internal assessment resource - nzqa superego overpowers his ego or id, and this imbalance means his...

Exemplar for internal assessment resource English 3.8B for Achievement Standard 91479

© Crown 2012

Exemplar for Internal Assessment Resource

English Level 3

Resource title: Through a critical lens

This exemplar supports assessment against:

Achievement Standard 91479

Develop an informed understanding of literature and/or language using critical texts

Student and grade boundary specific exemplar

The material has been gathered from student material specific to an A or B assessment resource.

Date version published by Ministry of Education

December 2012 To support internal assessment from 2013

Develop an informed understanding of literature and/or language using critical texts Students who achieve this standard will develop an informed understanding of literature and/or language using critical text(s).


© Crown 2012

Grade Boundary: Low Excellence

1. To achieve this standard, this student developed an informed and perceptive understanding of literature using critical text(s).

Note: Evidence of using critical texts (information process, EN5) has not been included with this exemplar. To achieve this standard, the student must also show evidence of the research process including:

developing a hypothesis or theory to frame an investigation

selecting critical text(s)

selecting information and evaluating its reliability and usefulness in relation to the investigation

The student uses her interpretation of Freudian theory to frame an investigation of Lord of the Flies. (1)

The student synthesises Freud’s definitions of Ego, Id, and Super Ego to further her understanding of Ralph, Roger, and Piggy. For example:

Roger is the boy who is closest to representing the id … If something is going to bring satisfaction, however temporary, the Id will seek to obtain it. (2)

The student shows an informed and perceptive understanding of the characters:

At this moment, Ralph’s Id overrules his ego. However while reflecting on the previous night, Ralph begins to ask honest, moral questions, … It is this thought process that shows he is moving on from the ego way of thinking to a more mature, grown up approach, which is far closer to the superego … Ralph is in fact changing and growing as a person, resolving his oedipal complex and coming to terms with himself. (3)

So, while he is the closest to being the critical, considerate superego, Piggy too has some maturing and living to do before he is fully developed. (4)

The student has developed a sophisticated and insightful understanding of Lord of the Flies using Freudian critical theory:

His superego overpowers his ego or Id, and this imbalance means his judgment has become clouded. He is doing the opposite to behaving instinctively, and instead tries to justify reality by ignoring it. Again we are shown the importance of balance between the three parts of the mind, this time being shown the danger of becoming over “societised”. By stripping society back to its most basic form, without rules law or parental control the novel is questioning the very essence of humans. (5)

In summary the student has:

Integrated the critical theory, formed own views and built an argument to explain the behaviour of character’s from Lord of the Flies.

Synthesised information from Lord of the Flies and critical texts in an informed and perceptive way.

Showed consistent moments of insight.

Showed evidence (not included) of:

o developing a hypothesis or theory to frame an investigation


© Crown 2012

o selecting critical text(s)

o selecting information and evaluating its reliability and usefulness in relation to the investigation

To secure Excellence more convincingly, the student could more consistently develop understandings that are sophisticated and insightful and/or original.

Freudian analysis of The Lord of The Flies

As children, do we have a perception of what is right or wrong? Can we think for ourselves or do we simply base our beliefs on those of our parents? And when do we really make the change from a trusting child to a discerning adult? For Sigmund Freud, these questions were central in his thesis. Lord of the Flies is a text which is very closely related to Freud and his theories, and throughout the novel, we are given many insights into this Freudian psychoanalysis. (1)

The book begins with a group of kids who are trapped on an island in war time. The interesting thing from a Freudian perspective is that these kids are just that, kids, and they do not have parental guidance on this island. They are left entirely to their own devices, and as a result rely on their previously formed super egos, egos, and id. In the Lord of The Flies, the super ego is interesting because as kids, they have not fully developed this part of their mind. For them, they can only base their super ego on their perception of the rules and laws of the outside world, and they can only imitate what they have seen from their role models and adult figures in their lives but they themselves are not able to appreciate the laws or rules of society.

