English Advanced 2019 HSC exam pack

Marking guidelines are developed with the examination paper and are used by markers to guide their marking of a student's response. The table shows each question and the criteria with each mark or mark range. Sample answers may also be developed and included in the guidelines to make sure questions assess a student's knowledge and skills, and guide the Supervisor of Marking on the expected nature and scope of a student's response. They are not intended to be exemplary or even complete answers or responses.

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English Advanced HSC exam paper 1 2019
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English Advanced HSC exam paper 2 2019
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English Advanced marking guidelines paper 1 2019
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English Advanced marking guidelines paper 2 2019
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HSC Marking Feedback

Select from the link(s) below to view feedback about how students performed in this year’s examination.

Use the feedback to guide preparation for future examinations. Feedback includes an overview of the qualities of better responses. Feedback may not be provided for every question.

Paper 1 - Texts and Human Experiences - Section I

Question 1

In better responses, students were able to:

identify the nature of the ‘intense moment’
effectively explain how the poem represented the ‘intense moment’ within the context of human experience.

Areas for students to improve include:

providing a response that goes beyond a literal interpretation of the poem
avoiding writing a description of the poem.

Question 2

In better responses, students were able to:

express a strong conceptual understanding of the text
provide aptly chosen textual references
sustain skilful analysis.

Areas for students to improve include:

avoiding simply recounting the plot.

Question 3

In better responses, students were able to:

correctly identify metaphor(s)
explain how the metaphor developed an understanding of a human experience.

Areas for student to improve include:

explaining the metaphors, rather than describing or recounting the text
demonstrating an understanding of the human experience(s) in the text.

Question 4

In better responses, students were able to:

demonstrate strong understanding of both the text and the paradox of boredom
articulate ideas with clarity and depth
use suitable textual evidence to support their discussion.

Areas for students to improve include:

avoiding describing or recounting elements of the text
engaging in a discussion of the paradox of boredom.

Question 5

In better responses, students were able to:

declare and understand the extent to which ordinary experiences were explored in both texts
articulate ideas with clarity and depth
use suitable textual evidence to support their thesis
move beyond comparison of texts to consider the ‘extent’ component of the question.

Areas for students to improve include:

demonstrating an understanding of the texts
addressing two texts.

Paper 1 - Texts and Human Experiences - Section II

Paper 2 - Section I - Module A: Textual Conversations

General Feedback

Students should:

unpack and engage with all aspects of the question
interpret and apply knowledge of the module
understand and respond to the module description
develop a strong and sustained thesis in response to the question
develop broad understanding of both texts and avoid a narrow and simplistic vision of the texts
demonstrate a holistic understanding of the texts through detailed and well-chosen textual references and effective and accurate contextual examples
engage with the texts on a personal level
balance and integrate contextual and textual knowledge
use clear and effective topic sentences and paragraphs
write clearly and legibly.

In better responses, students were able to:

demonstrate personal and thoughtful engagement with the whole question
frame responses around a clear, highly relevant, perceptive thesis that provided scope to generate a considered, perceptive discussion
demonstrate a detailed understanding of context, including where composers may have criticised or rejected aspects of their own context
differentiate between social, historical and cultural contexts
show a deep and individual understanding of the texts and make effective use of appropriate references to the texts
reveal a strong understanding of the connections between the texts
maintain a balanced and synthesised analysis of the text pairing
offer an extended and comprehensive analysis of texts and context
use evaluative language in a confident and authoritative manner to consolidate their argument
demonstrate a skilful command of language and structure.

Areas for students to improve include:

addressing all elements of the question and referring to the statement in an explicit manner
considering the set question carefully and planning the development of their thesis and argument before they start writing
developing a thorough and cohesive thesis
adapting knowledge to suit the question as opposed to reproducing a generic, thematic-style response
demonstrating detailed knowledge of their texts
building a discussion that is focused on the intertextual conversation of the pair of texts as opposed to the texts in isolation
avoiding generalised statements about context that do not contribute to the development of the discussion
discussing texts in an evaluative and analytical way, rather than a descriptive way
considering and analysing how meaning is shaped at a whole text level, rather than dealing with text references in an isolated way at sentence/scene/stanza level
developing an integrated response which deals with the comparative study, rather than dealing with the texts independently without making appropriate links
ensuring there is a balanced treatment of the two texts
referring accurately to the contextual influences of the texts
developing an integrated analysis of textual form and purpose rather than focusing on themes
developing a holistic awareness of the specific, and still relevant, conversations generated by both texts
sustaining a unified argument
using metalanguage appropriately to enhance their argument
demonstrating control of register and sophisticated vocabulary.

