UNIT OUTLINE

Subject: English Standard Course: Year 11 (Preliminary) English Standard Number of Weeks 4
Unit title: Module B: Close Study of Literature- Frankenstein (1818) by Mary Shelley (EXT 1 text used for the benefit of this task)
Key Concepts/ Big Ideas The importance of this learning
 Gothic literature  Students engage with and appreciate classic gothic literature that is widely regarded as
 Galvanism quality literature.
 The impact of scientific discovery on nature  This unit will help students to understand contemporary allusions and references to the
 Embedded narrative original Frankenstein text.
 Intertextuality  Students understand other classic Gothic texts in the context of Gothic fiction
 Frankenstein in popular culture  Students develop skills to analyse texts
 The importance of family and friends  Students develop creative and critical writing skills
 Usurpation of God and nature’s role of  Students develop collaboration and self-regulation skills
creation
 Responsibility of creator to creation
Unit context within Scope and Sequence/Purpose Syllabus Outcomes
This module (Module B: Close Study of Literature)  EN11-1: Responds to and composes increasingly complex texts for understanding,
will be taught in term 3 of the Year 11 (preliminary) interpretation, analysis, imaginative expression and pleasure
English Standard course, with 80 hours already Related Life Skills outcomes: ENLS6-1, ENLS6-2, ENLS6-3
undertaken.
 EN11-2: Uses and evaluates processes, skills and knowledge required to effectively
Term 1 respond to and compose texts in different modes, media and technologies
Common Module- Reading to Write: Related Life Skills outcomes: ENLS6-4, ENLS6-5, ENLS6-6
Transition to Senior English (40hrs)
 EN11-3: Analyses and uses language forms, features and structures of texts, considers
Term 2 appropriateness for purpose, audience and context and explains effects on meaning
Module A- Contemporary Possibilities (40hrs) Related Life Skills outcomes: ENLS6-7

Term 3
Module B- Close Study of Literature (40 hrs)

Page 1 of 27
  EN11-4: Applies knowledge, skills and understanding of language concepts and literary
devices into new and different contexts
Related Life Skills outcomes: ENLS6-8

 EN11-5: Thinks imaginatively, creatively, interpretively and analytically to respond to and

compose texts that include considered and detailed information, ideas and arguments
Related Life Skills outcomes: ENLS6-7, ENLS6-8

 EN11-6: Investigates and explains the relationships between texts

Related Life Skills outcomes: ENLS6-10

 EN11-7: Understands and explains the diverse ways texts can represent personal and
public worlds
Related Life Skills outcomes: ENLS6-11
Literacy Focus Numeracy Focus ICT Focus Differentiation
 Essay for the  Timeline of Mary  Mentimeter word  EALD students may choose to write all written tasks
summative Shelley’s life cloud in their first language if they prefer. However, if the
assessment  Reading charts and  Writing a Twitter post task requires formal submission and marking,
 Reading graphs in Guardian  Creating Kahoots students can firstly write in their first language and
Frankenstein article online  Watching YouTube submit a translation or copy in English.
videos
 Writing notes in  World map  Advanced students will be presented with
 Watching Prezi
class character route extension activities, often requiring them to
slideshow
 Creative writing activity  Using ICT software complete more work.
activities and websites to  For students with diverse learning needs or
 Creating crosswords create a news article struggling students, there is constant group and
 Completing  Researching pair work that will enable students to assist each
comprehension information online other, as well as provide the teacher with
questions on the  Creating collages opportunity to walk around and assist groups.
Galvanism using ICT software
worksheet.  Using the internet to
find songs

Page 2 of 27
Week/ Teaching and Learning Strategies including assessment for learning. Resources
Sequence
1 Note: Before the module begins, students are expected to have already read
Frankenstein (1818 Second Norton Critical Edition) by Mary Shelley as the novel
would have been set for holiday homework. It is also important to note that
Frankenstein is a text studied in the Year 12 Extension 1 course and has only been
used for the benefit of this task.
Introduction to Module: Close Study of Literature
The first week is an introduction to the module through exploring the syllabus and
outcomes.

Exploring the module and syllabus outcomes

Students will be given a handout of the Module B: Close Study of Literature Handout of Module B: Close Study of Literature
description and will be asked to highlight and annotate key words/phrases. description

This will then be followed by a think,pair,share activity with the student next to
them to answer the question: what is this module about and what will we be
learning? Students will then share with the class what they think this module is
about. Preferably, the teacher will have the module description projected onto a
whiteboard so that they can annotate while the students are providing their
answers. Students will be asked to copy the annotations down on their printed
version of the module description. The teacher will also provide an explanation of
key points in the module.

