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History Extension Proposal

(i) Description of Preliminary Research: I have begun planning the structure and topic of my Major Work; after much deliberation, I have decided to do research and analysis of the New Guard, an Australian paramilitary fascist movement of the 1930s. However, this remains highly speculative, and it is eminently possible I may choose to change my topic. I have spent much of my time considering which topic to choose; originally, I planned to research Pauline Hanson’s One Nation movement, but decided this would be better suited for my English Extension 2 Major Work. Both the New Guard and the One Nation movement have several similar features, however, inspiring me to choose this as my topic of interest. As of yet, my preliminary research has been strictly limited to reading general works on the time period in which my subject in question. I have read Gerald Stone’s 19321, which primarily focuses on the conflict between the New Guard and Jack Lang, as well as multiple online works concerning the New Guard and their links with fascist movements worldwide2 3. I have also read John Hirst’s Australian Democracy4, which contains a short section on the New Guard, but felt it to be too brief to render much aid. As this is a rather specialised topic, not much has been written on the topic for a general audience; as such, my preliminary research has been somewhat curtailed.

(ii) Enquiry questions • Who were the New Guard, and how widespread were they? • What factors motivated their creation? • Were there any serious intentions towards anti-democratic actions by their membership? • To what extent were they fascist? • Why did the movement, which previously enjoyed such popularity, disband so quickly, and what factors lead to this? • How have they been perceived by historians? • Were their tactics justifiable? • To what extent did they mirror similar European movements?

(iii) Research Intentions: My research will be necessarily broader than an analysis of the New Guard, as it is essential to understand the circumstances which led up to their creation. I will be required to carry out intensive research on the early 1930s, and more specifically the Great Depression. One of my main topics will be the societal, political and economic conditions which led to creation of the New Guard. Jack Lang will be a major figure in my Major Work, and I intend to read his autobiographies ‘I Remember’5 and ‘The Turbulent Years’6 for more information on conditions at the time, and about New Guard activities with relation to him. A large number of books have been written with relation to Jack Lang, which will play a major role in my research. I plan to research the New Guard in-depth, through books, websites, and if possible use of academic sources such as newspapers from the time. I plan to approach this task incrementally, due to time constraints. I am also currently studying English Extension 2, and the demands of creating two major works will mean that my research will necessarily sometimes have to take a back seat to other time demands. In my methodology, I will also be forced to confront the problem of partisan bias; the two major figures in my Major Work, Jack Lang and the New Guard, have become subject to much controversy over the years, to the extent where a non-partisan review may be almost impossible. Any detailed research program will be forced to take account of this, as nearly every source used will be influenced by the bias of the composer.

(iv) Bibliography 1 Gerald Stone, 1932, 2005, Pan MacMillan Australia 2 http://workers.labor.net.au/features/200313/c_historicalfeature_moore.html, Andrew Moore, The New Guard, 2003 3 http://www.adb.online.anu.edu.au/biogs/A070550b.htm, Australian Dictionary of Biography, Keith Amos, 1979 4 John Hirst, Australia’s Democracy: a short history, 2002, Allen & Unwin 5 Jack Lang, I Remember, 1949, Invincible Press 6 Jack Lang, The Turbulent Years, 1968, Invincible Press

English Extension Journal

Paper 1, Section 1

(Note: The text for Text 1 is unreadable, and thus the task cannot be done)

b) The composer makes the father’s journey seem important through the use of language such as ‘daunting’ and ‘gruelling’, which create the impression of danger; this creates the impression in the responder’s mind of the important nature of the journey through its epic scope. The contrast with ‘a simple father-son bonding exercise’ also heightens the importance of the journey, in that it shows the true scale and impact of the journey. The use of quotes heightens the emotional impact, in that we are allowed to understand the situation from his perspective, and thus makes his situation seem more important through, as he says, ‘a human face on genetic disease’.

c) (i) The responder receives an idyllic impression of New Zealand from the first paragraph, with information about the wide variety of life and creatures in the landscape. (ii) The composer involves the reader through humour and imagery. The humour is provided by examples of the so-called ‘Curse of Stinginess’; this involves the reader through the creation of situations that are relatable, and creates an entertaining feel that encourages the responder to read on, thus becoming more involved. The imagery, such as ‘fresh snow [coating] the foothills’ and the metaphorical ‘industrial-sized bulls, horses, cows and farmed deer’, allows the reader to imagine themselves taking part in the journey via an appeal to the senses.

d) Texts 2 and 3 demonstrate that the journey is more than a simple movement between places through analysis of the underlying motives and transformations that occur as a result of the journeys. These are demonstrated through the use of imagery, metaphor, and descriptive language.

Text 2 highlights from the beginning how ‘Jesse’s journey’ differs from a simple movement between places by contrasting it with a ‘normal’ journey, in that it is neither a ‘father-son bonding exercise’ nor a ‘farewell’. By highlighting what the journey is not, the text demonstrates the significance of the journey. The text states that John Davidson’s second journey was designed ‘to bring hope to families affected by genetic illnesses’, and Davidson uses the metaphor of putting ‘a human face on genetic disease’ to describe his journey. This metaphorical intent highlights that the journey is more than a simple movement between places, in that the text focuses on the fact that the intent is designed to, in a metaphorical sense, ‘rattle a few cages’, rather than move from place to place.

Text 3 demonstrates the significance of the journey by focusing on what it reveals about both New Zealand and the composer. The composer focuses on the so-called ‘curse of stinginess’ rather than the actual journey itself, in that what they discover along the journey is more important than the destination itself, which is never identified. The stylistic technique of keeping the origin, destination and purpose of the journey vague allows for a greater emphasis on the composer’s discoveries, rather than the journey itself. The composer uses a format of connected vignettes around a central theme to show the nature of New Zealanders, and in doing so highlights the author’s discoveries along the trip rather than the trip itself.

In conclusion, both texts demonstrate that the journey is more than a simple movement between places by highlighting discoveries made during the course of the journey and/or the intent of the journey, rather than focusing on the journey itself. This allows for deeper examination of the inner, rather than physical, journeys undertaken by the protagonist in each text.

Paper 1, Section 2

Now, I’d like to introduce a man whose works in the study and debunking of post-modernism is second to none, and whose efforts to end the ‘long march’ through our institutions by leftist dogma has helped enlighten students across Australia. Ladies and gentlemen, Professor Mitchell Hoffman!

Thank you, thank you. It’s an honour to be here.

