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An essay question on Module B

A Module C narrative task

Set specific tasks

Ask for just one body paragraph, with feedback only.

Ambition: body paragraph1 question/20

Question 1

20 marks

How does your prescribed text show the cost of ambition? Refer closely to the text.

Activity Type

Introduction

Body Paragraph

Full Response

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Marked against the NESA rubric

Marked for authorial intent, with every comment tied to the rubric. Every mark yours to change.

Module B: Critical StudyYear 12 English Advanced

Student 14Approve

Instructions

20 marks

Evaluate how Eliot's distinctive style has enhanced your understanding of complex ideas represented in his poetry. In your response, make close reference to your prescribed text.

Response

Through the analysing of construction, language and context of a universal text, audiences are able to garner their own interpretations on the author's desired intention in their respective context. It is clear, in Eliot's unified poetic oeuvre, Eliot's distinctive and compelling voice as well as his subversion of typical poetic forms characterises him as a modernist writer. In "Rhapsody on a Windy Night" Eliot condemns the dissolution and fragmentation of memory, subverting typical Romantic forms to comment on the pursuit of superficiality which leads to disillusionment. Eliot further extends audience understanding in "Hollow Men" compelling avoidance of the lack of spiritual fortitude influenced by the horrors of World War One and the dissolution of Christian paradigms. He compels the need for a reconnection with spirituality, urging audiences against doubt of faith resulting in paralysed psyche. With this, Eliot provides hope, enhancing audiences understanding on the complex nature of the solution to preventing emotional disorientation through "The Journey of the Magi" urging the necessary undertaking of a spiritual journey paralleling his own conversion from unitarianism to Anglicanism in 1927, in order to reach fulfilment and catharsis. Eliot enhances audience understanding of the harmful consequences of pursuing superficial paradigms, resulting in a lack of spiritual fortitude that can only be cured through a reconnection to religion. Eliot condemns the fragmentation of memory and time in "Rhapsody" with the pursuit of hedonistic ideals, resulting in estrangement and disillusionment. The title of "Rhapsody" is known as a musical piece with an often upbeat and jolly rhythm, however Eliot subverts this through his use of decaying and disorientating imagery that parallels a jolting rhythm. This is also combined with the jolting momentum of "Twelve o'clock, one-o'clock" highlighting modernity ruled by objective time, fragmenting the individual to deadlines and schedules which undermine their sense of fulfilment. This is furthered by the subversion of Romantic forms in "like a madman shakes a geranium" this simile underscores emotions of hysteria and madness, urging the audience to remain cognisant of their urban surroundings cautioning against a state of insanity perpetuated by pursuit of superficial paradigms in modernity. In addition, Eliot utilises an ironic tone in "Memory! you have the key!" his declarative and exclamatory tone paralleling a sense of hope for the individual in being able to rediscover purpose and fulfilment in life, however it immediately juxtaposed by daily, mundane imagery of "shoes" and "toothbrush" ultimately destroying all hope for the individual to attain purpose in a superficial and hedonistic society. Eliot in "Rhapsody" criticises the fragmentation of time and memory, urging the audience to understand the hopelessness of discovering fulfilment in an urban landscape. Eliot further extends on this idea with his condemnation of modern society's lack of spiritual fortitude resulting in an ultimate disconnection with religion which render individuals lost and disillusioned. Eliot opens with an epigraph with allusions to Guy Fawkes and the Gunpowder Plot, as well as Joseph Conrad's "Heart of Darkness" displaying the ultimate downfall of individuals in the pursuit of hedonistic ideals with greed and ambition, urging audiences against a loss of spirituality to not become estranged or disillusioned. Furthermore, Eliot integrates inclusive pronouns in "we are the hollow men, we are..." perpetuating a direct connection to the audience, further compelling audiences' understanding of the collective emotional deterioration and stagnation that is felt due to a collective loss of religion and spiritual belief due to the impact of world war one and the dissolution of Christian religion in modernity. Eliot further describes individuals imprisoned within a state of paralysis due to the loss of belief in God in "shape without form, gesture without motion" demonstrating a liminal and paradoxical space where individuals are entrapped within and ultimately estranged from a sense of purpose and rendered empty. Eliot's further subversion of poetic forms in his allusion to the Lord's prayer in "For Thine is... For life is..." illustrates the fragmentation of the image of God and religion, with the motif of eyes "throughout" also contributing to a doubt in faith and spirituality for individuals. Thus, Eliot urges against the complex nature of a loss of spiritual fortitude which results in empty and estranged collectives who are ultimately purposeless.

