go around using metaphors purely for the sake of sounding intellectual when you can express something equally eloquently and beautifully with simpler, fluent text.
Remember: this is not to say that you shouldn't be expressive in Literature. In fact, writing style and the ability to write well is a fundamental component to doing well in this subject. It is just vital that you strike the right balance. This is a good lesson to learn sooner rather than later - and you'll be steering into prime territory for the exam.
3. Don't treat Literature like an English essay. Be free!
Good Literature essays generally tend to be more lively and expressive than English essays. Why? Because Literature just doesn't operate under the same criteria, and it shouldn't be treated as such.
Don't feel like putting in an introduction/conclusion? No need! Don't feel like sticking to a TEEL structure? No problem!
Your focus is creating writing that moves along at a natural, expressive pace, moving through textual evidence to broader ideas. You don't have a structure. You don't have a paragraph quota. You have free reign over a lot of how you write your Literature essays – so find out what works for you.
4. Come up with original interpretations and don't stick with popular readings.
Literature is one of very few subjects in the entirety of VCE that rewards original thinking. You don't need to go with the crowd consensus on how to read your text: as long as you have the evidence to support your reading! The examiners will reward complex, creative, and unique ideas. Every passage analysis you write should be approached with a fresh perspective – base your interpretation around the text in front of you, and not a dogmatic set of ideas that you bring with you.
5. Let the text before you provide you with the ideas, don't force your ideas into the text.
By reading literary criticism and expanding the scope of your ideas, you can apply original readings to each set of passages you have. Your essays stand out when they cover new, uncharted territory.
Literature is all about balance. If you can find it in you to balance language engagement, interpretation, and writing style, I'd say you have yourself a pretty good essay.
Remember not to fall into any of the common traps of the subject, and you'll have put yourself on solid footing to become a true literati.
The idea of critical lenses in literary perspective essays can often be tough to fully grasp. Is sticking to just one ok? Are there enough examples in the text to support a purely feminist viewpoint? Or a Marxist one? What about post-colonialism? Sometimes it’s difficult to find a clear through line, especially when the concepts you’re attempting to discuss are so complex.
Luckily when it comes to Shakespearean texts, Twelfth Night in particular, a lot of people throughout history have already studied these ideas and critical lenses, and there are many more resources out there for you to utilize than you might think.
Thus, we are faced with the extremely helpful nature of published critical readings. These critical essays are pieces often published by university professors or scholars which offer an in-depth analysis and examination of a given text. While much of the language is complicated and a bit overwrought at times, the content within the essays can give you helpful ideas and can help you gather a repertoire of vocabulary and evidence for your own literary perspectives essay. In fact, if you type in “Twelfth Night critical readings” into your google search tab, there will be pages of valuable content at your disposal.
Literary perspectives
For instance, the critical essay Rethinking Sexuality and Class in Twelfth Night by Nancy Lindhiem, gives insight into both the Marxist and the queer lens.
Here is an extract from Lindhiem’s reading in which she discusses the idea of “androgyny” and sexuality (noted specifically in the bolded words):
“While Viola is barely male except in attire, the dual aspect of Sebastian’s androgyny is carefully explored. The Elizabethan audience’s first, external, impression – he looks like his sister! – is reinforced ‘internally’ in his conversation with Antonio. His exquisite sensitivity to the quality of his friend’s feelings and the obligation it lays upon him might well be seen as a woman’s trait.”
After reading Lindhiem’s discussion of the “androgynous” twins within the play and how this displays a disparity between gender identity, this student then decided to expand on in a similar idea in a part of their paragraph below (queer lens). In the first part of the sentence, the student outlines the idea of androgyny (shown in bold)specific to the character of Viola. Later on, the student also explores the idea of different behaviours contributing to certain gender traits much like Lindhiem’s notation of it in the above paragraph (shown in bold in the last sentence), however concludes on a broader outline of sexuality as a whole, rather than focussing on just female traits.
Viola’s mediatory role between Olivia and Orsino’s households, coupled with her androgynous performance as a woman playing a man (adding further confusion to the Elizabethan stage convention of a male actors playing women on stage) evokes a form of genderbending and identity perplexity that pervades the play’s dramatic trajectory and opens up what is possible, if not overtly permissible, on a spectrum of sexuality.