Question 1 – Shakespearean Drama and Film

William Shakespeare, King Richard III

and

Al Pacino, Looking for Richard

In better responses, students were able to:

develop a perceptive thesis that clearly addressed all parts of the statement/question in considering the pairing of the texts and the conversation that emerges
demonstrate an understanding of the contextual framework of both texts
integrate relevant ideas throughout their responses that supported views relating to the purpose behind texts being ‘dismantled, reconstructed, recycled’ and the values being conveyed
provide a nuanced evaluation of how Pacino’s stated purpose of making Shakespeare relevant to a contemporary audience evolved throughout the making of the documentary.

Areas for students to improve include:

demonstrating an understanding of postmodernism and how it relates to Pacino’s approach to form
demonstrating broad understanding of Richard III
providing a balanced discussion of the texts, rather than placing greater emphasis on Looking for Richard and making simplistic connections between the character of Richard and thematic concerns such as power and ambition
understanding the difference between values and themes.

Question 1 – Prose Fiction and Film

Virginia Woolf, Mrs Dalloway

and

Stephen Daldry, The Hours

In better responses, students were able to:

skilfully discuss form, including how Woolf's modernist form is dismantled in Daldry's postmodern film text, reflecting the differing values of their contexts
use characterisation as a vehicle to evaluate how composers explore the concerns in their context
effectively discuss the purpose of particular techniques.

Areas for students to improve include:

avoiding reliance on discussion of themes (mental health, role of women, mortality) that do not relate directly to the question
demonstrating an understanding of the symbolic function of characters such as Septimus and Richard, rather than simply recounting the ways in which characters are similar or different.

Question 1 – Prose Fiction and Prose Fiction

Albert Camus, The Stranger

and

Kamel Daoud, The Meursault Investigation

In better responses, students were able to:

consider the context of both authors, their individual purposes and unique use of form, and explore how one text mirrors the other
demonstrate an understanding of The Stranger as an existential critique of the uncertainty of modern life in the face of intense violence
demonstrate an understanding of how the narrative in The Stranger is significantly influenced by the colonial environment in which it was written
discuss how the text and main character of The Stranger represent the apathy of the author’s context
demonstrate an understanding of how Daoud’s postcolonial appropriation reframes the events of The Stranger and significantly reframes the troubled decades of French-Algerian history through an exploration of the consequences of colonialism and nationalism
demonstrate an understanding of how The Meursault Investigation distances itself from the apathy of existentialism, imploring the reader to view society through an empathetic lens.

Question 1 – Poetry and Drama

John Donne, John Donne: A Selection of His Poetry

and

Margaret Edson, W;t

In better responses, students were able to:

demonstrate an awareness of the way in which structure in both texts helps create and add to thematic meaning
demonstrate a clear understanding of the links between Donne’s poetry and the play
write in detail with a clear understanding of purpose.

Areas for students to improve include:

demonstrating a stronger understanding of the context of W;t
making effective links between context and values
demonstrating a clear understanding of the religious underpinnings of W;t
recognising that a postmodern context is not necessarily irreligious.

Question 1 – Poetry and Film

John Keats, The Complete Poems

and

Jane Campion, Bright Star

In better responses, students were able to:

produce well-integrated responses that dealt deftly with the conversation between Keats’s Romantic poetry and Campion’s postmodern film
make judicious selections of textual evidence from Keats’s poetry
reflect on how the ideas/concerns in Keats’s poetry had been ‘dismantled, deconstructed and recycled’ for a modern audience.

Areas for students to improve include:

avoiding a narrow and/or simplistic focus on ‘love’
ensuring there is balanced treatment of the texts, not a disproportionate focus on the film rather than on Keats’s poetry
engaging with the question rather than just the module description.

Question 1 – Poetry and Poetry

Sylvia Plath, Ariel

and

Ted Hughes, Birthday Letters

In better responses, students were able to:

consider the broader social contexts of both poets, their distinct purposes and poetic form
demonstrate an understanding of Plath’s transcendence of the confessional poetry form to represent the relationship between individual suffering and broader social forces
demonstrate an understanding of Hughes’s deliberate intertextual engagement with Plath’s poetry, post second and third-wave feminism, in a postmodern deconstruction of the public mythology around their relationship that foregrounds subjectivity and the nature of truth
recognise the subtleties in the meaning and craft of the poems and that neither poet simplistically demonises the other.