Ladies and gentlemen, today we face a crisis in education and in the cultural debate in this country that is unequalled in our country’s long history. I speak, of course, of the syllabus in today’s schools. More to the point, I bring to your attention a question in the 2004 HSC English paper; namely, a written response to the statement ‘Your imagination will take you further than your car ever will.’ This statement, seemingly innocuous, I think poses a greater threat to society and culture in this country since the defeat of communism and the triumph of Hayekian economics.

Now, at first, this statement may seem innocent. After all, aren’t we meant to encourage imagination in our children? But it is exactly the form of New Age postmodernism that has destroyed standards and moral values in this country. Children are being taught, ladies and gentlemen, to abandon rationality and honest scepticism, and to accept simple fantasies as substitutes for reality. Note that both the imaginative and the physical journeys are referred to in the same sense; they are not ‘separate but equal’, but the imaginative is clearly referred to as being superior to the physical. After all, no one says ‘Your imagination will take you, in a separate but equal way, to a different destination to your car’. This is an approach that clearly spurns real-life solution for dogmatic, theoretical notions of the superiority of the imagination. There is no recourse to logic, there is no recourse to sense; children are being encouraged towards antisocial, introverted approaches to life; after all, the world inside their head is clearly superior to the outside world, right? Wrong. This is yet another example of the left’s pessimism and apocalyptic approach to world politics; having failed to encourage their treacherous and fantastical policies through the wisdom and scepticism of the Australian people, they now encourage our children, through their domination of the educational industry, to forsake the real world, as denoted by the ‘car’, in favour of the left’s ‘imaginary’ world, where no problems exist, where real problems can be solved by hand-waving and fairy dust, and where practical, real-life means of thinking and problem-solving, as should be taught and expected in schools, are replaced with a socialist fantasy world.

I believe this educational approach, which focuses more on the imaginary than the practical, is at the root of any number of problems in our world. Drug abuse is simply another way of escaping into the fantasies which Marxist ideologues in our schools indoctrinate our kids into thinking will ‘take you further’ than the real world. Ladies and gentlemen, what ever happened to practicality? What ever happened to reason over emotion, science over magic? Our children are being taught-brainwashed, if you will-New Age filth that denies the reality of our world and seeks to indoctrinate them from an early age.

Imagine unleashing these children into the world. They will have no understanding of practical realities, no grasp of English for use in the working world; their emphasis on ‘imaginative’ solutions and denial of any form of absolutism may put them in good stead with their teachers, but is utterly incompatible with reality. These children will lack social skills, as, after all, they are taught that no physical action can better than their own imaginations; as such, they shall become introverted to the point of mental illness. An entire generation of Australian schoolchildren are being poisoned by these narrow-minded, dogmatic teachings!

Because you all see where this leads. If one’s ‘imagination’ takes a child further than their car, soon they shall abandon cars altogether. (Another example, you will note, of the false prophecies of global warming being peddled in our schools) From there, why bother moving at all? What prospects does the real world offer compared to their, if you will excuse the sarcasm, ‘imaginations’? Children will become disillusioned with the real world, and try to escape into fantasy. And from there, it is a short, slippery slope to depression and suicide. Why should our children live, after all, if they are taught to be so disappointed in the real world? This mirroring of the left’s despair at the destruction of their hallowed false idols, Whitlam and Keating, is being programmed into our children. From here, is a suicide epidemic really so far-fetched?

I call upon the Teacher’s Union to end these filthy doctrinal practices, and to restore proper standards of rationality and common sense! For the sake of our children, we must restore notions of practicality to English teaching. A physical journey is always superior to an imaginative journey in terms of real-world experience, and one’s ‘imagination’, no matter how highly viewed by teachers, can never help one cope with the real world. No matter what these left-liberal, chardonnay socialists who infest the unions, especially the teaching profession, think, a car will always take you farther.

Creative Writing 1

Extract from Effects of Long-Term Space Travel, Nature Magazine, 16 July 2026

Although Professors Lancaster and Taylor in their examination of the Discovery mission made the assessment that, ‘in the long term, the facilities onboard the Discovery should have served sufficient to avoid any psychological consequences resulting from prolonged isolation’, this report takes a more pessimistic view. We feel that the Discovery lacked sufficient area and recreational activities to prevent the effects of long-term isolation…

Day 163

Jonathan Howell woke up slowly. There didn’t seem much point in getting up.

The Discovery was small. Very small. For the last five and a half months, Howell had lived in a grey, metal can. There were no decorations on the walls, nothing to distract him. Too much weight, they had said; everything had to be kept to a minimum. And so, Howell was left with a room that was nothing but walls.

Every day, he woke up at the same time, ate the same meals, did the same activities. He went through the same routine of pointless tasks, performed experiments that would never be looked at, filed logs that would routinely ignored. He was just another robot on a ship full of them; just another part of useless cargo, nothing more.

There was no need for humans. He was only here as a public relations exercise. Every damnable aspect of the ship was just another sop to public opinion.

Extract from Effects of Long-Term Space Travel

Although at first Jonathan Howell showed no signs of psychological impediment from the voyage, we believe that this may have been an attempt by Howell to avoid showing ‘weakness’. The first evidence of Howell’s decreased mental capacity came on June 21, 2025…

Day 243

Today, he’d snapped at his controllers back on Earth. How could they blame him? He’d been out here for eight months. Eight pointless, long months. Every day, every hour, every minute he longed for home. And yet he still had four hundred and fifty days left to go.

He tried to stay focused on the destination. After all, that was what journeys were about, right? But, in a very real sense, there was no destination; the whole mission was just a fly-by. He would be able to look down on those red deserts just once, and see the planet sail on by in the blink of an eye…there was no destination, there was no reason, there was no point to the journey. He was being sacrificed on the altar of public consciousness.

Extract from Effects of Long-Term Space Travel

The subject began to suffer wild mood swings from his isolation. He was observed crying on Days 275 and 281, while he reacted with noticeable anger on Days 321 and 342. After a while, it became apparent that these emotions were not in reaction to any of his surroundings…

Day 281

Jonathan took to imagination as his one source of companionship. In his eyes, he wasn’t Jonathan Howell, scientist; he was Lord Jonathan of Howellia, slayer of dragons, usurper of thrones, lord of many nations. He decorated the walls of his craft with pictures, crudely drawn, of his many adventures; it made it seem more real, somehow.

