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SOUTH AFRICAN QUALIFICATIONS AUTHORITY 
REGISTERED UNIT STANDARD: 

Evaluate literary texts 
SAQA US ID UNIT STANDARD TITLE
119470  Evaluate literary texts 
ORIGINATOR
SGB GET/FET Language and Communication 
PRIMARY OR DELEGATED QUALITY ASSURANCE FUNCTIONARY
-  
FIELD SUBFIELD
Field 04 - Communication Studies and Language Language 
ABET BAND UNIT STANDARD TYPE PRE-2009 NQF LEVEL NQF LEVEL CREDITS
Undefined  Regular-Fundamental  Level 4  NQF Level 04 
REGISTRATION STATUS REGISTRATION START DATE REGISTRATION END DATE SAQA DECISION NUMBER
Reregistered  2018-07-01  2023-06-30  SAQA 06120/18 
LAST DATE FOR ENROLMENT LAST DATE FOR ACHIEVEMENT
2024-06-30   2027-06-30  

In all of the tables in this document, both the pre-2009 NQF Level and the NQF Level is shown. In the text (purpose statements, qualification rules, etc), any references to NQF Levels are to the pre-2009 levels unless specifically stated otherwise.  

This unit standard replaces: 
US ID Unit Standard Title Pre-2009 NQF Level NQF Level Credits Replacement Status
8977  Evaluate literary texts  Level 4  NQF Level 04  Complete 

PURPOSE OF THE UNIT STANDARD 
Competence at this level will enable learners to respond to issues, characters and situations presented in literary contexts. They will use their increasing ability to analyse elements of genres to reflect on why some texts endure and/or to consider the socio-cultural values inherent in texts, how these values may have changed since the text was written/produced and/or how texts are likely to be interpreted by different groups.

As learners increase their knowledge of accomplished writers/signers and literary works, and as they vicariously experience times, events, cultures, and values different from their own, they deepen their understanding of the many dimensions of human thought and human experience. They will explore their own interpretations to a wide range of literary texts and compare these with those of others in order to make mature judgements on moral, psychological and philosophical issues.

Learners credited with this unit standard can:
  • Use effective strategies to decode literary texts
  • Analyse influences on responses
  • Explore and evaluate genre differences
  • Use analysis of literary texts in a wide variety of ways. 

  • LEARNING ASSUMED TO BE IN PLACE AND RECOGNITION OF PRIOR LEARNING 
    The credit calculation is based on the assumption that learners are already competent in terms of the following outcomes or areas of learning when starting to learn towards this unit standard: NQF level 3 unit standard entitled Analyse and respond to a variety of literary texts. 

    UNIT STANDARD RANGE 
    The learner can read/view for enjoyment, analyse elements of literary genres and evaluate texts from wide range of contexts

    A wide variety of written and/or visual texts: picture books, folklore, traditional stories (written, signed and/or oral), myths, legends, novels, feature films, short stories, poetry, learners' own speaking/signing and/or writing, non-fiction (biographies and filmed documentaries), scripted and improvised drama/plays, television serials, video clips, cartoons and comics, song lyrics.

    Specific range statements are provided in the body of the unit standard where they apply to particular Specific Outcomes or Assessment criteria. 

    Specific Outcomes and Assessment Criteria: 

    SPECIFIC OUTCOME 1 
    Use effective strategies to decode literary texts. 

    ASSESSMENT CRITERIA
     

    ASSESSMENT CRITERION 1 
    Use a variety of listening/reading/viewing strategies effectively. 
    ASSESSMENT CRITERION RANGE 
    Preview vocabulary; create key questions about the text; self-question to monitor comprehension; relate prior knowledge and experiences to the ideas and information in texts; visualise places, people and events in a text; reread key passages to clarify meaning; write/sign a series of questions or a letter to the author and then seek to answer them/it oneself; locate specific information in a text - identify key details in a story; use knowledge of signed narrative structure or format, layout, design and visual techniques to discover meaning.
     

    ASSESSMENT CRITERION 2 
    Responses to, and interpretations of texts clearly derive from personal perspectives and insights, and are supported by strong personal points of view. 

    ASSESSMENT CRITERION 3 
    Own arguments are supported with a simple range of reasons and facts relevant to the discussion. 

    SPECIFIC OUTCOME 2 
    Analyse influences on responses. 

