The Journey

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The Journey
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Area of Study

• What is an Area of Study?
• In the HSC all students in the ESL, Standard and
  Advanced course complete the same area of study
  paper. All students in all courses focus on the
  area journeys although they may be focusing on
  a different aspect of the journey (ie. Inner,
  physical, imaginative).
• The AOS Journeys requires students to explore
  the ways in which the concept of the journey is
  considered and expressed in and through texts. In
  their responses and compositions students
  examine, question and reflect on
• Their observation and understanding of the
  portrayed events, people, ideas and societies
  that they encounter in and through the prescribed
  texts and texts of their own choosing related to
  the Area of Study
• The assumptions underlying the representations
  of journeys
• The ways in which they perceive the world
  through texts and speculate about it
• The ways they consider and express their own
  journey experiences.

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Sections in the Area of Study

• There are three sections in the Area of Study.
  These are
• Section One In this section students will be
  given a selection of previously unseen stimulus
  material. Students will have to reply to a
  series of short answer questions.
• Section Two In this section students are
  required to respond creatively to a stimulus.
  This creative response can take the form a short
  story, a letter, a journal entry or reflection.
• Section Three In this section students will be
  asked to use their core text, the stimulus
  booklet and related material to respond to a
  question on the theme of journeys.
• All of these sections will be explored in
  greater detail in this
• power point presentation

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Types of Journeys

• Physical
• Inner
• Imaginative

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Introduction to focus inner journeys

• Through this focus students explore the ways
  in which texts depict journeys of the mind and
  spirit. Inner journeys involve the exploration
  of the self, as individuals review their growth
  and development in the light of experiences which
  challenge and inspire them. Students examine the
  underlying assumptions about these inner journeys
  and consider the power of the inner journey to
  challenge their thinking. In their responding
  and composing, students reflect on the ways these
  inner journeys provide new insights and
  understanding of the world and themselves.

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Inner Journeys Synonyms

• Alternative words for Journey
• PASSAGE FLIGHT OUTING
• PILGRAMAGE TOUR
• MOVEMENT SAFARI
• WANDER RIDE MISSION
• JAUNT CROSSING TREK
• EXCURSION

• Alternative words for Inner
• INSIDE INTERIOR SECRET
• SPIRITUAL INNERMOST
• CENTRAL INTRINSIC
• PRIVATE INTIMATE HIDDEN
• NOT OBVIOUS INTERNAL
• PERSONAL

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Reflection

• Brainstorm
• What have you learned about journeys over the
  past year?
• Reflect
• What is a journey you have had in your own
  life?
• Which character/author we have studied has a
  journey most similar to yours?

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Before we BeginCopy the following chart into
your notebooks and fill it in as we look at the
next few overheads. Use two A4 pages, so that you
can get all the information in.
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Obstacles to Journeys

• Societal Restraints
• Other Individuals
• Personal limitations (For example, ignorance,
  denial of inner life, poor commitment).
• What others can you come up with?
• Critical Reflection
• What obstacles have you faced to your own
  journey?
• What kind of obstacles did the characters/personas
  in the stimulus booklet, your related material
  and Life is Beautiful face?

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Forces that Initiate Journeys

• Maturation
• Internal desire
• External events
• Influences of other people
• Spirituality
• What others can you come up with?
• Critical Reflection
• What are the forces that have initiated journeys
  in your own life?
• What were the forces that initiated the journeys
  of the characters/personas in the stimulus
  booklet, your realted texts and Life is
  Beautiful?

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Sources of Assistance

• Mentors
• Significant others
• Competitors
• Faith
• Belief in self
• The journey of others
• Can you think of any others?
• Critical Reflection
• What sources of assistance have you had in your
  own journey?
• What sources of assistance did the
  characters/personas in the stimulus booklet text,
  your related material and Life is Beautiful have?

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Nature of the Journey

• Linear
• Non-Linear
• Gradual
• Fast
• Continuous
• Spasmodic
• short

• What others can you come up with?
• Critical Reflection
• How could you describe the nature of journeys
  that you have taken?
• How could you describe the nature of the journeys
  that the characters/ personas in the stimulus
  booklet, your related texts and Life is Beautiful
  have taken?

