5 Key Aspects of the Module A Rubric
Module A: Textual Conversations is one of the most conceptually rich modules in the Year 12 English curriculum. It asks students to look beyond the surface of two texts and instead explore the dynamic intellectual relationship between them: a relationship shaped by shared concerns, reimagined ideas, and centuries of cultural change.
At its core, Module A is an exploration of how texts speak to one another across time. When two disparate works are placed side by side, their very togetherness produces new insights: resonances that highlight enduring human concerns, and dissonances that reveal the evolving values, assumptions, and anxieties of different eras. Through this dialogue, students come to understand not only the texts themselves, but the cultural, philosophical, and emotional worlds that produced them.
Below is a comprehensive breakdown of what the rubric is genuinely asking you to do
Let’s get into it.
1. Module A Requires You to Study Texts as Part of a Conversation
Module A goes past traditional comparison. It asks you to examine texts as though they are actively in conversation, responding to and reframing one another. This means recognising that when texts share the page in your analysis: they illuminate each other, challenge each other, and create new meaning when read together.
The rubric’s emphasis on resonances and dissonances refers to this interplay:
Resonance occurs when texts echo one another’s concerns, themes, or values.
Dissonance occurs when they diverge, critique, or destabilise each other.
For example, if we consider the textual conversation between Donne and W;t, we can see that both works confront mortality, but they do so through radically different worldviews. Donne writes from a Renaissance Christian perspective, where death is a doorway to spiritual renewal; Edson, writing in a secular, medicalised modern world, reframes death as an emotional and existential challenge. Reading these together allows students to see not simply that the texts differ, but why Edson reshapes Donne’s ideas to expose the limitations of intellectual detachment.
Similarly, in the dialogue between Keats and Bright Star, the yearning for permanence in Keats’ poetry resonates with Campion’s film, yet the film complicates this desire by foregrounding Fanny Brawne’s emotional reality. Here, the “conversation” reveals the gendered implications of Keats’ romantic ideals - a nuance not visible until the texts are placed side by side.
This is exactly what the rubric means by texts becoming “dynamic and illuminating” when read together.
2. The Later Text Always Reimagines or Reframes the Earlier One
The rubric explicitly highlights the idea of reimagining - the process by which a later text revisits an earlier one, either to honour it, question it, or interrogate its assumptions. This may involve taking an idea and modernising it, exposing a hidden tension or blind spot in the earlier text, translating a spiritual idea into a new context, or challenging traditional values with contemporary sensibilities
This process is never linear. It is discursive, meaning texts loop back to one another, collide, and evolve through reinterpretation.
For instance, Looking for Richard reimagines Richard III by exposing the theatricality inherent in Richard’s power. Where Shakespeare’s text presents Richard as a Machiavellian force of nature, Pacino reframes him as a performance - a role constructed through acting techniques, audience expectations, and the visual language of cinema. Through interviews, rehearsal footage, and meta-commentary, Pacino emphasises that Richard’s villainy is not just political but dramaturgical. Pacino asks: What makes Richard persuasive? How is charisma crafted? Why does the audience enjoy watching a manipulator? And in doing so, he reimagines Shakespeare’s exploration of power as a modern meditation on celebrity, image-making, and public manipulation.
3. You Must Engage With Perennial Concerns
A key idea embedded in Module A is that certain human concerns are perennial - they recur across centuries because they are fundamental to human existence. These include:
What gives life meaning?
How should we confront death and suffering?
What is the purpose of love, forgiveness, regret, and hope?
How do identity, ego, and self-perception shape one’s experience of the world?
What does it mean to live authentically?
How do individuals search for truth and understanding?
These concerns do not fade with time. Instead, each era reinterprets them according to its philosophies, values, and crises. Module A asks you to trace how these enduring questions are expressed differently, and sometimes similarly, in two distinct historical moments.
Take Keats and Bright Star for example: Keats’ poetry is consumed by longing for permanence - his Romantic desire to preserve beauty against time and death. This yearning is idealistic, abstract, and aesthetic. But when Campion reimagines this concern in her film Bright Star, she reframes permanence not as a poetic aspiration but as an emotional impossibility. Through Fanny Brawne’s perspective (which is largely absent from Keats’ poetry), Campion exposes the human cost of loving someone who idealises stillness while his own life is slipping away.
The perennial concern (enduring love) remains the same, but: Keats romanticises it as transcendence whilst Campion exposes its fragility and heartbreak.
4. Context Is Not Background but a Source of Meaning
A common misconception is that context is something you simply “add” to an essay, but in Module A, context drives interpretation.
The rubric demands that you demonstrate how: historical literary movements (e.g., Renaissance humanism, Reformation theology, Modernism, Post-modernism), philosophical beliefs, social norms, political climates and personal experiences shape the concerns, values, and textual choices of each composer.
Context explains:
why a text views suffering in a particular way,
why a modern work critiques the rational detachment celebrated in earlier eras,
why attitudes toward death, identity, or faith undergo transformation.
For example, let’s look at The Tempest and Hag-Seed. Shakespeare writes during the Age of Discovery and the Elizabethan era - a time of expanding colonial exploration and hierarchical social structures. The way he crafts Prospero’s authority, magic, and command over the island reflect Renaissance assumptions about knowledge, order, and divine right Atwood, conversely, writes Hag-Seed in a world shaped by postcolonial critique of the Modern era, against the trauma and ineffectivenss of contemporary penal systems. When she relocates Prospero’s narrative to be set within a modern prison, she reframes Shakespeare’s narrative as a meditation on loss, recovery, and the rehabilitative power of creative expression. Prospero’s control becomes questionable rather than natural, and uses it to reflect her modern anxieties and critiques about incarceration and masculinity.
5. Your Essay Must Be an Argument About the Texts Together
This is (arguably) the most important takeaway from the rubric. Your essay should not present Text A in one paragraph, Text B in another, and then a conclusion comparing them. That approach completely misses the point of “textual conversations.” Instead, your argument must show:
how the texts illuminate one another,
how one text reframes the ideas of the other,
how meaning becomes richer when the texts are read side by side.
Markers are looking for integration (paired evidence, paired analysis, and paired insight ) which demonstrates the evolving, dynamic relationship between the texts.
For example, a strong, integrated sentence would be “Where Donne’s holy sonnets resolve the terror of death through spiritual certainty, Edson reframes this confidence in W;t to highlight its absence in a secular, medicalised world, ultimately suggesting that human tenderness offers a more meaningful form of salvation than intellectual mastery.”
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