    ASSESSMENT CRITERIA
     

    ASSESSMENT CRITERION 1 
    Analyse how listeners'/readers'/viewers' different backgrounds might influence the way they understand, interpret and evaluate a text. 

    ASSESSMENT CRITERION 2 
    Critical thinking skills are demonstrated by identifying the differences between explicit and implicit messages in texts. 

    ASSESSMENT CRITERION 3 
    Authors' use of stylistic devices, diction/sign production, phrasing and design features to help communicate ideas and to achieve particular effects are analysed and evaluated. 
    ASSESSMENT CRITERION RANGE 
    Simile, metaphor, personification, imagery, foreshadowing, onomatopoeia, oxymoron, handshape repetitiion, iconicity, non-manual features (NMFs), alliteration, symbol, different fonts and typefaces, cinematographic techniques, headlines, photographs, captions, visuals.
     

    ASSESSMENT CRITERION 4 
    Perceived ambiguities, nuances and complexities within the text are interpreted. 

    ASSESSMENT CRITERION 5 
    Values, attitudes and beliefs embedded in texts are analysed. 

    SPECIFIC OUTCOME 3 
    Explore and evaluate genre differences. 

    ASSESSMENT CRITERIA
     

    ASSESSMENT CRITERION 1 
    Knowledge of elements of the short story/folklore/short essays/signed narratives is used to understand, interpret and evaluate examples of the genre. 
    ASSESSMENT CRITERION RANGE 
    Plot, characterisation, setting, conflict, theme, mood, time, point of view, introductions, topic sentences, supporting details, conclusions, twists
     

    ASSESSMENT CRITERION 2 
    Knowledge of the elements of the novel/signed narrative are used to understand, interpret and evaluate examples of the genre. 
    ASSESSMENT CRITERION RANGE 
    Plot, subplot, characterisation, setting, background, conflict, theme, point of view, narrative voice/register, cultural/historical contexts.
     

    ASSESSMENT CRITERION 3 
    Knowledge of the elements of poetry is used to understand, interpret and evaluate examples of the genre. 
    ASSESSMENT CRITERION RANGE 
    Verse and stanza forms, rhyme, rhythm, punctuation, patterned/free verse forms, imagery, and sound/visural devices, non-manual features (NMFs).
     

    ASSESSMENT CRITERION 4 
    Knowledge of elements of drama is used to understand interpret and evaluate examples of the genre. 
    ASSESSMENT CRITERION RANGE 
    Plot, subplot, character portrayal, conflict, dramatic, structure, dramatic purpose, dramatic irony, dialogue, stage directions.
     

    ASSESSMENT CRITERION 5 
    Knowledge of elements of the film and/or TV feature/serial/soap opera is used to understand, interpret and evaluate examples of the genre. 
    ASSESSMENT CRITERION RANGE 
    Use of colour/black and white, icon and index, mise-en-scène, dialogue, music, lighting, editing, framing, styles of shot, camera techniques, foregrounding, back grounding, selection and/or omission, scale, size.
     

    SPECIFIC OUTCOME 4 
    Use analysis of literary texts in a wide variety of ways. 

    ASSESSMENT CRITERIA
     

    ASSESSMENT CRITERION 1 
    An understanding of the elements of a wide variety of literary texts is demonstrated through various writing/signing options. 
    ASSESSMENT CRITERION RANGE 
    Compare and contrast; summarise; sketch character; review whole; analyse character development; outline theme; give personal interpretation; explore and explain narrative voice/register; explore and analyse shape of the novel/short story/film (chronological, convergent, circular, use of flashbacks/flash forwards), signed narrative/poem.
     

    ASSESSMENT CRITERION 2 
    A judgement is advanced demonstrating a comprehensive grasp of the significant ideas of works or passages. 

    ASSESSMENT CRITERION 3 
    Literature is interpreted in imaginative ways, responding creatively to texts in a variety of written and non-written forms and personal response is justified. 
    ASSESSMENT CRITERION RANGE 
    Rewriting/re-signing an incident in a text from the point of view of another character, responding in poetic form, writing/signing as if one were a character, making visual or musical or dramatic responses to a text, writing/signing a new ending/epilogue/ introduction/ prologue.
     

    ASSESSMENT CRITERION 4 
    Own writing/signing is edited to improve grammar, style and content. 