Extract from Long-Term Effects of Space Travel

Jonathan began to devote more of his time to drawing and writing; examination of the pictures (examples below) shows a marketable decrease in quality as time progressed. His writing gradually became more erratic…

Extract from Ship Log for Day 414 of Discovery Mission

…you see, Lord Jonathan is more real than any of this. There’s a point to his life: to do good. He can make a difference; he exists in a world of black and white…his realm is filled with fantastical creatures, sure, but are they any more or less real for that? He has friends, he has enemies, he has subjects. He loves, he hates, he laughs, he cries. He is real.

Jonathan Howell, on the other hand, lives in a world of shadows. He speaks to no one, he does nothing. He simply lies there, waiting for the destination. ‘He’ does nothing; he spends his entire time in the life of Lord Jonathan. He has no personality, no emotions, beyond those he experiences in his imagination. Is a man who lives vicariously really a man at all?

If that is the case, why does it matter if he lives or dies? His ‘real-life’ journey scarcely matters; it is pointless and insipid, meaningless and endless. And yet it is the only thing that exists in his life. Surely, in such circumstances, this means his own life is pointless and insipid…but his imaginative journey has purpose and meaning. Lord Jonathan has goals, ideals, and motivation. Jonathan Howell has nothing…

Extract from Long-Term Effects of Space Travel

Jonathan was not observed eating after Day 436, and was not observed moving after Day 439. He continued talking sporadically until Day 441. After this, no movement was observed…the first signs of decomposition were observed on Day 463. Upon the return of his capsule to Earth, examination showed that he had died sometime between Day 444 and Day 453…

More research is required.

Creative Writing 2

My name is Taylor Matthews, and although you may not believe some aspects of the journey I’ve been on over the past few weeks, I swear it’s true. All of it. Especially the bits I made up, for reasons that will become apparent soon enough.

The whole thing started, really, when I began to wonder what is real? Unoriginal, I know, since Descartes beat me to the question by a few centuries, but he made a crucial mistake in his reasoning. I think, therefore I am, he said, since how could he be fake?

The problem with his reasoning is that even what we are is indeterminate. I may not be Taylor Matthews; I may simply be someone who thinks he remembers being Taylor Matthews. For all I know, I merely exist for this one moment; everything else is merely a figment of my-or worse, someone else’s-imagination.

These questions obsessed me. I could not prove, conclusively, that anything I did or thought had really been done or thought; there was no way I could prove I had done anything, since my own memory could not be trusted and if I asked someone else, how could I be sure of what they said? I might merely have imagined their response in the affirmative, carefully blocking out anything that might shatter my notions of my own world. In short, I could not prove that anything I saw had any relevance to anything real, since I had no frame of reference I could trust.

Admittedly, most people go through identity crises at 13, but I went through a reality crisis. Every day, these questions preyed on my mind. What was the point of doing homework, I wondered, if I could not prove that I had done the homework at all? For all I knew, I was merely imagining doing homework, and would wake up later on to find that my careful notes existed merely in the confines of my mind. Then again, my later awakening may not exist either. Admittedly, this wasn’t the best excuse to use on teachers, but it seemed self-evident to me that either I would resolve this issue, proving the universe to be true or false, or it would consume me. I pictured myself in the future; unable to move, unable to speak, unable to think, for what would the point be if nothing I did mattered? I decided to go on a journey, to resolve the truth of the universe; a journey in the sense that while I had no fixed destination or path, I hoped that along the way I would discover truth. Isn’t that the point of journeys?

Obviously, there was nowhere I could go to find answers to my questions; this would be a journey of the mind and spirit, not of the body. I remained convinced, even in my darkest moments that I was real; no one (for I was convinced that if I was being fooled, it would be by conscious intent) could make me anyone else than who I was. Further analysis would have revealed this to be a lie; I was the product of the circumstances around me, and if they were merely the product of conscious manipulation then so was I. But I desired to retain some certainty, at least.

One night, I decided that I would take the leap. Any chemical stimulation would be unnecessary; after all, if my worst fears were confirmed then the drugs would be revealed not to exist at all. Besides, Mum would have killed me. I merely lay in bed one night, and concentrated.

At first, the project appeared as foolhardy as it might have first appeared. As time went on, I began to reflect on the stupidity of my venture, and to wonder what such concerns said about me. I had an unhappy school life, to be true; my marks were low, my friends were sparse and unenlightening, I felt no motivation to learn. Could the boring tedium of my conservative, stultifying life have led me to this? Could I merely be trying to deny that this life was real in an attempt to escape it?

It suddenly seemed so clear to me. My examination of my psyche had revealed one, simple fact: that this whole thing was merely a figment of my imagination. What imagining that one is on a journey to discover that one is merely a figment of one’s imagination says about one’s psyche is sure to be disturbing, but that was beyond the point. My journey was over. The answers had come not from deep analysis of the universe, but from myself.

I got up, and walked out. I was already several steps outside my room when I realised I hadn’t opened the door along the way.

This was most concerning.

Related Text 1 – Life of Pi

• The use of flashbacks and vignettes set in the present (indicated by italics) indicates that Pi's survival is a foregone conclusion; the book is not about whether he will survive, but how he survives. As such, the book focuses less on the physical journey, the ending of which has already been indicated, but rather the imaginative and inner journeys. • The three challenges Pi faces, the ocean, the island and the tiger, are also paradoxically the things that allow him to survive. The ocean is blue, the traditional colour of Christianity; the island is green, the traditional colour of Islam; and the tiger is orange, the traditional colour of Hinduism. In this sense, Pi's religion allows him to survive. These 'challenges' are not physical challenges, but rather spiritual. •

Related Text 2 – American Gods

Notes on Items from BOS Stimulus Booklet

Text 1

• The poem serves as an extended metaphor. • The poem follows an ABAAB rhyme scheme. • A melancholy, regretful tone • ‘yellow wood’: autumnal, season of change • ‘long I stood’; assonance of ‘oo’, prolonging sound • No pauses in Stanza 1 • Repetition of ‘and’ in Stanza 1 prolongs decision to go forward • Low modality; little definition of place through contradictions in Stanza 2 • Exclamation mark in Stanza 3 creates sense of finality • ‘doubted’; further uncertainty, regret. • ‘:’ in Stanza 4; creates pause • Final stanza creates sense of closure, with low modality, uncertainty, and no definitive answers to consequences.