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Consequences of Journeys

• Changes in the individual- physically,
  psychologically, intellectually
• Changes in society eg. New collective knowledge
  and lifestyle through discoveries, effect of
  physical conquests
• May provide inspiration for the journeys of others

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The Structure of the Journey Narrative

• All journey narratives share a basic structure
• Orientation
• The responder is introduced to the
  character/persona and becomes aware of who they
  are before they embark on their journey.
• Complication
• Events and/or circumstances lead the
  character/persona to embark on their journey.
• Climax
• The character/persona of the text encounters
  obstacles or discovers something new about their
  journey. This is usually about 2/3 through the
  text and is the turning point in their journey
• Resolution
• The responder can see that the character/persona
  has clearly been changed by their journey. This
  new person can clearly be contrasted with the
  persona/character that the responder was
  introduced to in the orientation.

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Example of the Journey Narrative

• A personal journey

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TaskPick two texts that we have studied in the
unit journeys and fill out the following chart in
order to determine what their journey narrative
is.
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Review

• A summary of what we have learned about the
  concept of journeys so far
• The Journey may be physical, inner or
  imaginative, but it is usually a combination of
  these.
• The journey is almost always a quest for both
  discovery and self-discovery.
• Through the journey an individuals
  understandings about their own gender, sexuality,
  class, race, ethnicity, age, ability is changed
• Journeys can give characters/personas/ourselves a
  better understanding of our own position within
  society and culture
• Taking a journey often involves encountering and
  overcoming obstacles.
• There are always forces that initially initiate a
  characters/personas/our own journey
• There are always sources of assistance for
  characters/persona's/our own journeys.
• There are always consequences/a person always
  changes through their journey.
• Critical Reflection What new things have you
  learned about the concept of journeys?

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Lets Take A Closer Look at Sections One, Two
and Threeof the Area of Study paper
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Section OneConsists of short answer replies to a
variety of unseen texts that take journeys as a
prominent theme

• In order to do well in this section you
  should be obeying the following basic rules
• 1.) Before you answer a question look at how many
  points it is worth. A question that is only
  worth one point generally only requires a one or
  two sentence answer. A question that is worth 3
  points will take you about a paragraph to answer
  because you need to supply more information in
  order to get the full three points.
• 2.) Do not list techniques without explaining how
  the composer uses them in order to shape meaning.
  Anyone can list of a bunch of big words it is
  knowing how to use them that will get you points.
  Stick to the formula that we have gone over in
  class (Technique Example Shapes Meaning).
• 3.) Most questions are asking you to discuss
  techniques even if they dont specifically
  mention the word techniques in the wording of
  the question.

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Section One Continued

• 4.) If the question asks you to discuss what
  types of journeysare in a particular text, you
  need to specifically mention what type of journey
  the composer is talking about. For example,
  physical, inner,or imaginative.
• 5.) Know your techniques. Things like, the
  composer uses paragraphs or the composer uses
  sentences are not techniques. Techniques are
  things like metaphor, symbol, formal language,
  informal language, juxtaposition, etcetera

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ExamplesIn the following example answers
students forgot to follow some of our basic rules
(naughty students!). How could we use the basic
rules to make their answers better?

• Question The Composer uses a variety of
  techniques to convey feelings about journeys.
  Identify and explain two techniques used. (Two
  points)
• Answer The composer uses assonance in this text.
  He also uses metaphors and similes.
• Question What type of journey is the poem about?
  (One point)
• Answer The type of journey in the poem is a
  physical journey. This is shown as the person in
  the poem describes his physical actions and
  things happening. It is also mental as the
  person in the poem describes his feelings and
  thoughts, for example as the ferry is leaving the
  person are physically on a journey and it
  mentally symbolizes the persons journey from a
  small bay to a big city.

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Some Better Examples

• Question What type of Journey is this poem
  about? (One Point)
• Answer Grays poem shows a physical journey on
  the ferry and an imaginative journey as he
  reminisces about his life.
• Question The composer uses a variety of
  techniques to convey feelings about the journey.
  Identify and explain two techniques used. (Two
  points)
• Answer The composer juxtaposes light and dark
  imagery. For example, the longer white lights
  feel nervously around in the blackness This
  juxtaposition is used in order to emphasize the
  search for light (understanding) in a dark
  (confusing) world. Throughout the poem the
  physical journey on the ferry is a metaphor for
  the inner journey that the passenger goes on.
  This metaphor allows the responder to experience
  their own inner journey through being placed on a
  physical journey with the responder.

