',- ,-. ;,- .I`-?:.i,- '`.,-= -.

; I,- T

pter covers material which will help you prepare for Achievement Standard 91100 (English 2.3),
Significant aspects of unfamiliar written text(s) through close reading, supported by evidence'.

ievemeut standard +orms part Of the Making Meaning (lI.stening, reading, viewing) and Creating Meaning
fry m`f/'ng, v/.ew/.ngj strand in English, with a particular focus on reading. You will answer questions on
ri{{en texts in an external exam. The more you read and the greater the variety of the material you read,
qme likely you are to become a perceptive, well-informed reader. You are also more likely to succeed in
a5sessments.

pter provides you with practice in a range of strategies to use when tackling unfamiliar texts in the
L} examination and when reading new material for other achievement standards, namely AS91104

2.7), AS91105 (English 2.8) and AS91106 (English 2.9). The texts used here are therefore from a
of genres, so that you gain experience in analysing texts across the range of achievement standards.
sE± of texts explores different aspects of the broad theme, Fear and Wonder.

ent criteria

Achievement Achievement with Merit Achievement w-rfh Excellence

significant aspects of Analyse significant aspects Analyse significant aspects

ar written text(s) through of unfamiliar written text(s) of unfamiliar written text(s)

reading supported by convincingly through close perceptively through close
reading supported by evidence. reading supported by evidence.

to cri.aria
ae learning to read unfamiliar texts closely by exploring the texts in detail using reading strategies.

PL,re :earning to interpret how significant aspects of texts create meaning by:
b* giva:1.rsing the ideas in the text

fty rrc,ijsing the purpose and audience of the text

amz_Typing the structure of the text and how it develops the ideas

]rcJ-jsing the language features and how these craft the ideas.

i.e learning to provide supporting evidence by:

E±ring to specific, relevant details in the text and explaining their effect

Eirg specific, relevant quotes from the text and explaining their effect.

ftylp.ductioh to studying unfamiliar texts

ed of approach to analysing unfamiliar texts
method when analysing unfamiliar texts is SIFT -in which you think about the significant aspects by
through the details while you read.
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!pB ue a6ejno)s!p Jo a69ino3ua oL fasodJnd aul S! }el|M {pa|qo uv tuo!}en}!s v £}noqe }! S! }euM
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fuo!is3nb eii} u! SPJOM Aa} al|| aJe |Bl|M
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 Chapter4: Close reading ofunfamiliartexts 81

S = Sub/eat -an author's subject matter, the situation, the people, the ideas

I = /nfent/.on -the author's intention, purpose, target audience

ghlighterto
es, or se F = fee//.ngs -the author's feelings, attitude, point of view, tone

T = rechnt.ques -the author's techniques, style, genre, language

iiiiEJ-iiiE
® FEELINGS © TECHNIQUES

ge an acti is the writer or narrator's point of What genre is the text? a

How is the text structured?
is the attitude towards the subj.ect?
Is there a sequence of ideas?
opinions are expressed?
How are ideas expressed usirig a particular technique?
is the tone? Serious? Amusing?
How does the technique convey the aspects asked in
Positive?
the question?

Why is it effective?

your thin
Z=ap -.,-` _ - _

IMAGERY
SYNTAX
Sound techniques visual techniques
Tyl)e Patterns Punctuation
Alliteration Metaphor
S:mple Length Commas
Sibilance Personification
Compound Repetition Dashes
Consonance Simile
Lcomp,ex Parallel Questions
Assonance Symbol
i REinor Listing Exclamations
Onomatopoeia Allusion
1 Lcose Juxtaposition Italics

±riodic Parenthesis Capitals

WRITE

NOTES RESPONSE t>

Annotate Structure

Highlight Paragraph

Group observations

* ~-.:_fas:i;ons (NZ) Ltd, lsBN 978-0-94 7504-83-0 - Copying or scanning from ESA workbooks is llmited to 3% under the NZ Copyright Act.
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 Chapter4: Close reading ofunfamiliartexts 83

tt 4.2: Analysing purpose and audience (2)

tprrfe following extract, 'Sport` by Paul Thomas, from Ivew Zea/and [i.5tener, 7 July 2012.

qu the questions in the spaces provided.

