cultural context comparative essay

Julian Girdham

Thinking, Writing, Reading, Teaching

'Small Things Like These': comparative modes

A summary of notes on the 4 comparative modes and how they might apply to Claire Keegan’s Small Things Like These . Lots of course overlap.

Also in this series:

All notes together, downloadable .

Resources and links.

Sections 1 and 2 .

Section 3 .

Sections 4 and 5 .

Section 6 .

Section 7 .

I will be giving a free webinar on the book for English teachers on the evening of Tuesday 10th September 2024: register

Responsibility and provision; duty.

Personal blindness, self-realisation and personal development. And the parallel blindness of Irish society.

Conscience, integrity, individual self. Moral dilemmas, ethics.

The fragility of life.

The influences of and shaping by childhood.

The power of economics in shaping individual lives.

The influence of the past.

Religion (morality, marriage): see Cultural Context.

Furlong’s journey (‘wherever you want to go, son’). Doorways. Think of Robert Frost’s ‘The Road Not Taken’.

Yearning, escape (both Furlong and the girls).

Beliefs, faith; where personal values clash with religious doctrine.

Complicity.

Family; parenting.

The search for Identity (reflections) - alternative versions of life. The shaping of character. Furlong’s mother could have been in the convent.

[All elements of Cultural Context can open up theme too].

CULTURAL CONTEXT

Gender - treatment of women (see Mrs Kehoe’s remark). The Virgin Mary (p.15) ‘kneeling passively’.

Class attitudes.

An obsession with transgressive sexuality. The ‘fallen’ women, the ‘shame’ of illegitimate birth.

Treatment of children. Illegitimate children do not ‘matter’ as much as ones born from a marriage - ‘common’.

The family, and those excluded from that norm.

And do some women internalise/enable this treatment?

Roman Catholic Church: a power-structure, hierarchy (‘all the one’ - Mrs Kehoe). The convent, the priests, the schools (Furlong was spat on and called ‘a name’; his daughters have only the one ‘good’ school to go to). The power-struggle of the (superficially civil) encounter with the Mother Superior. Pre-divorce, contraception, abortion.

Class attitudes (the Protestant Mrs Wilson).

1985: economic problems, closing businesses (Albatros, Graves & Co etc). Even the supposedly secure Furlongs need to be careful. A constrained world. Mick Synnott’s foraging son.

A close-knit community, at times oppressively so (can be censorious). And this can make a family like the Furlongs all the more vulnerable.

Monoculture in terms of religion, race, language (the rare Polish and Russian foreign visitors). Very insular.

Conformity.

The impact of this culture on individual lives. How would lives be different now?

The moving statues 1985: see the first 5 minutes of the relevant episode of Reeling in the Years .

GENERAL VISION AND VIEWPOINT

The overal context: recession, emigration, people everywhere struggling.

The grim oppressive power-structure of the Roman Catholic Church.

Treatment of children.

Furlong’s decency (like Kinsella in Foster ).

But also, the joy of family life (is this threatened for Furlong at the end?).

The end: is trouble ahead? Do we admire him? Is he ‘foolish’?

The River: the dark undertow, Furlong’s journey.

Reflections (windows, mirrors).

Fracturing: ‘a part of him’, the jigsaw. Is he made whole by the end?

Doors, windows, locks.

LITERARY GENRE (not examined in 2025).

Understated style; a spare style with moments of greater elaboration.

Opening up big issues in the particular.

The subtlety of many details (the ‘hurried-looking hand’ from the Mother Superior on the card containing money, revealing how cynical the ‘gift’ was - a bribe)

The withholding of information, particularly Furlong’s father. The scarcely-noticeable seeds Keegan drops every now and then about Ned.

Primarily a linear structure, but Furlong’s past story is gradually revealed, woven into the present.

Use of motifs (doors, windows, mirrors, particular grammatical constructions).

Use of imagery, particular symbolism (overlaps with motifs).

‘Escalations’: key moments which push on the story - see the post on George Saunders .

3rd person narrative which comes out of Furlong’s consciousness.

Rich use of local detail and atmosphere to evoke New Ross in 1980s.

The end: as with Foster , there is an after-story for us to imagine.

Enda's English Notes

Junior and Leaving Cert English Notes

Comparative: Philadelphia Here I Come

Video: Cultural Context in Philadelphia.

Scene Summaries and Questions

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Sample Essay - Cultural Context

Cultural Context – Educated, A Raisin in the Sun, Ladybird for Leaving Cert English Comparative #625Lab

Compare the extent to which the expression of individuality or divergence from social or cultural norms is tolerated within the cultural context of each of at least two texts on your comparative course. develop your response with reference to your chosen texts. (2022).