Vocabulary
Another way of making use of these critical readings is to draw from some of their sophisticated vocabulary. The following is an example of how a student was able to adjust and expand her vocabulary specific to their chosen lens by reading critical essays.
After studying a couple of feminist and queer critical essays to Twelfth Night, the student highlighted some repetitive language and terms used within the essays, and was able to use them within their own essay.
Casey Charles’ Theatre Journal exert Gender Trouble in Twelfth Night uses the phrasing
“the phenomenon of love itself operates as a mechanism that destabilizes gender binarism and its concomitant hierarchies”.
The student went on to use the term gender binarism in one of her essay’s sentences:
In all, Twelfth Night delineates the true fluidity within gender binarisms as well as the way in which societal structures are enforced and reiterated…
Alternatively, the critical essay Gender Ambiguity and Desire in Twelfth Night by Maria Del Rosario Arias Doblas makes use of the terms “homoerotic” and “heterosexual” throughout its text - “homoeroticism residing in theatrical transvestitism… and homosexual allusions and so on pervade the play to create the “most highly intricate misunderstandings”’ - thus outlining the type of high-level language specific to a queer reading of the play that the student was able to implement in their own work:
In fact, Shakespeare oscillates between reinforcing patriarchal ideology and heterosexual language, and the deconstruction of such romantic ideals, simultaneously closeting and disclosing the queer possibilities typical to conservative societies that use violence to repress homosociality and police the safe expression of homosexual exploration within heterosexual norms.
As you can see, the student’s language is now specified to the type of lens they are using in their literary perspectives essay, and is also of a high register.
External or Contextual references
Another benefit of going through critical readings is the external or contextual references they make. An example of this is in Rethinking Sexuality and Class in Twelfth Night by Nancy Lindhiem, where the author makes reference to Narcissus, a character from Metamorphoses – a Latin narrative poem from 8 AD:
“For all the likelihood that both Olivia and Sebastian are seduced by a visual perception, we probably feel that Olivia succumbs mainly to Cesario’s way with words.9 Several critics have commented on the allusion to Ovid’s Echo in Cesario’s ‘babbling gossip of the air’ (1.5.277)”
Noticing this reference as a motif in many other critical readings too, this student decided to insert it into their own essay here:
These central relationships therefore reapply the idea of self-reflexivity while blurring the structured boundaries of identity stability, central to the Narcissus myth of which Echo from Ovid’s Metamorphosis forms a part; “a very echo to the seat/ where love is throned” invokes a doubling motif, as well as the troubling foundation of representation over reality.
See how the student was able to discuss it in their own way? Referencing external texts in your literary perspectives essay can prove very useful if done once or twice, as it demonstrates that you are able to apply the values within the chosen text to wider elements of society and culture.
Getting started
One of the most efficient ways of going through these sorts of essays (which are often quite elaborate and at times difficult to understand fully) is to print them out, grab a highlighter and pen and skim through as much as possible. Highlight words, terms or phrases which spark your intrigue, or ones you feel you may be able to manipulate as evidence to support your own essay.
Overall, reading as many of these expert-written critical essays as possible can be extremely beneficial in developing a greater understanding of the critical lenses, the ideals and context of the Elizabethan theatre, and the way both dialogue and staging can be used as evidence in your own essays.
The more you know about the play, the more you’ll be able to write about it. So, get reading!
One of the most prominent questions I receive from students is this: “do I need to write an introduction?”. This is usually followed with “how do I write an introduction?”.
Firstly, yes, I believe all students should be writing introductions as they are an excellent way to showcase your ability to provide an insight into your personal “reading” of the text, interpret the passages and allow you an avenue through which to begin your discussion of the material. In this guide, I will be explaining two of the key elements to be utilised to create a strong introduction.
When constructing introductions, it is important to note that the VCAA Literature Exam Criteria is as follows:
understanding of the text demonstrated in a relevant and plausible interpretation
ability to write expressively and coherently to present an interpretation
understanding of how views and values may be suggested in the text
analysis of how key passages and/or moments in the text contribute to an interpretation
analysis of the features of a text and how they contribute to an interpretation
analysis and close reading of textual details to support a coherent and detailed interpretation of the text
What you need to include in your Close Analysis introduction
Considering these points, your introduction should feature these 2 elements: your personal reading of the text and your interpretation of the passages.
