English Advanced 2020 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 2020
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English Advanced HSC exam paper 2 2020
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English Advanced marking guidelines paper 1 2020
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English Advanced marking guidelines paper 2 2020
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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.

English Advanced - Paper 1 - Texts and Human Experiences - Section I

Question 1

In better responses, students were able to:

clearly explain how the texts communicated ideas about being creative using detailed evidence from both texts
demonstrate an understanding of storytelling, creativity and the construction of creative texts.

Areas for students to improve include:

demonstrating an understanding of the ways in which the specific language forms and features of each text convey ideas about being creative
providing relevant and judiciously selected textual references that support the ideas about being creative
ensuring that both texts are addressed in a reasonably balanced manner.

Question 2

In better responses, students were able to:

provide an effective explanation of how the poem explores the power of storytelling using relevant textual evidence
demonstrate an understanding of how the power of storytelling involves a movement from dislocation to connection.

Areas for students to improve include:

addressing how the power of storytelling is explored through the use of specific language forms and features
considering the complexities of the text in terms of emotions that emerge from shared and personal experiences
demonstrating an understanding of the broad range of human experiences explored in the poem.

Question 3

In better responses, students were able to:

clearly explain the multifaceted experience of laughter using detailed supporting evidence
engage actively with the text and provide examples of how different types of laughter convey the multiple human experiences and emotions.

Areas for students to improve include:

providing detailed explanations and relevant textual evidence
providing a clear view on human experience and laughter that moves beyond restating the question
demonstrating an understanding of the human experience(s) in the text.

Question 4

In better responses, students were able to:

demonstrate strong understanding of the relationship between identity and place
articulate ideas with clarity and depth
use relevant textual evidence to form a cohesive response.

Areas for students to improve include:

avoiding describing or recounting elements of the text
analysing the representation of the relationship between identity and place in the extract and how this may involve multiple levels of human connection.

English Advanced - Paper 1 - Texts and Human Experiences - Section II

Paper 2 - Section I - Module A: Textual Conversations

General feedback

Students should:

engage with all aspects of the question
interpret and apply knowledge of the module
develop a strong and sustained thesis in response to the question
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
develop a detailed and coherent individual response
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, personal thesis that provided scope to generate a considered, thoughtful 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
unpack the concept of textual conversation
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
avoiding ‘topping and tailing’ where they respond to the question in the introduction and conclusion, and use a pre-learnt response in the body
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 textual conversation, rather than dealing with the texts independently without making appropriate links
ensuring that 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 Shakespeare’s and Pacino’s social, cultural and political/historical contexts in relation to each composer’s purpose and the values being explored
skilfully discuss how Shakespeare and Pacino use their textual form in order to achieve their purposes
integrate well-selected textual evidence throughout their responses that supported their thesis in response to the idea that the ‘later text is often seen as a shadow, lacking the originality and power of the earlier’
use evaluative language to address the requirements of the question.

Areas for students to improve include:

responding to the question in an evaluative manner rather than a restating
developing a thesis that demonstrates a personal engagement with the textual conversation that emerges from the pair of texts
demonstrating an understanding of postmodernism and how it relates to Pacino’s approach to form
demonstrating a broad understanding of King Richard III, as opposed to a narrow discussion of a few key scenes
demonstrating understanding of Pacino’s purpose beyond making Shakespeare more accessible to a modern audience
providing a balanced discussion of the texts rather than a focus just on the docudrama
developing a conceptual approach that explores the textual conversation that emerges through the pairing of the text rather than reducing discussion to simplistic themes such as ambition and duplicity
integrating discussion of the thesis throughout the response rather than addressing it in a tokenistic manner in the introduction and conclusion
ensuring that they understand 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:

address the qualifier, ‘To what extent?’ in an articulate manner
demonstrate a detailed understanding of context, differentiating between social, historical and cultural contexts and how these affect each text
discuss both texts in an evaluative and analytical way, rather than a descriptive way.

Areas for students to improve include:

articulating to what extent the statement is true
avoiding reliance on the discussion of themes
demonstrating a holistic understanding of the module description and the textual conversation.

Question 1 — Prose Fiction and Prose Fiction

Albert Camus, The Stranger

and

Kamel Daoud, The Meursault Investigation

In better responses, students were able to:

acknowledge the value of text pairing in the introduction
provide a personal stance generated by a deep understanding of the Algerian context and their understanding of racism and ‘the other’ in colonised countries
provide insightful, explicit, integrated contextual analysis, which then provided a framework for a sustained response
analyse each text from an ontological perspective, thus initiating a philosophical discussion stimulated by the contextual underpinnings of the Algerian war
link each composer’s purpose to the historical context and the role of absurdist literature in literary canons.

Areas for students to improve include:

engaging with the question explicitly in the introduction
providing a personal thesis generated by the underpinnings of the Algerian context, and referring to this throughout the response to facilitate coherence
making consistent, integrated references to the Algerian background and associated colonisation problems without lapsing into an historical account
avoiding making assertions and relying on recount
avoiding writing ‘two essays’ with sparse synthesis in the conclusion, which fails to recognise the purpose of the module.

