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Students will be undertaking the unit ‘Narratives that shape our world’. The first week the lessons

focused mainly on introducing the topic to the students. Students will be watching four short videos

on understanding narratives and its purpose in the first lesson. The videos are ‘Why do we tell

stories’, ‘Introduction to storytelling’, ‘Persuasion and power of story’ and ‘Power of fiction’.

These video are short and act as an outline for students on what to expect within this unit.

Following that students watch ‘Are you living an Insta Lie’. The main focus of this was to add to

the introduction that narrative surrounds us. Social media discussion takes place and students reflect

back on their own narratives created using social media. The task for students to undertake required

them to create social media posts with a narrative. Students continue their introduction to the topic

via exploring the syllabus rubric. This was done in order for the students to fully comprehend what

was expected of them. The rubric was explained to the students. To better understand the rubric,

students create a word collage of key terms from the rubric. During this activity students ‘often

make connections that illustrate deep and sophisticated thinking’ (Gannon, Howie & Sawyer, p.g.

289) regarding the rubric. To finish the week off, students look at the article by Emily Smith, ‘The

two kinds of stories we tell about ourselves’. The purpose of this was for students to reflect back on

the role that narratives play on a day to day basis.

The second week students focus on meta-narratives, archetypes or master plots and macro/micro

narratives. The historical, political, social and personal context is explored it the narrative. Students

look at Langton Hughes ‘Let America be America again’ and Henry Lawson’s ‘The Star of

Australasia’. Both the texts focus on historical, political, social and personal context. This provides

students opportunity to read in between the line. Students will follow on with Salinger’s ‘The

Catcher in the Rye’ and ‘Dig Down’ by the Muse. Both these were chosen to focus on the micro

narratives within two different media forms. A mind mapping of what narrative means instils in

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students the fundamental core concepts of narratives. To gain a better understanding of narrative

and intertextual links, students look at a series of powerful speeches starting with Martin Luther

King’s speech ‘I have a dream’. Followed on by Barrack Obama’s victory speech, Kevin Rudd’s

sorry speech, Julia Gillard’s misogyny speech, Malala Yousafzai’s United Nation’s speech and

Deng’s Australia Day Speech. All these speeches were powerful narratives and for students to gain

more understanding, the task prescribed to them was to produce a written task which they were

passionate about. To finish the second week off, students will look at Yeat’s ‘A Second Coming’.

Students by undertaking this task will understand the master plot and narrative types. The teacher

guides the students by annotating a portion of the poem but the students have to annotate the rest of

the poem. This particular DARTS activity was chosen to ‘improve students’ reading comprehension

and to make them critical readers and to ensure students interacted with the text’( Teaching

English).As a follow on task in the classroom, the students need to come up with their own poems

with a narrative.

Students firstly, listen to Kanye West’s ‘Jesus Walks’ followed by a video clip of the same song.

After the viewing, students form groups and compare it to Yeat’s ‘A Second Coming’. The song has

a master plot and biblical references. This provides students a clear idea of what plot means within a

narrative. This enhances their understanding. Students focus on the prescribed text Macbeth. The

expectation is that students would have finished reading the text before the lesson. This lesson

focused on how narrative conventions are used to engage readers in a narrative orientation. The task

at hand is to be in pairs and with a different character persona and to carry out a conversation being

inn character. The other activity is a worksheet that students need to complete in pairs. The

following lesson focuses on the historical, political, social and personal context of Macbeth. This is

important because to fully understand and connect with the text students need to understand

everything about it. The class was divided into four groups, each researching their respective topics.

The focus for this lesson is the study of how Shakespeare creates complex characters to connect
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with readers emotionally and intellectually in order to convey his thematic concern. The teacher

looks at two soliloquys and annotates the first with the students. The second one is done by the

students in pairs.

Students will look at Shakespeare’s use of narrative voice, point of view, and structure to reflect on

different thematic ideas in Macbeth. Students will fill a table using reference from Macbeth. After

that task, students are to undertake a diary writing task posing as a servant. The teacher chooses

students to read to the class. Half the class assumes the role of the director whilst the other half are

the actors. The students will put up a small performance. The director must justify why that scene

was done that way. This activity was done in order for students to understand the thematic elements

or stage directions contribute greatly towards creating a powerful narrative. Students will watch

‘Macbeth Retold’ which is a modern take on the original story. This provides students an

understanding that narratives can remain the same even with new elements. Macbeth Retold is the

same old story with a modern twist which appeals to a younger audience. The final lesson focuses

on completion of the movie Macbeth Retold and students making a comparison of certain scenes

from the text against the movie. At the end of the lesson groups will be discussing their findings.

This is a comparative task to engage students in deep thinking.

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Class: Year 11 Advanced Time: 60 min Topic: Narratives that shape

our world

Teacher’s Objectives

Students will understand that narrative is a universal element of human experience and gain an

introduction to the unit.


EA11-3 Analyses and uses language forms, features and structures of texts considering
appropriateness for specific purposes, audiences and contexts and evaluates their effects on
EA11-6 Investigates and evaluates the relationships between texts.

Access to YouTube
Copies of the handout

Time Organisation Teaching/ learning activities
5 mins Short explanation Mark the roll
Introduce the topic “Narratives that shape our world”
4 mins Instructions/ Mind Mapping. Explain the handout
10 mins Slides & Explain PowerPoint To be shown.
3 mins Watch video’ Why do we tell Stories’.
5 mins Engage students in Build on the idea of narratives.
3 mins Watch Introduction to Storytelling
5 mins Watch’ persuasion and power of story’
5 mins Watch Power of Fiction
20 mins Walk around Complete the handout and hand it to the teacher for
providing marking

Evaluation/ Extension

The handout to be collected, marked and returned to the students the following class.