Page 3 of 27
 Notification of Assessment
Students will be handed their summative assessment task notification. The teacher Assessment Task Notification
will go over the assessment task in detail and answer any questions. Students will (resource at end of plan)
be expected to highlight and annotate key information.

In groups, students will be given an A,B,C, and D grade example of an essay

response for the task. In these groups, students will work together to identify which
ones belong to each mark. Students will also discuss and write down what each
essay did well and didn’t do so well. As a class, the teacher will tell students which
mark was for each paper and as a class students will discuss what made each essay
receive that mark and how they can achieve an A.

What do students already know about Frankenstein and Gothic literature?

Students create a mentimeter word cloud online using their devices. This will allow http://www.mentimeter.com
the teacher to see what students already know and don’t know about Frankenstein
and its context in 19th century Gothic literature.

Introduction to Gothic literature

As a class, students will watch the Prezi slideshow about the Gothic, taking down
some brief notes. The slideshow provides an overview of Gothic history, Prezi Slideshow
architecture and literature so that students can see how the Gothic is relevant to https://prezi.com/bf8f3kmuhpp-
contemporary society. Students should be able to make connections between the /?utm_campaign=share&utm_medium=copy
slideshow and identify Frankenstein as a Gothic novel.
Week 2 Introduction to the author: Mary Shelley
Students will learn about Mary Shelley’s life and background, and in doing so,
students will be able to understand the context in which Frankenstein was
developed.

Students will engage in a class discussion to see if they know anything about the
author Mary Shelley. It is not expected that students will know anything at this
stage, but this allows for the teacher to identify any advanced students that may
have read Frankenstein or watched a film adaptation or heard about Mary Shelley
before.

Page 4 of 27
As a class, students will read excerpts of the introduction to the second Norton Second Norton Critical Edition of Frankenstein (1818)
critical edition of Frankenstein and highlight key information about Mary Shelley by Mary Shelley
and the production of Frankenstein.

Students will also watch the Mary Shelley (2018) movie trailer as a class as a way to
visually consolidate their knowledge. It is important to inform students that Mary Shelley (2018) Trailer
although the movie is about Mary Shelley, it is in no way a completely accurate https://www.youtube.com/watch?v=T-WGaZaojFc
portrayal of Mary Shelley’s life as it has been dramatized, but it still provides
important background information, such as the context in which Frankenstein was
developed. Students will be encouraged to watch the film at home for their own
reference, but it is completely optional, and they will not be assessed on it.
The Guardian- ‘Mary Shelley’s Frankenstein- In
In pairs, students will research online Mary Shelley’s life and to demonstrate their charts’ article
understanding, students will create a timeline of the major events in her life, https://www.theguardian.com/books/gallery/2018/jan/13/mary-shelleys-
frankenstein-in-charts?CMP=Share_iOSApp_Other
including the publishing of her novel Frankenstein. For differentiation, advanced
students may navigate through the ‘Mary Shelley’s Frankenstein- In charts’ article
online, which provides useful facts about the novel.

Introduction to the text: Frankenstein

Students will be asked to make a twitter account if they don’t already have one and http://www.twitter.com
to make a post within the 280 character limit explaining what they believe
Frankenstein is about.

As a class, students will watch the TED-Ed video “Everything you need to know to Everything you need to know to read "Frankenstein"
read "Frankenstein" - Iseult Gillespie” on YouTube as an introduction to the text. - Iseult Gillespie
There will be a class discussion where students will talk about what was interesting https://youtu.be/PDgu25Dsv34
for them, what stood out etc.

Students will create their own Kahoot! quizzes on Frankenstein and once finished,
students will pair up and complete each other’s Kahoots. For differentiation, http://www.kahoot.com
advanced students may complete several students’ quizzes. The purpose of this

Page 5 of 27
activity is to refresh students’ memories from reading the book and the key events
in Frankenstein.

Students will focus on how Frankenstein fits in the Gothic fiction genre. Students
will be asked to open their notes from the Prezi slideshow and contribute to a class
discussion answering the question “How is Frankenstein Gothic literature?”.

Students will look at Frankenstein in popular culture, focusing on film adaptations.

