Yr 12 ELS - Comparative Text Study

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Stolen by Jane Harrison

-191135-668020Which text will you choose to compare?

00Which text will you choose to compare?

-38104686935Or will you choose your own text, as allowed in 2023?

4000020000Or will you choose your own text, as allowed in 2023?

Gattaca directed by Andrew Niccol

Wuthering Heights by Emily Bront

from the English Literary Studies Subject Outline [my bolding]:

This study involves the comparative study of two texts: one from the shared studies and the other independently chosen by the student.

Text from the Shared Studies

The text from the shared studies may be:

an extended prose text

a film text

a drama text

poetry texts

This text may be the same one for the whole class but is not required to be.

Independently Chosen Text

The second text in the comparative text study is selected by the student in consultation with the teacher. It is advisable for the teacher to discuss ideas for pairings during the study of the shared texts. The most appropriate pairings are those likely to produce ample scope for establishing both similarities and differences, and may focus on:

work by the same author

a common theme, idea, or topic

the same or a contrasting historical or literary period (either of text production or setting)

work that is similar or different in form or medium

work from similar or different cultural perspectives

an interpretation from a particular critical perspective.

The text or texts chosen by the student may be drawn from the similarly wide range of options governing the teachers selection of the shared texts, but this second text must not be another text from the shared studies. This second text must be studied in comparison with the initial text. Although the study is undertaken independently, teachers have a key role in supervising and advising students.

In their comparative study, students could focus, for example, on one or more of:

the ideas and perspectives explored in the text

the sociocultural context in which the text was generated

the assumptions and bias in the text

the form, medium, and mode of the text

the language and stylistic techniques used by the author

the context in which the text is being read or viewed

a range of critical interpretations of the text.

Studying two texts in relation to each other allows students to broaden their understanding of the constructed nature of texts and to gain a better understanding of the influence of sociocultural contexts on both the text and the response of the reader.

The influence of context on language, and the way in which power, bias, and discrimination are embedded in language can be considered.

By studying one text in relation to another, and analysing the connections between the texts, students can see that the same idea, experience, emotion, or opinion can be treated in different ways.

In this study, students also consider different ways of reading texts in the context of time, place, culture, and the traditions of a range of critical perspectives and/or reading positions. Students therefore explore the relationship between language, culture, and identity.

Students may synthesise and challenge the interpretations of others, developing their own analytical responses.

This Comparative Text Study is the first of two elements of your External Assessment: Assessment Type 3: Text Study (30%)

The external assessment is divided into two sections: Part A, Comparative Text Study and Part B, Critical Reading in a 90 minute examination.

Part A: Comparative Text Study (15%)

A comparative text study that compares one of the texts studied in the shared studies with another text individually chosen by the student, in a response of a maximum of 1500 words. This response is a critical essay, in which the two texts are discussed in relation to each other. Students frame their own question and develop their response during the year, and submit the completed response for external assessment.

Teachers and external assessors appointed by the SACE Board assess the comparative text study, with reference to the performance standards.

The following specific features of the assessment design criteria for this subject are assessed in the comparative text study:

Knowledge and Understanding

KU1Knowledge and understanding of ways in which ideas, perspectives, and values are represented in texts.

KU2Knowledge and understanding of ways in which authors use stylistic features to communicate ideas.KU3 Knowledge and understanding of the stylistic features and conventions of different text types.

Analysis

An1Analysis of ways in which texts represent ideas, perspectives, and values.

An2Analysis and evaluation of ways in which stylistic features are used to influence the interpretation of texts.

An3Analysis of similarities and differences between texts in comparative tasks.ApplicationAp2Use of evidence from texts to develop, support and justify responses.Ap3Use of accurate, clear, and fluent expression appropriate for purpose and audience.

Planning your Comparative Texts Study essay

Your question must have an element of comparison as you have to actively compare your two texts. Also, it should encourage you to consider the techniques used by your authors in presenting their ideas and the effect of these on the reader or viewer. Thus, a good starting question might go along the lines of:

Compare and contrast the ways [full name of author] in [Title 1] and [full name of author] in [Title 2] explore their ideas about ____ in their texts. or portray their central characters developing as a result of their experiences in their texts. or challenge us to consider ____ in their texts. or something else along those lines to suit your texts and aspect of comparison.

We need to do a lot of note-taking today (Line Day) as we make sure we really know the texts.

After finalising the wording with your teacher write your plan. Come up with three or four useful points of comparison you could draw between the texts which will form your body paragraphs. Three paragraphs would need to be about 400 words each, whilst four paragraphs would need to be about 300 words each. That would allow approximately 150 words each for your introduction and conclusion.

It is generally easier and more successful to use ideas as organising features of your essay rather than techniques. Thus if you looked at a question about character development you could break it up in this way...

Points Specific examples from each text Techniques used in each example

Establishing the need for character development how flaws are revealed in each character Text 1: Text 2: Experiences which bring opportunities for self-reflection in each character Text 1:

Text 2:

Influences of others who hinder or help in the development of each character Text 1: Text 2: What the endings reveal about the level of development in each character and if it brings them happiness Text 1:

Text 2:

As you can see, you need to actively compare both texts in each paragraph. Thus your topic sentences will mention both texts in terms of how the authors explore the specific aspect you are discussing.