Feedback and comment: This is a nice, clear essay title (some of them are admittedly convoluted even for me who looks at them a lot), so I would definitely choose this kind of question should I be faced with the paper. This essay is extremely clearly structured – always a bonus! And I’ve taken the liberty of breaking it up into further paragraphs, so that you can most clearly see what I mean. This essay is a bit repetitive in some of its phrasing. The use of quotation is a little off: one should try to quote from all three in equal measure if one is to quote at all. H2.

The expression of individuality within societal and cultural contexts is a recurring theme in literature and film. (I wouldn’t use the term theme just because it means something distinct in the context of LC Comparative. You could say motif .) In examining the cultural context of “Educated” by Tara Westover, “Lady Bird” directed by Greta Gerwig, and “A Raisin in the Sun” by Lorraine Hansberry, I will compare the extent to which the expression of individuality or divergence from social or cultural norms is tolerated. Through the exploration of setting, gender roles, social class, and cultural values, this essay will discover how each text portrays the challenges and consequences of asserting one’s individuality within their respective cultural contexts.

The setting plays a significant role in shaping the cultural context and influencing the tolerance for individuality in each text.

In “Educated,” Tara Westover recounts her upbringing in rural Idaho within a conservative Mormon family where the isolated and patriarchal nature of her environment stifles her ability to express her individuality. The reader will be aware of the pressure and expectation to conform to the strict beliefs and practices of her family and community driven by religion. Westover’s pursuit of education becomes a catalyst for her divergence from these social and cultural norms, ultimately leading to conflict and estrangement from her family.

Similarly, in “A Raisin in the Sun,” Lorraine Hansberry explores the challenges faced by the Younger family, who live in a cramped apartment in a racially segregated neighbourhood in Chicago. The oppressive societal norms and systemic racism they encounter restrict their ability to assert their individuality and pursue their dreams, “I’m sick of all this ‘race’ nonsense… I am a human being, and so are you”. Walter Lee Younger’s desire to invest in a business venture represents his attempt to break free from the limitations imposed by his social and economic circumstances, highlighting the tension between individual ambition and societal constraints.

In contrast, “Lady Bird” is set in Sacramento, California, during the early 2000s, where the protagonist, Christine “Lady Bird” McPherson, navigates the vicissitudes of adolescence and her tumultuous relationship with her family. The suburban setting provides Lady Bird with a relatively liberal and culturally diverse environment, allowing for more freedom in expressing her individuality compared to the characters in “Educated” and “A Raisin in the Sun.” However, she still faces challenges in reconciling her own aspirations with her family’s expectations and societal pressures.

Gender roles significantly influence the tolerance for individuality within each cultural context portrayed in the texts.

In “Educated,” Tara Westover’s journey to assert her individuality is deeply intertwined with the patriarchal expectations placed upon her as a woman within her Mormon community. Westover’s defiance of traditional gender roles, such as pursuing higher education and challenging her father’s authority, is met with resistance and condemnation from her family and community. The rigid gender norms in her environment exacerbate the challenges she faces in asserting her autonomy and pursuing her own path. The physical violence she is subjected to by her older brother may be argued to have a gender dynamic with her cleaning the toilet and him recurrently assaulting her by dipping her head in it.

Similarly, in “A Raisin in the Sun,” gender roles play a significant role in shaping the characters’ experiences and opportunities for individual expression. Beneatha Younger’s desire to become a doctor defies societal expectations for women of her race and socioeconomic background, highlighting the intersecting challenges of gender and race in asserting individuality within a male-dominated society. Additionally, Ruth Younger’s role as a wife and mother imposes constraints on her ability to pursue her own dreams and aspirations, reflecting the limited agency afforded to women within their cultural context.

In “Lady Bird,” gender roles also influence the protagonist’s journey of self-discovery and assertion of individuality. Lady Bird’s strained relationship with her mother stems in part from their conflicting expectations regarding gender roles and societal norms. Lady Bird’s desire to attend an East Coast college and pursue her artistic ambitions challenges the traditional expectations placed upon young women. Marion’s “very best version of yourself that you can be” seems quite different to the main character’s.

The role of money and social class further shapes the cultural context and influences the tolerance for individuality within each text.

In “Educated,” Tara Westover’s upbringing in a lower-class rural environment contributes to the isolation and lack of opportunities she faces in asserting her individuality. The economic constraints imposed by her family’s lifestyle limit her access to education or indeed the wider world, reinforcing the cycle of poverty and conformity.