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:

develop and sustain a thesis that engages skilfully with the statement through an exploration of key ideas, including mortality, intellectualism and human connection
adopt a position in relation to the statement using detailed and integrated textual referencing to support or challenge the assertion that W;t was a ‘shadow’ of Donne’s poetry through evaluating the ‘power’ and/or ‘originality’ of each text
skilfully evaluate the relationship between texts and contexts, particularly by exploring religion, spirituality and human connection
provide perceptive, detailed and integrated analysis of the textual features of each form in a skilful response
demonstrate confident and sustained control of language.

Areas for students to improve include:

demonstrating a clearer understanding of the context of the play
specifically engaging with the question by evaluating notions of power and originality in relation to texts and contexts.

Question 1 — Poetry and Film

John Keats, The Complete Poems

and

Jane Campion, Bright Star

In better responses, students were able to:

argue that Campion’s homage to Keats was informed by a postmodern feminist context and uses form to deliver an equally powerful and original text that re-imagines Keats’s Romantic poetry for a contemporary audience
write with confidence and flair, reflecting genuine and personal engagement with the texts, module and question.

Areas for students to improve include:

providing a balanced analysis of both texts rather than favouring Bright Star at the expense of a detailed discussion of Keats’s poetry
broadening their examination of the pairing beyond simple explanations of love or mortality.

Question 1 — Poetry and Poetry

Sylvia Plath, Ariel

and

Ted Hughes, Birthday Letters

In better responses, students were able to:

holistically interpret the stimulus statement and evaluate it in light of the unique contextual relationship of the Plath–Hughes textual pairing
recognise the intersection of the broader social and personal contexts of both poets and use this to inform their interpretation and analysis of the poetry
present nuanced and perceptive readings of the poems supported with aptly chosen textual references.

Areas for students to improve include:

balancing discussion of the contexts of both poets
recognising the expansive political and philosophical insights regarding the post-WWII milieu of Plath’s poetry rather than limiting discussion to gender roles only
recognising the complexity and humanity expressed in Hughes’s poems rather than limiting them to a simplistic defence of his actions
quoting accurately and incorporating quotes appropriately.

Question 1 — Shakespearean Drama and Prose Fiction

William Shakespeare, The Tempest

and

Margaret Atwood, Hag-Seed

In better responses, students were able to:

develop, sustain and explore a plausible thesis throughout the response by selecting textual evidence that was relevant, revealing and accurate
integrate an understanding of influential social and personal context throughout their analysis
use evaluative language skilfully and use metalanguage to interpret meaning and analyse textual references
explore a range of ideas spanning the texts and contexts to determine the significance of the textual conversation.

Areas for students to improve include:

using knowledge of the texts, contexts, literary/language techniques and module description to answer the question
ensuring that textual references are accurate
developing competence in the use of evaluative language.

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

General feedback

Students should:

specifically address the question
develop a strong, sustained personal response to the question
apply knowledge of the module to inform their interpretation and shape their response
have a clear idea of the term ‘aesthetic’ and its various interpretations in relation to the texts
demonstrate a clear awareness of composer, form and context
demonstrate detailed knowledge of the prescribed text
support and develop responses using aptly chosen and detailed textual references from the prescribed text
consider a text’s synthesis, unity and cohesion
consider how texts have been received in various contexts
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 an understanding of Austen’s aesthetic as a reflection of her criticisms of the restrictive nature of the Regency Period in England
understand the novel as a process of self-discovery and satirical commentary
demonstrate a clear understanding of Austen’s purpose and context
thoughtfully integrate the extract into their response
discuss the concerns and aesthetic qualities in depth
examine ‘how’ Austen explored her concerns
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
using textual evidence to specifically target the question
incorporating a strong awareness of the module.

Charles Dickens, Great Expectations

In better responses, students were able to:

include clear links to the question with reference to the excerpt and wider text
use the excerpt to springboard into Dickens’s commentary on his political and social concerns (identity, personal integrity and the importance of home)
demonstrate an understanding of Dickens’s aesthetic qualities as a mirror of his criticisms of social and political life in Victorian England
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
demonstrate an understanding of Ishiguro’s aesthetic qualities as a reflection of his criticisms of cultural and political life in post-WWII Japan
clearly articulate Ishiguro’s personal voice and purpose
explore the world outside of the prescribed text
move beyond an exploration of the excerpt to discuss Ishiguro’s additional 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 question and the excerpt
extending vocabulary to develop a personal voice
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
incorporate concerns or techniques from the excerpt and use them as a link between poems
evaluate the aesthetic qualities of Eliot’s poetry, including his subversion of traditional poetic forms and features to create enduring impact
clearly articulate Eliot’s exploration of social and spiritual anxieties within the modern context through the metaphor of ‘shadow’ (lack of soul/morality, illusion and reality, search for fulfilment)
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 microanalysis or ‘deconstruction’ of the poems
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 Malouf’s concern with identifying the beauty in the ordinary and our enduring connection with the natural world
demonstrate a perceptive understanding of Malouf’s context and purpose
confidently discuss the aesthetic lyricism of Malouf’s poetry
move between poems in the prescribed collection, using well-selected elements from the extract and drawing connections between the poems
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
moving beyond a discussion of the excerpt alone
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 shifting paradigms of gender in 19th-century Norway, with attention to Ibsen’s purpose in eliciting audience reflection on accepted social perspectives and subtle oppression within marital relationships as a reflection on broader social inequalities
confidently discuss the aesthetic qualities of theatrical art
engage deeply with the terms of the question using discerning textual evidence from varied moments across the play and the excerpt
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
using more detailed textual analysis.