The boys are characterised in a way that fits perfectly into Freudian analysis. There are many characters, but the three key ones are Ralph, Roger, and Piggy, who could also be interpreted as being the Ego, Id, and close to Super Ego. Roger is the boy who is closest to representing the id. First seen throwing stones at the young’uns, at this stage Roger is not completely id-ridden. He still has that sense of society in his thinking, and as a result throws the stones in order that they just miss the young’uns rather than hit them. He is still held by “the taboo of the old life” and is not ‘N completely conscience free. It doesn’t take long, though, for Roger to become completely id-driven, and when he violently murders Piggy, he is acting completely on his natural survival and selfish instincts, with absolutely no consideration of morals or consequence. According to Freud, this is almost an exact description of the Id. It is the most natural, completely instinctive part of the mind that acts on impulse and the pleasure principle. If something is going to bring satisfaction, however temporary, the Id will seek to obtain it. (2)

Ralph is the boy who is always practical, knows himself and his own limits, and knows what he wants. In Freudian theory, the ego is the part of the mind which seeks to please the id’s desires, however is also concerned about the long term consequences, and will weigh up the pros and cons before making a decision. The ego and Ralph show countless numbers of similarities, Ralph being a representation of this part of Freud’s theory. We see many examples where these exact traits are shown by Ralph, and one such example is seen when the boys are discussing the beast. Naturally, everyone is frightened by the beast, but Ralph shows his discerning qualities when he says “I’m frightened myself sometimes, only that’s nonsense!” His id and natural instincts tell him that he should be frightened, but his ego and common sense tells him that the beast is “nonsense”. Here, Ralph’s calm, thoughtful nature shows us the development of the other part of his mind, the super ego. Ralph is the one character who throughout the story shows a change of nature for the better. The real turning point for him is when quiet, innocent Simon is murdered, and he is involved. Ralph realizes at this moment that there is a difference between right and wrong, and that we control our own destiny, and our decisions affect others, no just ourselves. When the boys murder Simon, their Id takes over control, and they are caught up in the sheer excitement of it all. At

Student 1: Low Excellence

this moment, Ralph’s Id overrules his ego. However while reflecting on the previous night, Ralph begins to ask honest, moral questions, “Didn’t you see what we... did?”, whereas the other boys deny they had anything to do with the murder. He realizes that what they did was wrong, and is willing to accept some of the responsibility for it. It is this thought process that shows he is moving on from the ego way of thinking to a more mature, grown up approach, which is far closer to the superego. Right though the novel, Ralph is in fact changing and growing as a person, resolving his oedipal complex and coming to terms with himself. (3)

Piggy is probably the most similar to the super ego, however as he is a child, he is still not fully developed. There are times when Piggy shows appreciation of rules and societal laws, and in fact for most of the text he is always worrying and thinking about what he should be doing, but there is always the underlying sense that although he follows the rules and can see that rules are a necessary part of society in order for it to function, he doesn’t really understand why the rules are put in place, or what they are actually doing. He is able to accept the surface facts that rules are needed, but the deeper thinking required to ask or understand why this is so is not something that he can do at this stage of his maturity. So, while he is the closest to being the critical, considerate superego, Piggy too has some maturing and living to do before he is fully developed. (4)

Perhaps it is being suggested that even though none of the kids are fully developed in their thinking, adults are not necessarily either. When the British army man arrives late in the novel to find a pack of savage British boys, he says ‘I should have thought that a pack of British boys... would have been able to put up a better show than that.’ This man is trying to make sense of a situation which he does not fully appreciate, but he has lived for so long in society that his superego has become the main part of his conscience. He has so many biases and prejudices that it is unthinkable that a bunch of educated English boys could be behaving like they are. His superego overpowers his ego or Id, and this imbalance means his judgment has become clouded. He is doing the opposite to behaving instinctively, and instead tries to justify reality by ignoring it. Again we are shown the importance of balance between the three parts of the mind, this time being shown the danger of becoming over “societised”. By stripping society back to its most basic form, without rules law or parental control the novel is questioning the very essence of humans. (5)


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Grade Boundary: High Merit

2. To achieve this standard, this student has developed an informed and convincing understanding of literature using critical text(s).




The student uses an interpretation of feminist theory to frame an investigation of The Hunger Games.