Similarly, in “A Raisin in the Sun,” the Younger family’s precarious socioeconomic situation constrains their ability to express their individuality and be themselves. As African Americans living in a racially segregated society, they are faced with a series of barriers. Walter Lee’s ambition to improve their financial situation through entrepreneurship reflects his desire to assert his individuality and provide a better future for his family, despite the risks and obstacles he faces, “I’m a volcano. Bitter? Here I am a giant – surrounded by ants! Ants who can’t even understand what it is the giant is talking about.”.

In contrast, “Lady Bird” explores the intersection of money and social class in shaping the protagonist’s journey of self-discovery. However, her family’s financial struggles and limited resources present obstacles to her aspirations. From the expense of going to college in New York to the need to work in a coffee shop, Lady Bird experiences challenges with her family’s socioeconomic status and desires to escape her lower-middle-class upbringing.

The wider cultural context and cultural values prevalent within each text also influence the tolerance for individuality and divergence from social or cultural norms.

In “Educated,” Tara Westover grapples with the deeply ingrained cultural values and beliefs of her Mormon community, which prioritise obedience, conformity and patriarchal authority.

Similarly, in “A Raisin in the Sun,” the Younger family confronts the pervasive influence of systemic racism, “Just tell me, what it is you want to be – and you’ll be it…Whatever you want to be – Yessir!”. The cultural values of resilience, perseverance, and family unity guide their efforts to overcome adversity and express their individuality within a hostile and oppressive environment.

In “Lady Bird,” the cultural values of individualism, self-discovery, and personal autonomy prevalent within Lady Bird’s setting provide her with the freedom to explore her identity and assert her individuality. However, the pressures to conform to societal expectations and fit in with her peers present challenges, “I hate California, I want to go to the East Coast. I want to go where culture is, like New York, or Connecticut or New Hampshire.”

Through the exploration of setting, gender roles, social class, and cultural values, these texts offer nuanced insights into the complexities of navigating societal expectations and the pursuit of individuality. While the characters in “Educated” and “A Raisin in the Sun” confront oppressive societal norms and systemic barriers to individual expression, Lady Bird’s journey of self-discovery is shaped by the cultural values of personal autonomy and individualism prevalent within her community.

• Post author: Martina
• Post published: February 6, 2024
• Post category: #625Lab / A Raisin in the Sun / Comparative / Cultural Context / Educated / English / Ladybird

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Category Archives: Comparative

Advice and notes for tackling the Comparative section.

• Tackling the Comparative

This article first appeared in the Irish Independent Written Word supplement on Tuesday 27th January 2015.

Knowing your individual texts is a vital starting point, but there’s more to comparative than knowing your texts. You also need to be clear what your modes of comparison are so you can draw connections between texts, analysing similarities and differences. The idea behind this section is, after all, the comparison of texts to each other. Once they stand in sharp contrast to each other you’ll find that you can see each text more clearly. With that in mind, consciously embedding linking phrases in your writing (until they flow naturally), answering the question that’s asked (not the one you wish was asked because you’ve it prepared) and aiming to achieve depth in your comparisons are three further skills you need to develop.

• Modes of comparison

At higher level, your modes for 2015 are theme or issue, general vision and viewpoint and literary genre. [At ordinary level, theme is also one of the modes, alongside relationships and hero, heroine, villain]. If you’re not entirely sure what the modes mean, google it, there are plenty of definitions out there. Every year the modes change, so if you’re sitting the LC in 2016, 2017 or later, make sure you check which modes apply to your year.

For theme or issue you might consider some of the following:

• How is this theme introduced? How does this theme affect the central character/characters?
• How is this theme developed? Do the central characters embrace or fight against it? How?
• Do other characters influence how this theme unfolds?
• How does the text end & what are our final impressions of this theme as a result?

Asking the same question of each text allows you to come up with the all important links (similarities & differences) but try not to over-simplify (more on this later).

For general vision & viewpoint you might ask yourself some of these questions:

• How do I feel as I read/watch this text?
• What view is offered of humanity (are the main characters likable or deplorable?)
• What view is offered of society (is this society largely benign or does it negatively impact on the characters)
• How does the text end & what vision are we left with (positive or negative) as a result?

Alternatively you could just take a beginning, middle, end approach but you must at all times focus on whether the vision/feelings/atmosphere is positive or negative and how this impacts on the reader/viewers experience. Be specific about the atmosphere in the text; the feelings experienced by the audience or reader. Showing an awareness of the way this vision is communicated (through the musical score, the editing, the use of symbolism, stage directions etc…) may also be important, depending on the way the question is phrased.

