Connections Assessment
What do I have to do?
Write a report which summarises the connections between 4 texts, one of which you have studied yourself. |
Where can I get more information?Look up number AS91104 on the NCEA website (link provided below)
|
Can I see an example?
One of the NCEA examples is reproduced below for your reference and a copy of all exemplars are in a folder in your classroom.
Manifestations of Evil in Texts
INTRODUCTION
My report examines the connections of manifestations of evil across texts and what these manifestations say about the society that we live in. The texts that I used were Catch-22, by Joseph Heller, The Merchant of Venice, by William Shakespeare, The Star Wars Saga, conceived by George Lucas and the German short-film Schwarzfahrer, directed by Pepe Danquart. I felt that all the texts had sufficient manifestations of evil to allow for me to pass societal commentary on what these manifestations say about us, and how we interpret these manifestations from the perspective of what we believe to be the societal norm.
EXPANDED EXPLANATION OF CONNECTION
Characters are mainly used as the primary form of Evil’s portrayal. Across the texts I have covered, evil primarily takes on the form of a character within the texts’ overarching story. For example, analysing the novel Catch-22, by Joseph Heller, evil manifests itself as a character named Colonel Cathcart, a status-obsessed and ignorant fool with no regard for his men’s safety or their lives, constantly raising the mission cap higher in order to prove how great a commander he is to his superiors. This case of superiors being interpreted as evil is similar across the Star Wars Saga (all six films), conceived by George Lucas. Evil primarily takes on the form of two characters, Darth Sidious and Darth Vader, whose treachery and dishonesty caused a ‘good’ government known as The Republic to be overthrown through sheer deception, these traits living on into the Empire (the now formed superiors) they formed in the Republic’s wake. This Empire is seen as evil in the eyes of the audience simply because the Empire has tyrannical leaders, making the decisions that make a government evil, much like in real life since communist Russia was not evil, it merely had Stalin making the government evil, since Stalin was the one who sanctioned the murders of approximately 20,000,000 people, not communism. This idea is reinforced in these films by having Darth Vader and Darth Sidious sanction the destruction of the planet Alderaan to solicit information. The Empire did not make that decision, Darth Vader and Sidious did.
HOW THE CONNECTION IS SHOWN IN THE MERCHANT OF VENICE
The play, The Merchant of Venice, by William Shakespeare differs slightly in that it has no system of government that is being seen as evil, but rather a whole race of people: Jews. Evil’s manifestation is that of a Jewish usurer named Shylock with deliberately used stereotypical characteristics, such as being greedy, ruthless, having a vengeful nature and having an inability to find joy in things. Shylock manipulates the play’s main protagonist, Antonio, into a binding legal contract that Antonio knows could cost him his life by allowing Shylock to take, “a pound of thy fair flesh,’ from him should he fail to pay back a principle sum. Shylock eventually takes Antonio to court, only to have his case overturned and lose all of his worldly possessions in the process. His stereotypical portrayal as an evil Jew (since Jews could have been seen as evil in the Elizabethan age), gave audiences of that time something to relate the play’s antagonist to. Across these three texts, we can see that evil always takes on the form of a character, especially so in the Star Wars Saga, whereby an evil character is always the driving force behind a system, government or whatever else you can think of that can be interpreted as evil. Evil characters may be stereotypes, fools and so on but they will always take on the form of a character.
HOW THE CONNECTION IS SHOWN IN SCHWARZFAHRER
Characters as Manifestations of evil will always have a character opposing them interpreted as ‘good’. In what I must say is a rather obvious consequence, evil will always have an opposing character in any given text, for example: Schwarzfahrer, a German short-film directed by Pepe Danquart. It shows us this case of the ‘good’ character/characters opposing the evil character. An elderly racist woman being the manifestation of evil here, consistently makes racist and offensive remarks regarding an African man who sits next to her on a tram. When the conductor arrives to check everyone’s tickets, the elderly woman is about to present her ticket, the African man hastily grabs and eats her ticket, before presenting his own to the conductor. The elderly woman immediately begins accusing him of the crime, only to have none of the witnesses say anything about what they had seen. The elderly woman was then accused of ‘fare-dodging’ and thus had broken the law, being taken into some form of custody by the conductor and the African man had eradicated that evil character from his life. The interesting thing about this film is that all the witnesses directly supported the African man by not speaking up about his eating of the ticket, leading me to conclude that the woman’s racist behaviour is her evil characteristic, and thus those who are not racist (the witnesses on the tram and the African man) actively supported the eradication of that bit of evil from their lives without putting themselves in danger of her rant. The simple fact that support was shown for the African man shows that being the oppressed individual in the text almost automatically makes him a ‘good’ character, in addition to the fact that he had no discernible evil characteristics assigned to his character.