This will be a group activity where students will complete the “Frankenstein in “Frankenstein in Popular Culture” worksheet
Popular Culture” worksheet individually but collaborating and sharing ideas. (resource at end of plan)
For differentiation, advanced students may research and find other examples of
Frankenstein in popular culture and highlight the key similarities and differences in
them. Students who are experiencing difficulty may focus on one film trailer instead
of three and may fill out the worksheet as a group.

As a teacher-led class activity, students will contribute their similarities and

differences for each movie and the teacher will ask students to scribe on the
whiteboard in a Venn-diagram, combining all of the class’s ideas. Advanced
students who looked at other examples of Frankenstein in popular fiction may be
asked to contribute their ideas after the other texts.
The main aim of this activity is for students to recognise that society’s collective
understanding of Frankenstein differs from what was actually portrayed in the
book, particular of the monster, who is incorrectly known as Frankenstein.

Students will next engage in a class debate. In the classroom, the teacher will pack
up the tables and chairs and set up posters on each wall for ‘agree’, ‘disagree’ and
‘neither agree or disagree’. In this teacher-led activity, students will walk to a wall
of their choosing after a statement is read by the teacher. Once the students have
picked whether or not they agree, disagree, or neither agree or disagree, the
teacher will select several students from each wall to explain why they picked that
answer. The aim of this activity is to get students to think critically about key events
and themes in Frankenstein. The statements are:
1. Frankenstein shows that it is okay to interfere with nature

Page 6 of 27
 2. Victor is the real monster of the story
3. It is ethical to use science to create life
4. The monster is only a victim in the story
5. It was Victor’s fault that the monster went on to kill his family

As a class, students will watch from 0.00 - 4.06 of Science Britannica- Part 1- Science Britannica [w Prof. Brian Cox] - part 1-
Frankenstein’s Monsters. This will introduce the students to the idea of galvanism, Frankenstein's Monsters
a key factor in Frankenstein in the creation of the monster. At the end of the video, https://www.dailymotion.com/video/x233o5t
students will be asked what stood out to them and what do they think were the key
points of the video.

Students work individually or in pairs to complete the “What is Galvanism?” “What is Galvanism?” worksheet
worksheet by using their knowledge from the previous video and the website on (resource at end of plan)
the worksheet.

As a class, students will create a pros and cons table on the whiteboard for
galvanism and will then copy it down either in books or on their devices.

Students will read as a class pages 29-35 of Frankenstein, which focuses on Victor
Frankenstein and his galvanic experimentations. Students are to highlight any Second Norton Critical Edition of Frankenstein (1818)
allusions to galvanism or science. Students will then contribute what they by Mary Shelley
highlighted in a class discussion. The purpose of this task is to draw students’
attention to the central role of galvanism and science in Frankenstein.

Week 3 Focus: Plot in Frankenstein

Students will engage in a 2-minute speed writing activity, writing down as much as
they can recall about the plot of Frankenstein. They will come back to this after the
next activity.

Page 7 of 27
At their table groups of 5 or 6, students will be handed a series of laminated paper
strips and on those strips will be jumbled plot sequences. Students will work
together to place the strips in chronological order. Note- students must be Laminated plot sequence cut into strips
informed that these must be placed in chronological order- not the order that they
are presented in the novel. Once the teacher has checked that each group’s
sequence is correct, the students will peer mark the 2-minute speed writing activity
against the plot sequence activity, giving 5 points for every plot point mentioned.
The student/s with the most points will read their work to the class.

Students will be given a print out of the map of the world (focused on Europe) and
on this map, students will create colour coded routes of Robert Walton and Victor World map print-out
Frankenstein and the monster in their pursuit across Europe. This activity will give
students a visual sense of the journey taken by the characters, and how far Victor
and the monster were willing to go for revenge.

A ‘thinking hat’ (coloured hats bought by the teacher) will be placed on students’ Second Norton Critical Edition of Frankenstein (1818)
group tables. In this activity, based on the colour hat at their table, students will by Mary Shelley
look at chapter 9 (p. 105-109) of Frankenstein from the perspective required by the
hat
For example:
 Red hat- intuition, hunches & feelings
 White hat- information available & needed, facts
 Yellow hat- value & positive aspects
 Black hat- caution, difficulties, risks & weaknesses
 Green hat- alternatives & creative ideas
 Blue hat- managing the thinking focus, summary
Students will highlight words or phrases that are relevant, as well as take down 6 Thinking Hats Worksheet:
https://www.pinterest.com.au/pin/302374562457042305/
notes on the ‘6 thinking hats worksheet’. Once finished, students will share their
information with the class so that all students can fill out all 6 boxes on their
worksheet.
“Plot Mountain!” YouTube video
As a class, students will watch the YouTube video “Plot Mountain!” to refresh their https://www.youtube.com/watch?v=NpWHZJZQDSE
memory of plot structure.