--/20

AI grade:

General

Add feedback...

Response to Question

-/7

You signpost clearly and engage the question, but you evaluate Eliot's distinctive style more than the complexity of his ideas. Address complexity directly in your thesis and every link-back.

Textual Analysis

-/7

Your references to Eliot's context and purposeful use of form are excellent and consistently lift your analysis above a surface-level reading. Integrate critical opinions to add differentiated perspectives.

Structure and Expression

-/6

Your register is sophisticated and your paragraphs flow well. Grammatical and syntax errors detract from the professionalism of your response.

Rubric

Criteria description	0	1-4	5-8	9-12	13-16	17-20
Response to Question	Presents nothing of relevance to the task.	Attempts to describe some aspects of the prescribed text.	Describes some aspects of the understanding of the literary value of the prescribed text.	Evaluates how the artistry and integrity of the prescribed text has influenced an understanding of its literary value.	Evaluates effectively how the artistry and integrity of the prescribed text has influenced an understanding of its literary value.	Evaluates skilfully how the artistry and integrity of the prescribed text has influenced an understanding of its literary value.

Textual Analysis

Presents nothing of relevance to the task.

Attempts to compose a response to the question.

Demonstrates some knowledge of the prescribed text with limited textual references.

Demonstrates a sound understanding of context, language, form and ideas using textual references.

Demonstrates an informed understanding of context, language, form and ideas using detailed textual references.

Demonstrates a well-informed understanding of context, language, form and ideas using well-selected and detailed textual references.

Structure and Expression

Presents nothing of relevance to the task.

Attempts to compose a response to the question.

Composes a limited response.

Composes a sound response using language appropriate to audience, purpose and form.

Composes an effective response using language appropriate to audience, purpose and form.

Composes an insightful response using language appropriate to audience, purpose and form.

Overall Grade

−

17/20

Edexia 17/20

Complete

DifferentiationYear 12 Mathematics Advanced

Student 14Approve

Instructions

Question 3 · 4 marks

Find the stationary points of f(x) = x³ − 6x² + 9x + 1 and determine their nature.

Response

f′(x) = 3x² − 12x + 9

3x² − 12x + 9 = 0 ⇒ 3(x − 1)(x − 3) = 0

x = 1 or x = 31 mark

f(1) = 5, f(3) = 11 mark

f″(x) = 6x − 12, f″(1) = −6 < 0 ∴ (1, 5) is a maximum

and (3, 1) is a minimum2 marks

Show the test for (3, 1) as well: f″(3) = 6 > 0.

--/4

AI grade:

Rubric

Finds f′(x) and solves f′(x) = 01
Finds both stationary points1
Determines the nature of each point with a test2

Review, then release

Add voice notes, edit and add feedback, and release to the class once you're happy.

Module B: Critical StudyYear 12 English Advanced

Student 14

Approve

Instructions

20 marks

Evaluate how Eliot's distinctive style has enhanced your understanding of complex ideas represented in his poetry. In your response, make close reference to your prescribed text.

Response

Eliot condemns the fragmentation of memory and time in "Rhapsody" with the pursuit of hedonistic ideals, resulting in estrangement and disillusionment. The title of "Rhapsody" is known as a musical piece with an often upbeat and jolly rhythm, however Eliot subverts this through his use of decaying and disorientating imagery that parallels a jolting rhythm. This is also combined with the jolting momentum of "Twelve o'clock, one-o'clock" highlighting modernity ruled by objective time, fragmenting the individual to deadlines and schedules which undermine their sense of fulfilment. This is furthered by the subversion of Romantic forms in "like a madman shakes a geranium" this simile underscores emotions of hysteria and madness, urging the audience to remain cognisant of their urban surroundings cautioning against a state of insanity perpetuated by pursuit of superficial paradigms in modernity. In addition, Eliot utilises an ironic tone in "Memory! you have the key!" his declarative and exclamatory tone paralleling a sense of hope for the individual in being able to rediscover purpose and fulfilment in life, however it immediately juxtaposed by daily, mundane imagery of "shoes" and "toothbrush" ultimately destroying all hope for the individual to attain purpose in a superficial and hedonistic society. Eliot in "Rhapsody" criticises the fragmentation of time and memory, urging the audience to understand the hopelessness of discovering fulfilment in an urban landscape.