    ASSESSMENT CRITERION 5 
    Sufficient significant evidence from a text to support opinions and judgements is presented. 

    ASSESSMENT CRITERION 6 
    Sources used in writing/signing are acknowledged and accurately recorded in format appropriate to
    the task or learning activity. 


    UNIT STANDARD ACCREDITATION AND MODERATION OPTIONS 
    Accreditation Options:
  • Providers of learning towards this unit standard will need to meet the accreditation requirements of relevant ETQA.

    Moderation Options:
  • The moderation requirements of the relevant ETQA must be met in order to award credit to learners for this unit standard. 

  • UNIT STANDARD ESSENTIAL EMBEDDED KNOWLEDGE 
    The essential embedded knowledge will be assessed through assessment of the Specific Outcomes in terms of the stipulated Assessment criteria.

    Learners can understand and explain that language, when used figuratively or for storytelling, can be used to create and illusion of reality. Learners apply their knowledge of language and literature features and conventions to an awareness of how fictional texts differ from factual ones. Knowledge of formats, conventions, protocols and contexts is acquired through the activities used to attain this standard.

    Learners are unlikely to achieve all the Specific Outcomes, to the standards described in the Assessment criteria, without knowledge of the stated embedded knowledge in the GETC (NQF level 1) outcomes. This means that for the most part, the possession or lack of knowledge can be directly inferred from the quality of the candidate's performance. Where direct assessment of knowledge is required, Assessment criteria have been included in the body of the unit standard. 

    UNIT STANDARD DEVELOPMENTAL OUTCOME 
    N/A 

    UNIT STANDARD LINKAGES 
    N/A 


    Critical Cross-field Outcomes (CCFO): 

    UNIT STANDARD CCFO IDENTIFYING 
    Identify and solve problems by exploring problem-solving situations in literary texts. 

    UNIT STANDARD CCFO WORKING 
    Work effectively with others and in teams to discover meaning in literary texts. 

    UNIT STANDARD CCFO ORGANISING 
    Organise and manage oneself and one's activities responsibly and effectively through vicarious experiences gained through the study of literature. 

    UNIT STANDARD CCFO COLLECTING 
    Collect, analyse, organise and synthesise information in order to critically evaluate literary texts. 

    UNIT STANDARD CCFO COMMUNICATING 
    Communicate effectively about literature and the lessons to be learned from literary texts. 

    UNIT STANDARD CCFO SCIENCE 
    Use science and technology effectively and critically by exploring the ethics of science and technology through literary texts about these fields. 

    UNIT STANDARD CCFO DEMONSTRATING 
    Understand the world as a set of inter-related parts of a system by exploring the world through literature and learning the common characteristics of the human condition. 

    UNIT STANDARD CCFO CONTRIBUTING 
    Contribute to the full development of oneself by discovering in literature ways of dealing with the human condition. 

    UNIT STANDARD ASSESSOR CRITERIA 
    Assessors should keep the following general principles in mind when designing and conducting assessments against this unit standard:
  • Focus the assessment activities on gathering evidence in terms of the main outcome expressed in the title to ensure that assessment is integrated rather than fragmented. The goal is to declare the learner competent in terms of the unit standard title. Where assessment at title level is unmanageable, then focus assessment around each Specific Outcome, or groups of Specific Outcomes.
  • Make sure evidence is gathered across the range, as expressed under the Assessment criteria. Assessment activities should be as close to the real performance as possible, and where simulations or role-plays are used, there should be supporting evidence to show that the candidate is able to perform in the real situation.
  • Do not focus the assessment activities on each assessment criterion. Ensure that the assessment activities focus on outcomes and that sufficient evidence is gathered around all the Assessment criteria.
  • The Assessment criteria provide the specifications against which assessment judgements should be made. In most cases, knowledge can be inferred from the quality of the performances, but in other cases, knowledge and understanding will be tested through questioning techniques. Where this is required, there will be Assessment criteria to specify the standard required.
  • The task of the assessor is to gather sufficient evidence, of the prescribed type and quality, as specified in this unit standard, that the candidate can achieve the outcomes in a number of different contexts. This means assessors will have to judge how many repeat performances are required before they believe the performance is reproducible.

