VCE · Creative Response
Creative Response: Framework: Personal Journeys
VCE Creative Response essay scoring 72.5%: My Story, My Way “I want to play the piano.” Why do the very same words, said by the same person, but at…
My Story, My Way
“I want to play the piano.”
Why do the very same words, said by the same person, but at different points in life, receive entirely contrasting reactions?
My first piano lesson was when I was six. As all kids did, all I wanted to do was to play with my friends or watch my favourite TV show, and so naturally, being forced to sit down and learn to press random keys on a fancy piano did not seem like the most interesting thing to do. One time, I hated it so much that I remember throwing the biggest tantrum I had ever thrown, begging my mother to cancel piano classes. None of my tantrums ever worked with my mother, who was always telling me, “You’ll be thanking me for this in the future.” And she was right, although not in the way she had hoped.
After so many lessons, torture became comfort. Fingers that were stiff and awkward became quick and nimble. Music notes that were foreign and unreadable became a language that my soul could read. Every musical piece felt like it was telling me a different story, and before I knew it, I found myself yearning for the piano. And that was the first time I told my mother, “I want to play the piano.” Needless to say, she was happy to know that I had a hobby that she decided was valuable and worthy. But that was when it was simply a hobby.
VCE · Text Response
Text Response: In what ways is the family home in We Have…
VCE Text Response essay scoring 77.5%: In her novel, We Have Always Lived in the Castle, Shirley Jackson builds a world of hostility and fear around the…
In her novel, We Have Always Lived in the Castle, Shirley Jackson builds a world of hostility and fear around the protagonist, Merricat, plunging her and her sister into isolation from society. The sisters gain safety from their seclusion, but it is soon reduced by outsiders invading. They are confined in their house once it is burnt down and unable to even step outside. Thus, though the Blackwood’s estate serves as a haven to Merricat and her sister Constance, it is ultimately an illusion of control.
VCE · Text Response
Text Response: “Oedipus the King explores the…
VCE Text Response essay scoring 72.5%: Sophocles Greek tragedy Oedipus the King written in 429 BCE, explores and analyses human characteristics and in…
Sophocles Greek tragedy Oedipus the King written in 429 BCE, explores and analyses human characteristics and in particular, flaws. Through Oedipus’s impulsive and demanding leadership, Sophocles critiques the vicious consequences of human flaws including his anger, poor judgment, lack of impulse control and excessive pride. These flaws are evident throughout the tragedy as despite Oedipus’s determination to lead the city of Thebes, his hamartia is depicted through his hubris, excessive anger and paranoia in the wake of the ongoing drama in relation to King Laius murder. These human flaws have direct consequences to Oedipus and his ability to lead effectively.
Sophocles evaluates how Oedipus’s excessive pride is a leading influence in his direct hamartia. Through a distinctive incorporation of dramatic irony, Sophocles presents Oedipus’s knowledge to the murder of King Laius as discreet, whilst keeping the Athenian audience engaged. This is directly due to Sophocles depicting the events of the murderer clearly to the audience. Oedipus’s ignorance of the true events results in intensifying the emotions of the audience as he confidentially states “you have no power or truth, you are blind, your ears and mind as well as eyes” to Tiresias, refusing to believe Tiresias’s cautious warning about the murder. This accusation made to mock Tiresias is further reiterated by Oedipus in his exclaiming “I have such fury in me-now I see it all”, which further strengthens the consequence of his excessive pride, as he tries to assert dominance over others instead of accepting his fate. More so in this Greek tragedy, Sophocles specifically includes Oedipus’s realization of Jocasta and Creon’s logic of the murder, as Oedipus manifestly realizes he “called down a dreadful curse”, a pivotal moment that exercises his hubris back firing, as he tries to appeal for mercy. This catalyst of knowledge demonstrates how the logic of Jocasta and Creon outweighs his arrogance and hubris, which is further explained in the declaration that “doom would strike Laius down at the hands of a son”. This edges Oedipus’ leadership and knowledge closer to his eventual tragic flaw. Together, these events and the way in which they are presented, strengthen Sophocles endorsement of how the human flaw of excessive pride is a leading influence on one’s hamartia.
Through Oedipus’s impulsive actions, Sophocles highlights how excessive anger is also a leading factor to Oedipus’s direct tragic flaw. Complete with the use of this character’s impulsive behaviour, Sophocles distinguishes the events that ultimately lead up to Oedipus fulfilling the prophecy that he would kill his father to marry his mother. Using this impulsive behaviour, the playwright demonstrates Oedipus’s quick escalation to violence when he declares “when he tried to force me off the road, I struck him in anger”, revealing how quick to anger and violence Oedipus is. Oedipus further attempts to rationalize his behaviour, exclaiming “I had to make my move”, which highlights his willingness to absolve himself of responsibility before committing the murder. This ultimately leads to his tragic human flaw which is his impulsive behaviour. To a greater extent, Sophocles strengthens
VCE · Creative Response
Creative Response: Order and Disorder (framwork: play)
VCE Creative Response essay scoring 72.5%: Rules create order and structure in our world, however sometimes breaking them and in turn creating disorder…
Rules create order and structure in our world, however sometimes breaking them and in turn creating disorder can be necessary for growth and development. Fostering disorder in our lives helps to create an unexpected order while colouring outside the lines and working outside societies expectations can set us free, allowing everyone to develop to their best potential. Isn’t that what we all strive for., to be the best version of ourselves?