While a cursory examination of The Hunger Games will suggest messages of gender equality and equal opportunity for females (a deeper analysis will yield that the film, while set in the future, serves to reinforce the current patriarchal society. (1)

The student shows an informed and convincing understanding of how The Hunger Games relates to his understanding of ecriture feminism:

The Hunger Games reinforces this concept as it portrays the role of males as those in positions of power… deliberately chose to have a female protagonist, Katniss’ skills are traditionally masculine, reinforcing the concept of ecriture feminism. (2)

Cixous claims that it is our sexuality … Don’t cry. Don’t. (4)

The student develops a discerning understanding of the text in relation to the interpretation of the critical theory which begins to show evidence of being sophisticated and insightful:

To allow an audience to empathise with the protagonist … basic story line would not be that much different. (3)

It is a building built by men, and resembles a phallic symbol. This phallic symbol is a figurative representation … even in this post-apocalyptic world, we still have not moved past the notion that the President must be a male. (5)

Art is a hammer to shape reality, The Hunger Games is a precursor to where we are heading in terms of gender equality, and the future doesn’t look good. (6)


Developed a discerning understanding of The Hunger Games through the lens of a critical theory.

Showed some moments of insight in commentary on Hunger Games as a reflection of our society.

Showed evidence (not included) of



To meet Excellence the student needs to provide further discussion of the link between the theory and the text in order to show a more insightful and original interpretation of The Hunger Games.

Feminist analysis of The Hunger Games

While a cursory examination of The Hunger Games will suggest messages of gender equality and equal opportunity for females (a deeper analysis will yield that the film, while set in the future, serves to reinforce the current patriarchal society. The film establishes there are 12 poor districts in the country of Panem surrounding the Capitol, characterised by their own exports and exist only to fulfil the needs of the hegemonic Capitol. Katniss Everdeen, the female protagonist, is an oppressed citizen residing in District 12, the coal- mining district. (1)

The film was adapted from the novel of the same name, written by female author Suzanne 5Collins. It can therefore be considered a work of écriture feminine, a term coined by French theorist Helene Cixous to describe the concept that language is written by men for men. It is therefore difficult for female authors to use language as a tool to narrate a story from a female perspective and the literature therefore contains highly masculine language and themes. The Hunger Games reinforces this concept as it portrays the role of males as those in positions of power, and the skills associated with power; strength, athleticism and prowess at hunting, are all skills which the heroine possess. Even though Collins deliberately chose to have a female protagonist, Katniss’ skills are traditionally masculine, reinforcing the concept of ecriture feminine. (2)

In many Hollywood action films, such as Tomb Raider or Catwoman, the heroine is often sexualised and objectified, however Katniss Everdeen is not. The reason is, Katniss’ father dies. The patriarchy has therefore failed and as a result, Katniss is forced to step in as the provider for the household, a male position, developing her skills at hunting and archery. To allow an audience to empathise with the protagonist, male orientated language and themes like arson, violence and gore must be employed to the point that if Katniss were a male, the basic story line would not be that much different.(3)

Katniss also acts as the protector for her younger sister, Primrose Everdeen, again the fulfilling role of the father. She fulfills this role to the extent of volunteering to compete in the Hunger Games in lieu of her sister who was first elected. She felt a duty to protect her sister as she was the provider and protector of the household. When Katniss is taken away she is isolated in a room and given 3 minutes to speak with her family and friends. When she is talking to her mother about caring for Primrose, she speaks very emphatically. Her tone and language is not consistent with a conversation between daughter and mother. Cixous claims that it is our sexuality that is directly tied to how we communicate in society. Katniss’ manner of speaking is more consistent with a conversation between husband and wife, she is telling her mother to look after Primrose, “No matter what you feel, you have to be there for her, do you understand? Don’t cry. Don’t.(4)

This process of being cut off from her family and friends, and kept in isolation before she is transported to the Capitol is a form of social castration. She leaves behind all that is meaningful to her and is identified as the girl on fire from District 12, or the girl from District 12 for the majority of the Hunger Games. This is a reflection on the idea that girls do not actually know their own names until they are married. The tradition of the patriarch is for female to take their husband’s name. When Katniss first enters the room where she is assessed on her abilities as a hunter and a fighter, the Gamemakers show her no attention at all. They act as if she does not exist. She has to prove to them, by spearing the apple in the pig’s mouth at the buffet table with one of her arrows, that she is worth recognition. This feat is similar to that displayed by Robin Hood, a male. Yet another reflection of how The Hunger Games is an example of écriture feminine.