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Some Better Examples Continued

• Although most of section one requires students to
  respond in short answer form there is always an
  extended response question at the end of this
  section. This extended response question
  requires students to respond to two of the texts
  that have previously been presented in this
  section. The extended response question can take
  the form of a letter, a journal entry, a script,
  interview, proposal or reflection. This question
  is worth six points so your response should take
  up about a page.

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Example Extended Response

• Texts One, Two and Three
• Question You are conducting a radio interview
  with two ONLY of the composers of Texts One, Two
  and/or Three. The subject of the interview is
• Not all journeys have an ending
• In one page explain to your radio producer what
  you hope to discover from your chosen
  interviewees and how you will incorporate your
  chosen texts into the interview.

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Example Extended Response

• Answer
• Dear Producer,
• I would like to conduct a radio interview with
  Robert Gray and the marketing company responsible
  for The Ghan advertisements. I hope to discover
  if the composers believe that not all journeys
  have an ending. The marketing company for The
  Gahn has created a series of advertisements which
  make references to early exploration in
  Australia. The marketing company has used
  pictures of Afghan camels and colonials in
  traditional white suits crossing the outback to
  remind the viewer of the historic importance of
  crossing the outback. Exploring the outback has
  always been an important part of the Australian
  imagination. What I intend to discovber is if
  the composers are hoping to continue that
  Australian sense of adventure and exploration by
  creating such an advertisement. Are the
  composers trying to show that not all journeys
  have an ending by showing us that we can continue
  the adventure today by taking a train ride?
• Grays poetry is also something that gives the
  reader the sense that journeys often have no
  endings. In his poem Late Ferry, Gray looks at
  the ways that a physical journey can often be a
  metaphor for an imaginative or inner jourmey. The
  persona of the

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Example Answer Continued

• Poem sits on a balcony watching a ferry leaving
  a jetty. As the persona describes the ferrys
  difficult journey is actually a metaphor for the
  difficult journey that the persona (and many of
  us!) experience in our lives. The poem is given
  quite a dark tone because of Grays use of dark
  imagery like dark water. The poem is left
  unresolved and I have to wonder if Gray is trying
  to imply that not all journeys have an ending and
  that perhaps the journey is a dark one.
• Regards,
• Felicity Castagna

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Section TwoConsists of a creative response to
the concept of journeys

• In order to do well in this section students
  should be obeying the following basic rules
• 1.) Take the creative writing task seriously. It
  is worth 15 marks. Dont spend so much time on
  the other sections of your English exam that you
  only have ten minutes to write your creative
  piece. You are allotted 40 minutes to do this
  task, you should be taking 40 minutes.
• 2.) Write at lest six to four pages just like you
  would if you were asked to write an essay.
• 3.) Use the stimulus throughout your piece.

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Basic Rules Continued

• 4.) Take five minutes to brainstorm some ideas
  for your story before you begin. Write down four
  or five things that will happen in your story in
  the order that they happen, before you begin to
  write so that you have something to guide you.
  This will both serve to prompt you when you get
  stuck and to ensure that your story has
  structure.
• 5.) Be descriptive. You need to give the
  responder a sense of your characters, their
  setting and their motivations by using detailed
  descriptions, filled with adjectives. If you
  dont use descriptions you will fall into the
  trap of simply recounting plot (Jimmy went to the
  store, and then he bought a can of coke, and then
  he drank the can of coke, and thenand thenand
  thenand then)
• 6.) Use some literary techniques. By this point
  in your education you should know what a metaphor
  is, so why dont you just go ahead and use one in
  your own writing.

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Section Two

• HSC markers have consistently said that
  those students who got the highest marks in
  section two did the following things
• They were able to use their creative pieces to
  talk about the fact that journeys have multiple
  levels. In other words, their stories were not
  just about a physical, an imaginative or an inner
  journey they were about a combination of at least
  two types of journeys.
• They were able to clearly demonstrate that the
  process of going through a journey had an effect
  on the characters in their piece.
• They used the stimulus that they were given
  throughout their stories and repeatedly referred
  back to it.
• Their stories were not predictable. They were
  interesting and imaginative.
• They stuck to the theme of journeys throughout
  their texts.