For literary genre, things are a bit more complicated. Literary genre deals with how a story is told and it’s worth remembering that ‘genre’ has multiple meanings. It can refer to whether a text is a tragedy, a comedy, a morality tale etc. It will also denote the conventions of certain types of stories – science fiction, thriller, romance, horror. On a basic level, it also references the fact that texts tell their stories differently depending on whether they are a novel, play or film. For the novel, this involves the use of descriptive prose with a narrator(s) unfolding the plot for us. In a play, the story is told through dialogue and stage directions. While we may study drama by reading its text, it is often easy to lose sight of the fact that playwrights intend for their work to be performed on stage and not simply read in a classroom. In this light, the performance of actors and indeed the production will be as critical as the text. This also applies to film but we don’t study a film by reading its screenplay or simply watching it, we engage instead with the language of cinema; with framing, camera angles, editing, mis-en-scene, the musical score etc…

You must focus on the aspects mentioned in the question – possibly some of the following, but this list is not exhaustive and you may well focus on other aspects:

• Genre – differences between novel/play/film
• Literary devices specific to that mode of storytelling
• Narrator / point of view
• Characterisation
• Chronology – flashback / flashforward
• Climax / twist
• Linking phrases

If you’re not used to making comparisons, at first your use of these phrases may be a bit clunky. The only way to achieve a natural flow is to practice, practice, practice until making the links happens organically, unconsciously. This is what will lead to good comparative writing.

To say the texts are similar :

• In the same way / In much the same way
• In ______, we also see ___________
• These characters react in the same way, both __________ because _____
• These characters react similarly but for completely different reasons….
• Both texts reveal that __________
• This is also obvious in ________ when _______, just like ____ decides __________
• We also see this in ________
• Likewise, in __________
• This is mirrored in _________
• The two texts share a similarity in that __________

To point out differences :

• By contrast, in _________
• In a different way ________
• The opposite is seen in _________
• Unlike _________
• A completely different situation is clear in _________
• In direct contrast to this, in _________, _________
• The reverse is true in ________
• Nothing like this is evident in _________ because they don’t value _______
• These two texts could not be more different, particularly in thier outlook on _________
• This is very different to ___________
• This is somewhat different to _______
• Answer the question asked.

Again and again we’re told that those who genuinely engage with the question on the paper are rewarded and those who reproduce a stock learnt off answer are not.

Here’s an extract from the Chief Examiner’s Report

“ examiners were pleased when they saw candidates trust in their own personal response and demonstrate a willingness to challenge the ‘fixed meaning’ of texts. The best answers managed to remain grounded, both in the question asked and in the texts ”.

Examiners complained that students had pre-prepared answers which they refused to adapt to the question asked. Don’t get confused here: in the comparative section you have to have done a lot of preparation prior to the exam. The similarities and differences are unlikely to simply occur to you on the day under exam conditions and the structure of comparing and contrasting, weaving the texts together using linking phrases and illustrating points using key moments is not something you can just DO with no practice. It’s a skill you have to learn. But you MUST be willing to change, adapt, and select from what you know to engage fully with the question asked.

As we’ve already established, there are two fundamental errors you’re in danger of making when writing your comparative answers

• You fail to answer the question.
• Your links are weak and superficial.

Let’s look at depth in more detail now. Imagine the question is “What did you enjoy about exploring the general vision & viewpoint of the texts you studied?”

Below is the kind of answer that will get you a D2 ( I made up this answer. I’m not slagging off a real student’s work)

“I really enjoyed studying the general vision and viewpoint of my three texts. The opening scene of DAL is quite nostalgic as Michael looks back on his childhood in Donegal but it’s also pessimistic because he says things weren’t really what they seemed and he mentions Fr. Jack coming home but not being nearly as impressive as they expected. We then see the Mundy sisters together, they are a close family but Kate tends to boss them around and the others resent this, particularly Agnes. When she decides they can’t go to the harvest dance the sisters are pissed off but Kate thinks it wouldn’t be right. Similarly the opening scene of IID is quite pessimistic. Michael sits on his own in Carrigmore home for the disabled and he can’t communicate because he is handicapped and can’t speak properly. He tries to warn one of the workers that there’s a cable that might get snagged and someone will trip but they don’t understand what he’s trying to say. He seems really frustrated and I would hate to be in his situation. The first scene in HMB is also pessimistic. Alec is waiting to die and he won’t get in touch with anybody in his family to tell them what’s happening. He doesn’t seem to even care and when the priest comes in he sends him away after making jokes about his own death. So I enjoyed seeing how awful some people’s lives can be because mine is way better and that made me happy”

What’s wrong with this answer?