    All assessments should be conducted in line with the following well documented principles of assessment: appropriateness, fairness, manageability, integration into work or learning. Assessment should be valid, direct, authentic, sufficient, systematic, open and consistent. 

  • REREGISTRATION HISTORY 
    As per the SAQA Board decision/s at that time, this unit standard was Reregistered in 2012; 2015. 

    UNIT STANDARD NOTES 
    This unit standard replaces unit standard 8977, " Evaluate literary texts", Level 4, 5 credits.

    GLOSSARY

    Acronym
  • A pronounceable word formed from the first letter or letters in a phrase or name e.g. SADTU for South African Democratic Teachers Union .

    Additive multilingualism
  • A form of bilingual education in which the language of instruction is not the 1st language of the children, and is not intended to replace it. In an additive bilingual education programme the first language is maintained and supported, but the language of learning and teaching is taught alongside it. When the language of instruction is likely to replace the children's first language, this is called subtractive bilingualism.
  • Appropriate dress (footnote in u std): solid colour that contrasts your skin colour; appropriate for the context/audience, for example, jewellery.

    Audience
    The intended reader, listeners, or viewers of a particular text - in planning a piece of writing/signing learners (speakers/signers/writers/presenters) must take into consideration the purpose and audience in choosing an appropriate form of writing/signing.

    Author
  • The creator or originator of a piece of narrative, whether signed or written.

    Coherence
  • The underlying logical relationship, which links ideas together. Coherence is to do with ideas and meanings. A paragraph (see definition below) is coherent if all its sentences (see definition below) are connected logically so that they are easy to follow. An essay/signed narrative is coherent if its paragraphs are logically connected and the ideas have a unity, forming a logical whole.

    Cohesion
  • Linking ideas by means of language (e.g. the grammar or syntax of a sentence or paragraph) and/or use of space, using logical connectors or linking words/signs such as conjunctions, non manual features (see definition below), pronouns to hold a paragraph together and give it a linguistic unity.

    Collage
  • A form of art in which a variety of materials, such as photographs, fabric, objects, hand-drawn pieces, and printed text, are attached to a surface. Learners can demonstrate their understanding of many themes and issues through the choice of materials and design elements of a collage.

    Colloquialism
  • A word or expression used in everyday conversation but not in formal language.

    Constructed dialogue/role shifting
  • Constructed dialogue is when the signer alternately assumes the role of various characters within a story/narrative, using first person perspective. Ways of doing this can include use of space, head movements, eye gaze, body orientation and movements, etc.

    Context
  • That which precedes or follows a word/sign or text and is essential to its meaning.
  • The broader literal, social or cultural environment to which a text (or part of a text) is related and which affects its readers'/viewers' understanding.

    Controlling idea
  • An important or central concept, theme, or argument that is used to unify a signed, written, oral, or media text.

    Conventions
  • Accepted practices or rules in the use of language. Some conventions help convey meaning (e.g. use of space, the rules of grammar of a language, punctuation typefaces, capital letters, etc.); others assist in the presentation of content (e.g. use of sign placement, table of contents, headings, footnotes, charts, captions, lists, pictures, index, etc.)

    Creative thinking
  • The process of thinking about ideas or situations in inventive and unusual ways in order to understand them better and respond to them in a new and constructive manner. Learners think creatively in all subject areas when they imagine, invent, alter, or improve a concept or product.

    Critical thinking
  • The process of thinking about ideas or situations in order to understand them fully, identify their implications, and/or make a judgement about what is sensible or reasonable to believe or do.

    Discourse
  • Connected speech or signing or writing which is longer than a conventional sentence; a formal term for a talk, a conversation, or the written/signed treatment of a subject.

    Diction
  • The choice of words or phrases or signs in speech or writing or signing; the particular words or phrases or signs chosen to express an idea.

    Editing
  • The process of correcting grammatical, usage, punctuation/non manual features, and spelling errors to ensure that the writing/signing is clear and correct. The editing process also includes checking writing/signing for coherence of ideas and cohesion of structure. In media, editing involves the selection and juxtaposition of sounds and/or images.

    Essay/signed narrative
  • A prose composition that discusses a subject or makes an argument. This type of writing often presents the writer's/presenter's own ideas on a topic. The SASL equivalent of this would be a signed narrative.

    Etymology
  • The origin and history of the form and meaning of a word/sign.