Page 8 of 27
Students will be then given a worksheet with a diagram of plot structure and will be
Plot structure diagram worksheet
asked to fill it out with the person next to them, also looking at the text and noting
(Resource at end of plan)
the pages that these plot events occur. As a class, students will provide their
answers as the teacher creates a plot structure diagram on the board.

Students will explore how Frankenstein is structured as an embedded narrative. As

Second Norton Critical Edition of Frankenstein (1818)
a class, students will first look at the letters of Robert Walton (which is a framing
by Mary Shelley
narrative). During this reading, the teacher will also inform students that these
letters make the Frankenstein an epistolary novel. Students will then engage in a
think, pair, share activity where they discuss the purpose of these letters and the
importance of having Robert Walton in the story. Students will then look at when
Victor is introduced as a narrator and discuss as a class why this shift is important to
the story. Next, the students will look at the narration of The Monster. When doing
so, students will take notes based on the question “how does The Monster’s
narration lead us to believe that Victor Frankenstein is an unreliable narrator?

As a class, students will read What is a Monster? By Peter Brooks in pages 368- 390
Second Norton Critical Edition of Frankenstein (1818)
of the Second Norton Critical Edition of Frankenstein. Students will be encouraged
by Mary Shelley
to take down notes as the article goes into depth about narrative structure as well
as the plot and textual features in Frankenstein. The class will discuss important
points said by Brooks. For differentiation, advanced students may look into their
text to find evidence and examples of what Brooks mentions in his discussion.

Students will be asked to create a news report recounting the events of

www.medium.com
Frankenstein. Students can draw from their 250-word Twitter post done earlier in
the week. The news report can be created on a website made by the students,
Medium.com, or Microsoft Word. This will be informally marked by the teacher.

Technique: Intertextuality
As a class, students will read pages 88-91 of Frankenstein and will be asked to
Second Norton Critical Edition of Frankenstein (1818)
highlight on a print-out any intertextuality. In groups, students will research one of
by Mary Shelley

Page 9 of 27
 the three texts mentioned by the monster in Frankenstein. These texts are Paradise
Lost by John Milton, Plutarch’s Lives, and the Sorrows of Young Werter by Johann Paradise Lost by John Milton
Wolfgang von Goethe.
Students will complete a table for their text and write down: Lives by Plutarch
a. What is the text about?
b. What does the monster say about it? Sorrows of Young Werter by Johann Wolfgang von
c. How does it relate to Frankenstein? Goethe.
Once students have researched one text in their groups, they will be asked to share
with the class the information that they wrote in their table. In doing so, students
can copy down information for all texts and have a table for each. The purpose of
this activity is to provide students with a deep understanding of the intertextuality
in Frankenstein.

Week 4 Focus: Characters in Frankenstein

As a ‘hook’ activity, students participate in a game of celebrity heads where the
‘celebrities’ are characters in Frankenstein. This will refresh students’ memories
about the characters and their traits.
The characters are:
 Robert Walton
 Victor Frankenstein
 The Monster
 Elizabeth Lavenza
 Caroline Beufort
 Alphonse Frankenstein
 William
 Henry Clerval
 Justine Moritz
 De Lacey
 Felix

Page 10 of 27
  Safie
 Agatha

The Monster-
Students will be asked to create crosswords with words that relate to The Monster
in Frankenstein. Once they have finished, they will swap them with another student
and complete each other’s. Students will then hand them back to the student that
created them and will peer-mark them. This is to get students to think about the
characterisation of The Monster.

In pairs, students will analyse pages 70-71 of Frankenstein for literary techniques Second Norton Critical Edition of Frankenstein (1818)
such as imagery, simile, metaphor, allusion. Students will create a brainstorm to by Mary Shelley
answer the question: what do these techniques say about The Monster as a
character?