HOW THE CONNECTION IS SHOWN IN STAR WARS AND CATCH-22
The Star Wars Saga is also similar in that it has oppressed individuals opposing evil (albeit in a more overt manner) in open rebellion. The oppressed people of the former Republic we discussed in the previous question have now formed a rebellion against The Galactic Empire as they feel that they have been deceived and unjustly oppressed by this government. Keep in mind that this government itself is not evil; it is merely the characters heading it that are evil, namely Darth Vader and Darth Sidious. In ways similar to Schwarzfahrer, people are once again rebelling against oppressors, namely evil characters, however on this occasion the battle between good and evil is in the form of open civil war with one side fighting to preserve its power (since Darth Vader and Darth Sidious are fighting to preserve their power by leading a government that is essentially an extension of their characters). ln the end, the Rebellion eventually manages to destroy the final incarnation of Darth Sidious’ ego and corruption, the Death Star, a weapon capable of destroying entire worlds, killing both Darth Vader and Darth Sidious (technically The Rebellion killed him by attacking the Death Star). This open conflict ends with massive victory for the Rebellion in the end, the incarnation of good once again triumphing over evil on a large scale, but once again this portrayal of the archetypal battle between these forces in this text further adds to the point that evil consequently has a force interpreted as ‘good’ attempting to eradicate evil. However, both of these texts relied on groups of people, not individuals, to eradicate what was evil in the text, but in the case of Catch-22, our interpretation of ‘good’ is slightly different in that the main character, Yossarian, does not openly attempt to eradicate Colonel Cathcart, but rather attempts to individually avoid his rule. Again, people will rebel against their oppressors, but in Catch-22, the individual rebels in ways that do not always require open conflict, but rather protests against the evil. In the case of Yossarian, he refused to wear his uniform for a period of time, fly any missions and so forth to protest his commander’s unjust expectations of his men (remember that Colonel Cathcart is status-obsessed and self-absorbed). Eventually Yossarian escapes in an attempt to get away from Colonel Cathcart’s ignorance and the very war’s stupidity. What makes Catch-22 similar to the above texts is that it is still a form of rebellion, but what also makes it slightly different is that it is only individual protest, showing that even if it is merely a single individual who is oppressed by evil, they will eventually rebel against evil in order to preserve their own lives, not an ideal like Schwarzfahrer’s anti-racism or Star Wars’ pro-democracy rebellion. Catch-22’s main idea that even if good does not triumph over evil, good seems to survive in the text, although evil is not eradicated but rather defeated (as Colonel Cathcart lost his lead bombardier). Analysing the concepts described above proves that evil in text will always have an opposing force seen as ‘good’ by audiences and readers. Even if ‘good’ does not triumph over evil, good always seems to survive but even if evil does not, although it seems to have suffered some form of loss. If evil is eradicated, it is always by those characters interpreted as ‘good’, and thus it is often seen as morally just. Evil characters always seem to possess the characteristic of being oppressive to those that oppose them, like the Galactic Empire is to people under its rule, like the elderly racist woman was to the African gentleman or like Colonel Cathcart was to Yossarian and his whole bomb group. This idea of evil being oppressive and that it is morally just to oppose it is common in text and reflects something present in society today. Society needs someone or a group to be interpreted as evil for society to assert its morality. Society of today and the societies of the past seemed to always need a group of people or an individual to alienate as an ‘enemy’ of the societal norm. Today for example, politically and in recent media, North Korea’s Kim Jong II, a communist dictator, and the allegedly recently killed Osama Bin Laden are seen by western society as ‘enemies’ to this norm. Society always seems to need this alienated ‘enemy’ in order for people of the society to do one thing: assert what they believe to be a higher level of morality in order to feel ‘above’ these ‘enemies’.