Your personal reading is simply your perception of the text. Though the key facets of the text such as the plot and the characters are generally viewed by the majority in a similar fashion, each student will have their own opinions of the text. This can range from resonating with particular scenes or placing a greater emphasis on a certain concept or relationship.
Your interpretation of the passages is the way in which you view the excerpts given to you. Akin to your personal reading, the core aspects of the passages will likely be viewed similarly by most students, however your point of difference will come from how you perceive the passages suggest views and values and how features and moments contribute to an interpretation (factors coming from the criteria).
In terms of structure, try to begin with a sentence or two explaining your personal reading of the text. The key to doing so in a manner befitting Close Analysis however, is to utilise quotes from the passages to supplement your assertion.
Here is a sample written about George Bernard Shaw’s “Pygmalion”:
George Bernard Shaw’s “Pygmalion” contrasts the absence of morality in the titled upper class of 19th century England who dehumanise common citizens as “pebbles on the beach” and the under privileged but morally conscious lower class, “intimidated” by the socio-economic chasm, but living with “middle class morality”.
This highlights my personal reading of Pygmalion as a whole, supported by quotes from the passages I was provided.
To build on this, proceed by writing a sentence or two that demonstrates your interpretation of the passages and how they discuss views and values and create meaning.
Though Shaw implies that one can ascend the ranks through Doolittle’s “lecturing them blue in the face” and Eliza’s gradual self-actualisation, ultimately Shaw quashes any prospect of one permanently invading the upper class by deploying the repetitive “I will” catchphrase throughout Eliza’s ventures. The indefatigable delivery ironically conveys the notion that in spite of Eliza’s effort, she “won’t” achieve.
In these sentences I have commented briefly on the events within the passages and utilised them to exemplify how they are utilised to delve into views and values and create meaning in the overall context of the text. These factors encompass my interpretation of the passages.
Introductions which contain these two key features will score well as they directly target numerous parts of the assessment criteria. This allows students to explicitly outline their overall reading of the text in a style which will efficiently show off your writing skills. Here's the introduction altogether:
Sample A+ Introduction
George Bernard Shaw’s “Pygmalion” contrasts the absence of morality in the titled upper class of 19th century England who dehumanise common citizens as “pebbles on the beach” and the under privileged but morally conscious lower class, “intimidated” by the socio-economic chasm, but living with “middle class morality”. Though Shaw implies that one can ascend the ranks through Doolittle’s “lecturing them blue in the face” and Eliza’s gradual self-actualisation, ultimately Shaw quashes any prospect of one permanently invading the upper class by deploying the repetitive “I will” catchphrase throughout Eliza’s ventures. The indefatigable delivery ironically conveys the notion that in spite of Eliza’s effort, she “won’t” achieve.
We’re not supposed to judge a book based on its cover, but for some reason, we just can’t help it. Sure, we may not be able to tell if we’re going to enjoy the book, nor can we tell what exactly it’s about, but we can tell the tone, set our expectations, and most importantly, guess at the genre. Look at these three book covers and note how they perfectly show their genres - Sci-Fi, Horror and Life Drama, respectively.
Genre is a way of categorising media. We split books, film and music into genres in order to better talk about them and because humans have a strange desire to sort and categorise things. Within whatever medium, genres display certain structures, characters and tropes that audiences expect from that genre. Audiences like to be able to tell the genre of a text because it’s comfortable. If I go to see a superhero movie I expect wacky costumes, cliche dialogue and a final battle scene that the heroes win - were these expectations not to be met, I would likely be a little bit peeved off.
But why should you care about genre in VCE Literature? It’s not on the study design?
Well, not explicitly. In each AoS of the study design, you must engage with ‘the ways the literary forms, features and language of texts affect the making of meaning’, and/or ‘the ideas of a text and the ways in which they are presented’. Genres are a feature of texts and are one of the ways that a text will present its ideas. Horror is the most notable example of a genre that uses its tropes to send a message - It Follows is a horror where the monster stands in for sexually transmitted disease, Carrie uses horror to show the horrors of high school, Frankenstein is a criticism of those who would ‘play god’. In the Literature study design, the horror genre is represented byBram Stoker’s 1897 masterpiece, Dracula.
