Experience Through Language: Distinctive Voices
On this page you will find everything you need to know about Module A: Distinctive Voices. Aside from many of the ideas and pieces of related material covered in class there are a number of new pieces that you may also choose to use as related texts. There are also some relevant pieces of information regarding Marele Day's The Life and Crimes of Harry Lavender.
One important thing to note about Distinctive Voices as a Module is that the HSC markers only want you to analyse the language used. So, if you use a film, radio play, television advertisement, song or any other type of auditory media, you cannot speak about the tone of voice of the orator. You may comment on the tone created in the actual written text through language.
If you want to clarify how you might write about any of these texts or have any other questions email your teacher.
One important thing to note about Distinctive Voices as a Module is that the HSC markers only want you to analyse the language used. So, if you use a film, radio play, television advertisement, song or any other type of auditory media, you cannot speak about the tone of voice of the orator. You may comment on the tone created in the actual written text through language.
If you want to clarify how you might write about any of these texts or have any other questions email your teacher.
Hero of War: Rise Against
Lyrics Analysis
He said "Son, have you seen the world?
Well, what would you say if I said that you could? Just carry this gun, you'll even get paid." I said "That sounds pretty good." Black leather boots Spit-shined so bright They cut off my hair but it looked all right We marched and we sang We all became friends As we learned how to fight A hero of war Yeah that's what I'll be And when I come home They'll be damn proud of me I'll carry this flag To the grave if I must Because it's a flag that I love And a flag that I trust I kicked in the door I yelled my commands The children, they cried But I got my man We took him away A bag over his face From his family and his friends They took off his clothes They pissed in his hands I told them to stop But then I joined in We beat him with guns And batons not just once But again and again A hero of war Yeah that's what I'll be And when I come home They'll be damn proud of me I'll carry this flag To the grave if I must Because it's a flag that I love And a flag that I trust She walked through bullets and haze I asked her to stop I begged her to stay But she pressed on So I lifted my gun And I fired away The shells jumped through the smoke And into the sand That the blood now had soaked She collapsed with a flag in her hand A flag white as snow A hero of war Is that what they see Just medals and scars So damn proud of me And I brought home that flag Now it gathers dust But it's a flag that I love It's the only flag I trust He said, "Son, have you seen the world? Well what would you say, if I said that you could?" |
There are two distinctive voices in this text. One is of the Recruiting Officer at the beginning of the song. His voice is persuasive and friendly. He refers to the young man as "son," suggesting he could be a father figure and would be supportive and encouraging. He uses a rhetorical question to interest the young man further, asking him, "...what would you say if I said that you could?" Furthermore, he persuades the young man to join the army by tapping into a number of opportunities that are attractive to young men: travel, guns and money. He uses the question, "...have you seen the world?" as a metaphor to appeal to the young man's desire to travel.
The young man initially has a fairly naive voice, perhaps suggesting the lack of thought that some people put into making such a big commitment. The fact the officer's offer "...sounds pretty good" and his shorter hair "...looked all right" show a fairly relaxed approach to the changes he is facing. As he relates his experiences, the young man's voice becomes progressively less enamoured of life in the army. He moves from the excitement of marching and singing as "...We all became friends..." to the shame of seeing his comrades physically abuse a captive where he "...told them to stop/ But then I joined in..." The tragic events of the final verse create a particularly poignant tone. This is demonstrated through his desperate plea not to have to shoot a woman who is walking towards him as he "...begged her to stay." He then gives the bullets a life of their own, using personification as they "...jumped through the smoke..." to take this woman's life. It is at this point that the true tragedy is revealed through a simile: he did not want to kill the woman and, unseen by the soldier, she had been carrying "...a flag white as snow." The idea of the flag is a recurrent one, as the soldier recognises that the flag of one's country is a powerful symbol of the freedom that the soldier is fighting for. Initially this symbol instills pride and a sense of purpose in the young soldier. However, later in the song we see that another flag has taken its place. The white flag, symbolising surrender, carried by the innocent woman he killed, is "...the only flag I trust..." after experiencing the horrors of war. By the end of the song the soldier's voice has become cynical. He asks the rhetorical question, "A hero of war, is that what they see?" showing his disgust at what he has experienced and what he became as a soldier. His age has perhaps provided him with this cynicism, the "medals and scars" symbolising the idea of a war veteran. The vitriolic sarcasm of "...so damn proud of me..." is particularly cutting as the war veteran reflects on the enthusiasm he had for the job as a young man. The development of the young soldier's enthusiastic distinctive voice into that of the cynical war veteran is particularly cleverly done. The way his tone shifts through his experiences of war is a powerful tool in getting across the key message about war that this song portrays. The film clip can be found at http://www.youtube.com/watch?v=_DboMAghWcA if you would like further material to utilise. |
The Smith Family Advertisement
The website at http://www.theenthusiast.com.au/archives/2009/review-the-smith-familys-more-than-just-money/ provides the advertisement but also a reasonable analysis of its effectiveness, although not from the perspective of "Distinctive Voices."
V for Vendetta
V: [Evey pulls out her mace] I can assure you I mean you no harm.