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Resources/ Activities

Introduce the topic

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The importance and purpose of storytelling

Examine the following slides containing quotes about narrative and create a Mind Map that
shows what the telling of stories achieves and why Its
it’s important. You should add more arrows
and subheadings to the Mind Map and as you go
purpose and through the PowerPoint presentation.


Activity 2
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Now that you have been through the quotes and short videos, write two sentences about what
storytelling means to you?
Personally – You may enjoy a good story or may be a good storyteller yourself. You may have a
connection to some personal stories
Culturally – does storytelling have a significance in your culture? If so why?

Socially – Is storytelling or reading something you interact with socially?


After viewing the video ‘how fiction can change reality’

What are TWO arguments the composer makes about how fiction can change reality?
How does fiction reflect reality?

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Why is fiction a powerful tool in reflecting reality?


Have you ever encountered a story that changed your view of the world? Briefly summarise the
story and the ways of thinking it altered for you

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Outline Week 1 Lesson 2

Students watch the video ‘Are you living an Insta Lie’ and complete worksheet. Discussion takes
place about narratives and how we are surrounded by it. Students are to work in pairs to create a
social media narrative which is presented to the class at the end of the lesson.


Resources/ Activities

Storytelling Today
 How is a social media post a narrative?

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 The nature of narrative is a continual process of revision and selection. How does this short
clip highlight this idea of selection and revision in social media storytelling.

 How do our own narratives, and the narratives of others on social media, shape our
understanding and perceptions of our world?

Work in pairs to create a social media narrative, Facebook, Instagram,

Twitter etc. The narrative must have a plot.

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Outline Week 1 Lesson 3

Student will be looking at the syllabus rubric to gain a better understanding of the module and

recognise what is expected of them. The rubric will be explained to the students. Following which

students will form groups and undertake the task of creating a collage using words from the rubric.

They will also be doing focus questions in groups to help their learning. This task will help students

understand the outcomes of this unit.



Resources/ Activity
‘Narratives that shape our world’ - Syllabus Rubric

In this module, students are to explore a range of narratives from the past and the contemporary era

that illuminate and convey ideas, attitudes and values. Students are to consider the powerful role of

stories and storytelling as a feature of narrative in the past and present societies, as a way of:

connecting people within and across cultures, communities and historical eras; inspiring change or

consolidating stability; revealing, affirming or questioning cultural practices; sharing collective or

individual experiences; or celebrating aesthetic achievement. Students will deepen your

understanding of how narrative shapes meaning in a range of modes, media and forms, and how it

influences the way that individuals and communities understand and represent themselves.

Students will analyse and evaluate one or more print, digital and/or multimodal texts to explore how

narratives are shaped by the context and values of composers (authors, poets, playwrights, directors,

designers) and responders. Students may investigate how narratives can be appropriated,

reimagined or reconceptualised for new audiences. By using narrative in your own compositions

you will increase your confidence and enjoyment and be able express personal and public worlds in

creative ways.
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Students will investigate how an author’s use of textual structures, language and stylistic features

are crafted for particular purposes, audiences and effects. Students will examine conventions of

narrative, for example setting, voice, point of view, imagery and characterisation and analyse how

these are used to shape meaning. You will also explore how rhetorical devices enhance the power of

narrative in other textual forms, including persuasive texts. Furthermore, you will develop and

apply the conventions of syntax, spelling, punctuation and grammar for specific purposes and


Students will work individually and collaboratively to evaluate and refine your own use of narrative

devices to creatively express complex ideas about your world in a variety of modes for a range of

purposes and critically evaluate the use of narrative devices by other composers.

Key terms:

Nouns Adjectives Verbs

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‘Narratives that shape our world’ focus questions:

● How is storytelling a universal element of human experience?

● What are the conventions of narrative and how are they crafted to tell speculative stories?

● How do the composers of speculative narratives use imagined worlds to comment upon and

reflect their own contexts?

● How do speculative narratives have the potential to shape our perceptions of our world, and

challenge existing structures and practices?

● How do composers create complex, multifaceted characters to connect with readers for

intellectual and emotional impact?

● In what ways do composers manipulate narrative voices and point of view to reflect

different concerns?

● How and why do stories resonate with their audiences across time?

Below, record in five dot points what you expect to learn about, and record in five dot points

learning experiences that you expect to undertake.

Outline Week 1 Lesson 4

Students will look at the ‘The two kinds of stories we tell about ourselves’ by Emily Smith

following which a set of question will be given out to students to answer. The text is discussed with

the students. Students need to reflect upon the ideas Emily Smith raises about the role of narrative

in our day to day lives.



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The two kinds of stories we tell about ourselves

Jan 12, 2017 / Emily Esfahani Smith


We’ve all created our own personal histories, marked by highs and lows, that we share with the

world — and we can shape them to live with more meaning and purpose.

We are all storytellers — all engaged, as the anthropologist Mary Catherine Bateson puts it, in an

“act of creation” of the “composition of our lives.” Yet unlike most stories we’ve heard, our lives

don’t follow a predefined arc. Our identities and experiences are constantly shifting, and

storytelling is how we make sense of it. By taking the disparate pieces of our lives and placing them

together into a narrative, we create a unified whole that allows us to understand our lives as

coherent — and coherence, psychologists say, is a key source of meaning.

Northwestern University psychologist Dan McAdams is an expert on a concept he calls “narrative

identity.” McAdams describes narrative identity as an internalized story you create about yourself

— your own personal myth. Like myths, our narrative identity contains heroes and villains that help

us or hold us back, major events that determine the plot, challenges overcome and suffering we

have endured. When we want people to understand us, we share our story or parts of it with them;

when we want to know who another person is, we ask them to share part of their story.

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An individual’s life story is not an exhaustive history of everything that has happened. Rather, we

make what McAdams calls “narrative choices.” Our stories tend to focus on the most extraordinary

events, good and bad, because those are the experiences we need to make sense of and that shape

us. But our interpretations may differ. For one person, for example, a childhood experience like

learning how to swim by being thrown into the water by a parent might explain his sense of himself

today as a hardy entrepreneur who learns by taking risks. For another, that experience might explain

why he hates boats and does not trust authority figures. A third might leave the experience out of his

story altogether, deeming it unimportant.