I invite you to think hard about the horror films you’ve seen and to try to place Dracula into our modern view of horror. It’s hard to put Stoker’s vampire on the same stage as the Babadook, Annabelle or even the ‘70s slasher craze. This gives us an incredible opportunity to consider how audiences engaged and continue to engage with genres. In order to analyse genre, it is essential to recognise what the audience’s expectations were of a genre, and how the author has utilised those expectations for their own ends. Let’s consider Dracula in context.
Dracula is a horror novel. But, we usually don’t think about those uptight Victorians reading texts that were designed expressly to scare. The Victorian era was actually one of the golden ages of horror literature though. But, it is distinctly different from our modern understandings of horror as defined by trailblazers like Stephen King. So, why is it different? It is here we must consider the sub-genre. If you have read anything about Dracula, you’ll note that it is referred to as a ‘gothic horror’. The gothic genre of literature encapsulates some of the 19th century and certainly the Victorian period’s (1837-1901) best literature. Dracula of course belongs to this group, but it blows up around 1818 with Mary Shelly’s Frankenstein. Edgar Allen Poe, with his short stories and poetry, is widely lauded as the ‘Father of American Gothic’, with ‘The Fall of the House of Usher’ published in 1839. Note the dates here. Stoker published Dracula in 1897, a good 79 years after Frankenstein began haunting readers. Which means he had an established and large genre to work with. So, how did Stoker use the gothic in Dracula?
Tropes of the Gothic
1) The Gothic Monster
The vampire myth used by Stoker is turned into the quintessential gothic monster. Dracula existed in the Victorian mind alongside Frankestein’s monster, Mr. Hyde, and Poe’s mixture of humans made monstrous and surreal monsters like that in ‘The Masque of the Red Death’. The defining feature of the gothic monster is its role in the story as a representation of something wrong with society, whether it’s increasingly amoral medicinal science, human greed or perverted desire.
2) The Creepy Castle
The creepy castle doesn’t have to be a castle. It can be a mansion, a university or the graveyards of London. The important thing is that the setting of the gothic novel should always be - by default - terrifying and evoke a sense of danger. You can never get comfortable in Dracula’s castle, nor in Seward’s asylum, and neither can the characters.
3) Damsel/s in Distress
For sure an outdated trope, but a constant in the gothic. It’s a quick and simple way to show that the innocence of young women is threatened by a malignant force. In Dracula, look to Mina, Lucy and Mrs. Westenra. But what happens when the damsel saves herself?
4) Omens, Portents, Visions
Visions in dreams? Random wild animals escaping from ships? Ships docking with a completely dead crew? Random changes in the weather? You might be dealing with a gothic villain, or going mad. In either case, Renfield, Dracula, Mina and Jonothan all deal with portents and visions.
And This Is Important Because…
Stoker has followed the predominant tropes of the gothic horror genre. Why is this important for our analysis of Dracula? The ways in which authors use genre and other stylistic elements like form, voice or plot relate directly to their intentions. If we investigate the particular aspects of Stoker’s use of the gothic, we may better understand the views and values that he is promoting. For instance, let’s take Dracula as the gothic monster. Since the gothic monster is always a way to reflect society back onto itself, how is Stoker doing that? A feminist analysis might take Dracula as a reflection of sexual deviancy, which then ties into his constant threat towards women. A post-colonial analysis might question the foreignness of Dracula, and view him as a part of the intrusiveness of foreigners in English society. Either way, you’re touching on a view or value presented by Stoker, and tying it to an aspect of the gothic genre in a way that conveniently also touches on characterisation.
Let’s complicate things a little more. The ‘Damsel in Distress’ trope is clearly evident in Dracula, but what view or value is Stoker commenting on by its inclusion? The simplest answer is that, by showing that women cannot save themselves, Stoker is saying that women are inherently weak and need to be saved by men. But this answer isn’t sufficient for a number of reasons. Firstly, what are the women weak to? Is it a physical mismatch between the women and Dracula, keeping in mind that Dracula is also stronger than the novel’s men? Or is it a symbolic weakness to some aspect of Dracula’s character, be it sexuality or magic? Secondly, and more importantly, are all the women victimised by Dracula the same? Well, obviously not.