Text 3

• Humorous tone • Anthropomorphic characters create imaginary aspect • ‘shining with newness’; metaphor • Bucolic, romantic setting • ‘The whole world before you’; metaphor • ‘The very finest cart of its sort’; hyperbole, exaggeration • Hyphen serves to slow pace • Italics for emphasis • Elevated language used by Toad shows his higher status in society

Text 4

• Margaret Atwood is a Canadian postmodern poet. • Written during the 1960s, during an era where self-analysis was seen as important in healing mental health. • Contemporary with rise of Confessional poets such as Sylvia Plath. • Poem is different to Margaret Atwood’s usual style in terms of its darker tone. • She notices a similarity between ‘physical’ landscapes and ‘inner’ landscapes. • A recurring theme is that one’s discoveries while on an inner journey can be different to how one originally perceived; the mental landscape appears different from first impressions, with ‘hills’ becoming ‘endless prairies’. • ‘that a cliff is not known/as rough except by hand’ shows the difference between perceptions of the psyche and actually experiencing it. • Extended metaphor of the map, and differences between the landscape as shown on the map and the ‘real’ landscape. • ‘that there are no destinations apart from this’: highlights that all journeys are to some extent an inner journey • sense of claustrophobia in the last four lines in Stanza 1, due to reluctance to journey and make discoveries • The responder is told of things which distract the composer while on the journey; makes point that small, tedious distractions of life, and to an extent mundane situations as a whole, distract from self-discovery. • Brackets contain a self-mocking aside, which exists as a ‘reflection on the reflection.’ • ‘but only some have returned’; comment on the dangers of self-discovery, veiled reference to Sylvia Plath • negative implications of words in fourth stanza; futility of trying to impose order on dynamic, changing consciousness • ‘must’ in fifth stanza, sense of urgency, one must retain calm in face of one’s discoveries

Creative Writing 3

Ad Europa, Tedium

The day dawned bright and early, which is not only inaccurate (my journey took more than one day) and uncertain (I wasn’t exactly conscious either time) but also irrelevant. While it may seem that I was merely taking a physical journey, this was merely superficial. I took an inner journey of epic depth and scope, into the depths of decay and out the other side.

The catalyst was my own greed and avarice for a trip to Europe, and a failure to understand the consequences of this flaw. I was young and spiteful; there was nothing I could not do, at least with the aid of thousands of dollars of my parents’ money. As soon as the plane took off, I realised the depth of my error and the extent of my most grievous mistake. It was the smell that first assaulted me; that sickening stench of disinfectant, of body odour, of a thousand unwashed souls cooking in their own seat. The harsh cabin lighting seemed to bore through my eyes and into my synapses. I watched Family Guy to the point of nausea (one episode, once), and then sickness finally overwhelmed me. Michael Busuttil tells me I looked on the verge of death, or ‘gross’, in his words.

For the next fifteen hours, I went without sleep, without food, sick to the deepest pit of my stomach. I sat in the aisle at the back of the plane, simply because it was the coldest spot. Admittedly, I did impede passage from one aisle to another, but I barely cared. I spent my time staring numbly at the walls, unable even to read, such was the extent of my sickness and my misery. As my physical journey wore on, I underwent a similar inner journey to confront my hubris.

Why, I reflect bitterly, had I subjected myself to this? My eyes were seared by the lights. My mouth was full of a foul, acid taste. I starved and I thirst, yet I could not eat or drink. In my sleep-deprived state, I eyed the time with greedy eyes. I counted down the hours until freedom, glorious freedom. As I boiled in the warmth of the craft, I longed for the winter of Europe. A brief stopover in Singapore merely made matters worse; I paid $10 for a copy of the Sydney Morning Herald, only to discover that in my absence Australia had categorically failed to do anything worthy of the money I paid for the paper. It did little to improve my already-darkened temperament. After that, I merely sat and stared at my watch.

As I sank deeper into despair, I railed against my greed and my insatiable desire for travel. I did not need to go to Europe; I had been there only two years before, more than many people would go in their lives. Had I subjected myself to the torments of airsickness, boredom, and the indescribable terrors of the Fantastic Four movie for nothing except empty vanities? By the time I left the plane, which seemed an eternity later, my inner journey was complete. Never again, I vowed, would I give myself over to greed.

As it turned out, Europe was fantastic, easily worth the effort of getting there (and back). Next year, I’m going back. While my inner journeys are generally deeply meaningful, they don’t tend to last very long afterwards.

The Tempest

• The role of The Tempest as an imaginative journey is indicated through the setting, the fantastical nature of events, magical characters such as Ariel and Caliban, and the exaggerated, proto-Romantic language used. • The sea voyage at the beginning is symbolic of the journey, while the shipwreck is indicative of perils on life’s journey. Storms are indicative of imbalances in the natural order, as in Macbeth and King Lear. • The extended metaphor of sleep and dreaming is first introduced in Scene 2, and recurs throughout the play. • Transformation as a theme also recurs throughout the play, and is first referred to in Scene 2 with how Antonio ‘changed ‘em/Or else new formed ‘em (1.2.83-85)’. • Miranda’s name is a transliteration of ‘wonder’, which ties in with Ferdinand’s line ‘O you wonder’ (1.2.425). References to the divine and the wondrous are common within the play. • Gonzalo’s speech (2.1.145-153) further emphasizes the unnatural nature of the island, in that he would execute all things ‘by contraries’, and would accomplish things Shakespeare’s audience would consider impossible or unnatural, including sovereignty over an island where Gonzalo says there will be ‘no sovereignty’. This not only emphasizes the magical nature of the island, but creates a direct link between the island and the theatre, where anything is possible. It must be emphasized that although his commonwealth seems somewhat utopian to today’s audience, many of the things he wished for (‘no sovereignty’) would have been profoundly affronting to the Jacobean era audiences. • Trinculo’s speech repeats references to stormy weather, showing disturbances in the natural order. The reference to Caliban as a ‘most delicate monster (2.2.72)’ is deliberately amusing, and repeats an earlier reference to Ariel as ‘too delicate (1.2.272)’, heightening contrast between Ariel (of the air) and Caliban (of the earth) • Caliban’s reaction to Stephano is similar to Miranda’s reaction to Ferdinand, creating contrast. • The ‘maze’ which Gonzalo refers to in Act 3 Scene 3 refers to both the island and the island as a metaphor for life. The journey on which Alonso and his courtiers are sent serves as a metaphor for their journey as a redemptive experience, in which they can understand their guilt and be forgiven. • Prospero links the ending of ‘our revels’ at the masque in Act 4 Scene 1 to death (4.1.146-158), part of the theme of death and renewal recurring throughout the play, as shown by the traveller’s symbolic ‘death’ on the boat and their redemption on the island. • Prospero refers to Sebastian and Antonio as ‘unnatural’ (5.1.79), a further reference to the contrast between the natural and the unnatural. The play largely concerns itself with the ‘natural order’, as shown by various ruminations on justice and forgiveness throughout the play, and especially in Act 5. Through Prospero’s overthrow, the natural order of being has been disturbed, thus making Sebastian and Antonio ‘unnatural’; through Prospero’s restoration, order is restored. However, Prospero must give up his own innately unnatural magical abilities for this to occur. • Prospero asks Ariel to provide ‘calm seas, auspicious gales’ before freeing it, thus further restoring the natural order.