People who believe their lives are meaningful tend to tell stories defined by growth, communion

and agency.

McAdams has been studying narrative identity for over 30 years. In his interviews, he asks research

subjects to divide their lives into chapters and to recount key scenes, such as a high point, a low

point, a turning point or an early memory. He encourages participants to think about their personal

beliefs and values. Finally, he asks them to reflect on their story’s central theme. He has discovered

interesting patterns in how people living meaningful lives understand and interpret their

experiences. People who are driven to contribute to society and to future generations, he found, are

more likely to tell redemptive stories about their lives, or stories that transition from bad to good.

There was the man who grew up in dire poverty but told McAdams that his hard circumstances

brought him and his family closer together. There was the woman who told him that caring for a

close friend as the friend was dying was a harrowing experience, but one that ultimately renewed

her commitment to being a nurse, a career she’d abandoned. These people rate their lives as more

meaningful than those who tell stories that have either no or fewer redemptive sequences.

The opposite of a redemptive story is what McAdams calls a “contamination story,” in which

people interpret their lives as going from good to bad. One woman told him the story of the birth of

her child, a high point, but she ended the story with the death of the baby’s father, who was
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murdered three years later. The joy over the birth of her child was tainted by that tragedy. People

who tell contamination stories, McAdams has found, are less “generative,” or less driven to

contribute to society and younger generations. They also tend to be more anxious and depressed,

and to feel that their lives are less coherent compared to those who tell redemptive stories.

Redemption and contamination stories are just two kinds of tales we spin. McAdams has found that

beyond stories of redemption, people who believe their lives are meaningful tend to tell stories

defined by growth, communion and agency. These stories allow individuals to craft a positive

identity: they are in control of their lives, they are loved, they are progressing through life and

whatever obstacles they have encountered have been redeemed by good outcomes.

Even making smaller story edits to our personal narratives can have a big impact on our lives.

One of the great contributions of psychology and psychotherapy research is the idea that we can

edit, revise and interpret the stories we tell about our lives even as we are constrained by the facts. A

psychotherapist’s job is to work with patients to rewrite their stories in a more positive way.

Through editing and reinterpreting his story with his therapist, the patient may come to realize that

he is in control of his life and that some meaning can be gleaned from his hardships. A review of the

scientific literature finds that this form of therapy is as effective as antidepressants or cognitive

behavioral therapy.

Even making smaller story edits can have a big impact on our lives. So found Adam Grant and Jane

Dutton in a study published in 2012. The researchers asked university call-center fundraisers to

keep a journal for four consecutive days. In one condition, the beneficiary condition, the researchers

asked the fundraisers to write about the last time a colleague did something for them that inspired

gratitude. In the second condition, the benefactor condition, the participants wrote about a time they

contributed to others at work.

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The researchers wanted to know which type of story would lead the research subjects to be more

generous. To find out, they monitored the fundraisers’ call records. Since the fundraisers were paid a

fixed hourly rate to call alumni and solicit donations, the researchers reasoned, then the number of

calls they made during their shift was a good indicator of prosocial, helping behavior.

After Grant and Dutton analyzed the stories, they found that fundraisers who told a story of

themselves as benefactors ultimately made 30 percent more calls to alumni after the experiment

than they had before. Those who told stories about being the beneficiary of generosity showed no

changes in their behavior.

Grant and Dutton’s study suggests that the ability of a story to create meaning does not end with the

crafting of the tale. The stories the benefactors told about themselves ultimately led to meaningful

behaviors — giving their time in the service of a larger cause. Even though the fundraisers knew

they were only telling their stories as part of a study, they ultimately “lived by” those stories, as

McAdams would put it. By subtly reframing their narrative, they adopted a positive identity that led

them to live more purposefully.

Excerpted from the new book The Power of Meaning: Crafting a Life That Mattersby Emily

Esfahani Smith. Published in the United States by Crown, an imprint of the Crown Publishing


Complete the following question

1. What ideas does she raise about the nature of experience and the ways in which previous

experiences impact and develop who we are in the present?



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2. How can the narrative identity we create for ourselves impact our lives?




3. Consider your own personal narrative. Like McAdams in the article, identify an early

memory, a high point and a turning point in your personal story. How have these events

shaped your personal beliefs and values? What is your story’s central theme?





4. How and why is storytelling a universal aspect of human experience?






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Class: Year 11 Advanced Time: 60 min Topic: Narratives that shape

our world

Teacher’s Objectives

Students gain understanding of narrative types and conventions and the features of different
narrative conventions within a set texts.

EA11-7 Evaluates the diverse ways texts can represent personal and public worlds and recognises
how they are valued
EA11-6 Investigates and evaluates the relationships between texts.

Copies of the text

Time Organisation Teaching/ learning activities
5 mins Mark the roll
5 mins Get a Introduce the topic ‘Meta-Narratives, Archetypes, Master
discussion plot, Macro/Micro’
10 mins Explanation PowerPoint To be shown.
Explained to students
5 mins Read to the Read text ‘Let America be America Again’
5 Discussion Discuss the text
takes place
5 mins Read the text Read text ‘The star of Australaisa’
15 mins Class gets Form into groups and identify meta-narrative
Teacher walks
10 mins Discussion takes place

Evaluation/ Extension
For a follow on task, students could have been given a text to identify the meta-narrative as

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Resources/ Activities

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Langston Hughes –
Let America be America Again(1935)
O, let my land be a land where Liberty
Is crowned with no false patriotic wreath,
But opportunity is real, and life is free,
Equality is in the air we breathe.