It could very well be argued that Stoker is subverting the ‘Damsel in Distress’ trope by actually giving us a woman who is able to be her own saviour (which is actually becoming a trope in itself nowadays!). The dichotomy between Lucy and Mina is a crucial aspect of the text, and the way that Mina’s character doesn’t quite fit into the ‘Damsel in Distress’ archetype is a major interpretative dilemma. By considering the genre tropes, Lucy is clearly a ‘Damsel in Distress’ who cannot save herself and is unduly victimised by Dracula. It can be argued that her implicit promiscuousness is punished through her murder, but in whatever case, she is distressed and must be saved. Mina, however, has an entirely different view of her distresses. Not only does Mina take on a caring role towards Jonothan - in which Jonothan becomes a ‘Master in Distress’ - she actively supports the attempts to save her and kill Dracula. By compiling the journals, letters and newspaper clippings into the epistolary that we the audience are reading, and using herself as a window into Dracula’s mind through their psychic connection, Mina proves to be a means by which to save herself from her distress. So, the question of what Stoker actually thinks about women is still quite open: Lucy is seemingly punished for her character flaws, which indicates a misogynist view of women’s sexuality, but Mina is praised for her use of masculine qualities like leadership and stoicism. Is Stoker saying women should be more masculine? Less masculine and more traditionally feminine? This entire discussion revolves around how and why the ‘Damsel in Distress’ trope is being followed or subverted.
Using Genre in VCE
Whilst a genre-based analysis (or a structural analysis) can be a fantastic way to open up discussion and leads to important questions about views and values, the way I have presented it may appear to be another useless and long-winded thing you have to try to shove into an essay when you already have to balance so much in Literature! Fear not, because there are a couple of really easy ways to fit genre into essays without taking up loads of space.
Option one is to use a genre trope as the basis of a paragraph. If your essay contention is that…
‘Stoker presents the dangers of foreign immigration to England at the height of its colonial empire’
…then you can easily write a paragraph discussing that…
‘Stoker employs the gothic trope of a supernatural monster in Dracula, using this vampire as a stand-in for foreigners in England’.
This paragraph would discuss Dracula’s characterisation, and the settings of Transylvania and London, whilst investigating Stoker’s views on England’s colonialism and race. In a Developing Interpretations or Close Analysis essay, you’ve just touched on several key criteria, including the author’s views and values, your own credible interpretation of the text and how the text presents its messaging (through characterisation and setting). You can do all these things without mentioning genre, but by explicitly using the language of genre analysis you are likely separating yourself from the student next to you - who had a similar idea but described it in a less interesting way. This is the utility of understanding genre, it gives you the words and concepts necessary to improve your writing and interpretation. The ‘Gothic monster’ is an easy way to describe an otherwise GIANT concept.
Another way is to add it to other analyses in passing. Instead of saying “Dracula presents Lucy and Mina as foils to demonstrate the ways in which modern women’s promiscuity is ultimately harmful”, you can say “the presentation of Lucy and Mina as two ‘damsels in distress’ in dichotomy with each other demonstrates the differing ways in which Victorian women could doom or save themselves”. The latter sentence has not significantly changed the content of the first, still referring to the women’s opposition to each other, but by phrasing it with ‘damsels in distress’ I leave open the possibility of discussing not just Lucy’s promiscuity, but also Mina’s conservative womanhood.
Finally, you need not even mention genre or its tropes in the essay, just use it as a thinking tool. If you go back through the previous section of this blog, you’ll see just how many questions I am asking about the tropes and ideas I am discussing. By using the trope as a jumping-off point for a series of questions, I can develop a nuanced understanding of multiple views and values and the ways in which they interconnect. Take a trope like the ‘creepy castle’ and ask:
“Why would Stoker put Dracula manor in the text?”
“Because it sets up the ‘otherness’ of Dracula.”
“Why do we need to know that Dracula is the other?”
“Because he represents a supernatural foreignness that we need to be scared of.”
“Okay, but why is it right at the start, why is it from Jonothan’s perspective?”
All of these questions offer ways of breaking down the text and they will naturally lead to questions about structure, characterisation and views and values. In doing this, you can start to come up with ways to turn those questions, or the order of those questions into an essay structure. Moreso, this type of questioning is what your teacher, tutors and top-tier Literature students are doing. It is a constant process of asking, answering, reconsidering, reasking and synthesising. And genre is an easy way to start the process.