• Question is thrown in at the beginning and end of the paragraph but no effort is made to actually engage with the question.
• Sentences go on – and on – and on. The writer clearly has no control over what they’re trying to say. It comes out in a stream of consciousness onto the page.
• Informal conversational language and slang “she bosses them around” “pissed off” “he doesn’t even care” “mine is way better”
• Inaccurate and vague details: “handicapped” instead of “cerebral palsy”, “can’t speak properly” instead of “has a speech impediment”, “he says things weren’t as they seemed” instead of including the quote “I had an awareness of a widening breech between what seemed to be and what was”, reference to the “priest” instead of the “padre”.
• Texts dealt with separately with superficial links barely established “similarly” “also”.

Now let’s have a look at how to do it really well (this is a difficult skill to master):

“Studying the general vision and viewpoint of my three texts offered me a fascinating insight into the quiet lives of desperation many people lead and I found myself on tenterhooks, rooting for the central characters as they attempted to create a better life for themselves. The opening scene of DAL is full of nostalgia as Michael the narrator launches into a flashback of the summer when Fr. Jack returned from the missions. Despite the closeness of the family unit (Michael remembers his aunts dancing wildly to the music from the wireless) there is an aura of mystery and foreboding, an awareness “of a widening breach between what seemed to be and what was”. This aura makes DAL in many ways similar to HMB (from the beginning of both texts the reader feels something bad is about to happen) but the atmosphere of fear and foreboding are much more pronounced in HMB. The opening scene fills us with unease as Alec waits to die. Unlike the Mundy sisters (DAL) we have no sense that he feels close to his family – in fact he bluntly admits “I love no living person, I am committed to no cause…I have not communicated with either my father or mother”. I found his indifference to his plight deeply unsettling. Thus although I felt compelled to read on, I cannot say I ‘enjoyed’ watching him suffer.

The same is true of IID, where the central character’s difficulties fill the reader with sympathy. Michael’s cerebral palsy and speech impediment isolate him from the other residents but what makes this film subtly (yet significantly) different to HMB is that in IID we can see Michael’s frustration, through a series of close-ups of his face as he tries to communicate with Eileen and warn her of the impending accident (he has seen a vacuum cable snag and knows it will trip someone up). By contrast Alec (HMB) expresses no desire to escape the awful situation he finds himself in. Yet there are also interesting similarities between HMB and IID , for example the complete lack of family support and in some ways this makes DAL the most positive of the three – no matter what their difficulties at least the Mundy sisters have each other. Thus I can honestly say that all three texts captured my imagination, roused my curiosity and engaged my sympathy for the central characters in the opening scene, thus adding to my enjoyment and compelling me to read (or watch!) on.

Why is this so good by comparison?

• The question is fully engaged with throughout by the writer.
• Sentences are complex but highly controlled (writer uses brackets if adding something significant that would make the sentence unwieldy).
• Formal language of critical analysis is used at all times.
• Details are accurate and specific, including occasional use of quotes (perhaps four or five in total in your essay is more than sufficient).
• Texts are interwoven; links are complex, recognising obvious similarities and differences but also going further to establish subtle distinctions.

NOTE: Always check the list of texts to see which ones are prescribed for your year. Above two of the three texts I mention are not on the list for 2015. For our purposes, that’s no harm: I want you to ignore the content and focus on the style of writing instead. But if you write on a text that’s not on the list for your year in the exam you will lose all of the marks available for discussing that text.

Posted in Comparative , Leaving Cert Paper 2

Let it flow…

This article first appeared in the Irish Independent Written Word supplement on Monday January 2th 2015

Good writers value flow. When an idea works, they grab it, massage it and make it their own. When it doesn’t, they cut it loose and, like Frozen, they just ‘let it go’.

I’m not saying they don’t get writer’s block – they do!

Nor am I saying that words and ideas flow out of them like water from a tap. Their words are just squiggles on a page, the same as the rest of us. And thank god, or we’d have lots of empty taps and sopping wet pages on our hands, not to mention the cost in water charges!

But what good writers understand, in their deep heart’s core, is the importance of generating flow for the reader. Ideas need to be linked to each other; paragraphs need to be sequenced logically and the reader needs to be eased in – and eased out – of the reading experience.

So how, good reader, do you achieve this in your writing?

First and foremost you should do something with that brainstorm your teacher insisted you create! The ideas are there but which one will you start with? Something to really seize the reader’s attention? A quote? A shocking statistic? Now where will you go next? What ideas have something in common, even something tenuous, that will enable you to segue from one to the next so that they seem like logical progressions akin to steps on a staircase to wisdom? And when the journey’s over and the essay is nearly done, how will you loop back to your starting point yet add a depth that did not exist when the reader stepped out bravely on this journey with you?