Eliot further extends on this idea with his condemnation of modern society's lack of spiritual fortitude resulting in an ultimate disconnection with religion which render individuals lost and disillusioned. Eliot opens with an epigraph with allusions to Guy Fawkes and the Gunpowder Plot, as well as Joseph Conrad's "Heart of Darkness" displaying the ultimate downfall of individuals in the pursuit of hedonistic ideals with greed and ambition, urging audiences against a loss of spirituality to not become estranged or disillusioned. Furthermore, Eliot integrates inclusive pronouns in "we are the hollow men, we are..." perpetuating a direct connection to the audience, further compelling audiences' understanding of the collective emotional deterioration and stagnation that is felt due to a collective loss of religion and spiritual belief due to the impact of world war one and the dissolution of Christian religion in modernity. Eliot further describes individuals imprisoned within a state of paralysis due to the loss of belief in God in "shape without form, gesture without motion" demonstrating a liminal and paradoxical space where individuals are entrapped within and ultimately estranged from a sense of purpose and rendered empty. Eliot's further subversion of poetic forms in his allusion to the Lord's prayer in "For Thine is... For life is..." illustrates the fragmentation of the image of God and religion, with the motif of eyes "throughout" also contributing to a doubt in faith and spirituality for individuals. Thus, Eliot urges against the complex nature of a loss of spiritual fortitude which results in empty and estranged collectives who are ultimately purposeless.

17/20

AI grade: 17

General

Add feedback...

Response to Question

5/7

You signpost clearly and engage the question, but you evaluate Eliot's distinctive style more than the complexity of his ideas. Address complexity directly in your thesis and every link-back.

Textual Analysis

7/7

Structure and Expression

5/6

Your register is sophisticated and your paragraphs flow well. Grammatical and syntax errors detract from the professionalism of your response.

Module B: Critical Study

Year 12 English Advanced · 8 submissions

Edit Duplicate Release All (8)

Student	Submitted	Grade	Status
Oliver Marsh	Mon 9:12am	17/20	Approved
Ethan Brooks	Mon 9:40am	14/20	Approved
Sam Wright	Mon 10:03am	18/20	Needs Review
Lena Kovac	Mon 11:20am	12/20	Approved
Zara Hassan	Mon 1:15pm	16/20	Approved
Grace Lin	Mon 2:48pm	15/20	Needs Review
Priya Sharma	Tue 8:30am	19/20	Approved
Noah Patel	Tue 9:05am	13/20	Approved

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Give your own unbiased mark first. Only then see what your colleagues and Edexia gave.

Common Module assessmentYear 12 English

Student 471

Instructions

20 marks

Explain how the composer represents the tension between individual freedom and collective control. Refer closely to the text.

Response

Orwell positions Winston's private diary as the first act of resistance, yet the novel never lets that freedom stand alone. Each entry is written in the knowledge that it will be found, so the act of writing becomes both defiance and surrender.

The Party's control is most visible in language. Newspeak narrows what can be thought by narrowing what can be said, and Syme's enthusiasm for the destruction of words shows that collective control is sustained by willing participants rather than force alone.

By the final chapter the tension is resolved in the Party's favour. The closing line, that Winston loved Big Brother, reframes every earlier moment of rebellion as a stage in his re-education.

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Benchmarking

Compare every marker side by side, and let the head of department settle the final mark.

Common Module assessmentYear 12 English

Student 471

Instructions

20 marks

Explain how the composer represents the tension between individual freedom and collective control. Refer closely to the text.

Response

By the final chapter the tension is resolved in the Party's favour. The closing line, that Winston loved Big Brother, reframes every earlier moment of rebellion as a stage in his re-education.

GroupNone

Due Fri 16 Oct, 3:30pm Release

OverviewQ1Q2Q3

StudentSearch students	Teacher 2	Teacher 3	You	Edexia	Final	Spread
Student 471	13/20	14/20	14/20	15/20	14/20	2
Student 128	11/20	12/20	11/20	11/20	11/20	1
Student 305	14/20	9/20	15/20	15/20	13/20	6
Student 219	17/20	16/20	17/20	18/20	17/20	2
Student 064	8/20	11/20	9/20	9/20	9/20	3
Student 092	15/20	15/20	16/20	16/20	16/20	1

Common Module assessmentYear 12 English

Student 305

Approve question

Instructions

20 marks

Explain how the composer represents the tension between individual freedom and collective control. Refer closely to the text.

Response

The novel suggests that freedom begins in memory. Winston's attempts to recall the past before the Revolution are fragmentary, and the Party's rewriting of records means that individual memory has nothing to hold on to.

Julia offers a different model of resistance, one grounded in pleasure rather than ideas. Her rebellion is real but limited, and Orwell uses the contrast to show that private freedoms can coexist with total public control.

Room 101 removes the last private space. When Winston betrays Julia, the Party has proven that even loyalty to another person can be turned into an instrument of the collective.