Once you have finished all your Literature SACs for the year, all that is left is a 2 hour and 15 minute exam that will play a major part in determining your end of year study score. It seems extremely daunting, and because many of the SACs differ from the exam task, you may be feeling a bit nervous or confused about what exactly the exam entails.
In describing the task, the exam paper states:
For each of your selected texts, you must use one or more of the passages as the basis for a discussion of that text.
In your pieces of writing, refer in detail to the passage or passages and the texts. You may include minor references to other texts.
Therefore, you must write two close analysis pieces on the exam, one on each of your chosen texts. You must use the three passages included on the exam to explore and analyse the text as a whole. Most of your piece should be analysis of what is in front of you in the exam, but you must also use evidence from outside the passages, to demonstrate your knowledge and connection with the text.
The exam will be marked against a criterion that differs from any of your SACs (although it is quite similar to your close analysis SAC). Therefore it is imperative to understand the criteria you will be marked on before beginning to study for the Literature exam, and especially before you try some practice exams. They are as follows, and can be found on the VCAA Literature exam page.
Understanding of the text demonstrated in a relevant and plausible interpretation
This criteria relates to your ability to show your comprehension of the text. The examiner will be noting whether the concepts, ideas and themes in the text are understood. They will assess your interpretation of the text, and whether it is relevant and fair in relation to the meaning in the text
Ability to write expressively and coherently to present an interpretation
Literature is a writing subject, therefore this criteria asks that you write with fluency, an expressive vocabulary and clarity. Your piece must also be a coherent, unified work that clearly articulates your discussion and interpretation of the passages and text as a whole. This criteria can also relate to your use of grammar, punctuation and spelling as the clarity of your piece can be threatened if these are not used correctly.
Understanding of how views and values may be suggested in the text
You must demonstrate an ability to identify, discuss and analyze the views and values within the text. You must be able to support your discussion with evidence from the text
Analysis of how key passages and/or moments in the text contribute to an interpretation
Your ability to analyse the three passages, as well as the text as a whole, and draw an interpretation from them. Examiners will be looking to see that you can use set material and the whole text as a basis for discussion.
Analysis of the features of a text and how they contribute to an interpretation
This criteria determines that you must identify factors including metalanguage, specific language and authorial techniques, and discuss how they create meaning. Remember that this is literature, so discussing the different elements used to construct a text (character, plot, setting, motifs, symbols” is imperative.
Analysis and close reading of textual details to support a coherent and detailed interpretation of the text
This criteria determines that you need to use evidence from the text (including quotes) in order to aid a logical and comprehensive interpretation of the text. Examiners will be looking at your ability to look deeply into smaller authorial choices, and how they create meaning.
Here, we’ll take a deep look into the SAC for Unit 3.2: Developing Interpretations. We’ll be using Margaret Atwood’s 1996 Alias Grace to demonstrate parts A and B of the SAC criteria so you can see the thinking process behind developing interpretations.
The SAC has two parts:
Part A: An initial interpretation of the text’s views and values within its historical, social and cultural context.
Part B: A written response that compares/interweaves and analyses an initial interpretation with a subsequent interpretation, using a key moment from the text.
Your teacher may decide to do them in two separate SACs, Part A after considering the text, and Part B after considering the supplementary reading. Or they may do them together, having you analyse a passage and answer a question just based on your own understanding of the text, and then continuing that analysis by adding the supplementary reading.
Understanding Context
Part A of the Developing Interpretations SAC task involves the text’s 'historical, social and cultural context’, so it is imperative we have an understanding of firstly, the author and their world, and the text and its world.
Alias Grace was published in 1996, close enough to our modern times that we can consider it contemporary literature. On the surface, there is not much to link it directly to the big global events of the 1990s - like the Gulf Wars, the Monica Lewinsky scandal or the uncertainty of the new millennium. Margaret Atwood is Canadian, and the events of Alias Grace also take place in Canada; any criticism of government or cultural issues in the text can then be considered criticisms of Canadian culture, but may also be of Western or Anglo societies at large. It’s also worth keeping in mind Atwood’s track record as a feminist activist who became famous for the feminist intentions in texts like The Handmaid’s Tale(1985) and Cat’s Eye (1988).
