Introduction to Literature and Film

ENGL120 Autumn 2019 Page 1 of 8
The School of Arts, English and Media / Faculty of Law, Humanities and the Arts
ENGL120
An Introduction to Literature and Film
Batemans Bay / Bega / Southern Highlands /
Shoalhaven / Wollongong
Examination Paper
Autumn 2022

Exam duration Exam period (online- see subject outline and Moodle portal for dates
and times).
40%
Weighting
Items permitted by examiner Open note*
*(citation required for external sources referred to; recommended best
practice is to cite from ENGL 120 sources and lectures with full
attribution)
None
Aids supplied
Directions to students Answer ALL questions in Part A. Each question in Part A is worth 5
marks.

Answer ONE question in Part B. The question in Part B is worth 15
marks.
It is recommended that you complete the exam on MSWord and then
submit it to Moodle.

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Part A: Complete all questions. Each question is worth five marks and your
response should be between 250 and 350 words in each case.
A1. Discuss the significance of this passage in relation to the main narrative and thematic
concerns of the text from which it comes (5 marks; 1 mark implicitly for identifying the text
;
250–350 words
).
“Miss Tilney, to whom this was chiefly addressed, was startled, and hastily replied, “Indeed! And of what nature?”
“That I do not know, nor who is the author. I have only heard that it is to be more horrible than anything we have met
with yet.”
“Good heaven! Where could you hear of such a thing?”
“A particular friend of mine had an account of it in a letter from London yesterday. It is to be uncommonly dreadful. I
shall expect murder and everything of the kind.”
“You speak with astonishing composure! But I hope your friend’s accounts have been exaggerated; and if such a design
is known beforehand, proper measures will undoubtedly be taken by government to prevent its coming to effect.”
“Government,” said Henry, endeavouring not to smile, “neither desires nor dares to interfere in such matters. There
must be murder; and government cares not how much.”
The ladies stared. He laughed, and added, “Come, shall I make you understand each other, or leave you to puzzle out an
explanation as you can? No—I will be noble. I will prove myself a man, no less by the generosity of my soul than the
clearness of my head. I have no patience with such of my sex as disdain to let themselves sometimes down to the
comprehension of yours. Perhaps the abilities of women are neither sound nor acute—neither vigorous nor keen.
Perhaps they may want observation, discernment, judgment, fire, genius, and wit.”
“Miss Morland, do not mind what he says; but have the goodness to satisfy me as to this dreadful riot.”
“Riot! What riot?”
“My dear Eleanor, the riot is only in your own brain. The confusion there is scandalous. Miss Morland has been talking
of nothing more dreadful than a new publication which is shortly to come out, in three duodecimo volumes, two
hundred and seventy-six pages in each, with a frontispiece to the first, of two tombstones and a lantern—do you
understand? And you, Miss Morland—my stupid sister has mistaken all your clearest expressions. You talked of
expected horrors in London—and instead of instantly conceiving, as any rational creature would have done, that such
words could relate only to a circulating library, she immediately pictured to herself a mob of three thousand men
assembling in St. George’s Fields, the Bank attacked, the Tower threatened, the streets of London flowing with blood, a
detachment of the Twelfth Light Dragoons (the hopes of the nation) called up from Northampton to quell the insurgents,
and the gallant Captain Frederick Tilney, in the moment of charging at the head of his troop, knocked off his horse by a
brickbat from an upper window. Forgive her stupidity. The fears of the sister have added to the weakness of the woman;
but she is by no means a simpleton in general.”
A2. Examine the following stills from Memento. Contextualise the scene and its theme(s)
and then critically discuss how these themes play out visually in the scene.

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A3. Why are the Tralfamadorians able to “read [the
messages] all at once, not one after the other?” (1 mark) Compare and contrast the
structure of the Tralfamadorian novels with the structure of
Slaughterhouse-5,
making detailed reference to the description of the novels given in the passage
below. (4 marks; ; 250–350 words)
Billy couldn’t read Tralfamadorian, of course, but he could at least see how the books were laid out – in brief
clumps of symbols separated by stars. Billy commented that the clumps might be telegrams.
“Exactly,” said the voice.
“They
are telegrams?”
“There are no telegrams on Tralfamadore. But you’re right: each clump of symbols is a brief, urgent
message – describing a situation, a scene. We Tralfamadorians read them all at once, not one after the
other. There isn’t any particular relationship between all the messages, except that the author has chosen
them carefully, so that, when seen all at once, they produce an image of life that is beautiful and surprising
and deep. There is no beginning, no middle, no end, no suspense, no moral, no causes, no effects. What we
love in our books are the depths of many marvelous moments seen all at one time.”

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A4. Who is speaking in the text panels below? (2
marks) What is the central idea that the extract deals with, and how do the formal
features of the extract relate to that central idea of the text as a whole? (3 marks;
250–350 words)

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A5. How does the trope of the boots function in The Drover’s Wife? How are they used to
convey both literal and symbolic information? (5 marks; 250–350 words)
DROVER’S WIFE: The boots, please take them, for ya safety.
You’re a good man… please
[Yadaka] leaves toward the Woodheap. She watches him go.
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Part B: ONE answer worth fifteen marks.
Write an essay of 650-800 words in response to ONE of the following questions.
In all cases
at least one of the texts you discuss must be chosen from the second half of
the course, ie
Memento, Slaughterhouse-5, or Fun Home.
In all cases your answer must include close references to specific details or aspects of the
texts you discuss, but does not need to include direct quotation.
B1.
Discuss the use of metafiction (or metamemoir or metatheatre or cinematic metatextuality) in
one or two of the texts we have studied in this subject. Your essay should have a thesis statement
making a ‘bold, provable claim’ (Sword) about where, why and how metaliterary elements appear
in the text/s, and how the use of metafiction relates to the broader themes, ideas, or aesthetic
concerns of the text/s.
OR
B2.
Compare and contrast the narrative structures of two of the texts we have studied in this
subject. Your essay should include some discussion of the reasons why these texts have
structured their narratives differently, and/or some discussion of the different effects created by
these different structures.
OR
B3.
Compare and contrast two texts we have studied in this subject in relation to one of the
following:
(a) their treatment of reading (including the interpretation of visual artworks or texts)
(b) their treatment of gender
(c) their treatment of trauma
Your essay should have a thesis statement making a ‘bold, provable claim’ (Sword) about
the similarities and/or differences between the ways the two texts treat the topic you have
chosen.