Concept of the Journey

• Shirley Geok-lin Lim: ‘They [humans] k an external geography that will act on their internal psychology like an irresistible force, so they will return to the place from which they came blessed and altered’. This is the theory of travel as the search for the genii loci, or ‘the spirit of the place’. • Journeys can be roughly divided into physical, imaginative and inner journeys, but many journeys, fictional or otherwise, cross boundaries; it could be said that all journeys are physical, imaginative and inner, and each merely focuses on an aspect of the greater whole. • Physical journeys can be defined, roughly, as travel or exploration (exploration implies an indefinite destination) in a physical sense. Examples of such texts include Alien, Life of Pi and the books of Bill Bryson. However, it must be noted that these journeys rarely exist merely in the physical realm, but are often representations of the quest by the explorer for the genii loci, as mentioned above. As such, many physical journeys involve imaginative or inner elements, and some texts cross genres of journeys. • However, it must be taken into account that to define the concept of the journey is inevitably a variable task, as there can be no precise definition of the concept of the journey. Each journey is unique and based upon the context in which it takes place. • Imaginative journeys have been variably defined. Generally, they are journeys of the imagination or fantasy, where the lines between reality and fiction are blurred. Many can be little more than physical or inner journeys with unreal or speculative elements (examples of this include Tomorrow, When The War Began or Star Wars; both document physical or inner journeys with imaginative environments), while some are texts involving imaginative contexts or situations with less emphasis on the inner or physical journeys undergone by the protagonists (examples of this include Sophie’s World or Harry Potter) Generally, the imaginative journey is a text where the context or situations contained within require imagination or speculation on behalf of the audience or the composer. • Inner journeys do not necessarily take place in the physical world or involve imaginative elements (although many inner journeys in fiction involve imaginative or physical journeys). They require and promote a fundamental change in the mindset of the protagonist, and involve a ‘journey’ or exploration of the psyche, in which the explorer is fundamentally changed by their discoveries. This is perhaps the most amorphous genre of the journey; numerous texts involve inner reflection and self-discovery on the part of characters within, to the extent where this ‘genre’ threatens to become too all-encompassing for easy definition. • The journey, fundamentally, can be defined as ‘change’; every journey requires change, whether physical or psychological. The change in context provoked by a physical journey promotes psychological changes as well, due to the influence of context on one’s perceptions. Therefore, it can be said that a ‘journey’ text documents the impact on the psyche of changes resulting from a physical, imaginative or inner journey. In this sense, it can be said that every journey is an ‘inner’ journey, in that every journey, through the change in context, inevitably causes change to those on the journey.

Paper 1, Section 3

Composers have used texts to explore the importance of the journeying process through analysing the central concepts behind various journeys, and through the use of techniques to demonstrate these concepts. The composers of The Tempest, The Road Not Taken and Life of Pi all use imaginative journeys to explore the important role of journeys in psychological, individual and spiritual development.

William Shakespeare, composer of The Tempest, uses the text to explore the importance of journeys in the psychological development of its characters. The text contains multiple forms of journeys, with physical journeys (the opening scene, the fruitless exploration of Alonso’s party), imaginative journeys (the magical and fantastical nature of the play itself, Gonzalo’s envisioning of his ‘commonwealth’ with ‘no sovereignty’), and inner journeys (Prospero’s journey from vengeance to forgiveness). Each of these journeys plays an important role in the development of the characters within the text. The importance of imaginative journeys is particularly reflected upon with Alonso; his journey through the island, caused by the interruption of his journey to Naples, causes him to reflect upon the errors of his ways and thus seek redemption. Through the imaginary element of the illusionary banquet, presented in 3.3.19-52, Alonso is made to suffer (through the removal of the food), which leads ‘their great guilt/Like poison given to work a great time after,/Now ‘gins to bite the spirits’ (3.3.105-107), according to Gonzalo. The stage directions indicate ‘several strange Shapes’ are responsible for bringing in the banquet, thus using theatrical techniques to highlight the imaginative nature of Alonso’s journey. It is only through Alonso’s troubled journey on the island that he is able to reach redemption, thus highlighting the importance of the journeying process. A similar process is undergone by Caliban, on his ‘journey’ with Trinculo and Stephano, which ends in failure. He states, ‘I’ll be wise hereafter, and seek for grace. What a thrice-double ass was I to take this drunkard for a god and worship this dull fool!’ (5.1.294-298). This revelation is only accomplished through Caliban’s journey across the island, and through the imaginative nature of the ‘divers Spirits’ which pursue him. It is only through the imaginative journey (imaginative in the sense that it blends the fantastical with the real, in that it requires imagination on the behalf of the composer, and in that much of what occurs is the province of the mind) that Caliban goes on that he is able to gain wisdom. This is conveyed technically with the change in Caliban’s language in the last scene, and the contrast this presents with his behaviour in the first scene; whereas previously he used terms of abuse such as ‘the red plague’ and ‘toads, beetles, bats, light on you!’, in the final scene he promises to ‘seek for grace’. This heightens the impact which Caliban’s imaginative journey has had on him. These two examples highlight that, in The Tempest, Shakespeare aims to illustrate the importance of journeys as a source of psychological enlightenment.