The world of Alias Grace is about 150 years prior to the text’s publication. The murder that put Grace in prison occurred in 1843, and Grace died sometime around 1873. Feminism as a socio-political movement did not exist at this time, so any ‘feminist bent’ that Grace or Mary Whitney display is the result of independent dissatisfaction, not the influence of wider cultural forces. The role of psychology is strong in Alias Grace and in the afterword, Atwood notes the increasing academic interest in the mind and subconscious. Whilst we could venture into the specific who’s who of 1850s new world psychological history, it is most important to recognise that there were disparate ideas of how memory is formed and recalled, and that defiant or mentally ill women were often stigmatised and categorised as 'insane', when we would now acknowledge the range of mental health diagnoses and traumatic backgrounds that would better explain certain behaviours. Note also that mental health institutions were tools of a patriarchal system that viewed the internment of women as a means of control over women, regardless of mental illness, leading to the regular and indiscriminate use of procedures like lobotomy or Electro-Convulsive Therapy (ECT) to keep women 'in check'.
Part A of the SAC: An Initial Interpretation
When forming an interpretation of the text, it is necessary to first decide two things. Firstly, you need to recognise the author’s intention and what you think are the primary views and values. Then, you need to find aspects of the text that support your understanding of the text’s primary meaning.
Of all the concepts and ideas in Alias Grace, two are particularly pertinent and stick out to me as a reader. One is memory, the other is sexuality. There are of course other ideas, but these two were the big ones I noted reading the text. Thinking about what you find interesting or core to the text will help you to form an initial interpretation. Once you have the initial ideas, try to expand them into full sentences. To use memory as our example:
Atwood explores the fallibility and role of memory in our understandings of ourselves and our actions, in particular, noting how people subconsciously decide which memories to keep or forget.
See how meaty this sentence is? Even if I can’t quite touch on all of these ideas in a full essay, I have so much I can talk about that it basically makes it impossible to fall short. Now, I want some aspects of the text that help provide through-lines. By this, I mean that I want a smaller part of the text that helps to exemplify my interpretation and that, preferably, would be evident in a passage analysis. I’m someone who finds structure really interesting in texts, so I look at things like form, genre and plot very closely. Alias Grace is really interesting for its use of ‘primary source’ quotes at the start of sections, as well as the fact it has basically no quotation marks to delineate dialogue. Moreover, the fact that Grace’s narration is first-person and that Jordan’s narration is third-person provides ripe territory for analysis. I need to link this to memory, and put it in a sentence:
Atwood’s use of Grace’s first-person narration without quoted dialogue, thus structuring the plot around her speech and remembering, provides a long-form case study in how the psychological process of remembering helps provide understandings of the self.
So, just based on my understanding of the context (1850s psychology and its impact on women) and the world of the text, I am able to determine my initial interpretation: that Alias Grace is about memory and forgetting in the face of trauma and an indeterminate sense of self. This idea is displayed in the structure of the text which relies heavily on displaying thought processes.
Part B of the SAC: The Supplementary Reading
The supplementary reading can be a number of pieces of writing given to you by your teacher. This could be something written by your teacher, an explainer of a literary theory (like Marxism or feminism), or as I’ll be using here, an academic article. Check out our blog on Developing Interpretations which goes into how to read academic articles.
The article I’ve chosen is Margaret Rogerson’s ‘Reading the Patchworks in Alias Grace’ (1998). At the core of Rogerson’s argument is that the recurring motif of sewing and patchwork is a significant indicator of Grace’s identity and her self-expression and that Atwood uses the symbolism of various quilting patterns to reflect the ambiguity of Grace’s character and our understanding of her (since quilting symbols are heavily subjective). Just based on this brief summary of Rogerson’s interpretation, we can start to see how it is somewhat at odds with my initial interpretation (from Part A) - Rogerson isn’t as concerned with memory and psychology, nor am I concerned with symbolism because I focus on structures and narrative.
Rogerson’s article doesn’t necessarily disagree with my interpretation, in fact, both exist alongside each other quite nicely. I would phrase Rogerson’s interpretation as 'running parallel' to my own because they don’t always touch on the same ideas. Recognising where the supplementary reading sits in relation to your own interpretation is important because it helps to break down how to respond to its position and enhance your own interpretation. Try to place it on a scale of ‘total disagreement’ to ‘total agreement’. It will probably be somewhere in the middle.
Self-Reflection and Reinterpretation
Now that I’ve read my supplementary reading and placed it in relation to my initial interpretation, I need to ask myself a few questions, and be honest with myself:
What new information have I learnt from the reading?