Dylan Thomas, Under Milk Wood

In better responses, students were able to:

offer clear insights on how Thomas’s context underpinned his purpose and choice of dramatic elements
explore dramatic features and language as ‘aesthetics’ that included an overarching understanding of the effectiveness of a radio play in conveying human concerns that remain relevant to contemporary audiences
explore key concerns pertaining to the intricacies of humanity, 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 both within and beyond the excerpt.

Areas for students to improve include:

demonstrating a greater awareness of Thomas’s context and purpose
confidently discussing textual features, especially in terms of the dramatic form
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
cleverly utilise the excerpt to provide a wider discussion of de Waal’s concerns
confidently discuss the aesthetic qualities of the memoir form
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, clearly identifying the connections between the context of 1950s America during the McCarthy era and post-9/11 contemporary concerns
provide a well-informed and thoughtful thesis surrounding Clooney’s message about the dangers of limited speech, the responsibility of the media to educate, and the need for the audience to be critical thinkers within an ‘us versus them’ paradigm
cleverly explore the aesthetics in textual form with attention to filmic devices used to position the audience and elicit a response through a visual medium
insightfully analyse a range of textual examples and the excerpt 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 Murrow
moving beyond a discussion of the still shots to incorporate the film as a whole
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 the aesthetics pertaining to 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
provide a detailed discussion of Shakespeare’s juxtaposition of Hal and Hotspur to highlight the Prince's transformation using the notions of honour and leadership
explicitly examine the aesthetic features of Shakespeare’s language and the dramatic form
provide a skilful discussion of distinctive features of form, character and setting
incorporate an insightful and personal critical understanding of notions of textual integrity.

Areas for students to improve include:

moving beyond a generalised discussion of characters to focus on features of form
broadening the range of textual analysis
incorporating a strong personal voice rather than relying on critics.

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

General feedback

Students should:

demonstrate their understanding of Module C and use it in a way that is relevant to the question
address the examination question when crafting a response, paying particular attention to the stimulus
avoid creating, rewriting or appropriating a response linked to the prescribed texts if this approach does not align with the specific question
be aware of the mark value for the question and the implications for the structure and complexity of the response
carefully consider their audience, purpose, context and form when crafting a voice, setting, character and/or event
use effective time management in responding to the question
use clear, legible handwriting.

Question 9

In better responses, students were able to:

compose a sustained and engaging piece of imaginative writing that skilfully used the extract as a beginning
engage with the key words and phrases in the extract, including, ‘A person’s secrets’, ‘things they leave behind’, ‘uncovered secrets’ and ‘words and ideas … Dry and dead as dust’
compose a response that continued the tone of the extract in an authentic way and developed credible voices and/or characters that derived from the concepts of the extract
use the extract in a metaphorical and conceptual way
craft language skilfully to compose an engaging piece of imaginative writing. This may have involved aspects of various types of texts studied in the module (such as discursive writing); however, better responses always stayed close to the ideas in the extract
evoke and sustain ideas and emotions in the reader with power and precision, by crafting their language through engaging figurative, rhetorical and linguistic devices – particularly imagery, authentic narrative voice, characterisation and tone
demonstrate skilful control of language and structure throughout their response, appropriate to audience, purpose, context and form.

Areas for students to improve include:

engaging closely with the question and stimulus in authentic ways to engage the reader
continuing the stimulus as a significant aspect of their writing rather than inserting a perfunctory or implied reference to the extract, or adapting part of the extract to their prepared characters and settings
avoiding literal interpretations of the stimulus by engaging with the extract in a metaphorical or conceptual way
developing and representing engaging and complex ideas
creating a believable and engaging voice or character that draws the reader into the world of their piece
avoiding gender stereotyping and familiar narratives that may be lacking depth, are simplistic or cliched
experimenting more with structure, avoiding a straight linear structure by using flashbacks and memories to further shape and develop character effectively
developing their own authorial, original voice and avoiding emulating the voice of a writer from the prescribed text(s) unless it is specifically relevant to the question
structuring a response, using one or more of the writing styles, with an emphasis on ‘crafting’ their writing for a specific audience, purpose, context and form
avoiding derivative responses, such as recounts of the plots of films or books, which do not demonstrate imagination or crafting of language
developing clarity, cohesion and skilful control of language to engage the reader.

English Advanced 2020 HSC exam pack

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HSC Marking Feedback

Question 1

Question 2

Question 3

Question 4

General Feedback

General feedback

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

General feedback

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

General feedback

Question 9

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