F-10 Curriculum (V8)
F-10 Curriculum (V9)
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How do you write about a place that is disobedient?' Four of Britain's prominent writers consider the emotions that wild places evoke. In this clip, Robert Macfarlane, Simon Armitage, Sara Maitland and Owen Sheers consider the qualities of wildness: silence; escape; beauty; threat; and a sense of being both lost and found.
Noa and Francis are two young writers who've had their stories published. Listen as they talk about the main ideas they chose to explore in their stories. Find and watch the clips of Noa and Francis reading their pieces at the Melbourne Writers Festival (also found on Splash). How did they build their stories around the ...
Kate Grenville's multiple-award-winning novel 'The Secret River' explores an earlier period of Australian history. What is it that makes this novel so compelling and troubling for its many Australian readers? As you watch this clip, consider how this book encourages readers to re-evaluate their beliefs and values.
Do you detect a hint of the supernatural in Jane Eyre? Professor John Bowen, Professor of Nineteeth-century Literature at the University of York, says, 'It is a novel with a lot of haunting in it.' Listen as Professor Bowen discusses the fairytale and gothic elements in Charlotte Bronte's classic novel. This clip from The ...
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.
Who will Daisy Buchanan choose when she finds herself torn between the love of two men in F Scott Fitzgerald's 1925 classic novel, 'The Great Gatsby'? Draw on the discussion in this audio clip to improve your skills in developing character in creative writing. The clip from 'Books and arts daily' on Radio National is one ...
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 ...
Joan Lindsay's 'Picnic at Hanging Rock' is often considered a classic of Australian literature. But what makes it so well-regarded? And does everyone agree? Join in this panel discussion and explore why one person's literary masterpiece is another's turgid pot-boiler.
Join in the debate about whether the 1932 novel 'Cold Comfort Farm' by Stella Gibbons should be considered a classic. The novel follows Flora Poste, a young woman who moves in with her country relatives in a village called Howling. It parodies other novels that represented rural life as woeful, and is filled with delightfully ...
Often the impact of a novel lies in its ability to comment on society. In this audio clip, discover how American writer F Scott Fitzgerald challenges readers to reconsider the society in which they live. This clip from 'Books and arts daily' on Radio National is one in a series of eight.
Sometimes devastating events have a silver lining. Brendon Reynolds's life changed completely after a major injury during a basketball game. Hear how as you listen to his Heywire audio story.<br /><br />Could you write or record a story about yourself and/or your community? The ABC's Heywire competition calls for stories ...
It's been nearly 100 years since Norman Lindsay's madcap tale of a bad-tempered pudding was published, yet it continues to remain popular with children and adults alike. Over the years it's been a puppet show, cartoon, play, film and even an opera. What are the reasons for its enduring popularity? Explore the real magic ...
Have you heard of the term 'spec fic'? What is speculative fiction? If you're interested in reading some, why not find out more about the books that Rebecca Lim refers to.
Albert Facey's 'A Fortunate Life' is one of Australia's best-loved autobiographies. Could it be Facey's 'voice' in his writing that touches the hearts of so many readers? Explore this clip to learn more about how the written word can capture the personality of a writer.
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.
You'd never want to get into an argument with Shakespeare, who certainly knows how to use words to convince! A key moment in Othello is in Act 3, scene 3, where Iago plants the seeds of doubt in Othello's mind about his wife's faithfulness. It is a study in masterful manipulation, as illustrated by Hazem Shammas and Damien ...
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 ...
Act 3.2 in 'Romeo and Juliet' is a pivotal moment in Juliet's character development. Shakespeare manages to compress months of growing up into a single potent scene. Join James Evans as he explores Juliet's soliloquy from the beginning of this scene, and what it reveals about her coming of age, with Miranda Tapsell and ...
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 ...
The question of whether Hamlet is mad or just pretending to be has plagued critics and theatre-goers alike. In this excerpt from 'Hamlet', the audience is confronted with this very question. Watch Eryn-Jean Norvill and Tom Conroy from Bell Shakespeare as they present the encounter between Hamlet and Ophelia from Act 3, scene 1.