When Katniss and the others from Distrct 12 arrive in the Capitol, they are greeted with a glimpse of the skyline. Many testaments to the wealth of the Capitol populate the area, however one building in what appears to be the harbour is worthy of particular mention. It

Student 2: High Merit

extends out in to the water and appears for about 4 seconds in the centre of the screen. It is a building built by men, and resembles a phallic symbol. This phallic symbol is a figurative representation of the power and wealth that the Capitol holds, furthermore the ultimate symbol of power in the country, the President of Panem, is a male. The ultimate symbol of power in our western world currently is the President of the United States, the fact that The Hunger Games is set in the future is a concern. It suggests that even in this post-apocalyptic world, we still have not moved past the notion that the President must be a male. (5)

The suggestion that the ultimate power in the country of Panem rests on a man’s shoulders indicates that they deem women incapable of such power and responsibility. The fact that we there is still a disparity of income and roles at the top for females compared with males shows us that while many may think that feminism is all a bit over the top and exaggerated, that we all have equal rights and opportunities it is not necessarily true. The New Zealand Stock exchange’s recent criticism of the under-representation of women as company directors (Women hold 9.57% of directorships, unchanged since 2008) shows the reality is that popular culture and society wants us to be sexist and wants to maintain the current patriarchal system. Bertolt Brecht once said, “Art is not a mirror to reflect reality, but a hammer to shape it.” The Hunger Games is set in the future and still maintains all the current patriarchal societal structures. I am frightened for the future, as The Hunger Games, on the surface, appears to be a tale of empowerment and how one girl can set out to defeat any man or woman who stands in the way of her goal. As a result, the premiere of the film saw a 60% female audiences in the 16-25 age bracket. What audiences and parents alike worldwide don’t realise is that The Hunger Games is subtly reinforcing the patriarchal system in which we live. Art is a hammer to shape reality, The Hunger Games is a precursor to where we are heading in terms of gender equality, and the future doesn’t look good (6)

Research references: Primary source: The Hunger Games directed by Gary Ross, based on the book by Suzanne Collins Secondary sources: “The Literary Looking Glass’ Sian Evans, chapter 5, Feminist criticism. “A Radical Feminist’ Analysis of Mass Media” - Women’s Institute for Freedom of the Press, http://www.wifp.org/radicalfeministanalysis.html.

http://www.wifp.org/radicalfeministanalysis.html


© Crown 2012

Grade Boundary: Low Merit

3. To achieve this standard, this student has just sufficiently developed an informed and convincing understanding of literature using critical text(s).




This exemplar is an extract from the complete report.

The student uses an interpretation of Lacanian theory to frame an investigation of Kung Fu Panda.

In Kung Fu Panda, Directors John Wayne Stevenson and Mark Osborne take us on a journey through Lacanian Psychoanalysis and prove that by resolving the dichotomy between our a and our A, we can live more fulfilling lives, … dichotomy. (1)

The student shows a convincing understanding of how Po’s perception of his self is different from the perception that others have of him.

We start the film with a clear illustration of both how Po sees himself and how others see him … He has therefore in Lacanian terms failed to “grow up”. (2)

The student methodically outlines the link between her understanding of Lacanian theory and Po’s character.

At his first training session however … not nearly as good at Kung-Fu as he was in his imaginary stage. (3)

In this way, Po is forced to recognise his A for the first time in his life. (4)


Showed a convincing understanding of Kung Fu Panda through the lens of a critical theory which is just discerning enough to gain merit.

Showed evidence (not included) of:



The student needs to begin to form a more discerning understanding of what this can tell us about Po as a character and the text as a whole. Although the student has created a thorough link between the theory and the text, more of the student’s personal views and conclusion would have secured the standard more convincingly at Merit.