When we work outside the rules, we allow our creativity to flourish, unburdened by the problems face din everyday society. For instance, children playing games are able to imagine floating through space, exploring new and different planets, with no gravity and therefore, no restrictions, however with rules children are grounded, unable to come up with new scenarios, unable to escape form a world that is trapping them, unable to have a true sense of freedom that is associated with imaginative play, breaking old rules and creating new ones, allows children to grow into people who aren’t afraid to work outside the boundaries. To develop into something great and become what their heart truly desires,
This is innately interworked throughout our society, the musicians and artists of our world, those who bring us joy and comfort are unburdened by rules, able to step outside of the lines and create new things. Vincent van Gogh, one of the most celebrated artists of all time, was allowed to paint outside the lines, not create flowing scenes, but instead express himself unafraid of the rules, This innovation stems from childhood, not always being forced into a box, but being allowed outside of one. This knowledge that breaking the rules is okay, that both order and disorder can be equally important is what separates these artists from society, it is what allows them to create new things, inspire millions and truly express themselves, becoming advocacy for embracing disorder, in order to find order.
Changing, breaking and developing new rules allows for the development of problem-solving skills. These skills developed in early childhood can help to set a child up for the future, fostering adaptability and empathy for others. Enabling a child to keep an open mind to both their new ideas and others. They are our future, children will be working jobs in the future, we don’t want closed off children, we want unafraid children, allowed to speak their mind and do everything to the best of their ability.
VCE · Text Response
Text Response: In sunset boulevard, trying to deny…
VCE Text Response essay scoring 87.5%: In a post war zeitgeist infiltrated by unrealistic expectations and cultural uncertainty, the struggle for…
In a post war zeitgeist infiltrated by unrealistic expectations and cultural uncertainty, the struggle for individuals to navigate personal careers and relationships foregrounded incomplete power dynamics. In Billy Wilder’s film ‘Sunset Boulevard’, the unjust compromise of authenticity to fame and popularity controlled by the studio star system highlights the repellent underscore of Hollywood’s hierarchy. The sense of illusion and isolation considerably caused for individuals stripped of stardom and labelled within the bygone era under the construct of ageism demonstrates their weakness against Hollywood’s institutional hypocrisy, especially for women impossibly required to recover beauty for any film opportunity. Furthermore, Wilder critiques the concept of transactional relationships In Hollywood which upset the heteronormative balance and demonstrate a test in moral integrity, along with the untraditional submissive nature of males moving through 1950’s America.
Wilder emphasises the grotesque and corrosive image of Hollywood’s hierarchal power dynamic by focusing on its mistreatment of bygone actors and innate tendency to ruthlessly decide the careers of individuals no longer suited to its profitable standards. As the film industry circulates the priority of fame and popularity in a manner which develops a brightened public picture, Wilder critiques this unrealistic perception through close ups into a gutter with a ‘Sunset Boulevard’ sign surrounded by litter. This opening scene encapsulates the seedy underbelly of an institute “distorted and blown out of proportion” as revealed by the film noir characteristic narration of the protagonist Joe Gillis. His exposure to the impeding detriment of males improperly able to navigate personal careers and a Hollywood landscape driven by pressuring expectation is opened by panning shots into his claustrophobic apartment setting. This not only accentuates his financial struggles of “losing [his] car”, but more deeply allows Wilder to replicate the fate which Hollywood creates where “a couple ‘B pictures’ to his credit is simply belittled to the difficulty in “trying to earn a living” in this industry. The small apartment mis en scene is visually contrasted to the “big white elephant of a place” owned by ex silent film star Norma Desmond, victim to the oppressive power of Hollywood and somewhat likewise positioned to Joe as one attempting to re-explore her career. However, the troubling depiction of Hollywood’s influence over her by destructing her fame is displayed via the long shots of the outdoor decay of the mansion, which follow a similar shadowy and dark aura to the opulent and grandeur interior décor. Through this rather gothic lense, Wilder is accentuating her reminiscence of her past along with the ephemeral nature of fame especially when exploited to the critical standards of film, leaving them isolated and to decay in obscurity.
VCE · Text Response
Text Response: ‘Chronicle of a Death Foretold explores…
VCE Text Response essay scoring 87.5%: The 1981 magical realist novella, Chronicle of a Death Foretold by Colombian author Gabriel Garcia Marquez…
The 1981 magical realist novella, Chronicle of a Death Foretold by Colombian author Gabriel Garcia Marquez depicts a troubled Latin American microcosm in which rigid gender binaries are enforced by the prevailing sociocultural paradigm. Central to the malaise which pervades the Caribbean microcosm is a pervasive loss of morality. The brutal death of Santiago Nasar exposes the breakdown of morality in a society where rigid gender norms and an unforgiving code of honour normalise violence, ultimately portraying moral decay as an inevitable consequence of deeply entrenched cultural values. In Márquez’s milieu, morality is governed by machismo and marianismo, with the honour code superseding religious principles, while broader socio-cultural dynamics like gender, ethnicity, wealth, and lust further contribute to its breakdown. Drawing throughout on the technique of magical realism, Marquez exposes the innate surrealism of this deeply flawed, profoundly deceitful, and ultimately immoral community.
The morality of Marquez’s milieu is governed by machismo and marianismo. Machismo, an exaggerated masculinity that prizes dominance and aggression, is contrasted with marianismo, which demands that women embody purity, obedience, and subservience. The town’s men are expected to uphold their masculinity through violent retribution, while women are confined to roles of sacrifice and passivity. This division is evident in the treatment of Angela Vicario, whose family “put a wedding dress on (her) and dragged (her) into the street.” Here, Márquez’s verbs “put” and “dragged” highlight Angela’s lack of agency; she is dressed up like a doll and forcibly removed, underscoring how women are objectified and treated as property. The Vicario brothers believe that killing Santiago is their obligation, insisting that “it was a matter of honour.” The phrase “matter of honour” strips the murder of personal intent, presenting it as an inevitable duty rather than a moral choice. However Individual culpability is overridden by social contention: factually murderers but morally exculpated by the code, with their reluctance evident as they “were looking for someone to stop them,” a phrase that emphasises their internal conflict. Márquez’s choice of “looking” suggests desperation, revealing that they do not truly wish to kill Santiago but feel trapped by societal expectations. Angela’s mother, Purisima Vicario, reinforces marianismo’s oppressive nature by disciplining Angela harshly, ensuring she conforms to the town’s values. Even Angela internalises this ideology, reflecting that she “was crying because of him,” rather than for herself. The use of “because of him” rather than “for herself” highlights her acceptance of the town’s gendered morality, as she views her suffering as secondary to the shame, she has supposedly brought upon Bayardo. Through this rigid moral code, Márquez critiques the destructive consequences of gendered morality in 1950s Caribbean society, exposing how its emphasis on honour and purity has an inverse effect, and leads to suffering and injustice.