What ideas/themes/motifs did I initially ignore?
How do these new ideas and pieces of information challenge my interpretation?
How do these new ideas and pieces of information support my interpretation?
Can I find links between the seemingly challenging aspects of the reading and link them to my initial interpretation?
Can I link specific aspects of my initial interpretation to the theories and ideas presented in the supplementary reading?
Rogerson’s article contained a lot of ideas and information that I had previously glossed over. Significantly, I learnt that 'quilt patterns [...] appear with their names as section headings throughout the text' (p. 8), a theme I hadn’t noticed. Moreover, Rogerson explains the literary and political significance of quilting and patchwork symbolism, drawing attention to the role it played in women’s lives and the inaccessibility of this symbolism to men.
Do these new ideas challenge my interpretation? Not really. Do they fully support my interpretation? Not really, BUT, they do provide a new way of thinking about my initial interpretation. I can link the quilting symbolism to the idea of Grace’s narrative style because Rogerson emphasises that when Grace discusses quilting, she is discussing her own life. In addition, Rogerson notes that 'sections of the novel [are] separate patterns that are to be fitted into a whole quilt' (p. 8) so that 'the reader becomes a quilt maker in the process of interpreting the text' (p.9). The concept of the physical book being a ‘quilt’ supports and extends on my understanding of structure, thus allowing me to further investigate how that structure functions.
The notion of the reader as a ‘quilt maker’ interpreting the text also allows me to consider something else I have ignored in my initial interpretation: self-presentation. I initially took for granted Grace’s investigation into her own mind, and that her novel-length yarn reflects the burgeoning field of psychology. Rogerson emphasises through the quilting work, however, that Grace’s motivations are entirely ambiguous to Jordan, the reader and others, so we have to try to decide if she is actually remembering events, or simply telling a story. At the end of the text, Grace makes her own quilt using cloth given to her or taken from the women of her past, Rogerson posing the question 'does the quilt represent memory, amnesia, or madness?' (p. 21). The result, therefore, is that my initial interpretation does make sense, but with some important new additions to be made.
Atwood’s Alias Grace investigates how individuals relate to their memories through the use of Grace Marks’ speech and interactions with medical psychology, which intend to force her to remember (1). This process of remembering, however, is simultaneously hindered and deepened by Grace’s presentation of self, which wonders into utter performativity, amnesia, and potentially disingenuous motivations for her continued speech (2). Rogerson emphasises Grace’s relationship with the language of patchwork and how this relationship influences her narrative style and remembering, and thus the reader’s ability to fit separate patterns 'into a whole quilt' (p. 8) (3).
This interpretation is significantly more chunky, but that’s because I’m trying to make the nuance of the argument incredibly clear. The first sentence (1) is a reworded version of my initial interpretation with slightly less detail. The second sentence (2) is an elaboration of my previous interpretation that includes ideas gleaned from Rogerson’s article. The final sentence (3) is a brief summary of Rogerson’s method that introduces her work as well as some extra details about Grace’s story-telling and the analysis of readers’ responses.
The key to developing interpretations is self-reflection. Constantly question why you think the things you do, and it will force you to reconsider your interpretation. The supplementary reading is to provide you with a way to self-reflect and another interpretation to respond to. I strongly encourage those looking to do exceptionally in developing interpretations to read widely and around the text you’ve been set. Some of those texts for Alias Grace are in the resources section below.
Margaret Atwood’s other texts including: Cat’s Eye, The Handmaid’s Tale, and Oryx and Crake.
Glaspell, Susan. Trifles. 1916. Available here. A play cited in Rogerson’s article, featuring an accused murderess and a quilt. Sound familiar?
Freud, Sigmund. The Interpretation of Dreams. 1899. Available Via Gutenburg A very dense text on the psychoanalysis of dreams. Useful for its discussions of symbolism as a signifier of psychology
Atwood cites a number of texts in her acknowledgements (p. 543), the most interesting appear as follows:
Moodie, Susanna. Life in the Clearings. 1853
Crabtree, Adam. From Mesmer to Freud: Magnetic Sleep and the Roots of Psychological Healing. 1993.
Brandon, Ruth. The Passion for the Occult in the Nineteenth and Twentieth Centuries. 1983.
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