The Road Not Taken, written by Robert Frost in 1916, examines journeys in a different light. It is important to examine The Road Not Taken in the context of political liberalism, and more importantly the political context of the times; Frost, a noted liberal thinker, wrote The Road Not Taken during the so-called Progressive Era, where individual thought and social liberalism gained impetus under the presidencies of Theodore Roosevelt and Woodrow Wilson. Tyler Hoffman argues that Frost’s poetic practice is ‘fundamentally progressivist’. In this context, the protagonist’s journey can be read as a triumph of individualism; in making his choice of path without consideration for which road was more taken, the protagonist is validating the concept of the journey as an effort of individual will and self-realisation, without the constraints of community pressure. The poem is low on modality, suggesting that it represents not a single journey, but rather an idealised metaphorical conception of journeys throughout life; the protagonist states, ‘I took the road less travelled by, and that has made all the difference’, but the negative connotations of ‘sigh’ imply that this difference may have been a negative one. In this sense, The Road Not Taken can be interpreted as a rebuke of liberalism, in that taking the road less travelled by, and thus giving in to one’s individualism, leads to one recounting the tale with a ‘sigh’. However, this does not detract from the poem’s essential message upholding human liberty; one cannot ‘travel both’ paths, but must make a choice. It is this emphasis on choice that serves as the poem’s central theme. Through this, it can be said that the poem emphasizes the importance of journeys in a liberal sense, in that they serve as means by which humans may exercise freedom and individuality, and thus develop as individuals.

Yann Martel’s Life of Pi is unique, in that it presents a journey that can be interpreted as inner, imaginative and physical. On first examination, the text can be seen as merely the journey of its protagonist, Pi Patel, on a lifeboat with Richard Parker, a Bengal tiger. However, in a deeper sense the story is about Pi’s religious journey; as a Hindu, Christian and Muslim, Pi merely wants ‘to love God’. Pi's retelling of the story to the Japanese businessmen in the end, and his presentation of an entirely different version that seems more plausible, shows that the imaginary journey can be seen as a meditation on what is 'real', and that imaginary journeys, if they form 'the better story', can be made just as valid as what can be seen to have actually happened. Pi mentions that he survived by turning to God, and thus the journey in Life of Pi can be seen as a spiritual awakening. The technique of symbolism is used to illustrate this point; the three challenges to Pi's life are the ocean, the tiger, and the mysterious island he encounters, and yet all three of these also help save his life. The tiger, Richard Parker, is orange, the island is bright green, and the ocean is blue; these colours are also used to represent Hinduism, Islam, and Christianity respectively. This adds further credence to the theory that the 'journey' in Life of Pi is a spiritual awakening, where Pi's faith is tested and ultimately affirmed. As such, the 'journey' can be described as important in that it serves as a source of religious fulfilment. (add quotes later)

In conclusion, all three authors come to different conclusions as to the purpose of the journey, and illustrate these through different techniques. However, a common theme is that of the journey as a source of individual fulfilment and enlightenment; to Shakespeare, it serves as a psychological catharsis, to Frost, it serves as an expression of individuality, and to Martel it serves as a source of religious and spiritual strength. As such, it can be said that the importance of the journey is in the impact it has upon the psyche of the journeyer.

John Lancaster

Draft Proposal

• Working Title and Intention: My working title is The Anvil. This is an allusion to the ‘Pact of Steel’ formed between Fascist nations before World War 2 (with fascism obviously standing in for steel), and with a reference to the notion that my story is less about fascism itself, than about the circumstances which lead to individuals gaining ideological allegiance to it. However, this title is still highly speculative. My chosen form is still somewhat variable; I believe that a short story is necessary for the inner reflection of the central character required, yet I find myself tending towards presenting the piece as a monologue or series of monologues, which may be better suited to a speech. However, I currently believe that a short story, told from a first-person perspective, would be better suited to my topic; I may do it in flashback format, depending on space and relevance concerns. I have decided to write a story about the modern Australian ultra-nationalist fascist movement, including groups such as One Nation or the Patriotic Youth League, and more specifically about the psychological factors drawing people to join that movement. My main focus will be how my female main character, a member of a neo-Nazi group, has been dehumanised by poverty, injustice and the media, to the extent where she no longer looks on others as human. I have decided to set it in the format of an interview with a left-leaning journalist in the aftermath of the Cronulla riots, about the protagonist’s life and their reasons for joining the fascist movement. My audience will be people of all ages, but more specifically those with an interest in and knowledge of history; while the psychological drama contained within my work will hopefully provide interest for an adult audience (younger audiences, understandably, may not be entirely suitable), the strong political l content may make the work somewhat more appealing to a left-leaning audience, although obviously I aim to make my work appeal across the political spectrum. The purpose of my work is to explore both the ideological and psychological basis of fascist ideology and its adherents, and more broadly an analysis of the dehumanising effects of media prejudice, societal expectations and poverty. I believe this will be demonstrated through analysis of the central character through the interview, leading to a better understanding of her psyche and motivating features. Additionally, I may choose to include excerpts from (fictional and otherwise) texts examining fascism and the psychological effects of war.

• Inspiration: My inspiration came through two works studied in English, Angela’s Ashes (Advanced) and George Bernard Shaw’s Pygmalion (Extension). My initial intention was an adaptation of Pygmalion set in Nazi Germany; however, I felt that this period of history and location have been made somewhat cliché by repeated analysis. While seeking to find a way to use this concept in a non-German setting, I recalled Laman Griffin, a fascist character in Angela’s Ashes, and his misanthropic behaviour within the novel; I decided an analysis of how he came to gain his psychological deviation would be an interesting topic. I was inspired by Der Untergang, a 2005 film about the final days of Adolf Hitler; the fanatical loyalty shown by his adherents, even after his derangement became apparent, appeared a fertile topic for analysis (even though, unfortunately, many other writers have apparently decided this before me). However, I later decided that the Irish fascist movement was not either interesting enough or easy enough to research, and so I chose to set it in a modern Australian context. I believe this will be interesting due to my intense interest in politics and history, and more specifically in the rise of racial politics in recent years. More specifically, I wish to examine racism in Australian society more generally, and what the recent popularity of racist movements says about our culture and history, through analysis of books, websites, and other forms of media on the subject, including fiction addressing the subject. I also plan to research the ‘interview’ and ‘short story’ forms through wide reading, while also investigating the possibility of doing the Major Work as a dramatic presentation.

• Planned method or process I plan to have finalised my ideas and how I plan to achieve them by the end of Term 4 this year, and to use my summer holidays for research. I plan to spend Term 1 in intensive research, while also completing preliminary drafts, leaving adequate amounts of time to begin the project anew, if my ideas prove less satisfactory than previously envisioned. By the beginning of Term 2, I plan to have completed my research and to possess a rough draft of my Major Work, but with Term 2 serving as a time in which to revise and rewrite the work intensively. By the time of my Viva Voce, I aim for my first draft to have been completed. I will spend Term 2 working on my Reflection Statement, while also completing my Major Work. By Term 3, I aim for my work to be practically complete, with only a few minor areas in need of completion.