(There’s never been equality for me,

Nor freedom in this “homeland of the free.”)
Say, who are you that mumbles in the dark?
And who are you that draws your veil across the

I am the poor white, fooled and pushed apart,

I am the Negro bearing slavery’s scars.
I am the red man driven from the land,

I am the immigrant clutching the hope I seek—

And finding only the same old stupid plan
Compare with Trump Presidential slogan
Of dog eat dog, of mighty crush the weak.

Henry Lawson – The Star of Australasia (1896)

We boast no more of our bloodless flag, that rose from a nation's

Better a shred of a deep-dyed rag from the storms of the olden time.
From grander clouds in our ‘peaceful skies’ than ever were there
I tell you the Star of the South shall rise — in the lurid clouds of
It ever must be while blood is warm and the sons of men increase;
For ever the nations rose in storm, to rot in a deadly peace.
There comes a point that we will not yield, no matter if right or
And man will fight on the battle-field while passion and pride are
strong —
So long as he will not kiss the rod, and his stubborn spirit sours,
And the scorn of Nature and curse of God are heavy on peace like ours…

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Outline Week 2 Lesson 2

Students will look at ‘The catcher in the Rye’ (chapter one, 1st page) by J.D Salinger and ‘Dig

Down’ by the Muse. Students will focus on the micro narratives present within both the media

forms. Emphasis is put on the language, the lyrics and the musical devices used to achieve the

outcome. This task focuses on micronarratives with texts. Students will divulge into the conventions

of narrative. A brainstorm led by the teacher uses mind mapping to create common narrative




Look at the text and establish a micro narrative.

J.D. Salinger: The Catcher in the Rye – Chapter 1
‘If you really want to hear about it, the first thing you’ll probably want to know is where I was born,
and what my lousy childhood was like, and how my parents were occupied and all before they had
me, and all that David Copperfield kind of crap, but I don’t feel like going into it, if you want to
know the truth. In the first place, that stuff bores me, and in the second place, my parents would
have two haemorrhages apiece if I told anything pretty personal about them. They’re quite touchy
about anything like that, especially my father. They’re nice and all - I’m not saying that - but they’re
also touchy as hell. Besides, I’m not going to tell you my whole goddam autobiography or anything.
I’ll just tell you about this madman stuff that happened to me last Christmas just before I got pretty
run-down and had to come out and take it easy.
Where I want to start is the day I left Pencey Prep. Pencey Prep is the school that’s in Agertown,
Pennsylvania. You probably heard of it. You’ve probably seen the ads, anyway. They advertise in
about a thousand magazines, always showing some hot-shot guy on a horse jumping over a fence.
Like as if all you ever did at Pencey was play polo all the time. I never even once saw a horse
anywhere near the place. And underneath the guy on the horse’s picture, it always says: ‘Since 1888
we have been molding boys into splendid, clear-thinking young men’. Strictly for the birds. They
don’t do any damn more molding at Pencey than they do at any other school. And I didn’t know
anybody there that was splendid and clear-thinking and all. Maybe two guys. If that many. And they
probably came to Pencey that way.’

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‘Dig Down’ – Muse: https://www.youtube.com/watch?v=b4ozdiGys5g

View the following music video and:

a. Identify the micro, or personal narrative
b. Identify the larger, macro narrative that influences the thoughts and actions of the
c. Consider how the lyrics, film and musical devices combine to create the narrative
d. Does the music video fit into a ‘masterplot’?

Mind Mapping

Elements of a Narrative


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Outline Week 2 Lesson 3

Students will understand that narrative can be used as a rhetoric through an examination of
speeches. Students gain an understanding that narrative can be used to draw intertextual links in
speeches. Extracts of Martin Luther King’s famous speech, ‘I have a dream’, Barack Obama’s
victory speech, Kevin Rudd’s sorry speech, Julia Gillard’s misogyny speech, Malala Yousafzai
addressing the UN and Deng’s Australia Day address will be looked at to assist students
understanding of narratives. Students answer questions on their handouts. As an extension students
undertake a homework task of writing a speech.



Resources / Activity

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Speech Extracts

1. Barack Obama - election victory speech 2008

‘…This election had many firsts and many stories that will be told for generations. But one that's on
my mind tonight's about a woman who cast her ballot in Atlanta. She's a lot like the millions of
others who stood in line to make their voice heard in this election except for one thing: Ann Nixon
Cooper is 106 years old.
She was born just a generation past slavery; a time when there were no cars on the road or planes in
the sky; when someone like her couldn't vote for two reasons -- because she was a woman and
because of the color of her skin.
And tonight, I think about all that she's seen throughout her century in America -- the heartache and
the hope; the struggle and the progress; the times we were told that we can't, and the people who
pressed on with that American creed: Yes we can.
At a time when women's voices were silenced and their hopes dismissed, she lived to see them
stand up and speak out and reach for the ballot. Yes we can.
When there was despair in the dust bowl and depression across the land, she saw a nation conquer
fear itself with a New Deal, new jobs, a new sense of common purpose. Yes we can.
When the bombs fell on our harbor and tyranny threatened the world, she was there to witness a
generation rise to greatness and a democracy was saved. Yes we can.
She was there for the buses in Montgomery, the hoses in Birmingham, a bridge in Selma, and a
preacher from Atlanta who told a people that "We Shall Overcome." Yes we can.
A man touched down on the moon, a wall came down in Berlin, a world was connected by our own
science and imagination.
And this year, in this election, she touched her finger to a screen, and cast her vote, because after
106 years in America, through the best of times and the darkest of hours, she knows how America
can change.
Yes we can.
America, we have come so far. We have seen so much. But there is so much more to do. So tonight,
let us ask ourselves -- if our children should live to see the next century; if my daughters should be
so lucky to live as long as Ann Nixon Cooper, what change will they see? What progress will we
have made?
This is our chance to answer that call. This is our moment.
This is our time, to put our people back to work and open doors of opportunity for our kids; to
restore prosperity and promote the cause of peace; to reclaim the American dream and reaffirm that
fundamental truth, that, out of many, we are one; that while we breathe, we hope. And where we are
met with cynicism and doubts and those who tell us that we can't, we will respond with that timeless
creed that sums up the spirit of a people: Yes, we can…’

How does Obama combine rhetoric and narrative devices to present his vision?