HOW THE CONNECTION IS SHOWN IN THE MERCHANT OF VENICE, SCHWARZFAHRER AND STAR WARS
The Merchant of Venice is a fantastic portrayal of a society’s interpretations of ‘enemies’. In The Merchant of Venice the evil character, Shylock, is forcibly converted to Christianity as a result of what the Christian characters of the play saw him as: evil, deceitful and thus an ‘enemy’ to the norm. They believed that they were showing him mercy by removing his link with his own culture, politically incorrect these days, but would have been looked upon by an Elizabethan audience with approval; since they believed that they were being fair to him by offering him a second chance at life by converting him (unjust in today’s society). Seeming morally just to the society of the time, this would make the members of an Elizabethan audience feel ‘above’ the Jewish ‘enemy’ of the time, morally speaking. Schwarzfahrer is similar in the sense that the ‘enemy’ character is alienated as well. The racist views portrayed by the old woman are socially unacceptable in the society of today and can thus be once again interpreted as an ‘enemy’ to the societal norm of today, that is of being anti-racist. The manner in which she was alienated in the end of the film as an ‘enemy’ by having no one show support for her since she portrayed these views shows how morally the people in the tram were asserting their views by not supporting her, but at the same time internally the characters/witnesses would have that feeling of being morally ‘above’ she whom they had just alienated. And once again this idea of feeling being ‘above’ the ‘enemy’ as a result of moral assertion is clear and present in The Star Wars Saga in that the entire principle of the rebellion was to carry out a just cause to overthrow the empire and restore democracy in the form of the Republic. Remember that when the first film was made in 1977 it was during the Cold War and the Galactic Empire (an autocratic government) could have merely been a reference to the government that the USA was in a war of secrecy with: communist Russia. This reference seems to have been deliberate, as both governments operated in very similar ways (governmentally, not economically) by being autocratic and ruthless. At face value the Galactic Empire seems to be evil in itself to an unassuming audience (but remember that it is those who are evil leading governments that make them appear evil) and referring to the Western World’s greatest ‘enemy’ of the time, reinforcing the idea that characters and caricatures in text are used to reinforce society’s perceptions of who is the ‘enemy’ to the societal norm.
SUMMARY OF ARGUMENTS
If people in a society are all swayed into hatred of a common enemy by suggestion from text, it is generally easier for that society to be driven towards a common goal. All of this necessity in society to look down upon views and perceptions that go against the societal norm by morally asserting itself against those with these views and perceptions makes one wonder: isn’t it going against morality, doing what is right for the sake of it, to assert morality against those labeled as ‘enemies’ to feel ‘above’ them and to make them feel immoral in the end? This very idea needs an ‘enemy’ of the norm for society to morally assert itself is literally a paradoxical view, and yet it is still common to label ‘enemies’ of the norm today; terrorist groups such as Al Qaeda and the Taliban, dictators such as Kim Jong II, Colonel Muammar Gaddafi and Bashar al-Assad (symbols of oppression) are looked down upon as ‘enemies’ of the norm. If being morally correct is doing what is right for the sake of it, then why are we constantly labeling these people as ‘enemies’ who are interpreted as evil, in order to feel just? Have we actually done anything about these ‘issues’, not ‘enemies’, in order to actually have the right to feel morally just, by having done what is right? There is another issue with morality: if we do what is right for the sake of it, how do we define what is right in the first place? How do we define what is a societal norm in the first place as well? That is where the actual portrayal of characters in text as manifestations of evil falls flat in that there is no correct way to define what is evil because evil is defined by what is interpreted to be the societal norm at the time. An example being the following scenario: if what the society of today interprets to be the caricature of evil is actually the societal norm, whilst what the society of today interprets to be the caricature of good is now the ‘enemy’ of the societal norm, how does society now morally assert itself?
CONCLUSION
In the end, what I can undeniably state is that society feels the need to have an ‘enemy’ of the norm in order to keep that society on track and in some way be headed towards a common goal at some point, being accomplished by the simple technique of using hatred of a common enemy as a driving force for a society. But the fact that evil is defined as the opposite to the societal norm means that evil has no true definition and is thus merely an interpretation of society. I conclude by stating that these characters represented in texts are merely society’s interpretation of what is evil, and thus what is defined as evil may change over time as society heads towards change, but in order for people as members of society to feel better about themselves, they will continuously alienate minority groups and individuals and label them as the ‘enemies’ of the norm.
Manifestations of Evil in Texts
INTRODUCTION
My report examines the connections of manifestations of evil across texts and what these manifestations say about the society that we live in. The texts that I used were Catch-22, by Joseph Heller, The Merchant of Venice, by William Shakespeare, The Star Wars Saga, conceived by George Lucas and the German short-film Schwarzfahrer, directed by Pepe Danquart. I felt that all the texts had sufficient manifestations of evil to allow for me to pass societal commentary on what these manifestations say about us, and how we interpret these manifestations from the perspective of what we believe to be the societal norm.