Students will then be placed into pairs or groups and asked to find three passages in Second Norton Critical Edition of Frankenstein (1818)
Frankenstein that represent how The Monster has changed throughout the course by Mary Shelley
of the novel. For differentiation, advanced students may create a character
development chart where they write how the monster was at the beginning of the
story, the middle (or climax) of the story, and the ending. Students with learning
difficulties may only look at one section of the story (perhaps page 181) and have a
discussion about what this says about who The Monster has become.

As a class, students will read pages 35-37 of Frankenstein and take a note of the
imagery used to describe The Monster. Students will then be asked to draw an Second Norton Critical Edition of Frankenstein (1818)
image or creatively design a likeness of the monster from the description provided by Mary Shelley
by Victor Frankenstein. The most creative works will be presented to the class.

Students will participate in a creative writing activity where they will rewrite the
‘birth’ scene (pg 35-37) from the monster’s perspective. For differentiation, EALD Second Norton Critical Edition of Frankenstein (1818)
students have the option to write in their first language if they prefer. The teacher by Mary Shelley
will then go around the class and get several students to read their work and peers
and the teacher will provide feedback.

Page 11 of 27
As a class, students will watch a scene from Edward Scissorhands (1990) on Scene from Edward Scissorhands (1990)
YouTube. Students will then participate in a think, pair, share activity where they https://www.youtube.com/watch?v=bUO3B644PtE
will discuss with the student next to them and then to the class how the character
of Edward is similar and different from The Monster in Frankenstein.

Victor Frankenstein-
In pairs, students will use their devices to create a collage of images of things
related to or relevant to Victor Frankenstein. This may include things like books,
science equipment, a mad scientist, etc.

As a class, students will watch the Victor Frankenstein (2015) movie trailer on
YouTube. During this, students will write down similarities and differences of Victor Victor Frankenstein (2015) trailer:
Frankenstein’s characterisation from the book and the movie trailer. They may do https://youtu.be/cvESrJ5GdHc
this in the form of a Venn diagram or table.

In groups, students will be asked to look at Victor Frankenstein’s characterisation in

the text. In pairs or groups, students must find on their own: Second Norton Critical Edition of Frankenstein (1818)
a. An example of Victor in a good or neutral state of mind by Mary Shelley
b. An example of Victor in an obsessed and chaotic state of mind
c. An example of Victor as a result of his obsession with science
With these scenes, students will be asked to closely analyse each scene closely for
language techniques that portray to the reader Victors state of mind (e.g. stream of
consciousness). Students will then report back to the class and share their findings.

In a student-led activity, students will create their own worksheets on Victor

Frankenstein for another student to complete. This can be a comprehension
activity, a find-a-word activity, etc. students will then complete each other’s
worksheet and peer-mark.

Students will look at pages 100-101 as well as chapter 9, focusing on the dialogue Second Norton Critical Edition of Frankenstein (1818)
between Victor Frankenstein and The Monster. Students will be asked to analyse by Mary Shelley
the scene for language techniques and textual features, specifically dialogue, and

Page 12 of 27
discuss in groups how the relationship between the two characters is portrayed.
The students will then report back to the class and share their findings.

For both characters, students are to work either individually, in pairs, or in groups
to find a song that represents that character. Students will need to find a song that:
a. Is about the monster
b. Is about Victor Frankenstein
c. Is about their relationship
e.g. for the monster a song could be Creep by Radiohead.
Students will then present their song to the class and justify what about the lyrics
and music represents the character or the relationship between the characters.

Robert Walton-
Students will firstly read as a class and then as a creative writing activity, select any Second Norton Critical Edition of Frankenstein (1818)
of the letters in Frankenstein written by Robert Walton to his sister. Students will by Mary Shelley
individually compose letters in response to Robert in the voice of his sister. For
differentiation, EALD students have the option to write in their first language if they
prefer. The teacher will select several students to read theirs out to the class.

Students will create a character profile slideshow either on PowerPoint, Prezi or

another approved website or program in order to demonstrate their understanding
of the characters. Students will do their own research of minor characters that have www.prezi.com
not yet been covered in class either individually, in pairs or in groups. In the
slideshow, students should have slides for the major characters as covered in class,
and minor characters that they research on their own. The teacher will get a couple
of students to volunteer to present their slideshows.