VCE · Language Analysis
Language Analysis: Write an analysis of the ways in which…
VCE Language Analysis essay scoring 72.5%: Recently, the Olympus high school student representative council have noticed the lack of life skills being…
Recently, the Olympus high school student representative council have noticed the lack of life skills being taught at the high school, and have decided to create a petition for students to sign in order to introduce dedicated life skills classes in the school. in the Open Letter entitled the “Olympus High School representative Council needs your help!”, the student representative council employs a calm yet critical and outraged tone to contend the need for life skills classes at school. The council aims to persuade their Target audience of the Olympus high school students to sign their petition to introduce life skills classes at school
From the outset of the letter, the enthusiastic title stating the council “needs your help!” instantly creates a sense of urgency, and immediately calls for action from strudents, as students at this point are intended to feel a sense of obligation towards the initiative. The sarcastic contrasts between “Pythagoras theorem” and basic life skills such as a “tax return” which is not taught at school amplifies the absurd lack of practical life skills, as the council relates to Olympus high school students who feel disillusioned with the school curriculum. Furthermore, the image depicting shapes with the sarcastic headings thanking “geometry” for helping to “Pay [their shapes” rather than “tax classes” further mocks the prioritisation of complex math skills rather than practical skills, further aligning their views with many students who reflect the same view, Aswell as persuading students who may not agree to question the lack of life skills teaching. The council further aligns their views and values with fellow students by arguing the school should teach the “skills we need to succeed”, which is intended to make students feel represented by the council, who advocate for the students best interest. Additionally, the council reinforces their pre-established sense of support and trust from fellow students by citing the “Australian curriculum” as agreeing with their stance, adding credibility to their stance by using the words of education experts. Finally, by asking the rhetorical question that if “the government recognises” the need for life skills classes, “why doesnt Olympus high?”, inviting fellow students to question the legitimacy of the Olympus High curriculum, whilst implying that life skills classes are an obvious addition to the curriculum, inviting students to support their initiative, and to feel more open to their ideas.
VCE · Text Response
Text Response: How does Stephen Johnson convey the idea…
VCE Text Response essay scoring 77.5%: In Stephen Johnsons 2020 western action, ‘High ground’, the Yolngu connection with the land is highlighted…
In Stephen Johnsons 2020 western action, ‘High ground’, the Yolngu connection with the land is highlighted through depictions of their home and use of its resources. This is contrasted with the conflicting presence of the British colonisers in the river mission and how their presence affects and changes the land around them. Set in 1919, high ground narrates a story of the result of a post war massacre, in this story Stephen Johnson showcases the resourceful nature of the Yolngu people by magnifying their harmony with the land as their home but also the provider of resources. The river mission outpost is illustrated to be unconcordant with its surrounding and the British colonisers are painted out to be disruptive of the land they inhabit. The effect of the British colonisers is evident in the land’s reaction to their presence, further showcasing the conflict present between them both
Stephen Johnson first underpins the idea that the Yolngu people are in harmony with the land, by illustrating their use of its resources. Before the massacre at the beginning of the film, Johnson articulates the traditional home of the Yolngu people to be in harmony with nature. Their homes, tools, and meeting areas are all immersed in the natural surroundings, having unforcefully utilized their surroundings. This showcases their symbiotic relationship with nature, suggesting that they set out to utilise natures cover without tarnishing its beauty. Furthermore, the Yolngu people’s identity resides in nature, evident in their use of totems. For instance the names of the Yolngu people have counterparts representing animals in their landscape, ‘[Gutjuks] name means hawk’, as well as this Baywarra tells him that he has a totem ‘the crocodile’, which suggests their actions in hunting and surviving mimic the way of nature. This is solidified in Baywarra’s use of nature’s weapon – fire – in seeking vengeance against the colonisers. Johnsons depiction of their homeland with the use of areal shots, showcases the trees and shrubbery that are incorporated into their tribe. These shot further accentuate their harmony with the land outlining how their presence does disrupt natures existence. This spiritual and physical connection to natures resources and teaching showcases the Yolngu tribe’s harmony with their surroundings.
The British connection with the land is juxtapositioned by Johnson, suggesting that they have a
VCE · Text Response
Text Response: how is the blackwoods estate both a refuge…
VCE Text Response essay scoring 85%: Shirely Jackson’s gothic novel, ‘We have always lived in the castle’ (1962), set in the backdrop of a New…
Shirely Jackson’s gothic novel, ‘We have always lived in the castle’ (1962), set in the backdrop of a New England-esque town explores a fundamental paradox in which the very dwelling that is seen to offer a sense of safety and sanctuary, also manifests itself as a form of imprisonment. The blackwood’s estate is established as a place of refuge from the cruel and ingenuine citizens of the greater society. However, that same sense of isolation has held them mentally captive, furthering their segregation from society. But ultimately, their estate can be recognised as a vessel of freedom from a structured lifestyle, reducing their world to a reality that they would perceive as a utopia in which the sisters reside in only each other's company.