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2. Kevin Rudd - Parliamentary apology to the stolen generation - 2008

I MOVE that today we honour the Indigenous peoples of this land, the oldest continuing cultures in
human history.
We reflect on their past mistreatment. We reflect in particular on the mistreatment of those who
were Stolen Generations—this blemished chapter in our nation’s history.
The time has now come for the nation to turn a new page in Australia’s history by righting the
wrongs of the past and so moving forward with confidence to the future.
We apologise for the laws and policies of successive Parliaments and governments that have
inflicted profound grief, suffering and loss on these our fellow Australians. We apologise especially
for the removal of Aboriginal and Torres Strait Islander children from their families, their
communities and their country.
For the pain, suffering and hurt of these Stolen Generations, their descendants and for their families
left behind, we say sorry.
To the mothers and the fathers, the brothers and the sisters, for the breaking up of families and
communities, we say sorry.
And for the indignity and degradation thus inflicted on a proud people and a proud culture, we say
We the Parliament of Australia respectfully request that this apology be received in the spirit in
which it is offered as part of the healing of the nation.
For the future we take heart; resolving that this new page in the history of our great continent can
now be written.
We today take this first step by acknowledging the past and laying claim to a future that embraces
all Australians.
A future where this Parliament resolves that the injustices of the past must never, never happen
again. A future where we harness the determination of all Australians, Indigenous and non-
Indigenous, to close the gap that lies between us in life expectancy, educational achievement and
economic opportunity.
A future where we embrace the possibility of new solutions to enduring problems where old
approaches have failed.
A future based on mutual respect, mutual resolve and mutual responsibility. A future where all
Australians, whatever their origins, are truly equal partners, with equal opportunities and with an
equal stake in shaping the next chapter in the history of this great country, Australia.

What is Rudd’s speculative vision and how does he convey it using the rhetoric of speech?

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3. Julia Gillard - Parliamentary Misogyny Speech - 2012

I will not be lectured about sexism and misogyny by this man. I will not. And the Government will
not be lectured about sexism and misogyny by this man. Not now, not ever.
The Leader of the Opposition says that people who hold sexist views and who are misogynists are
not appropriate for high office. Well I hope the Leader of the Opposition has got a piece of paper
and he is writing out his resignation. Because if he wants to know what misogyny looks like in
modern Australia, he doesn't need a motion in the House of Representatives, he needs a mirror…
…The Leader of the Opposition says “If it's true, Stavros, that men have more power generally
speaking than women, is that a bad thing?”
And then a discussion ensues, and another person says “I want my daughter to have as much
opportunity as my son.” To which the Leader of the Opposition says “Yeah, I completely agree, but
what if men are by physiology or temperament, more adapted to exercise authority or to issue
… And then of course, I was offended too by the sexism, by the misogyny of the Leader of the
Opposition catcalling across this table at me as I sit here as Prime Minister, “If the Prime Minister
wants to, politically speaking, make an honest woman of herself…”, something that would never
have been said to any man sitting in this chair. I was offended when the Leader of the Opposition
went outside in the front of Parliament and stood next to a sign that said “Ditch the witch.”
I was offended when the Leader of the Opposition stood next to a sign that described me as a man's
bitch. I was offended by those things.
Misogyny, sexism, every day from this Leader of the Opposition.
Every day in every way, across the time the Leader of the Opposition has sat in that chair and I've
sat in this chair, that is all we have heard from him…

How has Gillard used the rhetoric of speech and narrative conventions to create a particular
representation of the character of Tony Abbott, Leader of the Opposition?

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4. Deng Thiak Adut - Australia Day Address - 2016

…Let me share with you parts of my story. It may be unfamiliar to those who have been born and
grown up in a peaceful Australia. To those who have come as refugees from the world's trouble
spots, parts of this story will be too familiar. A point of this story is to emphasise how very lucky we
are to enjoy freedom from fear, and how very unlucky are many, many others who neither choose,
nor deserve their fate.
I was born in a small fishing village called Malek, in the South Sudan. My father was a fisherman
and we had a banana farm. I am one of eight children born to Mr Thiak Adut Garang and Ms Athieu
Akau Deng. So the parts of my name are drawn from both my parents. My given name is Deng
which means god of the rain. In those parts of this wide brown land that are short of water my name
might be a good omen. I have a nickname: Auoloch, which means swallow. Alas I couldn't fly and
as a young boy, about the age of a typical second grader in Sydney, I was conscripted into an army.
As they took me away from my home and family I didn't even understand what freedoms I had lost.
I didn't understand how fearful I should have been. I was young. I was ignorant. I lost the freedom
to read and write. I lost the freedom to sing children's songs. I lost the right to be innocent. I lost the
right to be a child.
Instead, I was taught to sing war songs. In place of the love of life I was taught to love the death of
others. I had one freedom – the freedom to die and I'll return to that a little later.
I lost the right to say what I thought. In place of 'free speech', I was an oppressor to those who
wanted to express opinions that were different to those who armed me, fed me, told me what to
think, where to go and what to do.
And there was something else very special to me that was taken away. I was denied the right to
become an initiated member of my tribe. The mark of 'inclusiveness' was denied to me.
I had to wait until I became an Australian citizen to know that I belonged.
As an Australian I am proud that we have a national anthem. It's ours and to hear it played and sung
is to feel pride, pride that we are a nation of free people. It has a historical background that is
familiar to those who grew up here, but which is not easily understood by newcomers. I found it
useful to take some lines from our anthem to bring together what I want to share with you.
To be here today, talking about freedom from fear, about the rewards that come from thinking
'inclusively', rather than thinking 'divisively', is to achieve something that the child conscript Deng
could not imagine…

How does Deng’s telling of his personal story make his message more powerful?