Every set text, supported

English Advanced2026Show all 59 texts

Common Module

All the Light We Cannot See, Anthony Doerr
Vertigo, Amanda Lohrey
Nineteen Eighty-Four, George Orwell
Past the Shallows, Favel Parrett
Rosemary Dobson Collected, Rosemary Dobson
Poetry of Kenneth Slessor, Kenneth Slessor
Rainbow's End, Jane Harrison
The Crucible, Arthur Miller
The Merchant of Venice, William Shakespeare
The Boy Behind the Curtain, Tim Winton
I am Malala, Malala Yousafzai and Christina Lamb
Billy Elliot, Stephen Daldry
Go Back to Where You Came From, Ivan O'Mahoney
Waste Land, Lucy Walker

Module A

King Richard III, William Shakespeare
Looking for Richard, Al Pacino
Mrs Dalloway, Virginia Woolf
The Hours, Stephen Daldry
The Stranger, Albert Camus
The Meursault Investigation, Kamel Daoud
Poetry of John Donne, John Donne
W;t, Margaret Edson
Poetry of John Keats, John Keats
Bright Star, Jane Campion
Ariel, Sylvia Plath
Birthday Letters, Ted Hughes
The Tempest, William Shakespeare
Hag-Seed, Margaret Atwood

Module B

Emma, Jane Austen
Great Expectations, Charles Dickens
An Artist of the Floating World, Kazuo Ishiguro
Poetry of T.S. Eliot, T.S. Eliot
Earth Hour, David Malouf
A Doll's House, Henrik Ibsen
Under Milk Wood, Dylan Thomas
The Hare with Amber Eyes, Edmund de Waal
Speak, Memory, Vladimir Nabokov
Good Night, and Good Luck, George Clooney
Unfolding Florence, Gillian Armstrong
King Henry IV, Part 1, William Shakespeare

Module C

The Awakening, Kate Chopin
The Fun of the Fair, Elizabeth Harrower
Love and Honour and Pity and Pride and Compassion and Sacrifice, Nam Le
Thirteen Ways of Looking, Colum McCann
What Time Is It Now, Where You Are?, Colum McCann
The Ghost of Firozsha Baag, Rohinton Mistry
Metamorphosis, Franz Kafka
How to Marry Your Daughters, Helen Garner
Eight Days in a Corset, Siri Hustvedt
Politics and the English Language, George Orwell
That Crafty Feeling, Zadie Smith
Spotty-Handed Villainesses, Margaret Atwood
A Home in Fiction, Geraldine Brooks
Eulogy for Gough Whitlam, Noel Pearson
Stamp Collecting, Kim Cheng Boey
Father and Child, Gwen Harwood
Thirteen Ways of Looking at a Blackbird, Wallace Stevens
The Lady of Shalott, Alfred Lord Tennyson
Picture a Vacuum, Kae Tempest

English Standard2026Show all 52 texts

Common Module

All the Light We Cannot See, Anthony Doerr
Vertigo, Amanda Lohrey
Nineteen Eighty-Four, George Orwell
Past the Shallows, Favel Parrett
Rosemary Dobson Collected, Rosemary Dobson
Poetry of Kenneth Slessor, Kenneth Slessor
Rainbow's End, Jane Harrison
The Crucible, Arthur Miller
The Merchant of Venice, William Shakespeare
The Boy Behind the Curtain, Tim Winton
I am Malala, Malala Yousafzai and Christina Lamb
Billy Elliot, Stephen Daldry
Go Back to Where You Came From, Ivan O'Mahoney
Waste Land, Lucy Walker

Module A

The Penguin Henry Lawson Short Stories, Henry Lawson
Small Island, Andrea Levy
Contemporary Asian Australian Poets, Various (eds Adam Aitken, Kim Cheng Boey, Michelle Cahill)
Inside my Mother, Ali Cobby Eckermann
Summer of the Seventeenth Doll, Ray Lawler
Pygmalion, Bernard Shaw
Shafana and Aunt Sarrinah, Alana Valentine
Unpolished Gem, Alice Pung
One Night the Moon, Rachel Perkins
The Castle, Rob Sitch
Reindeer in my Saami Heart, Janet Merewether

Module B

Feed, M.T. Anderson
The Curious Incident of the Dog in the Night-time, Mark Haddon
Coast Road, Robert Gray
Poetry of Oodgeroo Noonuccal, Oodgeroo Noonuccal
Namatjira, Scott Rankin
A Midsummer Night's Dream, William Shakespeare
Stasiland, Anna Funder
The Truman Show, Peter Weir
Frank Hurley: The Man Who Made History, Simon Nasht