The Blackwoods estate is seen to offer a haven from the merciless treatment of the outsiders towards the family. As Merricat recounts her routine village visit for the first time, she recalls a tormenting interaction where a Jim donnel, a villager is harassing Merricat in a cafe, with “his legs stretched out”, trapping her in so she cannot leave the situation. Several other instances representing the “ugliness of the villagers” are also critiqued by Merricat. Jim’s sarcastic remarks about Blackwood's being one of the town's “fine old families” underscores the presence of the passive aggressiveness held towards the Blackwoods. Therefore, their residence in a secluded sanctuary and establishment of routine which minimises their need to ponder beyond their own home acts a shield against the degrading mannerisms of the townspeople, especially for Constance who in accordance to the family’s distribution of duties is not required to leave the residence at all. Merricat also shares how her father “had put up signs and… gates and the locks when he closed off the path” and how she felt safe “once the padlock was securely fastened" behind her. This emphasises the physical and physiological barriers erected between their residence and the outside world. Not only did that create distance between their living space and the “Broken toys and dead things.” the villagers would leave outside the blackwoods estate to ridicule them, but the locking of the gate also creates the ritual that marks Merricat’s return to her perceived sense of safety. This reiterates the role of the Blackwood’s estate as a blanket of safety from the cruelty and alienation their family is subjected to.
VCE · Creative Response
Creative Response: Title: What if we tried something new"…
VCE Creative Response essay scoring 90%: Who are we if not performers? And what is living if not performing? Would you squeal at spiders if no one was…
Who are we if not performers?
And what is living if not performing?
Would you squeal at spiders if no one was watching?
Would you smile just for yourself?
We perform joy, fear, ambition, and restraint. We rehearse our dreams, improvise our failures, and revise our identities. Life is not just a stage—it’s a rehearsal room, a costume closet, a script still being written. But what if we tried something new? What if, instead of following the script, we scribbled in the margins, rewrote the ending, or tossed the whole thing out?
The biggest stage we’ll ever stand on is our own life. From the moment we arrive, we’re cast into roles we didn’t audition for. These roles are not random; they are assigned by a social order that benefits from our compliance. We eat and grow so our parents feel fulfilled. We study and work to contribute to society. We love and sacrifice so others don’t have to. We perform not just for applause, but for approval, for belonging, for survival.
And yet, there are moments—rare and fleeting—when the mask slips. When we step out of the costume stitched by expectation and into something raw, unfiltered. These moments feel like freedom, like a new version of ourselves. But are they? Or are they just another act, one we’ve convinced ourselves is authentic?
As children, play was instinctive. We didn’t perform for anyone—we simply existed in joy. A cardboard box became a spaceship. A puddle became an ocean. Raindrops weren’t acid—they were racers, sprinting to the ground.
The world was magical because we hadn’t yet been taught to explain it. But knowledge came, and with it, complexity. When did living become so rehearsed? We learned the rules of the stage, taught by a society that values predictable plots over improvised joy. We learned to smile on cue.
But when the play began, we made the rules, we own the stage. We didn’t ask permission to imagine—we just did.
VCE · Language Analysis
Language Analysis: SECTION C – Argument and persuasive…
VCE Language Analysis essay scoring 80%: In their open letter to the Narrow Valley community, the Student Music Leadership Group presents a passionate…
In their open letter to the Narrow Valley community, the Student Music Leadership Group presents a passionate case for establishing a youth-led music festival. Through a combination of logical argument, emotive appeals, and vivid imagery, supported by both written and visual language, the students attempt to persuade the local community to support their initiative and recognise the need for generational renewal.
From the outset, the writers position themselves as energetic, inclusive, and representative of the community’s future. The opening line, “We are a growing group of high-school music students, teachers and mentors,” foregrounds both credibility and community engagement. By emphasising diversity – “all budding musicians, regardless of age and abilities, tastes and styles” – the students establish an inclusive ethos, appealing to readers’ sense of fairness and collective identity. The visual presentation of young faces and musical instruments reinforces this positioning, reminding the audience of the vibrancy and enthusiasm of youth.
A central persuasive strategy is the direct comparison between the declining “Gorgeous Gardens Festival” and the proposed music festival. Rhetorical questions such as “What about our garden festival? Who doesn’t love a garden?” create a playful yet pointed contrast. The use of council statistics – “visitor numbers have dropped by 50 per cent over the past five years” – appeals to logic, framing the festival as unsustainable. By likening their proposal to “festival fertiliser” that can “re-germinate interest and energy,” the writers employ metaphor to suggest renewal and growth, thus positioning resistance as synonymous with stagnation and “ending up in the compost bin.”
VCE · Text Response
Text Response: “In Oedipus the King all who deserve it…
VCE Text Response essay scoring 90%: Sophocles’ Oedipus the King interrogates the relationship between fate, justice, and human responsibility in a…
Sophocles’ Oedipus the King interrogates the relationship between fate, justice, and human responsibility in a world governed by divine authority. While the play depicts Oedipus’ catastrophic downfall as a consequence of his own hubris and relentless pursuit of truth, it simultaneously suggests that punishment is not always proportionate or “just.” Figures such as Jocasta, Laius, and the Theban citizens endure suffering regardless of culpability, complicating the notion of deserved retribution. Thus, Sophocles ultimately critiques the assumption that divine justice is transparent or fair, instead presenting tragedy as an inevitable condition of human existence within an inscrutable cosmos.