    Figurative language
  • Words or signs or phrases used in a non-literal way to create a desired effect (e.g. simile, personification, metaphor).

    Fluency
  • The word comes from the flow of a river and suggests a coherence and cohesion that gives language use the quality of being natural, easy to use and easy to interpret.

    Foreshadowing
  • A device in literature in which an author provides an indication of future events in a plot.

    Forms of text
    Any particular type of text, having specific and distinctive characteristics arising from its purpose, function, and audience.
  • Written/signed forms may include narratives (folklore/short stories/novels/dramas), dialogues, sets of instructions, advertisements, editorials, brochures, manuals, agendas and minutes, diary entries, journals, lists, charts, plays, reports, journals, essays/signed narratives, poems and letters.
  • Oral/signed forms may include conversations, debates, seminars, panel discussions, interviews, role play, monologues, prayers, lectures, negotiations, and speeches/presentations
  • Visual genres may include photographs, documentaries, travelogues, feature films, soap operas, and cartoons. These can be analysed into more specific genres, for example, feature films could be grouped as westerns, thrillers, dramas, romances, musicals and comedies.

    Free verse
  • Poetry written/signed without a regular metrical pattern, but based on natural rhythms of speech/signing and free expression rather than on a predetermined form. Free verse may be rhymed or unrhymed.

    Genre
  • The types or categories into which literary works are grouped (e.g. signed narrative, novel, short story, essay, poetry, drama, or film)

    Grammar
  • A description of the structure of a language, particularly the way words, signs and phrases are formed and combined to produce sentences. It takes into account the meanings, functions and organisation of these sentences in the system of the language.

    Graphic organiser
  • A visual representation such as a chart, table, timeline, flowchart, or diagram used to record, analyse, synthesise, and assess information and ideas.

    Hyperbole
  • A literary device in which exaggeration is used deliberately for effect or emphasis (eg a flood of tears).

    Iconicity
  • Iconicity as a poetic strategy is the use of signs to represent action/movement, and is often used in conjunction with repetition of parameters and rhythm.

    Idiom
  • A group of words/signs that, through usage, has taken on a special meaning different from the literal meaning (e.g. "keep your shirt on! Or "It's raining cats and dogs").

    Implicit meaning
  • Ideas and concepts that are present but stated indirectly.

    Inference
  • A conclusion drawn from evidence.

    Information processing
  • A general term for the process by which information is identified, understood, stored, organised, retrieved, combined and communicated to form new knowledge.

    Irony
  • A statement or situation that has underlying meaning different from its literal or surface meaning.

    Jargon
  • Apeech, signing or writing used by a group of people who belong to a particular trade, profession, or any other group bound together by mutual interest, e.g. the jargon of law, medical jargon. Jargon is useful when used within a trade or profession, but when it is used to exclude listeners, /readers/viewers from an interaction, it is potentially hurtful or even harmful.

    Key questions
  • There are five common questions that help discover the essential facts: who, what, where, when, and why? In newspaper reports, it is important to cover these questions at the beginning.

    Literary (stylistic) device
  • A particular pattern of words/signs, a figure of speech, or a technique used in literature to produce a specific effect (e.g. hand shape repetition, rhythm, rhyme, parallel structure, analogy, comparison, contrast, irony, foreshadowing, simile, metaphor, personification, pun, oxymoron, symbol).

    Mind-map
  • The preparation of a graphic representation of key words.

    Multimedia presentation
  • A work that uses a combination of media to present information and ideas (e.g. a presentation using slides, computer graphics, posters, and video clips).

    Non verbal language/communication
  • Communication without the use of words/signs, which could be done by gestures or could refer to total body language.

    Obfuscation
  • The deliberate use of words/signs/phrases/jargon/idioms that will not be understood by the listener/reader/viewer. It is a clouding of the issue to avoid taking responsibility for an action or to confuse the listener/viewer into accepting something that should not be lightly accepted

    Onomatopoeia
  • The use of a word having a sound that echoes its sense (e.g. buzz, hum, bang)

    Oxymoron
  • A combination of words/signs with contradictory meanings, used deliberately for effect. It is usually formed by using an adjective to qualify a noun with an opposite meaning (e.g. an open secret).

    Paragraph(s)
  • Where appropriate, 'paragraph (s)' should be read as 'chunks of sign'.