.Ifs hard to escape the feeling that the New Zealand Rugby League (NZRL) is, to use a quaint Americanism,
rag against thunder in its campaign to stop New Zealand-born, Australia-domiciled players tuning
dH back on the country of their birth.

jttthe time of writing, there were liints that the latest tug-of-war -over Auckland-born Bulldogs prop Sam
Erino - would be resolved in the NZRL's favour, but that may turn out to be a case of winning the battle
in bsjng the war.
ife Aussie push to poach Kasiano was led by Queensland coach Mal Meninga, looking to bolster his line-
nfor the State of Origin decider. Whatever pieties officials might spout about the primacy of intemational
EExptition, Origin is without doubt the jewel jii league's crown. Roosters fiillback Roger Tuivasa-Sheck,
a iner New Zealand Secondary Schools rugby uliion representative who may be the next piggy in the
rfule, spelt it out: `Playing Origin is every league player's dream.'

is the target audience of this article? Supply evidence.

is the writer's purpose? Justify your answer.

in why the following phrases are effective in reaching the target audience: 'winning the battle and
the war' and 'jewel in league's crown'

4.3: Analys.Ing purpose and audience (3)

#€ following extract from 'rv Films' by Fiona Rae in Ivew Zea/and ft.5tener, 22 September 2012.
the questions in the space provided.

Bieber: rvever Say Ivever (Sky Movies, Sky 019, 8.30pni).

Ily, Justin, we can: never, never, never! (2011 ) *

ai`e rated out of 5: + (abysmal) to * + + I I (amazing).

is the target audience of this article? Supply evidence.

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 Chapter4: Close reading ofunfamiliartexts 85

choose words to express actions and feelings

more accurately, as well as to create positive or negative

4.5: Connotations - descriptions

chedifferenceinmeaningbetweenthefollowingsetsofwordsdescribingasimilaractjon
1 i-^-^L ^-^_ =_ ._ _ \ or feeling. The
nd in each case is neutral.

4.6: Denotations and connotations

inthedenotationandconnotationsofthewordsinthetablefollowing.Thefirstonehasbeen
-hl^ ''~^ -I:_i:_.__ _
caT!ple. Use a dictionary and thesaurus to help you. done as an

Denotation Positive connotations Negative connotations

youthfulness, environment,
freshness jmmaturjty, envy, sickness

at the following lines from Shakespeare's

play A5 you ft.ke /I. _Comment
--' ' ' ' ' . ' I ` on
`, I 'Shakespeare's
-"u |\|_Jl.,Cq I C > use
I of the
s'stage','players'and'parts'byanalysingthedenotationandconnotatjonsofthewords.
the world's a stage,
all the men and women merely players;
have their exits and their entrances;
one mall in his time plays many parts,'
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(€.Z uS!|6u]) oo|L6 PJepuels ]uau®^®!u.V 98
 Chapter 4: Close reading of unfamiliar texts

is ere of the keyelementsi.nanalysjngunfamiliartexts.Itjnvolves

_...j u.,,u,,„i,ai ie^is. iT Involves understandl.ng the attl.tude conveyed jn
a ,A:+,,J^ I__
Fails,theatt'tudetowardsitssubjectand/orltsaudlence,andhowthisattitudejscommunicated.The
ileeds to recognise and understand the tone of a Diera nf `^Iri+;nn `^J:.L- I __.-''''-''',uLCu' I

maymjsunderstanddescriptjonordl.alogueandbecomeconfused.
irst;n-di=s:r;;:.I.Ian'=r`E:€ai=°anuee°aTnadprperc=m°fa::;:::.3:yithoutanunder;ta;d=;;i;`t=;:,
_ _I , _ _ _ __,,,\*Jlu,
ofapjeceofwrjti.ngrelatestoitstone-Isitpersuasive7Sarcastic?Angry?Solemn?Doesithave
__.._ .... I,ci .ua>ivef )arcastlc
)nes? What effect does tone have on the tarna+ `i.I: ---- ` I
;RE_tones?Whateffectdoestonehaveonthetargetaudjence?Famous
_. . _ _., „.. ,„tl auuience.z famous World War I poets, such as
ffiraoutren. utah a h;t+Ar ...~..I:_ .
Ome"usedabitter,sarcastlctonetopromptthereadersathomelnBritai'ntobemorecautiousabout
I a nigLE
xptofight.Columnl.stsjncontemporarynewspaperschallengereaderstotakeastandandprotectthejr
Nin,s Bib r _. _. , „`„-I+aHci> iildllenge readers to take a sta
REREons.RecognislngthetonesriL-u|-dh=;i:nvea:rF;oL:'::I:hn€ec,roesaedreer=dt=ntga:=oacesstsa.
edid-ons. Recognl.Sjng the tone should hannpn aarl`; ^n ;n +I-1 -I -
ped a( .

vocabulary(withpositiveornegativeconnotations)