Page 13 of 27
Assessment Details Outcomes
Summative assessment:  EN11-1: Responds to and composes increasingly complex texts for understanding,
Weighting: 30% interpretation, analysis, imaginative expression and pleasure
Assessment Type: Take home
Due date: 4 weeks
Submission: Hard copy in class  EN11-3: Analyses and uses language forms, features and structures of texts,
For this task, students are required to answer a considers appropriateness for purpose, audience and context and explains effects
question in essay format relating to the 1818 edition of on meaning
Frankenstein by Mary Shelley.
This task requires students to write an essay with a
 EN11-5: Thinks imaginatively, creatively, interpretively and analytically to respond
minimum of 1000 words in response to ONE of the
questions below. to and compose texts that include considered and detailed information, ideas and
Students must use relevant evidence and textual arguments
features from Frankenstein to support their answer.
They may not use sources other than the primary text.  EN11-6: Investigates and explains the relationships between texts EN11-6
Assessment questions:
1. How do the textual features (genre, plot,
context, setting, characterisation,  EN11-7: Understands and explains the diverse ways texts can represent personal
intertextuality, figurative language) of and public worlds
Frankenstein work together to create
meaning?
2. Who is the real monster of Frankenstein? Use
evidence and textual features to support your
answer.
3. How is the danger of seeking knowledge a
theme in Frankenstein? Use evidence and
textual features to support your answer.
4. How does Victor Frankenstein usurp the role
of God and nature in Frankenstein? Use
evidence, and textual features to support your
answer.
5. How is galvanism explored in Frankenstein?
What does this say about the dangers of
scientific advancement?

Page 14 of 27
Page 15 of 27
Page 16 of 27
Note: This diagram is in the worksheet 3 times for each trailer.

Page 17 of 27
Page 18 of 27
Page 19 of 27
Page 20 of 27
Page 21 of 27
 Curriculum 2A- 2H 2019

Assessment 1- Part B: Critical Discussion

In the unit of work that has been created, students are undertaking Module B: Close Study of Literature in the Year 11 English Standard

preliminary course. As this module requires a “substantial literary print text” (NSW Education Standards Authority, 2017, p.30), that is “widely

regarded as quality literature” (NSW Education Standards Authority, 2017, p.30), I have chosen for the students to study Mary Shelley’s 1818

prose fiction Gothic novel Frankenstein (note: Frankenstein is on the prescription list for Year 12 English Extension 1, but it has been allowed

for me to use this text for the benefit of this task). As Frankenstein is widely known by almost everyone and still very relevant to contemporary

society due to film adaptations, it would be beneficial for students to study the original text, which often highlights misconceptions in society’s

collective memory, for example, the misconception of the monster being named Frankenstein.

In the unit of work, outcomes EN11-1, EN11-2, EN11-3, EN11-4, EN11-5, EN11-6, and EN11-7 are embedded in the activities, with EN11-1,

EN11-3, EN11-5, EN11-6, and EN11-7 further covered in the summative assessment. In the module, students cover these outcomes as they

respond to a range of texts, explain relationships between these texts, analyse and explain meaning of a key text, research and locate information

online, as well as create their own creative and critical texts (NSW Education Standards Authority, 2017). This unit of work also meets the

Page 22 of 27
requirements of the Module B: Close Study of Literature as students study Mary Shelley’s 1818 edition of Frankenstein, a “substantial literary

print text” (NSW Education Standards Authority, 2017, p.51), and in doing so they explain how meaning is created through the text, as well as

examining and understanding how language and textual features are used, particularly through the creation of their own creative and critical

texts. However, the unit of work could be improved by providing more of a focus on language features and stylistic choices, as much of the unit

of work is centred on general features of the text such as the plot and characters. Although, this was difficult to achieve within a 4-week

requirement and had there been the standard 10-week unit allocation, it may have allowed for more techniques to be explored. Nevertheless, the

unit of work could have been more specifically focused on techniques other than intertextuality.

Throughout the course of the module, students are constantly engaging in information and communication technology as required by the general

capabilities in the curriculum by researching information and creating their own online texts (NSW Education Standards Authority, 2017). This

also covers outcome 2 of the syllabus, which requires students to “locate suitable information sources” (NSW Education Standards Authority,

2017, p.33), as well as create and present information using technology. The literacy general capability is also extensively focused on throughout

this unit of work through the various writing tasks, comprehension activities, note-taking activities, close readings, analysis of texts, and

summative essay assessment task. The numeracy capability has also been considered, with students creating timelines, reading charts and graphs,

and tracing character routes on a world map.