    Parameters
  • Parameters are the building blocks of signs: handshape, location, movement, palm orientation, and non manual features.

    Paraphrase
  • A restatement/expression of an idea or text using one's own words/signs.

    Point of view
  • In fiction, the position of the narrator in relation to the story and audience (e.g. limited/ omniscient/ third-person/first-person narrator or multiple narrators.

    Power relations
  • When a particular group dominates other groups. This dominance could be related to gender, race, nationality, disability or language groups. In this document, the focus is on how the use of language (the choice of words) indicates a relationship that is neutral, empowered or disempowered.

    Reading/viewing strategies
    Skills and approaches used before, during and after reading/viewing to determine the meaning and increase understanding of a text. Examples are:
  • Scanning: a type of reading/viewing used to locate a particular piece of information without necessarily attending to other parts of a text
  • Skimming: a type of reading/viewing used to identify only the main idea or ideas or to pick out any words in capitals/ in italics/underlined, as well as any visuals or font indicators that would help a reader/viewer to understand a passage.
  • Sifting: selecting the most important ideas, words, facts or finding only those details relevant to a task or purpose

    Register
  • Speech/signing variety used by a particular group of people, usually sharing the same occupation or the same interests. A speaker/writer/presenter/signer must choose signs/words/images that are easily understood by the listener/reader/viewer/audience - the pitch must suit the purpose.

    Research
  • Involves a systematic investigation involving the study of materials and sources in order to establish facts and seek out truth. The following stages are involved: selecting a topics, narrowing the focus, locating appropriate resources, gathering information, analysing material and forming conclusions, presenting the information in written and/or oral/signed form, and documenting the sources of information and ideas.

    Rhetorical question
  • A question not asked for information but for dramatic effect. The question is usually either one that does not need an answer, as the issue is self-evident, or one that the speaker/signer/writer/presenter proceeds to answer immediately.

    Role play
  • A dramatic technique in which participants act the part of another character, usually in order to explore the character's thoughts, feelings, and values.

    Paragraph (in relation to SASL)
  • A paragraph is a coherent and cohesive collection of sentences. Its boundaries may be indicated by manual or non manual devices.

    Presenting/signing (also refer to viewing)
  • SASL does not have a written form. Therefore, reading and writing/presenting outcomes take on a different form, that is, a receptive and productive competence. For simplicity, the unit standards refer to viewing and presenting respectively.

    Sentence (in relation to SASL)
  • A sentence is a unit of meaning made up of a collection of signs and non manual features, always including a verb, and adhering to specific grammatical rules of SASL .

    Sign devices
  • Sign devices are visual strategies used in signed poetry, for example, rhythm, placement, role shifting, and repetition of handshape, location, movement, palm orientation, and non manual features.

    Sign parameter
  • The building blocks of the sign/word: handshape, location, movement, palm orientation, non-manual sign.

    Sign devices
  • These include register, non-manual features (NMFs), placement, role-shift, parameter

    Slang
  • Casual, very informal speech/signing, using expressive but informal words and expressions. Slang is usually related to age or social group rather than to trade or profession (jargon). It is used to stress an identity for those in the know and to exclude those who do not know the terms, for example, words to describe money, grown-ups, police, and activities.

    Stylistic devices
  • A particular pattern of words, a figure of speech or technique used in literature to produce a specific effect, e.g. rhyme, parallel structures, short or one word sentences, analogies, comparisons, contrasts, irony, foreshadowing, similes, metaphors.

    Symbol
  • Something that stands for or represents an abstract idea.

    Syntax
  • The way in which words are arranged to form larger grammatical structures (e.g. phrases, clauses, and sentences).

    Technical language
  • The terminology used in a field or understood by a trade, profession or group of people e.g. in metal -working, the term "pig" means a mould for casting metal. It differs from jargon in being more generally understood and used, for example, by many people rather than a few and it does not have the negative connotations that the word "jargon" carries.

    Text
    Texts refer to signed, spoken, written, or visual communications, including sign language that communicates meaning to an audience or reader/viewer. A text may be considered from the point of view of its structure, context and function.
  • Spoken/signed texts: May include conversations, speeches/presentations, prayers, and songs,
  • Written/signed texts: May include poetry, drama, novels, letters, magazine and newspaper articles, paragraphs, essays/signed narratives, and scripts
  • Visual texts: May include photographs, posters, cartoons, advertisements, environmental prints (road signs), maps, diagrams, charts, and films

    Tone
  • The quality and timbre (distinctive character) of the voice used in speaking; the height of pitch and change of pitch which is associated with the pronunciation of syllables or words and which affects the meaning of the word.