Syntax (Sentence structures) .': `£t3iEH-

eutd

r TETE i E
¥ BE-i-_ -___ _ -

Imagery (literal and figurative)

dr is established
kythewriterthrough
fa.r choice of
coloursymbolism(darkcoloursforagloomymood,light
trfuiques such as:
9, gil ones for pleasure)

dialogue(fromangry,argumentativeandcommanding,to
frjendlyandconci.liatory)

Irony(whenthemeani.ngofwhatjssaidjsoppositetoits
denotation)

sarcasm(whenthemeanjngofwhatissaidisoppositeto
i'ts denotation, and has a nasty tone)

Example
`ItisthissenseofhopelessnessthatCareycapturessoweJI.FordespjteitsmomentsOfhumour,

humanjfyandloye,thestoryofEdwardKellyjsoneofdescentintodesperation,setinan
environment of brutal extl.emes.'

tl::w.:::I:nd=:enev.iowofterercarey`srfueHistoryoftheKellyGang,reviowerfaifeQmn
Therevieweradmi.restheauthor'shandljngofhjsmaterial(attitude).Thetonejspositjve-as
communicatedbythepositiveconnotationsofthedescrjptivephrases'capturessoweHand
'momentsofhumour,humanjfyandlove'(tone).

•`i!b:I=ations (NZ) Ltd, ISBN 9 78-0-94 7504-83-0 -

C:ingorscanningfromESAworkbooksisllmitedto3%underthe
NZ Copyright Act.
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 Chapter 4: Close reading of unfamiliar texts

3: Prose (novel)
jngextractfromMyIvewZea/and5to~£awhquakebyJanl.neMcveaghisfromthefictjonalletterofan
_ , . _.. „,i.u,`i-I.y jaiHlie ivicveagn IS from the fictjon€
`dcharacter,KatjeBourke,whoi.swritingtoherfatheraboutthe1931Napierearthquake.
Icharacter, Katje Bourke. whn icwri+jn^+^ L^,I-iL---I , I

don't even knowI.^„.

how+_ ..__ ..
l'fLcvcHKliownowtowrjteanyofthis!It'ssohorribleandsounbelieyableandyetjtjsreal,nota
flvan Ln^w

are... Yesterday,the wholewor|dtumed HnciHa h^„In LI-ii-! . .

„ ulc wlloie woHd turned upside down. Nothing is the same as it_--.
was.I-I,ul, ||\J|
The town ,

gone, the lagoon is goneandwearehereonthebeachwiththousandsofotherpeople,eatingand

xping and crying.'

attitude

4..9:. understanding tone

rfer'sattitudeandfeelingsareconveyedbythejrchojceofwordstocreateaposjtjve
or negative tone.
Examp,e
Meutraltone:Thehamburgerwasfilledwithlettuce,cheeseandabeefpafty.

Positivetone:Thedelicjoushamburgerwasfilledwjthcrisplettuce,tangycheeseandaspicy,

mouth-watering beef patty.

Negatjvetone:Therevoltinghamburgerwasfilledwjthslimylettuce,tastelesscheeseandadry

beef patty.

uteafewlinesofanimagjnaryblogentryaboutyourpreparationsforabigsportorculturalevent,usinga
utra[ tone.

trcleonepositivetonewordandoneliegativetoneword
from the list below,
aervous excited bored content
iewrjtetheblogljnesfromquestion1twl.ce,conveyl.ngeachtone.

Nngatjve blog
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 Chapter 4: Close reading Of unfamiliar texts

:;a'+^`,,:\.A.:_a_I_!S,i.r9 imagery\_---,
+I,^ {^Jl_. . .:._ __ in poetry
fedthefollowingpoem,'NoOrdinarySurtyjnwhichHoneTuwharereflectsontheimpacton
ndear explosjon. nature of a
b Ordinary Sun
TZH let yoLlr arms fall:
rfe them not sharply in suppljcatjon
T3 the bright enhaloed cloud.
Jet yoiir arms lack toughness and
dience for this is no mere axe
a binnt nor fire to smother.
fro sap shall not rise again
a the moon's pull.
RE more jncljne a deferential head
-ro the wind's talk, or s(jr
10
-i the tickle of coursjng rain.
HIT former shagginess sliall not be
-thed with the delightful flight
Of birds nor shield
rm cool the ardour of unheeding
15
;hers from the monstrous sun.
!fe let your naked arms fall
i

}m extend vain entreaties to the radiant ball.