Evey Hammond: Who are you? V: Who? Who is but the form following the function of what and what I am is a man in a mask. Evey Hammond: Well I can see that. V: Of course you can. I'm not questioning your powers of observation I'm merely remarking upon the paradox of asking a masked man who he is. Evey Hammond: Oh. Right. V: But on this most auspicious of nights, permit me then, in lieu of the more commonplace sobriquet, to suggest the character of this dramatis persona. V: Voilà! In view, a humble vaudevillian veteran, cast vicariously as both victim and villain by the vicissitudes of Fate. This visage, no mere veneer of vanity, is a vestige of the vox populi, now vacant, vanished. However, this valorous visitation of a by-gone vexation, stands vivified and has vowed to vanquish these venal and virulent vermin vanguarding vice and vouchsafing the violently vicious and voracious violation of volition. [carves V into poster on wall] V: The only verdict is vengeance; a vendetta, held as a votive, not in vain, for the value and veracity of such shall one day vindicate the vigilant and the virtuous. [giggles manically] V: Verily, this vichyssoise of verbiage veers most verbose, so let me simply add that it's my very good honor to meet you and you may call me V. Evey Hammond: Are you like a crazy person? V: I am quite sure they will say so. |
In this speech V, the anti-hero from the film V for Vendetta, introduces himself to Evey Hammond, a young lady who works for a television company. You can do a little more research on the film yourself to obtain more context.
There are a number of features to V's voice that make it distinctive. The alliteration is particularly pertinent but there are other examples as well. Use of metaphor and the way in which he sometimes speaks of himself in the first person also help create voice. Hyperbole is also evident. However, it is important to try to define the voice he creates. The vocabulary used gives him an educated voice. His logic and way of talking around the point also contributes to this. He voice could be described as self-deprecating through his use of humour, particularly in the last line. It is questionable as to whether or not he is entirely sane, as particularly demonstrated through the manic giggle and Evey's last question. Below is the actual scene from the film: http://www.youtube.com/watch?v=uW6HbZXI9Y0 This link will take you to an impressive typographical representation of V's speech: http://www.youtube.com/watch?v=c6Q0dfrbr10 |
Two Poems: "Naming of Parts" and "Weapons Training"
NAMING OF PARTS
Henry Reed To-day we have naming of parts. Yesterday, We had daily cleaning. And to-morrow morning, We shall have what to do after firing. But to-day, To-day we have naming of parts. Japonica Glistens like coral in all of the neighboring gardens, And to-day we have naming of parts. This is the lower sling swivel. And this Is the upper sling swivel, whose use you will see, When you are given your slings. And this is the piling swivel, Which in your case you have not got. The branches Hold in the gardens their silent, eloquent gestures, Which in our case we have not got. This is the safety-catch, which is always released With an easy flick of the thumb. And please do not let me See anyone using his finger. You can do it quite easy If you have any strength in your thumb. The blossoms Are fragile and motionless, never letting anyone see Any of them using their finger. And this you can see is the bolt. The purpose of this Is to open the breech, as you see. We can slide it Rapidly backwards and forwards: we call this Easing the spring. And rapidly backwards and forwards The early bees are assaulting and fumbling the flowers: They call it easing the Spring. They call it easing the Spring: it is perfectly easy If you have any strength in your thumb: like the bolt, And the breech, and the cocking-piece, and the point of balance, Which in our case we have not got; and the almond-blossom Silent in all of the gardens and the bees going backwards and forwards, For to-day we have naming of parts. |
WEAPONS TRAINING
Bruce Dawe And when I say eyes right I want to hear those eyeballs click and the gentle pitter-patter of falling dandruff you there what's the matter why are you looking at me are you a queer? look to your front if you had one more brain it'd be lonely what are you laughing at you in the back row with the unsightly fat between your elephant ears open that drain you call a mind and listen remember first the cockpit drill when you go down be sure the old crown-jewels are safely tucked away what could be more distressing than to hold off with a burst from your trusty weapon a mob of the little yellows only to find back home because of your position your chances of turning the key in the ignition considerably reduced? allright now suppose for the sake of argument you've got a number-one blockage and a brand-new pack of Charlies are coming at you you can smell their rotten fish-sauce breath hot on the back of your stupid neck allright now what are you going to do about it? that's right grab and check the magazine man it's not a woman's tit worse luck or you'd be set too late you nit they're on you and your tripes are round your neck you've copped the bloody lot just like I said and you know what you are? You're dead, dead, dead |
I am not going to go through these poems in any detail as we spent a fair bit of time on them in class. You could also check out the Bruce Dawe poems "Mrs Swipe Speaks Out" and "Pleasant Sunday Afternoon."
Additional Ideas and Resources
The following also have the potential to be relevant texts for creating distinctive voices:
- "Fast Car" by Tracey Chapman
- "Dear Mr President" by Pink
- The original broadcasting of Orson Welles' "War of the Worlds" radio play
- Edgar Allen Poe material including Murders in the Rue Morgue
- Be My Brother- Tropfest 2009 short film winner
- Famous film speeches on the "American Rhetoric" website. One example is from the film Patton at http://www.americanrhetoric.com/MovieSpeeches/moviespeechpatton3rdarmyaddress.html.