At the core of the play lies Oedipus’ downfall, which appears to affirm the principle that hubris invites divine punishment. His insistence on defying the prophecy—by fleeing Corinth and later unrelentingly seeking Laius’ murderer—illustrates a belief in his own autonomy that directly challenges the gods’ supremacy. Sophocles frames this hubris as blindness: Tiresias warns him that though he “sees clearly now,” he will later be “blind in the darkness.” When Oedipus gouges out his eyes upon discovering his crimes of patricide and incest, the metaphor becomes literalised: his punishment is an embodied manifestation of his figurative blindness. In this sense, Sophocles endorses the idea that Oedipus’ ruin is justly deserved. However, the extremity of his suffering—self-inflicted mutilation, exile, and disgrace—invites pity, aligning with Aristotle’s conception of tragic catharsis. While Oedipus is guilty, his punishment exceeds mere justice, exposing the gods’ mercilessness.
VCE · Text Response
Text Response: “Now you're officially the best looking…
VCE Text Response essay scoring 90%: Trevor Noah’s memoir Born a Crime offers a deeply personal yet socially charged account of growing up in apartheid…
Trevor Noah’s memoir Born a Crime offers a deeply personal yet socially charged account of growing up in apartheid and post-apartheid South Africa. While the text is laced with humour, the suggestion that comedy is Noah’s strongest defence simplifies his narrative. Humour undoubtedly functions as a shield—helping him to resist humiliation, cope with poverty, and process trauma—but it is not his only, nor necessarily his most powerful, defence. Instead, Noah’s resilience, resourcefulness, and unwavering bond with his mother emerge as equally vital. Thus, while humour plays a central role in his survival, it works best in tandem with fortitude and faith.
Noah frequently uses humour to challenge the absurdity of apartheid and its lingering effects. His comedic reflections—such as his quip after his cousin’s birth, “Now you’re officially the best looking person in the family”—expose the everyday cruelty of racial classification, but do so without bitterness. By couching painful truths in wit, Noah creates a safe distance between himself and the audience, softening the blow of racism while ensuring its absurdity is not forgotten. For instance, his account of being “too black to be white and too white to be black” is narrated with self-deprecating humour, which both highlights his social exclusion and protects him from despair. In this sense, humour is not only a means of coping but also a subtle form of defiance—it allows him to maintain dignity where others might succumb to shame.
VCE · Text Response
Text Response: “The great seer never accused me then. Why…
VCE Text Response essay scoring 87.5%: In ‘Oedipus the King’, Sophocles presents the culpability of catastrophes as falling on both mortal hands, and…
In ‘Oedipus the King’, Sophocles presents the culpability of catastrophes as falling on both mortal hands, and divinity. Through his hubristic determination, Oedipus is undeniably at fault for the disasters within the play, yet, he attempts to defer the blame to other characters who may have been able to avoid the collective suffering felt within Thebes. Ultimately, Sophocles reminds his audience of mortal humility, as he presents the human condition as being at mercy to the gods.
Through his hubristic and animalistic nature, Sophocles presents the tragedies with the play as being the titular character’s responsibility. Oedipus’ actions lead him to becoming the “corruption of the land”, as he attempts to escape the oracles he is foretold in Delphi. From the outset, Sophocles highlights Oedipus’ hamartia as he symbolically stands in front of his altar, labelling the people of Thebes as “[his] children”. This, in conjunction with his exclamation to “bring all to light [himself]”, initially sets Oedipus as someone holding themself in the highest regard, which is exemplified through claiming himself as “Apollo’s champion”. Through this, Sophocles stages Oedipus as the “master” of Thebes, which is currently “dying”. As Oedipus reveals that “not one is as sick as [him]”, Sophocles posits that Oedipus himself is culpable for the suffering of Thebes, as his sickness has carried to his polis. This is reinforced through Oedipus’ agon with Tiresias where he dismisses his culpability of being the “corruption of the land”, as “conspiracy”. Through this dramatically ironic scene, Sophocles blames Oedipus for the suffering throughout ‘Oedipus the King’, as his own fault, as he is blinded by his arrogance. Sophocles explores the interconnection of blindness and sight to caution his audience against displaying excessive pride, as Oedipus leads himself towards his tragic fate as he is blinded by self-elevation. The agon also foregrounds Oedipus as quick-tempered, as he swiftly shifts from believing Tiresias to being the “saviour” of Thebes, to “scum of the Earth”. This is repeated through his quick accusations on Creon, who has little motive to “betray a kinsman”. Having demonstrated Oedipus’ tendency to be controlled by his anger, Sophocles reveals that Oedipus “st[ruck] [Laius] in anger”, to fulfill his prophesied fate. Through this and the revelation that Oedipus was “raging” like a “maddened beast”, upon learning the truth, Sophocles further cautions his audience against hubris, but also against being controlled by emotions as Oedipus reverts to a primal figure in his darkest hours. Thus, Sophocles sustains that Oedipus is at fault for the suffering felt within Thebes as he brings upon his own tragic fate through his pride and temper, cautioning Athenians against these traits as he correlates them to collective suffering.
VCE · Creative Response
Creative Response: framework of play
VCE Creative Response essay scoring 72.5%: Dear parents and carers, Do you have a young one at home who urgently wants to get outside and run around…
Dear parents and carers,
Do you have a young one at home who urgently wants to get outside and run around whilst kicking the footy? If so, you're in luck! We all know that our kids keep constantly nagging us about taking them to the park and playing kick to kick whilst playing the sport that we all love here in Australia. Here at Bay Side Goal Kickers, we provide and support fun activities and games for children aged 10 and under who are starting off wanting to play AFL. All year round, every Sunday morning from 10-12 AM, Bay Side Goal Kickers has sessions for your children to have some fun, make new friends and most importantly become confident in their Aussie Rules skills! Bay side Goal kickers main focus and goal is to ensure that your child looks forward to spending playtime with us and acquiring lifetime skills.