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Example Questions Section Two

• 1.) You have been given an opportunity to
  interview ONE of the composers/characters from
  Section 1.
• Write the transcript of this interview where
  you discuss the significance of change in their
  lives, and relate their experiences to those of
  your own.
• 2.)Use one of the following stimulus to write a
  bout a journey. Reflect on this journey in a
  series of journal entries the journey may be real
  or imagined.

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Example Questions Section Two

• 3.)A selection of students imaginative writing
  will be included in the 2005 HSC edition of the
  CD-ROM, The Journey.
• Compose a piece of writing to contribute to
  ONE of these sections
• Journeys in Time or Journeys of the Heart or
  Journeys across Landscapes.
• 4.) You are entering a writing competition for
  young writers. The competition is called The
  journey. Use ONE of the following images as the
  basis for the beginning or ending of your story.
  You may write from any point of view you choose.

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Example AnswerThis is an example answer to
question four

• A Solider in my Bedroom
• My mother begins to take a journey
• In the beginning my mother dressed up as an Army
  Sargent from nine to five, Monday to Friday. In
  order to become an Army Sargent my mother took a
  toothbrush and combed her eyebrows upward to make
  them look larger. Next, she applied gel to her
  charcoal grey hair and slicked it back so that it
  sat on her head like a thick woollen hat. The
  last thing that she applied was perhaps the
  defining costume feature. It was a salad bowl
  from our kitchen that she painted army green,
  turned it upside down and slapped it on her head.
• She did not require much more pruning. As far
  back as I can remember she has always been a
  thick-set woman with broad shoulders, big
  breasts, and thick legs like tree trunks. She
  had only to unhook her bra and she became a
  flat-cheasted woman with a sizable paunch, like a
  military leader that had given up caring.
• My mother became an Army Sergeant in 1990 when we
  moved from Germany to Surfers Paradise. Surfers
  wasn't particularly a place that my mother was
  excited about moving to. In the brochures of the
  place it looked like the Las Vegas of the
  Southern Hemisphere, equipped with a beach that
  looked as unreal as the neon lights and cabaret
  dancers in the background. She preferred places
  like her hometown, B______ where everything was
  grey, ordered and efficient.
• In her first few weeks of living here my mother
  could not remove herself from the balcony of our
  apartment. She felt both horrified and strangely
  attracted to the women who frequented the
  beaches. They were all top heavy with small
  waists and thin legs. She wondered how it was
  that they simply did not fall forward and land on
  their breasts.
• In Germany people walk up and down the street in
  the evening, in order to socialise. They pause
  and chat and walk, not for the purpose of getting
  anywhere in particular, but rather for the
  purpose of seeing and being seen. In Surfers, it
  seemed to my mother, people walked for the
  purpose of finding some place to sit. They sat
  on deck chairs at the beach, they sat in front of
  poker machines, they sat at the all you can eat
  buffets. They sat for no reason at all and stared
  out into the distance.

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• It appeared to my mother that even the people who
  worked here spent rather too much time sitting,
  talking, not doing much. She could never quite
  bring herself to forgive the people of Surfers
  for the arrogance of their belief that they had a
  right to accomplish so little.
• In the first few months my mother divided her
  time between sitting on the balcony and looking
  for employment. As a large box of a woman with a
  face like a brick wall it was very difficult for
  her to find employment in a town dominated by the
  hospitality industry. When the job came up at
  Henri's House de Wax it was perfect. Her job was
  to take the customers tickets as they came
  through the door and to ensure that no one
  touched the wax statues. The only catch was
  that she had to come to work dressed in costume.
• My mother's choice of costume was a lot easier
  than you would think. On the way home from her
  interview she passed a magazine stand on which
  there was a copy of Time Magazine with the face
  of a young Army Sergeant, who was worn out and
  learning against a tree. His staunch defiant face
  caught her attention and she paused there in
  front of him to get a better look.
• We all begin to take a journey
• In the next few years our house began to change.
  Not so much change perhaps, but fill itself with
  a foreign presence. A picture of that Army
  Sargent leaning up against a tree went up on our
  fridge so that I had to watch him staring at me
  thoughtfully every time I got the milk for my
  breakfast cereal.
• My mother seemed restless, inattentive, grappling
  with so many ideas in her head that she could not
  form simple sentences out of it all. She turned
  inward and neglected to speak for a rather long
  time although it was clear that in her mind there
  were rather lengthy arguments being conducted.
• It was at this time that things really began to
  change in my mother. When she moved it was with
  a much stronger sense of authority than I had
  seen in her previously. She walked in a stiff
  almost solider-like march. She sat on the couch
  with her legs wide open as if there was something
  in that empty space that she did not want to
  crush.
• There were days when she came home from work and
  did not bother getting changed out of her costume
  at all. She did not seem compelled to explain
  her behaviour and oddly enough we did not seem
  compelled to ask.
• Later on, there came a day when I ceased thinking
  about her as my mother who dressed up like as a
  Sargent and simply began to think of her as
  Sargent. I am not the only one who began to
  think of her in this way, I am sure. She took on
  a new air of authority so that when she walked
  around our neighbourhood people took notice. The
  neighbour's kids no longer giggled at her funny
  accent, rather, they straightened up their bodies
  and stood in line as she passed.