Kung-Fu Panda - A Lacanian Analysis

In Kung Fu Panda, Directors John Wayne Stevenson and Mark Osborne take us on a journey through Lacanian Psychoanalysis and prove that by resolving the dichotomy between our a and our A, we can live more fulfilling lives, the ultimate mission of a subscriber to the Lacanian philosophy. In the film, Po leads us through his journey of Lacanian development, first passing from the imaginary to the symbolic stage, then discovering the language of Kung Fu, and finally, through all this, resolving the other/Other dichotomy. (1)

It is clear at the start of the film that Po is in an imaginary state, we are shown first a dream sequence in which he is a kung-fu master, a dream which is revealed to be fantasy just a few minutes later when we see how clumsy the real Po is. We start the film with a clear illustration of both how Po sees himself and how others see him, thus laying the foundations for the Lacanian journey which follow. Strangely, despite the marked difference between Po’s perception of his self and the perception that others have of him, he is entirely unaware of his A. Therefore he is in fact still living within the imaginary state, a phase which most individuals pass through within their years as a toddler. Given his size and the fact that he is having thoughts of leaving home, Po is an adolescent living within a greatly extended imaginary state. He has therefore in Lacanian terms failed to “grow up”. (2)

It is not until, by chance, Po is appointed the “Dragon Warrior” and begins his training, that he actually begins to progress from the imaginary to the symbolic stage. For me, Po really doesn’t shift into the symbolic stage until his first night at the Jade Palace. When he first arrives, he is simply overawed by the artifacts and the prestige of the place, apparently without properly comprehending that he is in fact a part of it. At his first training session however, Po is forced, for the first time in his life, to realise a father figure who imposes law without any affection. This forces Po to recognise the laws of the symbolic world through the discovery that he is not nearly as good at Kung-Fu as he was in his imaginary stage. (3)

At this point, Po also passes through the first phase of the mirror stage, although the mirror in which he sees his A reflected is not in fact a physical mirror, but the mirror in which we far more commonly view ourselves in-the mirror provided by the language of those around us. Shifu makes Po’s A very clear almost immediately when he describes him as a “big, fat, panda” shortly after he is chosen as the dragon warrior. In this way, Po is forced to recognise his A for the first time in his life. (4)

Report continues…

Student 3: Low Merit


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Grade Boundary: High Achieved

4. This student has developed an informed understanding of literature using critical text(s).



selecting information and evaluating its reliability and usefulness in relation to the investigation.

The student develops a hypothesis or theory to frame an investigation: What does ‘A Clockwork Orange’ reveal about the debate surrounding Nature vs Nurture.

The student coherently summarises the two critical perspectives of Othello’s character related to his hypothesis:

Andrew Leary, talks about how Alex had grown up in a turbulent environment, and this is where he gets his relentless need …. Whereas critic Edward Tanguay … (1)

The student’s point of view is established.

I personally believe that ACWO reveals to us, the reader, that we are a product of our own environment rather than born with our own devils (1).

The student’s first paragraph is related to the hypothesis but does not make the link with his critical texts. (2)

The student identifies a critical viewpoint and then, agreeing with the view, adds his own commentary to support it:

Leary says that it is … malice. That is one of many horrific scenes that Alex had grown up to view on a daily basis, and he is now a part of a culture which isn’t aggravated or even bothered by seeing this, and who are willing to do nothing, in fear of other street hooligans. I agree with Leary’s statement, as it is scenes like this that would shock a society like ours, but Alex’s society, which constantly sees this sort of horror daily, keeps calm and carries on. (3)

The student introduces a contrasting critical perspective and evaluates the critical viewpoint in relation to his own point of view:

Tanguay argues his point that it is the music that inspires Alex to his un-provoked acts of violence, and not the environment. What is flawed in Tanguay’s thinking is that if Alex is so provoked by music, …this is why I think Tanguay is overlooking the importance of the whole environment rather than specifically the influence of music. (4)

The student’s data chart (not included) shows evidence of: selecting critical text(s) selecting information and evaluating its reliability and usefulness in relation to

the investigation In summary the student has:

Used the reading from secondary sources to lead to the development of an informed understanding of A Clockwork Orange.

Convincingly discussed Tanguay’s theory and why it is flawed

In order to reach merit the student needs to:


© Crown 2012

Further explain other points, commentary, and details

Continue developing a coherent reading, critique, and interpretation which includes judgments, commentary, and details and/or examples for all points so that the whole report becomes discerning.

Relate points to a critical view so that we can see how they relate to the critical viewpoints rather than just the hypothesis.