We acknowledge that children need as much freedom as they can at such young ages, so why not make this happen? Bay Side Goal Kickers understands that children starting to play sports may be both nervous for the kids and especially you, the parents! With that in mind, we encourage you to stay and watch the sessions we provide to see that your children are having a blast! From previous experiences and surveys, our team has noticed that children within school hours do not get enough exercise and playtime. We provide this extra curriculum for those wanting to exercise more whilst improving their footy skills. Here’s how we run our sessions at Bay Side Goal Kickers.
VCE · Language Analysis
Language Analysis: Rohappy/Shutterstock Instead of…
VCE Language Analysis essay scoring 75%: Amidst the controversial decision to ban social media for all kids under 16, public attention has shifted…
Amidst the controversial decision to ban social media for all kids under 16, public attention has shifted towards the effectiveness of this decision. Fighting against it is Amanda Third, a professorial research fellow. She contends that it is ineffective, criticising the decision and remarking “indeed bans may make our children even more vulnerable online.” while arguing that tighter policies will ensure safety for children more effectively. Advocating towards the youth, parents, and policy makers, Amanda’s sharp and critical tone leaves no room for doubt, establishing her point as coherent, decisive and thoughtful, while dismissing all opposing criticism. By presenting her arguments with clarity, Third positions herself as an insightful researcher, demanding the audience’s trust rather than the government’s.
Amanda sets forth a sense of connection with her readers, positioning herself as a caretaker and advisor for the greater community. By using inclusive language like “our” children and “we also need to better align with evidence” Third affirms her care, empathy, while bringing everyone together for a shared effort towards a safer digital space. The inclusive diction frames the debate as a divide between good and evil, squashing any animosity by separating the readers and the policy makers. Doing so, Third promotes her readers’ resilience towards resisting such a policy that may place children at greater risk.
VCE · Text Response
Text Response: The Hunger Games shows the destructive…
VCE Text Response essay scoring 95%: In the dystopian world of The Hunger Games by Suzanne Collins, violence is portrayed as being destructive in…
In the dystopian world of The Hunger Games by Suzanne Collins, violence is portrayed as being destructive in character. By first confronting readers with the visceral brutality of violence, Collins then reveals its deeper psychological corrosion, ultimately condemning a society that consumes such destruction as entertainment.
The novel highlights the brutality of true violence by implementing vivid imagery and personification. Collins confronts the reader with the brutal reality of violence through visceral images of “warm sticky spray[s]” and “scary pool[s]” of blood, painting a picture in the reader’s mind and intensifying their perception of violence as brutal. Furthermore, the author personifies Katniss’ limbs as ‘screaming… [with] red welts’ after experiencing ‘the horror’ of being burnt. Collins blends personification and sensory imagery to make Katniss’s suffering feel immediate and unavoidable. The intense descriptions of blood, heat and bodily pain collapse the barrier between observer and victim, so the reader experiences the violence as if inside Katniss’s own body. Writing in the first person reinforces this effect, denying us the safe distance enjoyed by the Capitol audience. Collins’ deeper purpose is to challenge the reader’s role as a spectator, encouraging them to question their own role as a consumer of violent media and directly challenging their potential for voyeurism. By making the pain personal and showing how the Capitol uses televised Games and sophisticated technology to broadcast violence, she exposes the ways media can turn suffering into entertainment. In doing so, she forces readers to confront their own capacity for voyeurism and condemns both the Capitol’s cruelty and the broader human tendency to consume violence as spectacle.
VCE · Creative Response
Creative Response: Time to move on
VCE Creative Response essay scoring 72.5%: Time to Move On Life is full of changes. Changes, sometimes inevitable, are bound to change our lives…
Time to Move On
Life is full of changes. Changes, sometimes inevitable, are bound to change our lives forever. Changing always comes with some sort of resistance, perhaps a fear of what's to come, or a fear of the instability of the new environment. Nevertheless, change is a core part of all of our lives, essential to build the future and who we are as people. It may be that embracing change, flipping that page, may be fruitful in ways we could never have imagined.
Contrary to common belief, I loved school growing up. From years 4-9, there was nothing more pleasurable than a day at school, surrounded by my friends, creating endless memories that would last a lifetime. From playing lunchtime basketball with friends, to sitting at the principal's office, bound to life despite the trouble we were in. As long as we were there together. I remember waking up each morning extra early to get dropped off early, only to extend the time I was able to be at school each day, making sure I had my ball so me and my friends could exhaust ourselves when we were playing before the day even started. Through the laughs and tears, the friends made were the sole purpose of looking forward to my day. An escape from my life outside school, I could find peace and serenity at school. Let my mind run wild, free of all worries and troubles.
School camp was the one event I’d look forward to each year. Certain to find ourselves in trouble, whether it was sneaking out of our cabins at night to stargaze, or the occasional ding-dong ditch, the harmless fun we had went a long way. I distinctly remember at year 9 camp, as if it were animated in my mind, the one night me and my friends snuck a canoe out into the lake, laying down for hours, complete silence whilst watching the sun, being in each other's presence being enough fulfillment.
VCE · Creative Response
Creative Response: Section B – Creating a Text Framework…
VCE Creative Response essay scoring 70%: Good morning ladies and gentlemen I am here with the rural association of Australia to talk about river and…
Good morning ladies and gentlemen I am here with the rural association of Australia to talk about river and waterway conservation and rehabilitation. Us farmers need to start this right away.
I am a 4th generational farmer which the same land has been in it the whole time shaping me to who I am and shaping my family. This farm is my lifeline, my passion and my future. The farm I call home is based on two hills, one hill scattered in blue stone that from afar looks like little dots of snow on a sunny day. On the other hill on windy summer days look like golden waves through the paddocks and in the middle is a creek splitting the middle of the farm. This land has shaped itself and myself to what it is today.
