Free TCE Year 11 English Literature Flashcard Review

A line of five iambic feet (da-DUM), usually ten syllables with stress on the even syllables. Unrhymed, as blank verse, it was the line Marlowe and Shakespeare developed for dramatic speech, and Shakespeare’s sonnets also use it.

The turn where a sonnet’s argument, tone or perspective shifts: usually at line 9 in a Petrarchan sonnet and often at the final couplet in a Shakespearean sonnet.

Petrarchan: an octave (abbaabba) plus a sestet. Shakespearean: three quatrains plus a rhyming couplet (abab cdcd efef gg). The structure changes where the turn falls and how the poem resolves.

Lament, praise of the dead and movement towards consolation. Comparing how poets from different periods supply, question or withhold consolation reveals changing beliefs about death.

Enjambment runs sense over a line break; a caesura is a pause inside a line; an end-stopped line finishes its grammatical unit at the line end. Each controls pace and emphasis.

Where, when, who, how people lived, and what happened.

A dominant set of beliefs in a period, such as religious providence or fixed gender roles, that seems natural to people at the time and that a text may endorse, question or reveal.

A close analysis of one poem from the studied set: a sustained, independent interpretation built from detailed attention to language, form and context.

An analytical comparative essay on two or three poems on the same theme from different historical contexts, not including the poem used for close analysis.

Each paragraph discusses all texts through one point of comparison, so similarities and differences are explained together and the essay stays cohesive and analytical.

To show how an older text’s ideas can speak to present Australian readers, for example through performance, adaptation or a new setting, while recognising how today’s cultural experiences shape the response.

Attribute the source in your sentence, use quotation marks for exact words, cite consistently, and list every source in a structured reference list following one convention.

Only in response to a Single Text item (Module Two questions appear in both Section A and Section B). A Module Three text cannot be used on its own to respond to a Single Text item.

An analytical essay, a brief reflective response (about 500 written words, a short oral or a brief multimodal presentation), and an imaginative response.

Walton’s letters enclose Victor’s story, which encloses the Creature’s own account. Placing the Creature’s voice at the centre, surrounded by fearful narrators, sets sympathy against horror.

When it exposes contradictions in the perception, gives voice to those it excludes, or unsettles readers’ first response, rather than presenting it as natural and rewarding it.

A narrator whose knowledge is partial or who has something at stake; readers must weigh their account against other evidence rather than accept it as the text’s verdict.

Calling himself the Adam he should have been, but the fallen angel he has become, casts Victor as a neglectful creator-God and asks readers to judge the maker as well as the made.

A theoretical approach that directs attention to certain features: for example, a feminist lens (gender, silenced women) or a psychoanalytic lens (the Creature as Victor’s double).

Test what it explains and what it ignores against textual evidence, check its reasoning, then accept, qualify or reject it and justify your own position.