:life is no gallant monsoon's flash,
:- dashing trade wjnd's blast.
20
hefadjnggreenofyourmagic
rml]ations shall not make pLlre again
thee polluted skies ... for this
i no ordinary sLln.
0nee
~-the shadowless moiintajns 25

de white plains and

de drab sea floor
•qur end at last js written

Gbssary

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chmentontheeffectjvenessoftheimageusedtodescribethenuclearexplosjonin!jne3.

fualysehowTuwhareeffectivelyusespersonificationto
te. conveythejmpactofthenuclearexplosjononthe
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 Chapter 4: Close reading of unfamiliar texts 95

a response (o exam questions

nd the key requirements of the question.
s an example from a sample paper for NCEA Level 2 English 2.3 (2011).

A: Column/Opinion
this text to answer the question below.

rme Stuff - Jon Bridges

Tee text message has changed the way we communicate for the better. Pesky punctuation and
fronvenient 'sentences' are a thing of the past. Language used to be a vehicle you needed a university
ed]cation to understand and a permit to be allowed to drive. Now we can all get behind the wheel and
cq, 'qTO
{1o burnouts on the tennis court of meaning. Let's see how fast this thing can go!

The text message has also allowed us to shrug off all the cumbersome paraphemalia of written
"nmunication. No more pads of unfeasibly thin writing paper, and the unhygienic licking of stamps and
g[velopes is gone. It's halid to believe that any writing technology required not just one, but two separate
as of licking . . .
I all the inconvenient rigmarole of pens, addresses, stamps and stationery, there's only one thing I'm
ping to miss and that is: 'How are you, I am fine.' Never was there a phrase invented that gave children
a ITiore sure-fil.e way to begin. My only regret with the demise of mail is that my grandchildren - should I
be blessed with any - will never ask how I am and let me know they are fine, before moving on to thank
gBe for the [ove]y gifts.

As we look back and laugh at our ancestors ... I think the only regret we can have is that the text
nessage did not appear sooner in the history of the world. If it had, these are some of the magnificent
cExt messages that might have been received and sent

Got ark rdy like u said. When is rain?

Ship hs hole. Shld b ok tho. C u in NY.

Me n Tnzng made it safe. No cvrge@ top or wld hv sent pxt.

Hey neil, omg, saw u on moon : } Im waving cn u c me?

rvew Zea/and i/stener, vol. 214, July 12-18. 2008

triter uses humour to suggest ways that text messaging has affected how we communicate significant
and moments in our lives.

e how the writer has presented his opinion on the effects of texting on communication.

I answer, you should:

identify and give examples of techniques used in the text and explain their effects (techniques include
metaphor, tone, listing, syntax, etc,)

show understanding of the situation (effects of texting on communication)

show understanding of the writer's purpose (his opinion).

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 Chapter4: Close reading of unfamiliartexts 97 __., -`:'`,`'```,-J',`-..`,.,.,.,.', ,_.,-,`,'.' `.',;, `-?

iF= is a possible Mel.it response. It would be given an M6 as it meets all the criteria but does not examine
tesination with sustained insight.

Sseens the writer believes that texting has had a negative impact on The student shows clear
mmunication. He uses an informal, mocking tone through the alliteration a understanding of the
f pesky punctuation' and the mention of `inconvenient sentences' to situation and weaves in
irii]. that he actually thinks using proper grammar is important in certain appropriate quotes that
F=5 of communication. He thinks that using too much text language is identify technique and tone,
EE=ioying the deep meaning or sophistication of language. followed by a thorough
explanation.

rfe also uses an extended metaphor 'language used to be a vehicle' to A further technique js
rfuirthat not just anyone has the skills, or a 'permit', to use language EEE
examined and explained
'rd. He describes that people nowadays are doing 'bumouts on the
clearly, with further
EEnis court of meaning', which creates a mocking tone as if he is reference to the mocking
RI.sing the way people communicate too quickly, without thinking about tone`
rfet they're saying.

ire writer uses listing and a sarcastic tone when referring to the A close focus on techniques
'tronvenjent rigmarole of pens, addresses, stamps and stationery' and a
and tone is maintained and
thygienic licking of stamps and envelopes' to encourage readers to the impact on the reader is
Hk back to the almost romantic idea of letter-writing in a negative way. mentioned.

fithe end of the extract, the writer effectively shows the problems of A thoughtful insight into
us-ng texting for big occasions, The texts for events like the landing a the writer's purpose is
en the moon or Hillary and Tenzing reaching the summit of Mt Everest shown, but without any
fffivey how superficial and ordinary these make the events seem. Overall, references to some of the
ife writer shows that we are losing the beauty and class of the English more positive aspects of the
inguage. situation.

sere is a possible Excellence response. It would be given an E8 as it meets all the criteria.