• Outline of preliminary independent investigation: I began research into the Irish fascist movement, the Blueshirts/National Guard/Army Comrades Association, through both internet and literary searching. On the Internet, I have visited several websites associated with Eoin O’Duffy, the leader of the Blueshirts, and I have visited Liverpool and Campbelltown Libraries in order to conduct further research. In this time, I have learnt enough to confirm my interest in the National Guard; as stated by Terence Brown in Ireland: A Social and Cultural History, ‘the Blueshirt movement was an Irish expression of a European phenomenon [fascism]’, and thus they share many of the features that make the study of European fascism so interesting. However, my preliminary independent investigation has been somewhat stonewalled by the lack of readily available information on the Blueshirt movement; as the National Guard were later merged into Fine Gael, one of the major Irish political parties, this period of history is perhaps understandably one that is regarded as somewhat embarrassing. Compounding this difficulty is the somewhat insular nature of my subject matter; few books have been written in detail on this subject, and even fewer have been released to Australian audiences. I thus decided to change my context to modern-day Australia. I bring to my major work knowledge and understanding of Australian history, knowledge of the European fascist movements of the 1930s and a reasonable understanding of Australian vernacular and methods of speaking. I intend to research the history, ideology, structure and membership of modern Australian racist movements, and the underlying social factors which they reflect.

• Critical factors for success: My major obstacle to success will be my workload. I will be doing 11 units next year, 9 of them online; however, all of my subjects will be heavily research and essay-based, thus requiring a higher workload than some alternatives. My main conflict for time will be with my History Extension major work, which will require extensive research and which will be due within a similar timeframe. My other major obstacle is the insular matter of my subject manner; any research I undertake may require specialisation, which will require perhaps more effort in obtaining suitable texts than another subject might. This will perhaps consume more of my time which might have been spent on research. There is also the problem of stretching out an interview, or indeed a series of interviews, to the word length required. This may require me to change the format of my Major Work, and perhaps to broaden the subject area.

• Resource requirements: This is an area of particular relevance to my work, as many of my resources and knowledge required will be highly specialised. I may need to interview experts in Australian history and politics for specialised information, and books not in general circulation may prove useful. This may require research in university libraries, interviews with people connected with or witnessing the Cronulla riots (a central feature in my story) or similarly specialised sources of information.

• Evidence of research into other major works Der Platz: Der Platz is an excellent, evocative story, with complex symbolism and themes. The story is original, coherent, contains developed ideas, and demonstrates a wide range of well-developed literary skills. Its vignettes are flawless, and show a good understanding of the underlying themes and tensions in German society during the fall of the Weimar Republic, which will prove very useful for my own Major Work. The film communicates developed ideas with the novel touch of using the stylistic flourishes common in German silent films of the time. Questions must be asked about originality; this era has been visited often by many different texts, thus presenting the problem that this era may have been somewhat ‘overdone’. However, I feel that Der Platz deals with these ideas in a novel, original way, overcoming the inherent limitations of dealing with an era as controversial and commonly-dealt with as the rise of the Nazis. An excellent story. The Powers That Be: The Powers That Be is a simplistic, shallow collection of stories with a lack of coherence. Although some themes do recur, they generally do not allow the work as a whole to coalesce into a stylistic ‘whole’, with the stories generally being too different to allow for thematic relation. The first segment is a shallow analysis of German class conflicts lacking in depth or aim, while the rest of the stories are disjointed and lack plot or flow. Her most memorable moments occur in the second story, with some memorable imagery; otherwise, her stories lack any notable stylistic flourishes. Her characters range from shallow caricatures to melodramatic, one-dimensional pastiches. Although the themes of control and authority often recur, there is no central point to the work; rather, it functions as a series of short stories with a recurring motif, which does not tie together or work as a unified whole. Therefore, it must be judged on the merits of the short stories themselves, which I found distinctly lacking in interest or depth.

• Annotated bibliography: Terence Brown, Ireland: A Social and Cultural History, Fontana Only marginally useful for my subject matter, with only two paragraphs on the Blueshirt movement; however, the book proved useful for analysis of the social and cultural factors prevailing at the time. This could prove useful in an analysis of nationalist movements in a modern context. Tim Pat Coogan, Ireland In The Twentieth Century, Arrow Books, 2004 A very comprehensive book with large amounts of notes and information on the Blueshirt movement; this been my major source of information while I was planning to research Irish fascism, and is probably one of the most authoritative works on fascism in Ireland available. Detailed and well-researched. Again, this could prove useful in an analysis of nationalist movements in a modern context. James Lydon, The Making Of Ireland, Routledge, 1998 Again, only marginally useful for my subject matter, with only two paragraphs on the Blueshirt movement; shows negativity towards De Valera and greater sympathy for the Blueshirt movement than other sources, which may indicate bias but also presents the case for the movement, which will prove useful in character construction within the text of nationalist characters. In presenting a more equivocal view of the fascist movement, it will allow me to understand the motives of the people involved in modern nationalist movements. Robert Manne, Left Right Left: Political Essays 1977-2005, Black Inc, 2005 Robert Manne’s collection of scholarly essays contains several fascinating essays on the rise of the One Nation movement dating from 1996 and 1997, in what must be one of the very few academic analyses of, as he calls it, ‘what a politically significant extremism of the right might look like in contemporary Australia’. His analysis of Pauline Hanson’s appeal bypasses standard analyses of the ‘great man’ movement and instead focuses on her ‘negative charisma’, ‘expressive not of hope for the future but of bitterness about the presence’, calling her an ‘anti-politician’. This book has been hugely helpful to me as a major source of work on the extreme right in contemporary Australia.

http://www.hrw.org/press/2001/10/australia1031-ltr.htm

http://www.hreoc.gov.au/Human_Rights/idc/index.html#major

1.2 Compliance with human rights obligations

The human rights of detainees in immigration detention facilities are recognised by international law in a number of human rights instruments. By ratifying these treaties, Australia has agreed to uphold the rights and obligations contained therein. Under the HREOC Act, the Commission has functions which relate to the human rights recognised in the international human rights instruments scheduled to or declared under the Act.[10]

For detainees in immigration detention facilities, two of the most relevant of these instruments are the following treaties:

the International Covenant on Civil and Political Rights (ICCPR) (1966)

the Convention on the Rights of the Child (CRC) (1989).[11]

Australia has also ratified a number of human rights treaties which are not covered by the HREOC Act. The most relevant of these for asylum seekers in particular is the Convention (1951) and Protocol (1967) relating to the Status of Refugees (Refugee Convention).[12] Although this Convention and Protocol are not scheduled to or declared under the HREOC Act, article 22 of the CRC provides that Australia must ensure that child asylum seekers “receive appropriate protection and humanitarian assistance in the enjoyment of applicable rights set forth … in other international human rights or humanitarian instruments” which Australia has ratified.