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• The soldier leads a rebellion
• On the fifth day of the strike my mother's face
  appeared on the front page of The Paradise
  Herald. She was standing in front of Henri's
  House de Wax as straight as a soldier guarding
  Buckingham palace. Outside the museum there was
  a line of confused tourists. The face of a
  little boy was staring up at my mother. My
  mother was staring back at him. Her face spoke a
  defiant no.
• All twenty-two of Henri's employees went on
  strike for forty days. They sat on the steps of
  Henri's every day from nine to five holding
  placards, singing, cooking barbeques, laughing
  with their children and families. Tourists began
  to go to Henri's to see the strikers rather than
  the wax statues, so that the workers themselves
  became the exhibit.
• It was my mother who led the crowd so that when
  the strikers became discouraged and hung their
  heads low, staring at the pavement, she would
  rouse their spirits with her speeches. The
  strikers applauded for her, workers in the
  neighbouring shops left their positions to listen
  to her speak, the tourists shook her hand and had
  their photos taken with her.
• On the fortieth day of the strike Henri listened
  again as the soldier listed off the workers
  demands. He caved in slightly and agreed to give
  them a slight rise in wages and holiday pay on
  the condition that the soldier leave the museum
  and cease being their union leader. When the
  soldier put Henri's proposition to the workers
  they got up and left, went back to their homes
  and began the search for new employment. They
  could not, they said, turn their back on their
  leader.
• Two months later the wax museum closed down.
  Henri could not find any new employees. No one
  in Surfers would work there even if he did pay
  higher wages. No one could explain why, they
  just remembered the photograph of Sargent leaning
  up against the building looking staunch and
  determined.
• Henri sold all the wax statues at rock bottom
  prices. They turned up in all sorts of places
  around Surfers. Madonna and Michael Jackson took
  up residency in front of the poker machines at
  Crown Casino. Elvis helped sell chicken in front
  of Chucks Chicken Castle. Queen Elizabeth I was
  spotted at a foam party on South Beach.

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• Sargent journeys off elsewhere
• Shortly after she led the workers revolution at
  the Wax Museum, Sargent left us. She did not
  take much with her, just her army greens, her
  cigars, a few pairs of underwear.
• She sent me a postcard. I don't know where the
  stamp was from, I could not read the writing. It
  was not the kind of postcard one usually gets,
  with pictures of bridges and lakes and sunny
  landscapes. It was a picture of a grey building,
  standing firm and efficient, framed by a hazy
  blue-grey sky.
• A Soldier in my bedroom
• Years after she left I found the museum's wax
  statue of a soldier in a little second hand shop
  on Rose Street. The shop lady drove a hard
  bargain for the statue but when I told her that
  my mother was a Sargent she seemed to understand
  and sold it to me at a price I could afford.
• I keep Sargent in the corner of my bedroom. I
  shine her shoes, dust off her uniform, tease her
  beard, stick a cigar between her fingers and kiss
  her cheek before I go to sleep at night. As I
  turn off the light in my bedroom and get
  underneath the covers I look over at her and she
  gives me a wink as I fall into sleep.