    Topic sentence
  • The sentence that expresses the central idea in a paragraph. In SASL, repetition of important signs occurs throughout the paragraph to express the topic of the paragraph or a number of paragraphs.

    Voice
  • In writing: a work's distinctive style of expression, personal or impersonal, conveyed through the author's use of vocabulary, sentence structure, and imagery. In oral/signed communication: the quality of sound produced by a speaker. In grammar: a property of verbs (e.g. active and passive voice).

    Writing process
    The process involved in producing a polished piece of writing. It comprises several stages. The main stages are:
  • Generating ideas
  • Choosing a form of writing to suit the topic, purpose and audience
  • Developing a plan for writing
  • Organising ideas
  • Writing and revising drafts
  • Editing
  • Proofreading
  • Producing and publishing

    Venn diagram
  • Graphs that use circles to present connections and intersections.

    Viewing (also referring to signing)
  • SASL does not have a written form. Therefore, reading and writing/presenting outcomes take on a different form, that is, a receptive and productive competence. For simplicity, the unit standards refer to viewing and presenting respectively. 

  • QUALIFICATIONS UTILISING THIS UNIT STANDARD: 
      ID QUALIFICATION TITLE PRE-2009 NQF LEVEL NQF LEVEL STATUS END DATE PRIMARY OR DELEGATED QA FUNCTIONARY
    Fundamental  65509   Further Education and Training Certificate: Air-conditioning, Refrigeration and Ventilation  Level 4  NQF Level 04  Reregistered  2023-06-30  MERSETA 
    Fundamental  66071   Further Education and Training Certificate: Computer Aided Drawing Office Practice (CAD)  Level 4  NQF Level 04  Reregistered  2023-06-30  CETA 
    Fundamental  49627   Further Education and Training Certificate: e Records Management  Level 4  NQF Level 04  Passed the End Date -
    Status was "Reregistered" 
    2012-06-30   
    Fundamental  66349   Further Education and Training Certificate: General Forestry  Level 4  NQF Level 04  Passed the End Date -
    Status was "Reregistered" 
    2015-06-30  FPMSETA 
    Fundamental  58930   Further Education and Training Certificate: Professional Hunting  Level 4  NQF Level 04  Reregistered  2023-06-30  CATHSSETA 
    Fundamental  79246   Further Education and Training Certificate: Wild Land Fire Fighting  Level 4  NQF Level 04  Passed the End Date -
    Status was "Reregistered" 
    2015-06-30  FPMSETA 


    PROVIDERS CURRENTLY ACCREDITED TO OFFER THIS UNIT STANDARD: 
    This information shows the current accreditations (i.e. those not past their accreditation end dates), and is the most complete record available to SAQA as of today. Some Primary or Delegated Quality Assurance Functionaries have a lag in their recording systems for provider accreditation, in turn leading to a lag in notifying SAQA of all the providers that they have accredited to offer qualifications and unit standards, as well as any extensions to accreditation end dates. The relevant Primary or Delegated Quality Assurance Functionary should be notified if a record appears to be missing from here.
     
    1. CMO Logistics Pty Ltd 
    2. ENB Training Service 
    3. IFIHLILE TRAINING ACADEMY GAUTENG (PTY) LTD (Halfway House)(TP) 
    4. Industries Education & Training Institute (MAITLAND) (TP) 
    5. INDUSTRIES EDUCATION & TRAINING INSTITUTE - PE TTC 
    6. Legal Environment Safety & Health Requirements cc 
    7. Longata Consultant 
    8. MPACT 
    9. Service Corps T/A Works Training School (ELANDSFONTEIN) (TP) 
    10. Shukela Training Centre 
    11. Tekmation (Pty) Ltd T/A Tekmation Training Institute (DURBAN) (TP) 
    12. Umbuso Training Services 
    13. Umfolozi FET College - Mandeni Campus 
    14. Wavelength T.T.I 
    15. Winters Business Enterprise T/A Winters Tradesman Technical Tuition (PRETORIA) (TP) 



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