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5. Malala Yousafzai - United Nations Address - 2013

…There are hundreds of human rights activists and social workers who are not only
speaking for their rights, but who are struggling to achieve their goal of peace,
education and equality. Thousands of people have been killed by the terrorists and
millions have been injured. I am just one of them. So here I stand. So here I stand, one
girl, among many. I speak not for myself, but so those without a voice can be heard.
Those who have fought for their rights. Their right to live in peace. Their right to be
treated with dignity. Their right to equality of opportunity. Their right to be educated.
Dear friends, on 9 October 2012, the Taliban shot me on the left side of my forehead.
They shot my friends, too. They thought that the bullets would silence us, but they
failed. And out of that silence came thousands of voices. The terrorists thought they
would change my aims and stop my ambitions. But nothing changed in my life except
this: weakness, fear and hopelessness died. Strength, power and courage were born.
I am the same Malala. My ambitions are the same. My hopes are the same. And my
dreams are the same.
Dear sisters and brothers, I am not against anyone. Neither am I here to speak in terms
of personal revenge against the Taliban or any other terrorist group. I am here to speak
for the right of education for every child. I want education for the sons and daughters
of the Taliban and all the terrorists and extremists.
I do not even hate the Taliban who shot me. Even if there was a gun in my hand and
he was standing in front of me, I would not shoot him.
This is the compassion I have learned from Mohammed, the prophet of mercy, Jesus
Christ and Lord Buddha.
This is the legacy of change I have inherited from Martin Luther King, Nelson
Mandela and Mohammed Ali Jinnah.
This is the philosophy of nonviolence that I have learned from Gandhi, Bacha Khan
and Mother Teresa.
And this is the forgiveness that I have learned from my father and from my mother.
This is what my soul is telling me: be peaceful and love everyone…

How does Yousafzai’s combination of powerful rhetoric and narrative convey her
message of love and peace?

Students are to write a powerful speech as a homework task. The speech must deal
with an issue that the student is passionate about example bullying, racism,
greenhouse effect etc.
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Outline Week 2 Lesson 4

Students will gain understanding of narrative types and the features of master plots
within the context by looking at example texts. The Second Coming by Yeats focuses
on the features of master plots. Students are to annotate on their handouts. Students
work in groups of threes to come up with a poem of their own containing a narrative.


Resources/ Activities

Background Information
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Student handout

The Second Coming

Turning and turning in the widening gyre

The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.

Surely some revelation is at hand;

Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?
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The Second Coming Narrative Convention

Plot: This poem is a post-apocalyptic narrative. The person
questions who and when the second coming of Jesus will occur
when, considering there has been such destruction and bloodshed
i n t h e w o r l d , p o s t W W 1 . F o r t h e p e r s o n a , “ s u r e l y, t h e s e c o n d
coming is at hand” if the world has morally collapsed.
Conflict: The conflict within the poem centres around the
c o n f l i c t b e t w e e n r e l i g i o u s v a l u e s a n d m a n ’s a b i l i t y t o i n f l i c t
d e s t r u c t i o n . Ye a t s q u e s t i o n s i f s o c i e t y c a n s t i l l h o l d o n t o
religious values when they have clearly abandoned the message
of the messiah and the “innocence (has) been drowned”.
Characterisation: the characterisation of Spirtus mundi is one of
a antichrist figure who is “rough” ad “slouches”. He is the
opposite to Jesus.
The persona is also an important character within the poem. The
persona takes on a prophetic role and like a prophet, has
knowledge and wisdom, yet this does not come God, but rather
from a collective human consciousness.
S e t t i n g : . Ye a t s r e f e r e n c e s B e t h l e h e m ( w h e r e J e s u s w a s b o r n ) .
T h e s e t t i n g i s i m p o r t a n t i n t h e p o e m b e c a u s e Ye a t s s u g g e s t s t h a t
this antichrist figure will “slouch” toward Bethlehem. He uses
the setting to emphasise his message within the poem which is,
rather than getting the Christ we expected, a benevolent one, we
will be getting a bestial one and this is the one humanity


Form groups of no more than three and create a poem with a narrative.
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Class: Year 11 Advanced Time: 60 min Topic: Narratives that shape

our world

Teacher’s Objectives

Students gain understanding of a comparative example of a master plot.

EA11-4 Strategically uses knowledge, skills and understanding of language concepts
and literary devices in new and different contexts.
EA11-6 Investigates and evaluates the relationships between texts.

Copies of the text
Access to YouTube

Time Organisation Teaching/ learning activities
5 mins Mark the roll
5 mins Teacher led Discussion on Kanye West - PowerPoint
5 mins Audio played Students to listen to the song Jesus Walks
While following in their handouts
5 mins YouTube Clip Watch the video clip of Jesus walks
Form groups
20 mins Prior Students are to make comparison with Yeat’s Second
Knowledge Coming
10 mins A member of the group presents their findings.
10 mins Teacher provides feedback


Evaluation/ Extension
For a follow on task, students could asked to write from where the lyrics ended.
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Resources/ Activities

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We at war
We at war with terrorism, racism
But most of all we at war with ourselves

(Jesus walk)
God show me the way because the devil tryin’ break me down
(Jesus walk with me)