Areas for students to improve include:

grounding their response in aspects of the poets’ lives that are a matter of public record and well documented, rather than assumptions made from literal and limited readings of their poetry.

Question 1 – Shakespearean Drama and Prose Fiction

William Shakespeare, The Tempest

and

Margaret Atwood, Hag-Seed

In better responses, students were able to:

establish a clear thesis and balance their textual discussion
demonstrate an understanding of the Jacobean context of The Tempest and the postmodern third-wave feminist Canadian perspective in Hag-Seed
discuss the emphasis of the title, Hag-Seed
discuss ideas related to power, imprisonment, revenge and colonialism.

Areas for students to improve include:

engaging effectively with the statement in the question
dealing effectively with the dual representation of Miranda in Hag-Seed
discussing key characters such as Ariel in relation to the question.

Paper 2 - Section II - Module B: Critical Study of Literature

Students should:

specifically address all aspects of the question
develop a strong, sustained argument and personal evaluation in response to the question
apply knowledge of the module to inform their interpretation and shape their response
demonstrate a strong awareness of composer, form and context
demonstrate detailed knowledge of the prescribed text
support and develop responses using aptly chosen, detailed reference to the prescribed text
consider a text’s unity and cohesion
demonstrate a sustained and skilful control of language and ideas.

Question 2 – Prose Fiction

Jane Austen, Emma

In better responses, students were able to:

skilfully explore the values and historical context of Georgian England
demonstrate a clear understanding of Austen’s purpose and context
clearly articulate distinctive stylistic features
use well-chosen textual examples to support their argument.

Areas for students to improve include:

engaging with the key words of the question
moving beyond an examination of characters, themes and plot
focusing on an analysis of features specific to form
incorporating a strong awareness of the module.

Charles Dickens, Great Expectations

In better responses, students were able to:

perceptively explore the ideas of reformation and redemption by considering Dickens’s purpose and context
critically evaluate Dickens’s commentary on his political and social concerns (justice, marginalisation, education)
provide a balanced treatment of ‘reformed’ and ‘redeemed’
provide a discerning selection of textual examples to support an integrated thesis.

Areas for students to improve include:

focusing on Dickens as a composer and his context
moving beyond a discussion of narrative and character
providing a detailed analysis of specific techniques
incorporating a strong personal voice.

Kazuo Ishiguro, An Artist of the Floating World

In better responses, students were able to:

skilfully explore the contextual values of the composer and Thatcherism in 1980s England
skilfully explore the setting and values of Japan in the post WWII era
clearly articulate Ishiguro’s personal voice and purpose
move beyond an exploration of Ono to explore Ishiguro’s main concerns
support their ideas through a detailed and discerning selection of textual examples.

Areas for students to improve include:

demonstrating a greater awareness of Ishiguro’s context and the setting of the text
engaging with the key words of the statement in a balanced way
using relevant and detailed textual examples.

Question 3 – Poetry

T S Eliot, T S Eliot: Selected Poems

In better responses, students were able to:

demonstrate a perceptive understanding of Eliot’s Modernist context and how it influenced his stylistic approach
demonstrate a sense of how motifs within and across poems synthesise his major concerns
clearly articulate how philosophy and psychology are infused into a poetic form
skilfully explore how Eliot’s ideas and approach engage audiences beyond his own timeframe.

Areas for students to improve include:

clarifying Modernism as a literary movement
making links within and/or between poems and seeing them as a suite
focusing on distinctive features of form rather than on micro analysis
using more detailed textual evidence that is linked to a thesis rather than technique driven.

David Malouf, Earth Hour

In better responses, students were able to:

skilfully explore the innovative alignment of landscape, mind and memory
demonstrate a perceptive understanding of Malouf’s context and purpose
critically evaluate the enduring value and significance of Malouf’s insights into the shared experience of what it is to be human
provide an integrated discussion based on a discerning selection from Malouf’s poems.

Areas for students to improve include:

demonstrating a greater awareness of Malouf’s context
using more detailed textual evidence that is linked to the question rather than technique driven
providing a clear focus on the module and Malouf’s poems as a suite
incorporating a strong personal voice.

