Hi! I graduated in 2020 with a raw 50 + Premier's Award + a perfect 60/60 exam score in English and a raw 48 in Literature. I am currently studying a Bachelor of Medical Science and Doctor of Medicine at Monash University. Since my notes are indisputably what helped me achieve my respective scores, I have decided to sell some of my resources to help any of you who may be struggling, or just wanting to read some high-scoring essays - I know how much my essays benefited from reading other A+ essays during Year 12, even if they weren't on my texts!
ENGLISH (50 study score, Premier’s Award, perfect 60/60 exam score)
All The Light We Cannot See - Section A
- 4 essays (including 2 graded 10/10 essays) + 3 extra body paragraphs on various themes for $18
Ransom & The Queen - Section B
- 3 essays (including 1 graded 10/10 essay) + 3 extra body paragraphs on various themes for $14
Language Analysis - Section C
- 5 language analysis essays (including 1 comparative language analysis essay, 2 graded 10/10 practice essays) for $14
English bundle
- This includes the resources for all three sections listed above for a discounted total of $38!
LITERATURE (48 study score)
The Passion - Section B
- 5 graded (all 19-20/20) passage analysis essays for $16
Ariel - Section A
- 1 graded 20/20 literary perspectives essay for $6
Literature bundle!
- This includes the resources for all two sections listed above for a discounted total of $20!
A sample of one of my Literature essays is enclosed 🙂
Please EMAIL ME at tptutoring07@gmail.com if you have any questions or would like to purchase. Please do not PM me here!
(sample)
Duplicity abounds in the phlegmatic core of Winterson's overtly metafictional text where the naivety and gullibility of the proletariat is exposed by Napoleon, an arbiter of overwhelming charismatic force. 'Repulsive and fascinating by turns', Winterson's construction of the famed emperor teems with paradoxical imagery, inviting skepticism from readers as to the veracity of her account. Yet herein lies the crux of 'The Passion'; a satirical criticism of the deception that pervades not only history, but the modern world. Perhaps stemming from the increasing tensions of the 1980s in which emerging conservative promised lavish futures without substantive evidence, Winterson's critique shatters readers' preconceptions of this 'most powerful man in the world', shedding light instead on the 'short, pale, moody' figure who 'couldn't beat Josephine at billiards' that lurks underneath. Extending her allegorical display of Napoleon's true pathetic nature is the allusive psychological refrain 'trust me, I'm telling you stories' that echoes throughout the chambers of the text, emitting contradictory messages. While the emphatic imperative 'trust me' assures readers of the accuracy of Henri's account, Winterson's use of 'stories' alludes to fiction or fairytale, not fact. Thus, she elevates her text to a show of cerebral discourse, intimating to her transfixed audience the duplicity that courses not only through the public personas of all those in positions of power, but also through the veins of the very novel they hold in their hands. Thus, 'The Passion' itself serves as a metaphor for the illusory and grandiose images leaders may propound, encapsulating within its pages Winterson's warning to her audience of the pitfalls of 'join(ing) in' on the fervent, collective hero-worship, and of those so 'in love with (themselves)' that they garner such attentions from the populace.