VCE · Text Response
Text Response: 1. Discuss the role of symbolism and irony…
VCE Text Response essay scoring 80%: Sophocles esteemed Greek tragedy, Oedipus the king, originated in 429BC for the ancient Dionysian festivals,…
Sophocles esteemed Greek tragedy, Oedipus the king, originated in 429BC for the ancient Dionysian festivals, pursues the eponymous character Oedipus, years after his triumphant defeat over the sphinx. The play explores the complex interplay between human agency and the inevitability of fate through symbolism and irony. Initially, Sophocles emphasizes dramatic irony of Oedipus’s situation through his hubris and arrogance. Furthermore, individuals such as Jocasta and Laius are subject to the limitations of free will which are amplified through symbols such as the crossroads and “swollen foot.” Moreover, the motif of physical sight and metaphorical blindness highlight the irony of Oedipus’s inescapable prophecy. Sophocles ultimately examines the significance of symbolism and irony within the play in the depths of fate and free will.
VCE · Text Response
Text Response: What perspective on societal division is…
VCE Text Response essay scoring 80%: Trevor Noah’s autobiography, Born a Crime, explores Trevor’s childhood and upbringing in the divisive worlds of…
Trevor Noah’s autobiography, Born a Crime, explores Trevor’s childhood and upbringing in the divisive worlds of apartheid and post-apartheid South Africa. Noah explains the oppressive systems failure to maintain the unnatural societal division in which it constructed. Noah shows societal division and racism as taught rather than inherent, language designed to divide but also as a way to unite people and how the overall failure of the systems is represented through Trevor’s very existence. His memoir highlights racism as a powerful and destructive force used to control, divide, and oppress, however its failure stems from its unnatural design.
Societal division and racism is something that is taught, Noah critiques the oppressive systems desire to control and construct unnatural societal division of racial groups. In South Africa during apartheid, the government classified you by race: black, white, Indian, or coloured. Black people were displaced and relocated to townships, such as Soweto, which Noah describes as “a prison designed by our oppressors” as a method to remove Black people from the population. However, if you were coloured you had the opportunity to be “promoted” to white or even “demoted” to black. Noah’s contrast of the words “promoted” and “demoted” provides an insight on the arbitrary design of apartheid and how whiteness can almost be considered a prize to be won. Through his anecdotes of his upbringing in Soweto, he explains the “perks” he received as a child, such as avoiding getting hit after misbehaving because his grandmother “[didn’t] know how to hit a white child”, or his grandfather referring to him as “mastah”. As Trevor has lighter skin, his family perceived him as white, showcasing the internalised racism taught by the oppressive systems which even remained post-apartheid. Through the oppression of non-whites, especially black people, the architects of apartheid attempted to create a system in which whites did not associate with non-whites due to their apparent superiority. Despite Trevor’s extended family treating him differently, they still loved him and cared for him – apartheid laws did not weaken these familial bonds. Apartheid was created to prevent race mixing and force racism into society, showing the systems desire to control and manipulate society into racial groups.
During apartheid, language was used to divide society, however Noah explains that is can also do the opposite and unite. During Trevor’s childhood, he never felt he belonged, he was either “too white” or “too black”, but Trevor discovered
VCE · Creative Response
Creative Response: Together Through Story
VCE Creative Response essay scoring 90%: You ever find yourself staring at something so ordinary it suddenly starts to change shape before your eyes?…
You ever find yourself staring at something so ordinary it suddenly starts to change shape before your eyes? For me, it was the gum ash tree outside my window. During COVID, I couldn’t help but watch it. You probably had your own version of it — something so familiar it became strange when you spent too much time looking. Sometimes, when it filled with birdsong, my mood lightened. But at dusk or dawn, the branches would twist into peculiar shapes, eerie and foreboding. Its scraggly, twisted form carried a strange charm, and depending on the light, new shapes emerged: masks, shadows, and limbs. Depending on the storm or season, there was always a different story hanging from its branches. It made the whole house drip in colour when autumn swung around. It wasn’t plain brown bricks anymore it was red and orange hues that hid the balding lawn. At times, a branch hung so loosely it looked like it might snap in the next gust of wind. And that’s when I thought of myself — someone who never quite fit in at the start of secondary school, shuffled from group to group, my identity dangling by a thread.
Funny thing is that the tree always changed depending on when you looked at it — dawn, dusk, storm, or sunshine. That’s what struck me most during those silent months: how easily a story can shift, depending on the angle, depending on the mood. Maybe you’ve felt that too — that your life looks one way in the morning and entirely different by nightfall.
Primary school was the last time I truly enjoyed school. The friends, the fun, the frisk of it all was something I looked forward to everyday. Now it’s just myself. Everyone I knew flocked away to their different schools. I would stand at the front gate with one thought, what do I do today? Yes, I knew I had to learn in class and be punctual, but what about socially? I’ve been a chameleon blending into every group. Some accepted me, most didn’t, but I never truly cared as I finally felt some sense of belonging. It was like navigating a maze, every action has a different and equal reaction. Finally, I can live a day while using Newton’s laws of motion in real life. I often got stares from being the weird antisocial nerd who took part in peculiar interests. I never understood why people took so much time out of their day just to make fun of others. One day they stared. The next they pushed me into a wall. I had enough of the bullying. So, I tried to change. I removed the weirdness from my life. The things I loved to do but others didn’t. The way I spoke, the people I wanted to be around. I would walk back from home every day to see the tree lose its leaves day by day. It wasn’t long until the branches gave way too.
There was one branch I often avoided looking at — the truncated limb my dad had cut off when it leaned too far into the neighbour’s yard. Its absence unsettled me, just as the sudden loss of my uncle did. Maybe you avoid looking at things too, the broken or missing pieces that feel too unsettling. The cut-off branch seemed symbolic: severed connections, fractured families. That feeling haunted me most during the strange experience of my uncle’s funeral on Zoom — a ceremony both intimate and disembodied.