[Verse 1]
You know what the Midwest is? Young and restless
Where restless (niggas) might snatch your necklace
And next these (niggas) might jack your Lexus
Somebody tell these (niggas) who Kanye West is
I walk through the valley of the Chi where death is
Top Floor the view alone will leave you breathless
Try to catch it ..it’s kind hard
Getting choked by detectives, yeah, yeah, now check the method
They be askin' us questions, harass and arrest us
Sayin' "We eat pieces of shit like you for breakfast"
Huh? Y'all eat pieces of shit? What's the basis?
We ain't going nowhere but got suits and cases
A trunk full of coke, rental car from Avis
My mama used to say only Jesus can save us
Well mama I know I act a fool
But I'll be gone 'til November, I got packs to move
I hope
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(Jesus walk)
God show me the way because the Devil's tryna break me down
(Jesus walk with me)
(The only thing that I pray is that my feet don’t fail me now
(Jesus walk)
And I don't think there's nothin' I can do now to right my wrongs
(Jesus walk with me)
I wanna talk to God but I'm afraid cause we ain't spoke in so long
(Jesus walk)
God show me the way because the Devil's tryna break me down
(Jesus walk with me)

The only thing I pray that my feet don’t fail me now

(Jesus walk)
And I don't think there's nothin' I can do now to right my wrongs
(Jesus walk with me)
I wanna talk to God but I'm afraid cause we ain't spoke in so long
So long, so long
(Jesus walk with me)

[Verse 2]
To the hustlers, killers, murderers, drug dealers, even the scrippers
(Jesus walks for them)
To the victims of welfare feel we livin’ in Hell here, hell yeah
(Jesus walks for them)
Now hear ye hear ye want to see Thee more clearly
I know he hear me when my feet get weary
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Cause we're the almost nearly extinct

We rappers is role models: we rap, we don't think
I ain’t here to argue about his facial features
Or her to convert atheists into believers
I ‘m just tryna say the way school need teachers
The way Kathie Lee needed Regis, that’s the way I need Jesus
So here go my single dog, radio needs this
They say you can rap about anything except for Jesus
That means guns, sex, lies, videotape
But if I talk about God my record won't get played, huh?
Well if this take away from my spins
Which'll probably take away from my ends
Then I hope this take away from my sins
And bring the day that I'm dreamin' about
Next time I'm in the club, everybody screamin' out

YouTube vide ‘Jesus Walks’

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Outline Week 3 Lesson 2

Students will analyse and evaluate how narrative conventions are used to engage the

reader in a narrative orientation. Students will read Macbeth from page 10 to 23 to

gain a better understanding of Macbeth and the witches. Students will be assigned

different characters. Student in pairs will be completing the handout sheet.



Resources/ Activities

Macbeth and The Witches’ introduction

1. How is Macbeth introduced? Who is he? How is he perceived by others? Consider
what his comrades say about him. Use the table below to help you complete this

Quote Techniques What does this reveal about

Doubtful it stood;
As two spent swimmers,
that do cling together
And choke their art. The
merciless Macdonwald--
Worthy to be a rebel, for to
that The multiplying
villanies of nature Do
swarm upon him--from the
western isles Of kerns and
gallowglasses is supplied;
And fortune, on his damned
quarrel smiling, Show'd like
a rebel's whore: but all's too
weak: For brave Macbeth--
well he deserves that name--
Disdaining fortune, with his
brandish'd steel, Which
smoked with bloody
Like valour's minion carved
out his passage
Till he faced the slave;
Which ne'er shook hands,
nor bade farewell to him,
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Till he unseam'd him from

the nave to the chaps, And
fix'd his head upon our
From Fife, great king;
Where the Norweyan
banners flout the sky
And fan our people cold.
Norway himself,
With terrible numbers,
Assisted by that most
disloyal traitor
The thane of Cawdor, began
a dismal conflict;
Till that Bellona's
bridegroom, lapp'd in proof,
Confronted him with self-
Point against point
rebellious, arm 'gainst arm.
Curbing his lavish spirit:
and, to conclude,
The victory fell on us.
No more that thane of
Cawdor shall deceive
Our bosom interest: go
pronounce his present death,
And with his former title
greet Macbeth.

Overall, how is Macbeth introduced?

The Witches
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2. They are the first characters we meet. What do you think is the significance of
this? In what ways does this position the audience?
3. In their second appearance, the witches meet Macbeth and make prophesies that
Macbeth will be King. What do the quotes below reveal about the witches’?

Quote Techniques What does this reveal about the

The weird sisters, hand in
Posters of the sea and land,
Thus do go about, about:
Thrice to thine and thrice
to mine
And thrice again, to make
up nine.
Peace! the charm's wound
First Witch
All hail, Macbeth! hail to
thee, thane of Glamis!
Second Witch
All hail, Macbeth, hail to
thee, thane of Cawdor!
Third Witch
All hail, Macbeth, thou
shalt be king hereafter

Good sir, why do you start;
and seem to fear
Things that do sound so
fair? I' the name of truth,
Are ye fantastical, or that
Which outwardly ye show?
My noble partner
You greet with present
grace and great prediction
Of noble having and of
royal hope,
That he seems rapt withal:
to me you speak not.
If you can look into the
seeds of time,
And say which grain will
grow and which will not,
Speak then to me, who
neither beg nor fear
Your favours nor your
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Overall, how are the witches introduced to the audience?

Explain how Shakespeare uses the metanarrative of evil spirits to position the audiences
understanding of the witches

Outline Week 3 Lesson 3

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Students will gain understanding of social, political, historical and personal context of
Macbeth through group research and presentation. The class will be formed into four
groups. The first researches about social, the second about political, the third about
historical and finally the last group focuses on the personal context of Macbeth. At the
end a presentation takes place.


Outline Week 3 Lesson 4

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Students will analyse how Shakespeare creates complex multifaceted characters to

connect with readers for emotional and intellectual impact in order to convey his

thematic concerns. Teacher annotates the first soliloquy with the students and the

students do the next. Students share findings with the class.