EXPANDED EXPLANATION OF CONNECTION
Characters are mainly used as the primary form of Evil’s portrayal. Across the texts I have covered, evil primarily takes on the form of a character within the texts’ overarching story. For example, analysing the novel Catch-22, by Joseph Heller, evil manifests itself as a character named Colonel Cathcart, a status-obsessed and ignorant fool with no regard for his men’s safety or their lives, constantly raising the mission cap higher in order to prove how great a commander he is to his superiors. This case of superiors being interpreted as evil is similar across the Star Wars Saga (all six films), conceived by George Lucas. Evil primarily takes on the form of two characters, Darth Sidious and Darth Vader, whose treachery and dishonesty caused a ‘good’ government known as The Republic to be overthrown through sheer deception, these traits living on into the Empire (the now formed superiors) they formed in the Republic’s wake. This Empire is seen as evil in the eyes of the audience simply because the Empire has tyrannical leaders, making the decisions that make a government evil, much like in real life since communist Russia was not evil, it merely had Stalin making the government evil, since Stalin was the one who sanctioned the murders of approximately 20,000,000 people, not communism. This idea is reinforced in these films by having Darth Vader and Darth Sidious sanction the destruction of the planet Alderaan to solicit information. The Empire did not make that decision, Darth Vader and Sidious did.
HOW THE CONNECTION IS SHOWN IN THE MERCHANT OF VENICE
The play, The Merchant of Venice, by William Shakespeare differs slightly in that it has no system of government that is being seen as evil, but rather a whole race of people: Jews. Evil’s manifestation is that of a Jewish usurer named Shylock with deliberately used stereotypical characteristics, such as being greedy, ruthless, having a vengeful nature and having an inability to find joy in things. Shylock manipulates the play’s main protagonist, Antonio, into a binding legal contract that Antonio knows could cost him his life by allowing Shylock to take, “a pound of thy fair flesh,’ from him should he fail to pay back a principle sum. Shylock eventually takes Antonio to court, only to have his case overturned and lose all of his worldly possessions in the process. His stereotypical portrayal as an evil Jew (since Jews could have been seen as evil in the Elizabethan age), gave audiences of that time something to relate the play’s antagonist to. Across these three texts, we can see that evil always takes on the form of a character, especially so in the Star Wars Saga, whereby an evil character is always the driving force behind a system, government or whatever else you can think of that can be interpreted as evil. Evil characters may be stereotypes, fools and so on but they will always take on the form of a character.
HOW THE CONNECTION IS SHOWN IN SCHWARZFAHRER
Characters as Manifestations of evil will always have a character opposing them interpreted as ‘good’. In what I must say is a rather obvious consequence, evil will always have an opposing character in any given text, for example: Schwarzfahrer, a German short-film directed by Pepe Danquart. It shows us this case of the ‘good’ character/characters opposing the evil character. An elderly racist woman being the manifestation of evil here, consistently makes racist and offensive remarks regarding an African man who sits next to her on a tram. When the conductor arrives to check everyone’s tickets, the elderly woman is about to present her ticket, the African man hastily grabs and eats her ticket, before presenting his own to the conductor. The elderly woman immediately begins accusing him of the crime, only to have none of the witnesses say anything about what they had seen. The elderly woman was then accused of ‘fare-dodging’ and thus had broken the law, being taken into some form of custody by the conductor and the African man had eradicated that evil character from his life. The interesting thing about this film is that all the witnesses directly supported the African man by not speaking up about his eating of the ticket, leading me to conclude that the woman’s racist behaviour is her evil characteristic, and thus those who are not racist (the witnesses on the tram and the African man) actively supported the eradication of that bit of evil from their lives without putting themselves in danger of her rant. The simple fact that support was shown for the African man shows that being the oppressed individual in the text almost automatically makes him a ‘good’ character, in addition to the fact that he had no discernible evil characteristics assigned to his character.