- "Fast Car" by Tracey Chapman
- "Dear Mr President" by Pink
- The original broadcasting of Orson Welles' "War of the Worlds" radio play
- Edgar Allen Poe material including Murders in the Rue Morgue
- Be My Brother- Tropfest 2009 short film winner
- Famous film speeches on the "American Rhetoric" website. One example is from the film Patton at http://www.americanrhetoric.com/MovieSpeeches/moviespeechpatton3rdarmyaddress.html.
The Life and Crimes of Harry Lavender
Obviously most of your resources are in your books. However, here are a few more little items that may help with contextualising the writing and the creation of distinctive voice:
- Contextualising Film Noir: http://www.youtube.com/watch?v=ove7eOiJb2I
- Videos and examples of the radio play of "The Maltese Falcon" will provide similar context, particularly with the beginning of the novel.
- A few useful ideas and activities on the novel itself: http://www.nebo-lit.com/novel/Harry%20Lavender/The-Life-and-Crimes-of-Harry-Lavender.html
- Contextualising Film Noir: http://www.youtube.com/watch?v=ove7eOiJb2I
- Videos and examples of the radio play of "The Maltese Falcon" will provide similar context, particularly with the beginning of the novel.
- A few useful ideas and activities on the novel itself: http://www.nebo-lit.com/novel/Harry%20Lavender/The-Life-and-Crimes-of-Harry-Lavender.html
Quotes
Below are a variety of useful quotes from the novel. Consider which aspect of the characters' voices are emphasised by these quotes.
Claudia Valentine
"I woke up feeling like death."
"I didn't recall issuing the invitation but I must have."
"Terminal Illness."
"My legs are my best weapon."
"...the smell was there, the smell of intrusion."
"I felt sympathy for her but it was too late."
"The old boys' network had begun."
"And meeting an angel had certainly brightened up my day."
"...an ash-tray: full...and a bottle of Jack Daniels, empty..."
"They looked like cops, or hired muscle."
"But in Sydney, money buys status."
"Crime figures who are, themselves, respectable businessmen."
"I don't carry a gun like some of my more cowboy colleagues."
"Funeral processions have disappeared from the streets of Sydney."
" 'No,' I said, matching her word for word"
"The clink of balls hitting together in the pool-room, and not just the balls on the table."
"The BMW guys, fat cats (the rich) surfer guys' conversation dropped to the ground like pebbles as white as porcelain."
"A face that could launch ships."
Harry Lavender
"I am famous, a legend in my time."
"Oh yes, they will remember."
"Tangled in the sticky threads of love they falter."
"Its growth and mine are inexorably linked."
"...the veins, the roadlike veins, the transport of deadly cargo, the bloodstream of the city's body."
"My address in the city is The Beehive."
"In the world of the hive deviation is not tolerated."
Repetition of "The motherboard".
"Technology is light years ahead of ethics."
"The motherboard could last forever but the casement of flesh is crumbling..."
"I stand on top of my city."
"We cannot help but create in our own image."
"All artifacts are mirrors."
The City
"The unpredictable child had started off sunny, then clouds had frowned across her forehead."
"Its centre was a dark feotid substance."
"She'd grown strong, like a mushroom on a dung heap."
Claudia Valentine
"I woke up feeling like death."
"I didn't recall issuing the invitation but I must have."
"Terminal Illness."
"My legs are my best weapon."
"...the smell was there, the smell of intrusion."
"I felt sympathy for her but it was too late."
"The old boys' network had begun."
"And meeting an angel had certainly brightened up my day."
"...an ash-tray: full...and a bottle of Jack Daniels, empty..."
"They looked like cops, or hired muscle."
"But in Sydney, money buys status."
"Crime figures who are, themselves, respectable businessmen."
"I don't carry a gun like some of my more cowboy colleagues."
"Funeral processions have disappeared from the streets of Sydney."
" 'No,' I said, matching her word for word"
"The clink of balls hitting together in the pool-room, and not just the balls on the table."
"The BMW guys, fat cats (the rich) surfer guys' conversation dropped to the ground like pebbles as white as porcelain."
"A face that could launch ships."
Harry Lavender
"I am famous, a legend in my time."
"Oh yes, they will remember."
"Tangled in the sticky threads of love they falter."
"Its growth and mine are inexorably linked."
"...the veins, the roadlike veins, the transport of deadly cargo, the bloodstream of the city's body."
"My address in the city is The Beehive."
"In the world of the hive deviation is not tolerated."
Repetition of "The motherboard".
"Technology is light years ahead of ethics."
"The motherboard could last forever but the casement of flesh is crumbling..."
"I stand on top of my city."
"We cannot help but create in our own image."
"All artifacts are mirrors."
The City
"The unpredictable child had started off sunny, then clouds had frowned across her forehead."
"Its centre was a dark feotid substance."
"She'd grown strong, like a mushroom on a dung heap."