What does ‘A Clockwork Orange’ reveal about the debate surrounding Nature vs Nurture

Alex De Large’ is the main character of A Clockwork Orange (ACWO), which is a controversial dystopic novel written by Anthony Burgess in 1963. The novel has many important themes but one which stood out to me first and foremost was that of Nature vs Nurture. Andrew Leary, talks about how Alex had grown up in a turbulent environment, and this is where he gets his relentless need for malice. Whereas critic Edward Tanguay, talks about how Alex had few pleasures growing up, but one of those little pleasures were music, and how he associated it with the ‘ultra-violence’ that he commits daily. What makes the man? Is it whether one was born with an inner evil? Or is it that they had grown up in an evil environment? It’s a question which is up for debate. I personally believe that ACWO reveals to us, the reader, that we are a product of our own environment rather than born with our own devils. (1)

Burgess’s overall didactic message is that one, that being Alex, adapts to one’s environment and that you yourself are a product of your surroundings, just as much as your surroundings are a product of you. There are many factors to take into account which could all individually be the reasons behind Alex’s antisocial behavior. The lack of strict parenting which Alex had overpowered. “Pee and em in their bedroom next door had learnt now not to knock on the wall with complaints of what they called noise. I had taught them.” The absence of a strong government. “We are not concerned with motive, with the higher ethics. We are concerned only with cutting down crime.” And the lack of peer bonding. These can all be a cause behind his malicious acts. Although some may argue that it is nature which makes him the way he is, that he is just an aggravated adolescent male, it is more than that, if nature is to blame behind his acts, then every hormonally fueled pubescent teenager would be running rampant through the cities and towns of this day and age. It is because his surroundings have changed him into the boy he is in the novel, and he will not change unless a serious act ‘ makes him hit the wall. Like in the final chapter in Part 3, “Perhaps was getting too old for that sort of jeezny I had been leading, brothers.” (2)

Leary says that it is Alex’s domain that makes him such a terror on society, rather than that of nature, it is because of this hostile environment, with its negative and absent government which turns Alex into a creature of malice. Leary quotes from the book as Alex is coming home from a night of debauchery. “I did pass one young maichick sprawling and creeching and moaning in the gutter, all cut about lovely, and saw in the lamplight also streaks of blood here and there like signatures.” Leary then talks about how he sees Alex’s situation. “When a boy grows up in such an unstable environment like this, no one would question why he himself is committing the crimes, but what are the causes behind him doing it?” That is one of many horrific scenes that Alex had grown up to view on a daily basis, and he is now a part of a culture which isn’t aggravated or even bothered by seeing this, and who are willing to do nothing, in fear of other street hooligans. I agree with Leary’s statement, as it is scenes like this that would shock a society like ours, but Alex’s society, which constantly sees this sort of horror daily, keeps calm and carries on. (3)

Tanguay argues his point that it is the music that inspires Alex to his un-provoked acts of violence, and not the environment. How he explains his point, is he tells us Alex’s favorite music to listen to that of Beethoven’s ninth symphony, he asks. Why can’t Beethoven’s 9th not bring up images of violence? It’s just a matter of association. As Tanguay quotes from the book after turning on his ‘lovely Mozart.’1 “There were vecks and ptitsas, both young and starry, lying on the ground screaming for mercy, and I was smecking all over my rot and grinding my boot in their litsos.” Although this does depict a disgusting scene, it doesn’t enforce the idea that it is music which makes Alex commit his awful crimes. What is flawed in Tanguay’s thinking is that if Alex is so provoked by music, then it could also be said that someone could be inspired to do the same acts by something as menial as a flower, eg:

Student 4: High Achieved

fighting its way up from a seedling, going through all the dirt and grime to become a fledgling flower, this could be associated with the battle of life, where we need to step on the dirt and grime of society to become that blossoming flower, this is why I think Tanguay is overlooking the importance of the whole environment rather than specifically the influence of music. (4)

After reading both of these critics reviews on the book ACWO I think, and can show that it is nurture which makes the man, not nature. Whether a man is born with an inner evil is irrelevant. What makes a man is how they are brought up into the world, not what music he listens to or what he may associate it with, where Alex has grown up into an abusive environment shows us that he himself will become aggressive and abusive towards others which he comes into contact with. We as a people may be born with an inner evil but the devil within won’t get a chance to come out if we are raised in a correct manner.


© Crown 2012

Grade Boundary: Low Achieved

5. To achieve this standard, this student has just sufficiently developed an informed understanding of literature using critical text(s).