HOW THE CONNECTION IS SHOWN IN STAR WARS AND CATCH-22
The Star Wars Saga is also similar in that it has oppressed individuals opposing evil (albeit in a more overt manner) in open rebellion. The oppressed people of the former Republic we discussed in the previous question have now formed a rebellion against The Galactic Empire as they feel that they have been deceived and unjustly oppressed by this government. Keep in mind that this government itself is not evil; it is merely the characters heading it that are evil, namely Darth Vader and Darth Sidious. In ways similar to Schwarzfahrer, people are once again rebelling against oppressors, namely evil characters, however on this occasion the battle between good and evil is in the form of open civil war with one side fighting to preserve its power (since Darth Vader and Darth Sidious are fighting to preserve their power by leading a government that is essentially an extension of their characters). ln the end, the Rebellion eventually manages to destroy the final incarnation of Darth Sidious’ ego and corruption, the Death Star, a weapon capable of destroying entire worlds, killing both Darth Vader and Darth Sidious (technically The Rebellion killed him by attacking the Death Star). This open conflict ends with massive victory for the Rebellion in the end, the incarnation of good once again triumphing over evil on a large scale, but once again this portrayal of the archetypal battle between these forces in this text further adds to the point that evil consequently has a force interpreted as ‘good’ attempting to eradicate evil. However, both of these texts relied on groups of people, not individuals, to eradicate what was evil in the text, but in the case of Catch-22, our interpretation of ‘good’ is slightly different in that the main character, Yossarian, does not openly attempt to eradicate Colonel Cathcart, but rather attempts to individually avoid his rule. Again, people will rebel against their oppressors, but in Catch-22, the individual rebels in ways that do not always require open conflict, but rather protests against the evil. In the case of Yossarian, he refused to wear his uniform for a period of time, fly any missions and so forth to protest his commander’s unjust expectations of his men (remember that Colonel Cathcart is status-obsessed and self-absorbed). Eventually Yossarian escapes in an attempt to get away from Colonel Cathcart’s ignorance and the very war’s stupidity. What makes Catch-22 similar to the above texts is that it is still a form of rebellion, but what also makes it slightly different is that it is only individual protest, showing that even if it is merely a single individual who is oppressed by evil, they will eventually rebel against evil in order to preserve their own lives, not an ideal like Schwarzfahrer’s anti-racism or Star Wars’ pro-democracy rebellion. Catch-22’s main idea that even if good does not triumph over evil, good seems to survive in the text, although evil is not eradicated but rather defeated (as Colonel Cathcart lost his lead bombardier). Analysing the concepts described above proves that evil in text will always have an opposing force seen as ‘good’ by audiences and readers. Even if ‘good’ does not triumph over evil, good always seems to survive but even if evil does not, although it seems to have suffered some form of loss. If evil is eradicated, it is always by those characters interpreted as ‘good’, and thus it is often seen as morally just. Evil characters always seem to possess the characteristic of being oppressive to those that oppose them, like the Galactic Empire is to people under its rule, like the elderly racist woman was to the African gentleman or like Colonel Cathcart was to Yossarian and his whole bomb group. This idea of evil being oppressive and that it is morally just to oppose it is common in text and reflects something present in society today. Society needs someone or a group to be interpreted as evil for society to assert its morality. Society of today and the societies of the past seemed to always need a group of people or an individual to alienate as an ‘enemy’ of the societal norm. Today for example, politically and in recent media, North Korea’s Kim Jong II, a communist dictator, and the allegedly recently killed Osama Bin Laden are seen by western society as ‘enemies’ to this norm. Society always seems to need this alienated ‘enemy’ in order for people of the society to do one thing: assert what they believe to be a higher level of morality in order to feel ‘above’ these ‘enemies’.