Module C

The Pedestrian, Ray Bradbury
Report on the Shadow Industry, Peter Carey
Home, Catherine Cole
Crouch End, Stephen King
Dreamers, Melissa Lucashenko
Dear Mrs Dunkley, Helen Garner
The Sporting Spirit, George Orwell
A Comparison, Sylvia Plath
What He Said There, Sarah Vowell
First speech to the House of Representatives as Member for Barton, Linda Burney
How to Live Before You Die, Steve Jobs
Funeral Service of The Unknown Australian Soldier, Paul Keating
The Fringe Benefits of Failure and the Importance of Imagination, J.K. Rowling
Popcorn, Carol Chan
Stopping By Woods on a Snowy Evening, Robert Frost
An Absolutely Ordinary Rainbow, Les Murray
The Surfer, Judith Wright
May your pen grace the page, Luka Lesson

English Extension 12026Show all 30 texts

Elective 1: Literary homelands

The White Tiger, Aravind Adiga
A Passage to India, E.M. Forster
Brooklyn, Colm Toibin
Burning Rice, Eileen Chong
The Secret River, Andrew Bovell
Brick Lane, Sarah Gavron

Elective 2: Worlds of upheaval

North and South, Elizabeth Gaskell
Frankenstein, Mary Shelley
Do Not Say We Have Nothing, Madeleine Thien
Opened Ground, Seamus Heaney
Waiting for Godot, Samuel Beckett
Metropolis, Fritz Lang

Elective 3: Reimagined worlds

If on a Winter's Night a Traveller, Italo Calvino
The Left Hand of Darkness, Ursula Le Guin
Gulliver's Travels, Jonathan Swift
Poetry of Samuel Taylor Coleridge, Samuel Taylor Coleridge
Life on Mars, Tracy K. Smith
Pan's Labyrinth, Guillermo del Toro

Elective 4: Literary mindscapes

As I Lay Dying, William Faulkner
Sixty Lights, Gail Jones
The Collected Stories, Katherine Mansfield
Poetry of Emily Dickinson, Emily Dickinson
Hamlet, William Shakespeare
Lost in Translation, Sofia Coppola

Elective 5: Intersecting worlds

Clay, Melissa Harrison
Journey to the Stone Country, Alex Miller
The Shipping News, Annie Proulx
Island Home, Tim Winton
Poetry of William Wordsworth, William Wordsworth
The Hunter, Daniel Nettheim

English EAL/D2026Show all 26 texts

Module A

Past the Shallows, Favel Parrett
The China Coin, Allan Baillie
My People, Oodgeroo Noonuccal
The Round Earth's Imagined Corners, Various (ed. Ken Watson)
Rainbow's End, Jane Harrison
The Motorcycle Diaries, Ernesto Che Guevara
Unpolished Gem, Alice Pung
I am Malala, Malala Yousafzai and Christina Lamb
One Night the Moon, Rachel Perkins
Go Back to Where You Came From, Ivan O'Mahoney

Module B

Swallow the Air, Tara June Winch
Contemporary Asian Australian Poets, Various (eds Adam Aitken, Kim Cheng Boey, Michelle Cahill)
Poetry of Langston Hughes, Langston Hughes
Summer of the Seventeenth Doll, Ray Lawler
Shafana and Aunt Sarrinah, Alana Valentine
Toyo, Lily Chan
Ten Canoes, Rolf de Heer
Reindeer in my Saami Heart, Janet Merewether

Module C

Fahrenheit 451, Ray Bradbury
The Namesake, Jhumpa Lahiri
The Striped World, Emma Jones
Away, Michael Gow
Namatjira, Scott Rankin
Romulus, My Father, Raimond Gaita
The Truman Show, Peter Weir
Waste Land, Lucy Walker

English Studies2026Show all 14 texts

Common Module

All the Light We Cannot See, Anthony Doerr
Vertigo, Amanda Lohrey
Nineteen Eighty-Four, George Orwell
Past the Shallows, Favel Parrett
Rosemary Dobson Collected, Rosemary Dobson
Poetry of Kenneth Slessor, Kenneth Slessor
Rainbow's End, Jane Harrison
The Crucible, Arthur Miller
The Merchant of Venice, William Shakespeare
The Boy Behind the Curtain, Tim Winton
I am Malala, Malala Yousafzai and Christina Lamb
Billy Elliot, Stephen Daldry
Go Back to Where You Came From, Ivan O'Mahoney
Waste Land, Lucy Walker

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