Question 4 – Drama

Henrik Ibsen, A Doll’s House

In better responses, students were able to:

skilfully explore the context of the text, with social concerns such as patriarchal structures and gendered expectations as well as the bureaucracy of the legal system at the forefront of Ibsen’s purpose
demonstrate a strong awareness of the module, acknowledging the capacity for enduring relevance while also establishing links to context in terms of middle-class, 19th-century Norway
engage deeply with the terms of the question using discerning textual evidence from varied moments across the play
demonstrate a clear understanding of the dramatic form, addressing staging and stage directions.

Areas for students to improve include:

demonstrating a critical and informed understanding of the play
evaluating dramatic techniques, rather than focusing purely on character
providing a balanced discussion of the key words in the question
using more detailed textual analysis.

Dylan Thomas, Under Milk Wood

In better responses, students were able to:

demonstrate a perceptive understanding of Thomas’s context and integrate this throughout the response
explore key concepts including the contentment to be found in the everyday, the value of Welsh cultural identity and the cyclical nature of life
effectively integrate detailed analysis of specific dramatic techniques
present a clear thesis that addresses all parts of the question.

Areas for students to improve include:

demonstrating a greater awareness of Thomas’s context and purpose
confidently discussing textual features, especially in terms of form – a play for voices
using detailed and specific textual references, rather than relying on a study of themes or character.

Question 5 – Nonfiction

Edmund de Waal, The Hare with Amber Eyes

In better responses, students were able to:

skilfully integrate the historical setting of Vienna during the Occupation into their argument
provide a balanced treatment of history and memoir
highlight the impact of the text on responders
insightfully analyse a range of textual examples indicative of the memoir form.

Areas for students to improve include:

exploring the nature of memoir as a form
incorporating detailed and specific textual evidence.

Vladimir Nabokov, Speak, Memory

There were insufficient responses to this question.

Question 6 – Film – George Clooney, Good Night, and Good Luck

In better responses, students were able to:

skilfully explore the dual context of the film, identifying contextual links between 1950s McCarthyism and Clooney’s contemporary context
provide a well-informed and thoughtful thesis
insightfully analyse a range of textual examples to provide a holistic evaluation of the question
cleverly integrate detailed analysis of specific film techniques to support their thesis.

Areas for students to improve include:

moving their discussion beyond the 1950s setting of the text
incorporating a clearer focus on form and features rather than retelling the plot
focusing on Clooney’s purpose as composer, rather than providing a character study of Morrow
demonstrating a greater awareness of the module.

Question 7 – Media – Gillian Armstrong, Unfolding Florence

In better responses, students were able to:

skilfully evaluate Armstrong and Broadhurst as innovative and determined Australian women, within a distinctly Australian context
provide a well-informed understanding of Armstrong's purpose in exploring gender roles and deviating from stereotypes
provide a sophisticated and integrated discussion of form and features, layering multifaceted stylistic techniques with well-chosen and consistently referenced examples from the film.

Areas for students to improve include:

using detailed textual references specific to the media form
exploring the question in a holistic manner
demonstrating a greater awareness of the module.

Question 8 – Shakespearean Drama – William Shakespeare, King Henry IV, Part 1

In better responses, students were able to:

skilfully explore the influence of the Elizabethan context on Shakespeare’s work
demonstrate a sophisticated awareness of how comedy was used by Shakespeare to highlight the importance of political figures in history
move beyond a literal reading of comedy to view Falstaff as a symbolic figure
provide a skilful discussion of distinctive features of form, character and setting
incorporate an insightful and personal critical evaluation of notions of ongoing significance.

Areas for students to improve include:

moving beyond a discussion of characters to focus on features of form
engaging with key words of the question
broadening the range of textual analysis
incorporating a strong personal voice rather than a reliance on critics.

Paper 2 - Section III - Module C: The Craft of Writing

Students should:

demonstrate their understanding of Module C and the prescribed texts, relevant to the question
address all aspects of the examination question when crafting a response, paying particular attention to the stimulus, if provided
avoid rewriting, appropriating or creating an extension of a Module C prescribed text for Part (a) unless this approach is specified for the set question
consider the mark value for each component of the question when allocating time to responses, and the implications of this for the structure and complexity of their responses
carefully consider their audience, purpose and context when crafting a voice, setting, character and/or event in their responses
carefully manage their time
use clear, legible handwriting.