The student develops a hypothesis or theory to frame an investigation:

Clockwork Orange Thesis: Mechanism versus Organism and Free Will (When a man cannot choose, he ceases to be a man) (1).

The student’s point of view in relation to the hypothesis is established:

I believe that a man cannot be mechanised. The freedom of choice and ability to shape your own destiny is the only thing that differentiates us from machines. In a ‘Clockwork Orange”, Alex is transformed into a machine. He is forcibly mechanised and pre-programmed into having an action and one reaction only. He loses his freedom of choice. He no longer has the choice to be good, but goodness is forced down his throat. (2)

A critical viewpoint on Alex’s nature is identified and put into context.

… Samantha Moya, she expresses through her interpretation of the novel that Alex commits such horrendous crimes because his ‘ultraviolence is the only method of rebelling towards an ever-more robotic and mechanised world’. The student then provides a brief commentary in relation to the critical viewpoint. This portrays a detached, uncaring society where ultraviolence is the only method of saying, ‘I am alive’. “A Clockwork Orange”, the only clear sign of ‘humanity’ perceivable from Alex is the level of extreme violence that he exhibits through his use of free will. (3)

Although the student has identified critical viewpoints, the commentary, the student needs to develop more detail and discussion in relation to the critical text and her own view in order to secure the standard more convincingly.

The student’s data chart (not included) shows evidence of: selecting critical text(s)



Identified and synthesised different critical points of view and related them clearly to their hypothesis.

Provided commentary on some of the critical material to form an understanding of their own point of view.

To gain Achieved more securely the student needs to put forward more of the student’s own point of view regarding the critical viewpoints.


© Crown 2012

The student needs to present more frequent critical viewpoints and then discuss them to provide a framework for discussion of the hypothesis.

Clockwork Orange Thesis: Mechanism versus Organism and Free Will (When a man cannot choose, he ceases to be a man) (1)

I believe that a man cannot be mechanised. The freedom of choice and ability to shape your own destiny is the only thing that differentiates us from machines. In a ‘Clockwork Orange”, Alex is transformed into a machine. He is forcibly mechanised and pre-programmed into having an action and one reaction only. He loses his freedom of choice. He no longer has the choice to be good, but goodness is forced down his throat. (2)

In “A Clockwork Orange The Intersection Between a Dystopia and Human Nature”, by Samantha Moya, she expresses through her interpretation of the novel that Alex commits such horrendous crimes because his ‘ultraviolence is the only method of rebelling towards an ever-more robotic and mechanised world’. This portrays a detached, uncaring society where ultraviolence is the only method of saying, ‘I am alive’. “A Clockwork Orange”, the only clear sign of ‘humanity’ perceivable from Alex is the level of extreme violence that he exhibits through his use of free will. (3)

The use of the prison chaplain in the novel, the most appropriate advocate for the symbol of Christian morals, warns the authority figures in the novel of the ‘Reclamation Treatment’ (Ludovico Technique) that goodness can only come from the heart of the man, and when that goodness is gone, he is a man no more. At this point, Alex is a mere machine “as goodness is something chosen. When a man cannot choose, he ceases to be a man”.

Through “A Clockwork Orange”, we see morality is derived from choice, and only through the presence of choice can someone or something be ‘good’ or bad’. When he is submitted into the Ludovico conditioning, we begin to realise that his actions are morally meaningless. This is indicative of how it is through our conscious decisions that we make our own terms of what we view to be good or evil. As Zeynep Zeren Atayurt exclaims, ‘this is completely against the principles of the utilitarian philosophy’. If Alex’s actions with no intent have the same real consequences as any other man’s with good intent.

Report continues…

Student 5: Low Achieved


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Grade Boundary: High Not Achieved

6. To achieve this standard, this student has not yet sufficiently developed an informed understanding of literature using critical text(s).





The student has developed a hypothesis to frame an investigation:

The hypothesis for this essay is ‘Katherine Mansfield’s — Miss Brill is an insightful exploration of the inner self.’ (1)

The student identifies multiple critical points of view regarding Mansfield’s portrayal of the human condition.