Resource/ Activities

Lady Macbeth and Duncan’s Murder

Below are 2 scene of Lady Macbeth. First she is reading a letter that has been sent to
her from Macbeth informing her of his promotion. Then she begins to discuss how if
she were a man, she would have the ability to kill Duncan. Here she delivers one of
the most famous lines of the play, “you spirits / That tend on mortal thoughts, unsex
me here, / And fill me from the crown to the toe top-full / Of direst cruelty”. Annotate
the language features of the soliloquy and make comment about
· Lady Macbeth’s power over Macbeth
· The value and nature of masculinity
· The way/s femininity is depicted
· How Shakespeare positions the audience to draw conclusions about
Macbeth’s role in Duncan’s murder.

Soliloquy One

'They met me in the day of success: and I have

learned by the perfectest report, they have more in
them than mortal knowledge. When I burned in desire
to question them further, they made themselves air,
into which they vanished. Whiles I stood rapt in
the wonder of it, came missives from the king, who
all-hailed me 'Thane of Cawdor;' by which title,
before, these weird sisters saluted me, and referred
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me to the coming on of time, with 'Hail, king that

shalt be!' This have I thought good to deliver
thee, my dearest partner of greatness, that thou
mightst not lose the dues of rejoicing, by being
ignorant of what greatness is promised thee. Lay it
to thy heart, and farewell.'

Glamis thou art, and Cawdor; and shalt be

What thou art promised: yet do I fear thy nature;
It is too full o' the milk of human kindness
To catch the nearest way: thou wouldst be great;
Art not without ambition, but without
The illness should attend it: what thou wouldst highly,
That wouldst thou holily; wouldst not play false,
And yet wouldst wrongly win: thou'ldst have, great Glamis,
That which cries 'Thus thou must do, if thou have it;
And that which rather thou dost fear to do
Than wishest should be undone.' Hie thee hither,
That I may pour my spirits in thine ear;
And chastise with the valour of my tongue
All that impedes thee from the golden round,
Which fate and metaphysical aid doth seem
To have thee crown'd withal.
From Act 1 Scene 5 (pg 30)1 Scene 5

Soliloquy 2 - Now repeat this for the soliloquy below

Lady Macbeth:
The raven himself is hoarse
That croaks the fatal entrance of Duncan
Under my battlements. Come, you spirits
That tend on mortal thoughts, unsex me here,
And fill me from the crown to the toe top-full
Of direst cruelty! make thick my blood;
Stop up the access and passage to remorse,
That no compunctious visitings of nature
Shake my fell purpose, nor keep peace between
The effect and it! Come to my woman's breasts,
And take my milk for gall, you murdering ministers,
Wherever in your sightless substances
You wait on nature's mischief! Come, thick night,
And pall thee in the dunnest smoke of hell,
That my keen knife see not the wound it makes,
Nor heaven peep through the blanket of the dark,
To cry 'Hold, hold!'
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Class: Year 11 Advanced Time: 60 min Topic: Narratives that shape

our world

Teacher’s Objectives
Students analyse and evaluate how Shakespeare uses narrative voice, point of view,
and narrative structure to reflect different thematic concern and ideas in the context.

EA11-1 responds to, composes and evaluates complex texts for understanding,
interpretation, critical analysis, imaginative expression and pleasure.
EA11-3 analyses and uses language forms, features and structures of texts considering
appropriateness for specific purposes, audiences and contexts and evaluates their
effects on meaning.


Access to smartboard

Time Organisation Teaching/ learning activities
5 mins Mark the roll

5 mins Teacher writes Brain storm as a class what Macbeth as a narrative

on whiteboard contains.
5 mins Smartboard Explanation of the slide
5 mins Discussion Discuss metaphors present in Macbeth & purpose
with students
5 mins Explain POV
5 mins Diary entry task explained
20 mins Student Complete diary entry
10 mins Teacher picks random students to read their entries

Evaluation/ Extension
Students to finish reading Macbeth if not already done so.

Resources/ Activities
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Find Examples with page numbers. Try to focus on all the characters.
Narrative Voice metaphors Imagery Examples
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Outline Week 4 Lesson 2

Half the students will be taking the role of the director whilst the other half are actors.

The director has to justify what each stage direction conveys about power or other

thematic elements about the performance. A performance takes place towards the end

of the lesson. Students gain understanding that thematic elements or stage directions

contribute towards creating narratives. They gain an insight into how big of an

element it is for narratives.



Resources / Activities
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Outline Week 4 Lesson 3

Students will be watching Macbeth Retold. This modern version of Macbeth gives

students insight how the narrative remains the same yet the story has evolved. This

was chosen because it is a modern take on Macbeth. Students watch the first 50 mins

and analyse the opening scenes. The last 30 mins of the movie will be played in the

next lesson.


Macbeth Retold -

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Outline Week 4 Lesson 4

Students finish watching the movie for the first 30 mins. The class gets divided into

four groups. The group chooses the scene they wish to analyse. Each group is to

analyse the scenes comparing it to Macbeth the text. The class comes back with their

findings at the end of the lesson.



Resources/ Activities
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English. Putney, N.S.W.: Phoenix Education.
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from https://genius.com/Julia-gillard-pm-misogyny-speech-annotated
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Jung, C. (n.d.). A quote by C.G. Jung. Retrieved August 19, 2018, from
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19, 2018,
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from https://www.youtube.com/watch?v=MYF7H_fpc-g
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2018, from https://www.youtube.com/watch?v=ihd7ofrwQX0
Nijnatten, C. V. (2010). Children's agency, children's welfare: A dialogical approach
to child development, policy and practice. Policy Press.
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Pixar in a Box: Introduction to Storytelling. (2017, February 17). Retrieved August
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19, 2018, from https://www.youtube.com/watch?v=1rMnzNZkIX0&t=20s

Price, R. (n.d.). Reynolds Price on the Necessity of Stories. Retrieved August 19,
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Shakespeare, W., Clark, W. G., & Wright, W. A. (2009). Macbeth. Charleston, SC:
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Wallace, D. (n.d.). A quote by David Foster Wallace. Retrieved August 19, 2018,
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Woods, C. (n.d.). Crystal Woods Quotes (Author of Write like no one is reading).
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