HOW THE CONNECTION IS SHOWN IN THE MERCHANT OF VENICE, SCHWARZFAHRER AND STAR WARS
The Merchant of Venice is a fantastic portrayal of a society’s interpretations of ‘enemies’. In The Merchant of Venice the evil character, Shylock, is forcibly converted to Christianity as a result of what the Christian characters of the play saw him as: evil, deceitful and thus an ‘enemy’ to the norm. They believed that they were showing him mercy by removing his link with his own culture, politically incorrect these days, but would have been looked upon by an Elizabethan audience with approval; since they believed that they were being fair to him by offering him a second chance at life by converting him (unjust in today’s society). Seeming morally just to the society of the time, this would make the members of an Elizabethan audience feel ‘above’ the Jewish ‘enemy’ of the time, morally speaking. Schwarzfahrer is similar in the sense that the ‘enemy’ character is alienated as well. The racist views portrayed by the old woman are socially unacceptable in the society of today and can thus be once again interpreted as an ‘enemy’ to the societal norm of today, that is of being anti-racist. The manner in which she was alienated in the end of the film as an ‘enemy’ by having no one show support for her since she portrayed these views shows how morally the people in the tram were asserting their views by not supporting her, but at the same time internally the characters/witnesses would have that feeling of being morally ‘above’ she whom they had just alienated. And once again this idea of feeling being ‘above’ the ‘enemy’ as a result of moral assertion is clear and present in The Star Wars Saga in that the entire principle of the rebellion was to carry out a just cause to overthrow the empire and restore democracy in the form of the Republic. Remember that when the first film was made in 1977 it was during the Cold War and the Galactic Empire (an autocratic government) could have merely been a reference to the government that the USA was in a war of secrecy with: communist Russia. This reference seems to have been deliberate, as both governments operated in very similar ways (governmentally, not economically) by being autocratic and ruthless. At face value the Galactic Empire seems to be evil in itself to an unassuming audience (but remember that it is those who are evil leading governments that make them appear evil) and referring to the Western World’s greatest ‘enemy’ of the time, reinforcing the idea that characters and caricatures in text are used to reinforce society’s perceptions of who is the ‘enemy’ to the societal norm.
SUMMARY OF ARGUMENTS
If people in a society are all swayed into hatred of a common enemy by suggestion from text, it is generally easier for that society to be driven towards a common goal. All of this necessity in society to look down upon views and perceptions that go against the societal norm by morally asserting itself against those with these views and perceptions makes one wonder: isn’t it going against morality, doing what is right for the sake of it, to assert morality against those labeled as ‘enemies’ to feel ‘above’ them and to make them feel immoral in the end? This very idea needs an ‘enemy’ of the norm for society to morally assert itself is literally a paradoxical view, and yet it is still common to label ‘enemies’ of the norm today; terrorist groups such as Al Qaeda and the Taliban, dictators such as Kim Jong II, Colonel Muammar Gaddafi and Bashar al-Assad (symbols of oppression) are looked down upon as ‘enemies’ of the norm. If being morally correct is doing what is right for the sake of it, then why are we constantly labeling these people as ‘enemies’ who are interpreted as evil, in order to feel just? Have we actually done anything about these ‘issues’, not ‘enemies’, in order to actually have the right to feel morally just, by having done what is right? There is another issue with morality: if we do what is right for the sake of it, how do we define what is right in the first place? How do we define what is a societal norm in the first place as well? That is where the actual portrayal of characters in text as manifestations of evil falls flat in that there is no correct way to define what is evil because evil is defined by what is interpreted to be the societal norm at the time. An example being the following scenario: if what the society of today interprets to be the caricature of evil is actually the societal norm, whilst what the society of today interprets to be the caricature of good is now the ‘enemy’ of the societal norm, how does society now morally assert itself?
CONCLUSION
In the end, what I can undeniably state is that society feels the need to have an ‘enemy’ of the norm in order to keep that society on track and in some way be headed towards a common goal at some point, being accomplished by the simple technique of using hatred of a common enemy as a driving force for a society. But the fact that evil is defined as the opposite to the societal norm means that evil has no true definition and is thus merely an interpretation of society. I conclude by stating that these characters represented in texts are merely society’s interpretation of what is evil, and thus what is defined as evil may change over time as society heads towards change, but in order for people as members of society to feel better about themselves, they will continuously alienate minority groups and individuals and label them as the ‘enemies’ of the norm.
Things to note about the exemplar
* The report references includes reference to modern day news.
* The report makes reference to aspects of modern history.
* The report explains how an idea is shown in all four texts and illustrates by explaining how it is shown in each.
* The report uses persuasive writing techniques to support the writer's views including; rhetorical questions, use of details, alliteration, repetition and counter-argument.
* The report identifies similarities between the texts and gives explanations about how these similarities give a message to the reader or viewer.
* The report connects the theme across all four texts by writing in detail about the connection between different texts.
* The report makes reference to aspects of modern history.
* The report explains how an idea is shown in all four texts and illustrates by explaining how it is shown in each.
* The report uses persuasive writing techniques to support the writer's views including; rhetorical questions, use of details, alliteration, repetition and counter-argument.
* The report identifies similarities between the texts and gives explanations about how these similarities give a message to the reader or viewer.
* The report connects the theme across all four texts by writing in detail about the connection between different texts.