Critic Robert L Hull says “Miss… (2) Critic Isabelle Meyer says “She herself recognizes this towards the end of the story (3)… Critic Robert Hull says “For her, love - the love of her fur piece… (4)

For each critical viewpoint, the student gives examples from Katherine Mansfield’s Miss Brill to support this:

… We see this when a young couple comes and sits down next to Miss Brill on the seat in the park, where she watches a young couple in a relationship. Hull says “Miss Brill’s world is more than lonely; it is also an existential world in which she finds herself in complete solitude estranged from God, man and more importantly, from herself. ” Miss Brill overhears the young lady saying “no, because of that stupid old thing over there.” (2)

The student’s data chart (not included) shows evidence of: selecting critical text(s)



Identified several critical viewpoints which are related to his hypothesis.

Used evidence form the primary text to support his critical viewpoints.

To achieve this standard:

The student needs to develop a coherent reading, critique, and interpretation which includes judgements, commentary, and details and/or examples.

The student needs to articulate own point of view in relation to the critics’ views.

The student also needs to develop own informed understanding rather than paraphrasing the critical texts alone.

Katherine Mansfield is a well renowned writer who has a larger-than-life insight for the 7 human psyche. She largely wrote short stories and is thought to have revolutionised the modern day short story. In her writing, Mansfield had a tendency to explore our human condition and psyche. She sheds light on how we, as humans, create an illusion to act as a mask. She seems interested in how these masks disguise our real lives. We see this in one of the many stories she crafted, Miss Brill. Miss Brill is a lonely women who puts on a mask, to make it feel like she is part of society. The hypothesis for this essay is ‘Katherine Mansfield’s — Miss Brill is an insightful exploration of the inner self.’ (1)

Critic Robert L Hull says “Miss Brill’s world is more than lonely; it is also an existential world in which she finds herself in complete solitude estranged from God, man and more importantly, from herself.1” We see this when a young couple comes and sits down next to Miss Brill on the seat in the park, where she watches a young couple in a relationship. Hull says “Miss Brill’s world is more than lonely; it is also an existential world in which she finds herself in complete solitude estranged from God, man and more importantly, from herself.2” Miss Brill overhears the young lady saying “no, because of that stupid old thing over there.”.(2)

Katherine Mansfield believes everyone puts on a mask. Critic Isabelle Meyer says “She herself recognizes this towards the end of the story: her fantasy has transmuted reality, and she can no longer see herself outside her imagined role — she is her mask,3” This tells us that Miss Brill had a mask on all the time. I believe she puts on the mask because she wants to be a part of society. (3)

Critic Robert Hull says “For her, love - the love of her fur piece, which functions like an unsympathetic mirror into which she cannot see, and the ‘vision of love’, in which she imagines all those gathered in the park singing and thus communicating with one another - is faintly chill because somehow she has been excommunicated from a real experience of love.4” We see this in her routine of going to the park looking out for familiar faces who she follows each week. We also see this in her imagination as she thinks she is part of a play. We see this in the story where she says ’Oh, how fascinating it was! How she enjoyed it! How she loved sitting here, watching it all! It was like a play.” (4)

Report continues…

1 R L Hull, Alienation in ‘Miss Brill’, Studies in Short Fiction Vol. V, No. 1, Fall., (1967] pp 74-6.

2 R L Hull, Alienation in ‘Miss Brill’, Studies in Short Fiction Vol. V, No. 1, Fall., (1967] pp 74-6.

3 Isabelle Meyer, ‘A Masque of Masks’. Women’s Studies Journal, December

(1988), p 77. 4 R L Hull, Alienation in ‘Miss Brill’, Studies in Short Fiction Vol. V, No. 1, Fall., (1967) pp 74-6.

Student 6: High Not Achieved

Bibliography:

Daly, S. F?. Twayne’s English Authors Series 23. (1956)

Evans, S. Interpretations of Mansfield’s “Miss BrilI”. (2010)

Hanson, C and Gurr, A. Miss Brill, The South of France 1918-20. (1981)

Hull, R. Alienation in Miss BriII. (2003)

Mansfield, K. Miss BriIl, The Garden Party and Other Stories. (1992) Alfred. A Knopf

Meyer, I. A Masque of Masks: Self Presentation in the Writings of Katherine Mansfield. Women’s Studies Journal (1988)

Stead, C. K. Katherine Mansfield, Letters and Journals. (1997)

internal assessment resource - nzqa superego overpowers his ego or id, and this imbalance means his...

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