Iridges effectively uses irony to convey his views on how texting changes
ff.Sway that we communicate. On the one hand, he shows that texting a ::: :thuod;:ts:pr|tje:i::teendt'y
I-, -h-n-A I.. ^ --.... _ _I .____:L:I!,L,_ _ I._ _ ,I_ _
Tas opened up a range of possibilities for the way we use language to
insight into the meaning of
b=.mmunicate, with the extended metaphor of 'Ianguage as a vehicle'. In
the extended metaphor.
die past, he suggests, we had to learn all the rules of 'pesky punctuation'
af?ad `inconvenjent sentences', but now people enjoy the racy excitement
gf doing 'bumouts on the tennis court of meaning' with their access to
instantaneous communication.
On the other hand, Bridges regrets the loss of typical stylised letters written
The student offers a
r from children to adults, even though he acknowledges that it is more
EE balanced insight into both
; inconvenient than the simple process of texting -'inconvenient rigmarole
I of pens, addresses, stamps and stationery'. In comparison with using positive and negative
aspects of the wrjter's view.
i bnguage that requires 'a university education to understand and a
permit to be allowed to drive', people do not need very highly developed
sfu.lls to communicate, which Bridges views to be a loss of important rituals

; and effort required to communicate appropriately.

--iblications (NZ) Ltd, ISBN 978-0-947504-83-0 ~ Copy.Ing or sccinning from ESA workbooks is IImited to 3% under the NZ Copyright Act.
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 Chapter 4: Close reading
of unfamiliartexts 99
h=ompariso"RhysDarbyttumasacrazyhermitisabjt
ire the story feels like jt's starting to flag. daft,thoughJiedoesarrjvelateinthefjlmata
pees wife
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.` rmincing pig-sticker, too.

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nt neafty ._ _u .... ug[iHel in an attempt to stop the kid being taken
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ress miohf aAi,A.,^ +_ f_ . .
font a local film. -'--.u-..'J 'uL'`'8 C°mpanjon. But though the pair,s

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Eu,,-J^.^J e__, ` -_
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aE¥ on.

tsEemstheaffectjonBoyhadforMjcliaelJacksonhas
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So -8 Wilderpeople as good as Boy?

:tryberiotqujte.It'sfarmoreofaromp,theserio-comic
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±^'_ chapter
, headings toneWajtitiestabljshesinthefilni'searlychapters
. __ ...`.. `.,H,,I.cl ilcdqmgs -gets left behind jn the dust of that _._
big..... `. „ finale.
action ,„t= Iiiill s eai.Iy chapte
a A\|®+ ,`c ^,_ _ . , .
couldjtbeasbjgasBoPMostdefjnltely.Getready,NewZealand,towrapyourlaughjnggeararound

a.. The Hunt for the wilderpeople

or: :aaj:aNwe:.::'jtJju'jan Dennjs°nJ RI.rna Te wiata, RacheJ House, Rhys Darby, oscar Kjght|ey

has PG (Vlolence, coarse language, some scenes maydjsturb youngchiJdren)

L]rming time: ]o] mins

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 Chapter4: Close reading ofunfamiliartexts 103

nTwo
nemf the writer shows the emotional impact of losing the orca on Will and how he is affected when the
again.

er, you should include examples of techniques used in the text and explain their effects. These might
inn are not limited to, incomplete sentences, minor sentences, curse words, rhetorical questions, simile.

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 Chapter 4: Close reading of unfamiliar texts

-a " to answer Question Three.

fiou dost not need make-up

already well made

ae beauty as they are

rfui mol`e beautiful than the heart can tell
and thy soul
ro be praised and loved
ale 5pecia I
E5 no other like thee
is thy house
]0
E' -flHed and care for
I ifeed isa sjngjng bird
ansibo
' I:isB Bo[ to those who say
', " ." be thin
15
: -3grrfu must be fat
lam aBust be this or that
mha mList have blonde hair
ELeyes a heart-shaped arse
air like a cow
20
"11 dreams al`e these
rill men with small fantasies
the chains
mke for thee
rfu cat grows fat
25
thou grows thinner than air
nd be well
try maker loves thee
intended thee to be

'ion Three
iowthewriterportraystheideathatawomanisbeautjfulfromwithjnandsheshould
inalrin,A
appearance. ignore criticisms

answer you should:

-tryandgiveexamplesoftechniquesusedintheteutandexplaintheireffects(technjquesmjghtinclude

i5in-!e, metaDhor,
'5in.!e, metaphor, colloquial
collnnliial language)
lannnana\

dri+understandingofthesituationthewriteriscommunicating
ELunderstandjngofthewriter'soverallpurpose.
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