Secondly, you need a thread which ties everything together. It can help to think of the paragraphs in your essay as the seven dwarfs. Each one has it’s own defining identity: not sleepy or dopey hopefully, but with recognisable features that make it distinct from all of the others. Yet there’s no question that they belong together! You can look from one to the next to the next and see how they all form an inseparable unit that would be weaker if any one of them went missing or was left behind.

CONNECTIVES

Now that you’ve got a plan, a certain amount of flow will emerge from the sequence you’ve decided to implement. However, you need flow within your paragraphs as well as between them. This is where the third vital element of connectives comes in. These are words which form bridges, both within and between sentences. You’ll see a list of examples below but a word of warning here: connectives used well are almost invisible. Used badly, they’re like your Dad at a wedding with his trousers rolled up, wearing his tie as a headband and playing air guitar. They just look all wrong!

Here’s an example of connectives used well:

“ Ireland undoubtedly has a tradition of neutrality. Clearly this is the will of the people. However , it would be foolish of us to assume that this desire to remain neutral will continue indefinitely into the future. We live in an era of growing global terrorism and were we to be targeted by terrorists we would need to respond, not just for our safety but also for the safety of our neighbours. Furthermore, we are socially, economically and emotionally tied to Europe and so an attack on Europe would also be an attack on us.”

And here’s an example of connectives used badly:

Ireland has a tradition of neutrality. Furthermore this is the will of the people. Nevertheless it would be foolish of us to assume that this desire to remain neutral will continue. We live in an era of growing global terrorism and were we targeted by terrorists we would need to respond. At the same time we are tied to Europe socially, economically and emotionally so to conclude an attack on Europe would also be an attack on us.

Just typing that second example was like scrapping my nails down a blackboard and reading it back is like jabbing hot pokers in my eyeballs.

The bottom line is this: using connectives for the sake of it or because some teacher in the Indo supplement told you to won’t work. You need to understand the words you’re using. You need to know how they work to create flow in your writing.

There is no shortcut to this knowledge. You won’t just innately know how to use connectives properly, unless you’ve been reading voraciously from an early age and engaging in family debates around the dinner table on a daily basis all of your life, so you’ll need to practice. Reading a lot and reading the right kind of material (speeches, debates, newspaper articles, academic essays) will increase your familiarity with connectives and help them to flow more naturally into your own writing.

Sample connectives:

First of all…secondly…thirdly

In the beginning… then… ultimately…finally

Nonetheless, nevertheless, although, even though, however

Furthermore, in addition, above all, essentially

Thus, therefore, hence, as a result

On the other hand… alternatively… besides

Clearly, obviously, evidently, logically

So you’ve got the guidelines. You’re good to go. And now, to paraphrase Frozen once more, it’s time to ‘Let it flow, let it flow, can’t hold it back anymore…’

Comments Off on Let it flow…

Posted in Comparative , Composing , Comprehensions , Leaving Cert Paper 1 , Leaving Cert Paper 2 , Poetry

Comparative Q’s By Type

I’m trying to wrap my head around the mental checklist a student needs to have ticked off in their brain to feel confident that they can tackle whatever question comes up in the comparative. Apologies for ignoring gv&v and literary genre, I’m sure I’ll get to them eventually. For now, I’ve re-organised the questions for theme or issue and cultural context into the following categories:

Theme or Issue:

Questions which focus on key moments / dramatic or interesting moments in texts.

Questions on what you’ve learned from studying this theme (personal & universal insights)

Questions on the extent to which this theme or issue is resolved

Cultural Context:

Questions that ask you to compare the cultural context in general & the values/attitudes which are evident in each society

Questions that ask you to discuss how you feel about these societies / studying these societies

Questions that ask you to discuss the impact of the society on the central characters

Questions that ask how the cultural context effects the unfolding of the plot

Questions that ask you to discuss ONE aspect of the cultural context (gender roles, social class)

————————————————————————————————————-

If anyone wants the full list of questions, organised by type, here they are:

Theme or Issue

Questions which focus on key moments / dramatic or interesting moments in texts

1. “ Important themes are often expressed in key moments in texts ” Compare how the authors of the three comparative texts studied by you used key moments to heighten your awareness of an important theme.

2. “ There are key moments in a text when a theme comes sharply into focus ” Discuss.

