H2A: A student recognises different ways in which particular texts are valued. He is in a sense founded the metaphysical lyric, which was practiced by scare of writers.
But what do you need to do for these Modules? And what are they really about? For Module A: Textual Conversations, you will study a pair of texts.
These texts will share a direct intertextual relationship. This Module is a comparative study of texts. A comparative study is when you study two texts together and compare them.
You will examine what they have in common and also how they differ.
In a comparative study, you explore the content, themes, and construction of the texts. You will also consider the contexts of both texts and the effect this has on the texts meaning and possibly on its construction. Each pairing is made of an earlier text and a more recent text that is either a retelling of, commentary on, or engagement with the older text.
Both of these texts present texts that have a direct connection between them. It goes without saying that this very much a one-way conversation as the older text cannot comment on the more recent one.
Is this a contextual study of texts? Not really. While there is some focus on the context of texts, it is not the sole focus. Context encompasses the circumstances surrounding the creation of a text. Context includes: The details of the historical period the text was produced in The geographic place of production The cultural and religious circumstances surrounding the creation of the texts The personal circumstances of the composer of the text.
Unlike previous iterations of Module A, in this Module, the focus is less on context and more on the commonalities and differences between the texts. In this module, students explore the ways in which the comparative study of texts can reveal resonances and dissonances between and within texts.
Students consider the ways that a reimagining or reframing of an aspect of a text might mirror, align or collide with the details of another text. In their textual studies, they also explore common or disparate issues, values, assumptions or perspectives and how these are depicted.
By comparing two texts students understand how composers authors, poets, playwrights, directors, designers and so on are influenced by other texts, contexts and values, and how this shapes meaning.
Students identify, interpret, analyse and evaluate the textual features, conventions, contexts, values and purpose of two prescribed texts. As students engage with the texts they consider how their understanding, appreciation and enjoyment of both texts has been enhanced through the comparative study and how the personal, social, cultural and historical contextual knowledge that they bring to the texts influences their perspectives and shapes their own compositions.
By responding imaginatively, interpretively and critically students explore and evaluate individual and common textual features, concepts and values.
They further develop skills in analysing the ways that various language concepts, for example motif, allusion and intertextuality, connect and distinguish texts and how innovating with language concepts, form and style can shape new meaning.
They develop appropriate analytical and evaluative language required to compose informed, cohesive responses using appropriate terminology, grammar, syntax and structure.
By composing critical and creative texts in a range of modes and media, students develop the confidence, skills and appreciation to express a considered personal perspective. Did you struggle to completely understand what this document is asking you?
Remember, this is a comparative study, so you will be comparing two texts to see these similarities and differences and how they develop meaning. In terms of sound, resonance is when something agrees harmonically. We can take this as an analogy for sharing a theme or idea.
When texts have a resonance, something from an earlier text is appearing or being referenced in a more recent text. This is a way of suggesting that to texts present different perspectives on an idea, or that a specific theme or idea is entirely absent from one of the texts.
What you will do when you study these your pair of texts is to see how the more recent text comments upon the ideas in the older text. By studying the texts together, the differences between the two texts should be more prominent.
These differences will allow you to see how the composer is commenting on the earlier text.The form of laying on of hands in the Sacrament, Anointing of the Sick finds a richer expression from John (Mary Anointing at Bethany) and in the screen play Wit by Margaret Edson, by.
Louis Martz: Poetry of pfmlures.comn-poem (Kermode ) Easter-Wing TEXTS John Donne’s poem ‘The flea’.
Off with that happy busk. which I envy. I in labor lie. madam. Module A – Exploring Connections: John Donne Poems. Aim of the Module: to explore the way two texts from different contexts, composed in different forms, give varied treatment to a number of themes with enduring relevance. Poetry of John Donne ( – ) Death be not proud (c) This is .
The Project Gutenberg EBook of Anglo-Saxon Literature, by John Earle This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever.
so also is the same distinction of essential importance in the study of Anglo-Saxon literature. The comparative rarity of swords is a fact that has been particularly. Oct 26, · Comparative Study of Texts - Module a (Hsc) - W; T and John Donne Words Oct 26, 6 Pages Despite the differences in context, a comparative study of the poetry of John Donne and Margaret Edson’s play, ‘W;t’, is essential for a more complete understanding of the values and ideas presented in ‘W;t’.
Jan 05, · Area of Study (s) Basic Information Extension English Module A - Comparative Study of Text Module A - Distinctive X Module B - Close Study of Text Module B - Critical Study of Text Module C - Representation and Text Module C - Text and Society Random Politicking.