Page 23 of 27
Contemporary research shows that teacher-centred pedagogy is not effective, highlighting a need for teachers to focus on establishing more

interactive classes with student-centred learning approaches (Feden, 2012). Due to this, a student-centred learning approach has been

implemented in the unit of work through the constant group activities, class discussion, and student-led learning activities. There has been an

attempt to minimise teacher-led instruction through activities which require the students to research their own information and select their own

passages from the text. This unit is also very open for negotiation among students, particularly students who are disengaged or unmotivated,

where there can be some negotiation among the teacher and the student where the student may be able to suggest learning activities that they

would enjoy or participate in, and as a result the teacher could implement and add it to the unit of work.

The group activities also assist in the implementation of the Zone of Proximal Development, which is defined by Vygotsky (as cited in Wass &

Golding, 2014, p. 675) as “the distance between the actual developmental level, as determined by independent problem solving, and the level of

potential development, as determined through problem solving under adult guidance or in collaboration with a more capable peer.”. In other

words, students can perform better with assistance than they would be able to individually. Thus, group work is incredibly important and

beneficial for student’s individual learning as students of mixed abilities can teach each other in a way that they understand, hence why it was

heavily focused on in this unit of work.

Page 24 of 27
Scaffolding has been used in this unit of work through the worksheets and activities requiring students to be responsible for their own learning,

whilst also being given instruction from the teacher. For example, before the ‘What is Galvanism?’ worksheet, students are given assistance

from the teacher by the online video and the class discussion. However, this assistance is then gradually removed, when students are given the

instructions for the worksheet and the source to find the required information, but students must find the information on their own. Scaffolding is

essential to teaching pedagogy as it “assists learners in moving toward new skills, concepts, or levels of understanding” through “increasing a

learner’s autonomy” (Gibbons, 2015, p.16). This autonomy is important for senior students as they are required to further study at home in

preparation for the HSC, and in addition, many students may go to university, where there is a focus on student-centred independent learning.

As a model for this unit of work, the Quality Teaching Framework has been consulted and its concepts well regarded in the unit of work. In this

model, there are three dimensions: intellectual quality, quality learning environment, and significance. Throughout the unit, there is a sustained

requirement of deep knowledge, metalanguage, substantive communication, engagement, high expectations, student direction, background

knowledge, and inclusivity. Students are constantly engaging in self-regulated learning activities which require analysis and explanation and as a

result, many of the areas in the dimensions are covered.

Page 25 of 27
 The unit of work has been designed with the Quality Teaching Framework, Zone of Proximal Development, and scaffolded learning in mind in

order to create a student-centred learning environment, steering away from traditional teacher-led pedagogy. In a rapidly technologically

advancing society, information and communication technology is a large focus of the unit of work, allowing students to research and create texts

of relevance to Module B: Close Study of Literature. If this task were to be done again, there would be much improvement on analytical and

critical skill building, as well as much more areas of the Quality Teaching Framework covered.

Reference List

Feden, P. D. (2012). Teaching without telling: Contemporary pedagogical theory put into practice. Journal on excellence in college teaching, 23(2), 5–

23. Retrieved from http://search.ebscohost.com.ezproxy.uws.edu.au/login.aspx?direct=true&db=ehh&AN=78577314&site=ehost-

live&scope=site

Gibbons, P. (2015). Scaffolding language, scaffolding learning: Teaching English language learners in the mainstream classroom (2nd ed.). Retrieved

from https://assets.pearsonschool.com/asset_mgr/current/201511/gibbonschapter.pdf

NSW Department of Education and Training. (2006). Quality teaching in NSW public schools: A classroom practice guide. Retrieved from

https://app.education.nsw.gov.au/quality-teaching-rounds/Assets/Classroom_Practice_Guide_ogogVUqQeB.pdf

Page 26 of 27
NSW Education Standards Authority. (2017). English standard: Stage 6 syllabus. Retrieved from

https://educationstandards.nsw.edu.au/wps/portal/nesa/11-12/stage-6-learning-areas/stage-6-english/english-standard-2017

Pinantoan, A. (2013). Instructional scaffolding: A definitive guide. Retrieved from https://www.opencolleges.edu.au/informed/teacher-

resources/scaffolding-in-education-a-definitive-guide/

Wass, R., & Golding, C. (2014). Sharpening a tool for teaching: The zone of proximal development. Teaching in Higher Education, 19(6), 671-684.

DOI: 10.1080/13562517.2014.901958

Page 27 of 27