Question 9 – Part (a)

In better responses, students were able to:

compose a highly engaging piece of writing that skilfully used the stimulus
specifically address the key word ‘continue’ and engage with layers of the stimulus, including ideas linked to books, reading and the notion of transformation
effectively use one of the nominated styles, or a hybrid, in crafting their writing
evoke and sustain a particular emotional response in the reader by crafting their language through figurative, rhetorical or linguistic devices
demonstrate a transformative element in the character, persona or subject of the piece as inferred by the stimulus
demonstrate an authentic and engaging character or voice, appropriate to the purpose and style of the writing
use the extract in a metaphorical and conceptual way when crafting their response
demonstrate skilful control of language and structure throughout their response, appropriate to audience, purpose and context.

Areas for students to improve include:

responding to the question and stimulus in authentic ways to engage the reader
including the stimulus as an integral aspect of their writing, rather than inserting a perfunctory or implied reference to the stimulus
developing and representing complex idea(s), showing insight into how language has been crafted to shape meaning
avoiding engaging with the stimulus only on a literal level
developing an emotional response in the reader as stipulated in the question
developing their own authorial, original voice and avoiding emulating the voice of a writer from the prescribed text(s), unless it is relevant to the question
structuring a response, using one or more of the writing styles, with a specific emphasis on ‘crafting’ their writing for a specific purpose and audience
developing clarity, cohesion and skilful control of language to engage the reader.

Question 9 – Part (b)

In better responses, students were able to:

provide a comprehensive explanation of how their language was crafted to evoke an emotional response in the reader
specifically and comprehensively address the key word ‘compare’ when responding to their own text and at least one prescribed text from Module C
explain how they were influenced by the ideas and craft of their chosen Module C text(s) rather than analyse these texts in isolation
engage with textual references using the prescribed text(s) to compare and justify choices in Part (a)
organise and synthesise ideas in a cohesively structured response
demonstrate skilful control of language.

Areas for students to improve include:

showing an awareness of their own crafting of language in order to evoke an emotional response
explaining how various figurative, rhetorical or linguistic features have been used to shape meaning and engage the audience in their own writing
explaining the way the stimulus was embedded into their writing
demonstrating a comprehensive comparison between their own writing and at least one of the prescribed texts in Module C
using specific references to their own writing and the prescribed text(s)
demonstrating skilful control of language, including syntax, spelling and punctuation.

English Advanced 2019 HSC exam pack

Download Papers

HSC Marking Feedback

Question 1

Question 2

Question 3

Question 4

Question 5

General Feedback

General Feedback

Students should:

Question 1 – Shakespearean Drama and Film

William Shakespeare, King Richard III

and

Al Pacino, Looking for Richard

Question 1 – Prose Fiction and Film

Virginia Woolf, Mrs Dalloway

and

Stephen Daldry, The Hours

Question 1 – Prose Fiction and Prose Fiction

Albert Camus, The Stranger

and

Kamel Daoud, The Meursault Investigation

Question 1 – Poetry and Drama

John Donne, John Donne: A Selection of His Poetry

and

Margaret Edson, W;t

Question 1 – Poetry and Film

John Keats, The Complete Poems

and

Jane Campion, Bright Star

Question 1 – Poetry and Poetry

Sylvia Plath, Ariel

and

Ted Hughes, Birthday Letters

Question 1 – Shakespearean Drama and Prose Fiction

William Shakespeare, The Tempest

and

Margaret Atwood, Hag-Seed

Question 2 – Prose Fiction

Jane Austen, Emma

Charles Dickens, Great Expectations

Kazuo Ishiguro, An Artist of the Floating World

Question 3 – Poetry

T S Eliot, T S Eliot: Selected Poems

David Malouf, Earth Hour

Question 4 – Drama

Henrik Ibsen, A Doll’s House

Dylan Thomas, Under Milk Wood

Question 5 – Nonfiction

Edmund de Waal, The Hare with Amber Eyes

Vladimir Nabokov, Speak, Memory

Question 6 – Film – George Clooney, Good Night, and Good Luck

Question 7 – Media – Gillian Armstrong, Unfolding Florence

Question 8 – Shakespearean Drama – William Shakespeare, King Henry IV, Part 1

Question 9 – Part (a)

Question 9 – Part (b)

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