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Reflection

• In what ways does A Soldier in My Bedroom
  fulfill the basic guidelines and markers
  recommendations that we previously discussed?
• The following is the assessment criteria that the
  markers use to score section two. To what extent
  does A soldier in My Bedroom fulfill this
  criteria?
• Students express understanding of the journey in
  the context of their studies
• Students organise, develop and express ideas
  using language appropriate to audience, purpose
  and context

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Section Three

• In this section students can be asked reply in
  the following text types
• Essay
• Diary/journal entry
• Interview
• Script
• Letter
• Personal response
• Reflection
• Feature article
• Speech
• Review

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Texts in Section Three

• Texts
• In this section you will write about
• Life is Beautiful
• At least one text from the stimulus booklet
• At least two related texts

• Your related texts can be
• A poem
• A song
• A feature article
• An editorial
• A speech
• A novel
• A play
• A feature article
• A documentary
• A picture
• A cartoon
• Make sure that you choose a variety of different
  text types

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Example Questions

• The quest is a journey, a pursuit frequently of a
  form of self-enlightenment.
• Metaphor 2004
• Discuss this statement in light of the texts you
  have studied. You must refer to your core text,
  ONE text from your Board of Studies Stimulus
  Booklet, and at least two related texts of your
  own choosing.
• Learning is a journey
• How does this statement relate to your study of
  journey?
• In your answer you must refer to your core text,
  ONE text from your Board of Studies Stimulus
  Booklet, and at least two related texts of your
  own choosing.
• The journey leads to greater understanding
• Discuss how this greater understanding is
  represented by composers in different ways. In
  your answer, make close reference to your
  prescribed text,ONE text from the board of
  studies Booklet, Journeys, and additional texts
  of your own choosing.

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Answering a Question in Section Three

• Step One Make sure that you answer the
  question. 
• When you are writing a response to any question
  for your HSC the most important thing is that you
  answer the question. In order to answer the
  question you have to first be sure that you
  understand what the question means.
• Sample Question 
• The journey is more important than the arrival
•  
• How do the texts you have studied present the
  processes and results of the journey?
•  

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Step One Defining the Question

• In order to begin to understand what the question
  is you need to first identify the important
  vocabulary in the question
• For example
•  The journey is more important than the arrival
•  
• How do the texts you have studied present the
  processes and results of the journey?
• The question is asking you to concentrate on
  discussing the process of the journey. Although
  you might comment on what results from different
  characters journeys (for example, a greater sense
  of themselves, or the world around them) you need
  to concentrate on discussing the process of the
  journey not the end result.

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Exercise

• Directions Copy the following statement into
  your notebooks. Underline the important
  vocabulary. What is the question asking you to
  do?
• The quest is a journey, a pursuit frequently of a
  form of self-enlightenment.
• Metaphor 2004
• Discuss this statement in light of the texts you
  have studied. You must refer to your core text,
  ONE text from your Board of Studies Stimulus
  Booklet, and at least two related texts of your
  own choosing.

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Step Two Writing Introductions

• A good introduction to an essay for this section
  must
•  
• Be a double barrel introduction. This
  means that it must contain two paragraphs.
•  
• -        The first introductory paragraph must
  define what a journey is and then define
  specifically what an inner journey is.
• -        The second introductory paragraph must
  contain a thesis statement that both provides an
  argument and uses the language of the question.
  It then needs to outline your argument for the
  rest of the essay.
•  

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Example

• Journey is a term that implies travel which
  offers new experiences. An inner journey involves
  the exploration of the self, as individuals
  review their growth and development in the light
  of experiences which challenge and inspire them.
• The texts studied in this course clearly
  demonstrate that the journey is more important
  than the arrival. The texts Life is Beautiful
  by Roberto Benigni, The Road Less Traveled by
  Robert Frost, Post-Cards from Surfers by Helen
  Garner and The Red Tree by Shaun Tan all present
  the processes of the journey as being more
  important than the results. The composers shape
  meaning about the importance of the journey
  through their use of various techniques such as
  pace, sound and imagery.

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Step Three Structure

• Space
• You will be asked to write about four texts
  Life is Beautiful, one stimulus booklet text
  and 2 related texts. As Life is Beautiful is
  your core text you need to dedicate most of your
  essay to it. About half your essay should be
  dedicated to discussing Life is Beautiful. The
  other half should be dedicated to your other
  three texts.

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Step Four Structure

• Each paragraph of your response must contain
• A topic sentence
• Evidence to support your topic sentance

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A Review of the main topics we learned about