What are the key human rights principles relevant to people in immigration detention facilities?

Non-refoulement Non-refoulement is the principle that prohibits the forcible return of any person to a country where he or she risks facing persecution on return (article 33(1), Refugee Convention; articles 6, 7, ICCPR; articles 6, 37, CRC).[13]

Freedom from arbitrary detention No one should be subjected to arbitrary arrest or detention (article 9(1), ICCPR; article 37(b), CRC). The term ‘arbitrary’ refers to more than simply whether the arrest or detention is unlawful. To avoid being arbitrary, detention must be reasonable, necessary and a proportionate means to achieve a legitimate aim.

Detention of children as a last resort The arrest, detention or imprisonment of a child should be used only as a measure of last resort and for the shortest appropriate period of time (article 37(b), CRC).

Right to judicial review of detention Anyone who is deprived of his or her liberty has the right to challenge the lawfulness of his or her detention before a court (article 9(4), ICCPR; article 37(d), CRC).

Right to access legal assistance Anyone who is detained should have access to independent legal advice and assistance (Article 37(d), CRC; Principles 13, 14 and 17 Body of Principles for the Protection of All Persons under Any Form of Detention or Imprisonment (1988)).

Right to be treated with humanity and respect All persons deprived of their liberty should be treated with humanity and respect for the inherent dignity of the human person (article 10(1), ICCPR; article 37(c), CRC).

Freedom from torture and cruel, inhuman or degrading treatment or punishment No one should be subjected to torture or to cruel, inhuman or degrading treatment of punishment (article 7, ICCPR; article 37(a), CRC).

The best interests of the child In all actions concerning children, the best interests of the child should be a primary consideration. States Parties should ensure the child such protection and care as is necessary for the child’s well-being, taking into account the rights and duties of his or her parents or others legally responsible for him or her (article 3, CRC).

Non-discrimination Everyone is entitled to respect for their human rights without discrimination (article 2(1) and 26, ICCPR; article 2(1), CRC).

How does the Government monitor the human rights of detainees in immigration detention facilities? There is no independent body in Australia dedicated solely to monitoring Australia’s detention facilities with the power to compel changes to detention practices where warranted.

English Extension 2 Journal

22/11/06

I’ve been working on structural reform, or rather construction, for my Major Work. More specifically, what form do I want it to take?

At first, I decided the monologue structure would allow for the greatest psychological depth, perhaps with a framing story. However, I am beginning to believe that a monologue may prove tedious over an extended duration, although I believe that a series of monologues on different topics may prove interesting. At current, I am experimenting with a structure as a psychological interview, perhaps for the protagonist’s shellshock or some unidentified crime; perhaps the protagonist could be the last Irish fascist, having continued attacks after the movement folded? If so, the ‘voice’ may be somewhat diluted, which might make a case for moving the story’s context to a British or Australian setting. More research is required.

More specifically, I think I need to set out exactly what I wish to achieve with this project. Do I want a psychological analysis of fascism? The effects of poverty on the human mind? A history of the Irish fascist movement? A study of abnormal behaviours? Well, ‘all of the above’, really, but I think I need to know what I want to focus on, to make it less fractious. I have also downloaded an Irish dictionary for translations. ‘Inneoin’ is the Irish word for Anvil; I think this could make a good title. ‘Faisisteachas’ (Fascism) is also a possibility.

While I have a reasonable idea what I want to do, however, I’m still a bit unsure what I want to do it about. Irish fascism would allow for a distinct ‘voice’, but the information available could still be sketchy. The New Guard, the Australian fascists, appear interesting, but would they be interesting enough?

The Universal Declaration of Human Rights

1. The General Assembly of the United Nations adopted and proclaimed the Universal Declaration of Human Rights on December 10, 1948. 2. The Assembly called upon all member countries to publicize the text of the Declaration and “to cause it to be disseminated, displayed, read and expounded principally in schools and other educational institutions, without distinction based on the political status of countries or territories”. In many cases, Australia has done this, as the Universal Declaration has been published in many schools; however, this has not yet been universally adopted in schools. 3. a) Tyranny can be defined as a state in which one or more people possess absolute power over the governed without reference to the rule of law. The rule of law is the principle that governmental authority is legitimately exercised only in accordance with written, publicly disclosed laws adopted and enforced in accordance with established procedure, without the exercise of arbitrary power. b) The preamble sets out the principles of ‘the equal and unalienable’ rights of all humans, and states that these human rights ‘should be protected by the rule of law’. It states that the signatory states to the charter have recognized that human rights are ‘the foundation of freedom, justice and peace in the world’, and that these states aim for ‘the promotion of universal respect for and observance of human rights and fundamental freedoms’. 4. a) Article 5 is concerned with freedom from physical abuse. b) Article 18 and 19 is concerned with freedom of thought and conscience. c) Articles 9, 10 and 11 are concerned with legal rights with respect to pre-trial and court processes. d) Article 16 is concerned with family rights. e) Article 17 is concerned with property rights. f) Article 21 is concerned with democratic rights. g) Articles 22, 23, 24 and 25 are concerned with economic rights. h) Articles 25, 26, 27, 28 and 29 are concerned with social rights. 5. a) The individual has the duty to protect the rights of others, to work towards the betterment of others, and to refrain from activities which may cause harm or infringe upon the rights of others. b) The rights and freedoms guaranteed within the Universal Declaration should extend so far that they do not infringe upon the rights guaranteed within the declaration to others. These rights are absolute, but applicable to everyone; therefore, they are absolute only so far as one does not infringe upon the absolute rights of others. c) If your rights clash with the rights of others, then dispute resolution may lead to a mutually satisfactory situation, or to a situation in which the person whose rights lead to more benefit for mankind at large, even on a small scale, is guaranteed their rights above those rights pursued for purely personal reasons. 6. The non-derogable rights are those contained in Articles 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 14, 15, 16, 18, 21, 28, and 30. 7. a) Inter-American Convention to Prevent, Punish and Eradicate Violence against Women, Convention on the Elimination of All Forms of Discrimination Against Women. b) Committee on the Rights of the Child, Declaration of the Rights of the Child 8. a)Jean-Jacques Rousseau b) League of Nations c) Amnesty International.