3. “ The dramatic presentation of a theme or issue can add greatly to the impact of narrative texts”

4. “ Exploring a theme or issue through different texts allows us to make interesting comparisons ”

5. (a) Choose a theme from 1 text you have studied & say how it helped maintain your interest in the text. (30) (b) Compare how the theme is treated by the authors of 2 other texts to maintain the reader’s interest. (40)

6. (a) Compare how key moments in 2 of your texts raised an important theme or issue (40)

(b) In a third text show how a key moment helped your understanding of the same theme (30)

1. “ Studying a theme or issue enables a reader to form both personal and universal reflections on that theme or issue ” Discuss in relation to two or more texts.

2. “ A reader’s view of a theme or issue can be either changed or reinforced through interaction with texts .”

3. “ A theme or issue explored in a group of narrative texts can offer us valuable insights into life ”

4. “ The comparative study of a theme or issue allows the reader to gain a variety of viewpoints on that theme or issue ”

(a) Describe the viewpoint on your chosen theme in one text you have studied. (30)

(b) Compare the viewpoint on the same theme in your other two texts. (40)

5. “The study of a theme or issue can offer a reader valuable lessons and insights.”

(a) Identify and discuss at least one valuable lesson or insight that you gained through the study of a theme or issue in one text on your comparative course. (30)

(b) Compare at least one valuable lesson or insight that you gained, from studying the same theme or issue (as discussed in (a) above), in two other texts on your comparative course. The valuable lesson or insight may be the same, or different, to the one discussed in (a) above.(40)

Questions on the extent to which the issue is resolved :

1. “ In many texts, a theme or issue may not be resolved to the complete satisfaction of the reader” Discuss

2. (a) Discuss the extent to which a theme or issue is resolved to your satisfaction in one text on your comparative course.

(b) Compare the extent to which the same theme or issue is resolved to your satisfaction in two other texts on your comparative course.

Cultural Context Questions

Questions that ask you to compare the cultural context in general & the values/attitudes in each society:

1. In the light of your understanding of the term the cultural context write an essay in which you compare the texts you have studied in your comparative course. (70)

2. (a) With reference to one of the texts you have studied in your comparative course, write a note on the ways in which the cultural context is established by the author. (b) Compare the ways in which the cultural context is established by the authors of two other texts on your comparative course.

3. “ In any cultural context, deeply embedded values and attitudes can be difficult to change ” (70)

4. “ Understanding the cultural context of a text allows you to see how values and attitudes are shaped ”

(a) Discuss in relation to one text you have studied (30) (b) Compare the way the values and attitudes are shaped in two other texts you have studied. (4 0 )

Questions that ask you to discuss how you feel about these societies / studying these societies:

1. “A reader can feel uncomfortable with the values and attitudes presented in texts” (70)

2. “A narrative text creates its own unique world in which the reader can share” (70)

3. “Understanding the cultural context of a text adds to our enjoyment of a good narrative” (70)

4. Imagine that you are a journalist sent to investigate the cultural context of the worlds of the three texts from your comparative course. (a) Write an article on the cultural context you found most interesting. (30) (b) In a second article compare the cultural contexts of the other two worlds with each other. (40)

Questions that ask you to discuss the impact of the culture / society on the central characters:

1. “ The main characters in texts are often in conflict with the world or culture they inhabit ” (70)

2. “ The cultural context can have a significant influence on the behaviour of the central character ( s ) in a text ”

3. “ The opportunities or lack of opportunities available to characters in the society or world in which they live have a huge impact on them ” (70)

Questions that ask how the cultural context effects the unfolding of the plot:

“ The cultural context of a narrative usually determines how the story will unfold ” (a) Compare the way in which the cultural context influenced the storyline in two of the texts you have studied (40) (b) Show how the cultural context influenced the storyline in a third text you have studied (30)

Questions that focus on ONE aspect of the cultural context:

1. “ The issue of social class is important in shaping our understanding of the cultural context of a text ”

(a) Discuss the importance of social class in shaping your understanding of the cultural context of one text you have studied (30 marks)

(b) Compare the importance of social class in shaping your understanding of the cultural context of two other texts you have studied. (40 marks)

2. “ The roles & status allocated to males or females can be central to understanding the cultural context of a text ”

(a) Show how this statement might apply to one text on your comparative course. In your answer you may refer to the roles and status allocated to either males or females or both. (30)

(b) Compare how the roles and status allocated to males or females, or both, aided your understanding of the cultural context in two other texts on your comparative course. (40)

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Posted in Comparative

Tagged comparative , cultural context , leaving cert , questions , theme or issue

Linking Phrases

To say the texts are similar:

To point out differences

Here’s another list of linking phrases: http://jamietuohy.com/2012/04/12/essential-words-for-the-comparative-question-jamie-tuohy/

Tagged comparative , comparisons , leaving cert english , linking phrases

Sample comparative link

You are asked the following question:

“ The society we encounter in a text can be deeply disturbing for the reader/viewer ” – Discuss.

