F-10 Curriculum (V8)
F-10 Curriculum (V9)
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1984 is a novel by British author George Orwell, published in 1949. How has that period - the late 1940s - shaped the novel? What world event and its consequences led to Orwell writing such a dystopian novel? Professor Bowen claims the Senate House, formerly Ministry of Information, is the basis for the novel's Ministry ...
Sport is a way of life for many Australians. Often all we see are the players on the field, but have you ever thought about what is involved behind the scenes? Jarvis Holt from Kurraca, Victoria, was a finalist of the 2012 Heywire storytelling competition for young people. Listen as he explores the whole army of people ...
Let's get inside the devious mind of Lady Macbeth! Bell Shakespeare's Kate Mulvany and John Bell explore the methods Lady Macbeth uses to manipulate her husband. This delightfully despicable character knows just which buttons to press! Listen in on the conversation with James Evans and see for yourself.
The Young Adult, or YA, publishing market might be huge, but not all readers of YA books are teenagers. Perhaps surprisingly, increasing numbers of adults are choosing to read books written for the YA market. Join in this panel discussion as four YA authors discuss the reasons why their books are being picked up by adult readers.
For Genevieve Wright, the first day of school holidays means heading to the shearing shed to spend a day of back-breaking work! As you listen to her Heywire audio story, explore Genevieve's characterisation of herself. How does she reflect her personality through the descriptions of her actions and environment?<br /><br ...
Do you think Wuthering Heights is a fantasy novel? Or is it all too realistic in its descriptions of hardship, cruelty and human frailty? John Bowen, Professor of Literature at York University notes, 'Gothic elements ... haunt the edges of the book.' Yet they never compromise the authenticity of the story. In this clip, ...
Intertextuality is about the process of making connections, either consciously or subconsciously, and can shape the way we interpret a text. In this audio clip, explore the intertextual link between two classic novels: 'The great Gatsby' by F Scott Fitzgerald and 'Don Quixote' by Miguel de Cervantes Saavedra. This clip ...
'Last night I dreamt I went to Manderley again.' So begins 'Rebecca' by Daphne du Maurier, the 1938 gothic novel set in the mysterious mansion of Manderley, with all its creepy inhabitants. Learn more about this thrilling novel and the gothic genre in this clip, which is the first in a series of two.
Parody is a popular form of humour where a particular subject is mocked or trivialised. The novel 'Cold Comfort Farm' is an example of parody. But what makes novels such as this so funny? Find out more by exploring this clip.
Have you ever been drawn into one of those arguments about which is better: the film or the book? In this clip, explore some responses to Baz Luhrmann's film adaptation of 'The Great Gatsby' and discover some of the factors that influence people's evaluations. It would be boring if we all had the same opinions, but have ...
The Curious Incident of the Dog in the Night-time' is described by the panellists as part quest and part detective novel. How do they explain this? What are the two 'cases' that the narrator and protagonist 'solves' in the novel, whether deliberately or inadvertently? What is the effect of having the reader know more than ...
Why might Emily Bronte have included numerous instances of cruelty in Wuthering Heights? Listen as John Bowen, Professor of Nineteeth-century Literature, considers the reasons behind the brutality in the novel. This clip is one in a series of four from the British Library.
Sally Morgan's autobiography, 'My Place', recounts the experiences of the author, her mother and her grandmother. Why do the panellists in this video think it is such an important book? What issues does it address?
Shakespeare seems to be obsessed with using theatre as a metaphor for life, as the imagery of playacting and performance features in many of his plays. Hear what Bell Shakespeare's Ivan Donato and John Bell have to say about this symbolism in Macbeth's final soliloquy. As you watch, consider the life lessons that Macbeth ...
The resource contains information, activities and tasks on how to write a discussion. It includes writing and publishing templates for students for a variety of purposes and contexts. This resource supports the Australian Curriculum in English K–10.
'The Tempest' is believed by some to be Shakespeare's final play. With this in mind, could Prospero in some ways represent Shakespeare himself? If so, Prospero's epilogue at the end of the play takes on a new and poignant resonance. John Bell discusses the themes of giving up and letting go with Bell Shakespeare's James ...
Shakespeare seems to have a complicated relationship with his female characters. Some of his heroines are quite timid and compliant while others are complex and strong. Here, James Evans and Kate Mulvany from Bell Shakespeare explore Emilia's impassioned speech to Desdemona in Act 4, scene 3 of 'Othello'. They consider ...
There are moments of extraordinary light and beauty amid the tragedy of 'Romeo and Juliet'. Join James Evans and actor Damien Strouthos from Bell Shakespeare as they discuss Act 2.2. Damien explains how Shakespeare's use of language reveals the intense passion, as well as frustration, experienced by Romeo and Juliet.
Caliban, the half-human antagonist of 'The Tempest', is often depicted as monstrous. Yet, modern readings of the play characterise him more sympathetically, particularly when viewed through a postcolonial lens. Join Bell Shakespeare's James Evans as he discusses with John Bell how Prospero's treatment of Caliban reflects ...
Hamlet is one of Shakespeare's most tormented tragic heroes. Unlike the protagonists of most other tragedies, Hamlet begins the play in a state of anguish. In this early soliloquy, the audience learns why. Tom Conroy from Bell Shakespeare realises Hamlet's agony in this moving excerpt from Act 1, scene 2.