Have you ever grieved through a screen? If you have, you’ll know the dissonance of it: seeing faces pixelated, hearing voices break up, the distance cutting through the very thing that’s supposed to connect you. We hooked up late in the evening, huddled around my laptop as my dad’s one had a faulty camera. The only thing worse than a zoom funeral is a zoom funeral on a black screen. Not only were we late, but we joined only to see people weep on the screen. If you’ve ever tried to grieve through a screen, you’ll know how disembodied it feels — seeing familiar faces pixelated, and strangers you’re meant to call family. As some of my relatives I knew quite well, and others were by name only. I had visited rarely since we left when I was the ripe age of one and later when I was ten. I never spoke my mother tongue, Sinhala, as my mum stopped me when I was only five to focus
VCE · Text Response
Text Response: How does High Ground encourage viewers to…
VCE Text Response essay scoring 87.5%: Set in early 1920s Arnhem Land, Stephen Johnson’s “High Ground”, while historic fiction, draws heavily on the…
Set in early 1920s Arnhem Land, Stephen Johnson’s “High Ground”, while historic fiction, draws heavily on the beleaguered experiences of Indigenous peoples systemic massacres during the Australian Frontier Wars: playing with conventions of the American Western, Johnson’s “Northern” subverts the classic ‘Civilisation of The Wild’ trope with a recasting of frontier settlers as they rapaciously invade a land long held under the covering control of First Nations people. Through the manipulation of truth, stark depictions of violence, and an ambiguous resolution Johnson is not only able to craft a narrative that depicts the oppressive nature of Indigenous experiences of white settlers, but confront his audiences with the broader societal impacts of colonization, encouraging his viewers to rethink Australia’s colonial history.
Johnson uses the manipulation of history to illustrate how colonial powers sought not only to control land, but the truth. Throughout the film, Moran captures three photographs that he alters to suit his own colonial ideas. During the capturing of his first photograph, Moran tells the 2 Indigenous men standing alongside Travis to “Get down, both of you, get down!” In doing so, Moran imposes a hierarchical relationship between the men that wasn't initially present. Johnson utilises Moran's colonial desires to represent the ideologies held by many colonists, where Indigenous people were subordinate to the “superior” white man. Moran’s second photograph furthers his mindset centred around control and dominance, where he purposefully omits certain details such as weapons they held prior and mission uniforms. This is contrasted with Dharap's mob who are wielding their spears. Moran deliberately removes these details to paint a picture in his photograph: that Dharpa and his mob are of a violent nature and himself and the mission members are far more righteous and civilised. Johnson makes use of Moran’s omission to reflect on how colonists would often alter history to shower the indigenous experiences and shine themself in a more superior light. Moran’s third photograph of Travis aims to pin Travis as the main perpetrator for the Indigenous massacres. Moran seeks to use Travis as a scapegoat, calling him a “Mad dog laid low” and hopes to remove his involvement from the massacres. Through this manipulation of the truth, Johnson demonstrates the lengths that colonists will go to stay dominant over their unjust narratives and remain in power. Moran’s calculated control over historical events reflect the powers that many settlers had during this time. Johnson masterfully depicts Moran in this way to urge his viewers to rethink Australian history and who really documented it.
VCE · Language Analysis
Language Analysis: Write an analysis of the ways in which…
VCE Language Analysis essay scoring 77.5%: In contemporary society, the rise of environmental degradation and increasing concerns around sustainable…
In contemporary society, the rise of environmental degradation and increasing concerns around sustainable practices has caused great public discourse about the need to preserve nature. Following the 2025 Councils Conference in Melbourne, Terry Gee, the Mayor of Western Lakes, delivered a speech to the other mayors that was accompanied by two slides with images. In his speech, Gee assertively argues that banning cars from city centres is not only practical but essential, presenting the change as beneficial to public health, safety, and community wellbeing. With this, his aim is to persuade the other mayors to adopt similar changes to their respective communities’ infrastructure as a means of preserving living standards across the nation.
Opening his argument, Terry Gee optimistically and encouragingly presents the prospect of change as something exciting and innovative, whilst also reminding the mayors about the immense responsibility and duty in their roles. By beginning his argument in such a manner, Gee establishes the sustainable conversion as beneficial from the outset and poses his forthcoming arguments as logical and credible. Throughout the course of the first argument, Gee’s use of inclusive language in “our council” and “our diverse communities”, coupled with the positive connotations of “enriching” and “innovative”, prompts the mayors to consider their active role in determining their community’s future, whilst also framing the change as something that would ultimately improve the community. As such, the mayors are inspired to become more amenable towards Gee’s preceding arguments as the acceptance of the change is positioned as necessary and relevant for their roles. Furthermore, Gee’s declarative sentence “I know you will all listen closely” seeks to evoke a sense of responsibility and accountability in the mayors. With this declaration and direct address of the council audience, the mayors are encouraged to have an open mind and be more receptive towards the proposal as a means of fulfilling their roles on behalf of their communities. Thus, Gee is able to immediately establish a connection with the mayors and increases the chances of his persuasion being successful. Additionally, a cartoon image of a book with two pages— one depicting a sunny, sustainable community with wind turbines and greenery, and the other a polluted wasteland filled with smog and grey buildings — is positioned towards the end of the opening argument. The visual contrast between the healthy, environmentally-friendly page and the depressing, polluted page underscores the idea that the mayors have an important decision to make, and frames the decision to go against the proposal as unfavourable and destructive towards the environment and wider community. In this, Gee reinforces the significance behind the mayors decision and ultimately encourages them to take greater interest in his upcoming arguments in order to help meet the community’s needs.