You write this as part of your answer:

In ‘Casablanca’ & ‘Sive’ corruption is a feature I found deeply disturbing in both societies. In Casablanca pickpockets roam the streets and men are shot dead for daring to challenge those in authority. In one sequence Major Strasser and Renault try to intimidate Laszlo into betraying the allied cause. I was shocked to hear Renault comment of Urgarte’s death “we haven’t decided if he commit suicide or if he died trying to escape”, thereby suggesting that it would be easy for them to kill Laszlo too and get away with it. Similarly in Sive, Mena and Thomasheen are utterly corrupt and, like Renault and Strasser, use intimidation to get their way, threatening Nanna with the county home if she won’t go along with their plan to ‘auction’ Sive off to Sean Dota. One significant difference between these societies is that although the locals in Sive disapprove of this match (“In the village the public houses are full of the mockery of it”), they are unwilling to intervene, whereas, in Casablanca, all of the refugees stand together and challenge Strasser’s authority in the scene where they sing ‘La Marseilles’ to drown out the Nazis’ singing. However, despite the disgusting and disturbing lack of bravery shown by the community in support of Sive, I think selfishly I’d prefer to live in this society simply because it’s not as dangerous as Casablanca and you’re less likely to be putting your life at risk if you challenge those in authority.

Now, before I analyse the ingredients for you, can you answer the following questions:

• Identify the 6 linking phrases used above:
• Find 2 direct references to the Q asked & 2 implicit references to how I felt about these societies.
• Number the 6 key moments I referenced above.

Right, here it is again but with the different elements colour-coded:

In ‘ Casablanca ’ & ‘ Sive ’ corruption is a feature I found deeply disturbing in both societies. In Casablanca pickpockets roam the streets and men are shot dead for daring to challenge those in authority. In one sequence Major Strasser and Renault try to intimidate Laszlo. I was shocked when Renault commented of Urgarte’s death “ we haven’t decided if he commit suicide or if he died trying to escape ”, thereby suggesting it would be easy for them to kill Laszlo too. Similarly in Sive, Mena and Thomasheen are corrupt and, like Renault and Strasser, use intimidation to get their way, threatening Nanna with the county home if she won’t go along with their plan to ‘auction’ Sive off to Sean Dota. One significant difference between the texts is that the locals in Sive disapprove of this match (“ In the village the public houses are full of the mockery of it ”), yet are unwilling to do anything to stop it, whereas, in Casablanca, all of the refugees come together to stand up to Strasser and challenge his authority in the scene where they sing La Marseillese. Despite the disgusting lack of bravery shown by the community in support of Sive, I think selfishly I’d prefer to live in this society as it’s not as dangerous as Casablanca and you’re less likely to be putting your life at risk if you challenge those in authority.

Now let’s analyse the different ingredients in the answer:

In ‘ Casablanca ’ & ‘ Sive ’ corruption is a feature I found deeply disturbing in both societies . = statement linking the texts, linking phrase (both), direct reference to the question asked.

In Casablanca pickpockets roam the streets and men are shot dead for daring to challenge those in authority. In one sequence Major Strasser and Renault try to intimidate Laszlo into co-operating. I was shocked when Renault commented of Urgarte’s death “ we haven’t decided if he commit suicide or if he died trying to escape ”, thereby suggesting that it would be easy for them to kill Laszlo too. = Key moments & examples from text 1

Similarly in Sive, Mena and Thomasheen are corrupt and, like Renault and Strasser , use intimidation to get their way, threatening Nanna with the county home if she won’t go along with their plan to ‘auction’ Sive off to Sean Dota. = Make a comparison with key moment(s) from text 2

One significant difference between the texts (contrast/difference) is that the locals in Sive disapprove of this match (“In the village the public houses are full of the mockery of it”), yet are unwilling to do anything to stop it, whereas, in Casablanca, all of the refugees come together to stand up to Strasser and challenge his authority in the scene where they sing La Marseillese. (point out a significant difference between the texts/societies)

Despite the disgusting lack of bravery shown by the community in support of Sive, which I found both disturbing and upsetting, I think selfishly I’d prefer to live in this society as it is not as dangerous as Casablanca and you’re less likely to be putting your life at risk if you challenge those in authority. (final sentence gives personal response/preference)

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