You will need to use linking words to draw your connections and comparisons between the texts. Connecting: similarly, both, each, also, likewise, correspondingly, in the same way, as well, equally. Contrasting: in contrast, however, differently, but, whereas, conversely, while, dissimilarly, contrastingly

As you present each example you will mention the technique(s) used in the creation of the example. Techniques can include characterisation, settings (time, place, social & cultural setting, beliefs & values of the setting, expectations of society, contrasting settings), imagery, irony, satire, humour, symbolism, motifs, narrative voice & style, structure, beginnings & endings.

In film techniques, you may include the style or genre of the film, mise-en-scene, camera angles, special effects, lighting, music & sound effects, characterisation, narrative style, meta-fiction, symbols & motifs. Make sure that you describe particular scenes which illustrate ideas in vivid detail, building up layers of images, lighting, music and motifs to create the mood and the effect of this scene.

Your introduction should mention both texts and their authors and outline your argument in relation to the question you have set yourself. Your conclusion should sum up the connections and contrasts you have established throughout the essay in relation to your question.

2851785649605General Starting Notes on Text 2

Details of the text author/director, year, setting

Main characters, conflicts and resolution

Genre of text

the ideas and perspectives explored in the textthe sociocultural context in which the text was generatedthe assumptions and bias in the text

the form, medium, and mode of the text

the language and stylistic techniques used by the author/creatorthe context in which the text is being read or viewed(a range of critical interpretations of the text.)

00General Starting Notes on Text 2

Details of the text author/director, year, setting

Main characters, conflicts and resolution

Genre of text

the ideas and perspectives explored in the textthe sociocultural context in which the text was generatedthe assumptions and bias in the text

the form, medium, and mode of the text

the language and stylistic techniques used by the author/creatorthe context in which the text is being read or viewed(a range of critical interpretations of the text.)

-588645659130General Starting Notes on Text 1

Details of the text author/director, year, setting

Main characters, conflicts and resolution

Genre of text

the ideas and perspectives explored in the textthe sociocultural context in which the text was generatedthe assumptions and bias in the text

the form, medium, and mode of the text

the language and stylistic techniques used by the author/creatorthe context in which the text is being read or viewed(a range of critical interpretations of the text.)

00General Starting Notes on Text 1

Details of the text author/director, year, setting

Main characters, conflicts and resolution

Genre of text

the ideas and perspectives explored in the textthe sociocultural context in which the text was generatedthe assumptions and bias in the text

the form, medium, and mode of the text

the language and stylistic techniques used by the author/creatorthe context in which the text is being read or viewed(a range of critical interpretations of the text.)

START THE NOTE TAKING HERE

Analysing your texts to find connections ( from Ms Burdett, Portside Christian College)

You need to decide:

What are the new ideas that come from both texts by comparing them? As a result of comparing the two, what do we learn about life/humanity/society?

What is the argument you are making about these texts?

As you begin exploring both texts, you want to look for connections (similarities, but also differences that come up when you locate similarities) between the following:

Ideas

Context

Language

Audience

Text Type

Purpose

To do that, you could consider and take notes on the following:

Text 1: Text 2:

What are the main ideas that come from the text? (be specific - not just love but what is said about the nature or experience of love)

Connection between the two:

What is the specific context of the text? (when/where it was written and the aspects of that current time, where/when it is set and the aspects of that current time)

Connection between the two:

What techniques and language features are used in the text, including examples? (these do not need to be the same)

Connection between the two:

Who is the intended audience for this text? What are their features or characteristics?

Connection between the two:

What features/conventions of the text type stand out about the text? (e.g. are there specific ways the author has created meaning through features unique to the text type?)

Essay Plan for Comparative Text Study Essay

Introduction:

Points Specific examples from each text Techniques used and their effect

Topic sentence:

Conclusion:

Question:

The Timeless Literature of African-American Women

WEBSITE LINK:

https://warnertwinsj.wixsite.com/oprah

Oprah Winfrey Kathryn Stockett Theodore Melfi

Welcome to the show. Tell me, Theodore, why you directed your 2016 biographical film,

Hidden Figures? And then, Kathyrn, what inspired you to write your 2009 historical novel?

Well, I was unaware of the journey of the mathematician Katherine Johnson, who faced racial and gender discrimination when she worked for NASA calculating space trajectories. My purpose was to use her narrative to inform a younger generation about this disgraceful chapter in American history and inspire similar women to find the courage to fulfill their dreams. I use double entendre in my title to highlight this, as the protagonists were all brilliant mathematicians who were not acknowledged due to the colour of their skin. I chose to direct this film rather than Spider-Man: Home Coming as I felt I had the skill to use filmic devices that would honour the struggles of these remarkable women and show a younger well-educated female audience that the world can be a better place for them.

Gosh, my motivation was very similar. The Help, stemmed from a deep curiosity as to how I was raised by Demetrie, my family's African-American maid in Mississippi. I had always wondered how she felt raising white children who could never be hers. My purpose was to challenge our views of racism by using the first person narrative perspective of three female friends, along with my stylistic preference for using descriptive language and motifs, as well as other literary devices. I also target contemporary female readers, while prompting them to see the depth of the complex relationship between 'the help' and the white children.

The female protagonists in both texts are spirited role models for this audience here today, aren't they? Your themes are very similar, yet the texts are quite different. Why is this?

In the establishing scene, I want to depict the protagonists' struggles against prejudice and foreshadow their difficult journey. Setting is important here, as I use a broken down car, carrying three brilliant minds to allow the viewer to see their ironic plight. Although her school principal has recognised that "'[he's] never seen a mind like [Katherine] has'", the scripting here includes dialogue that, along with the acting style, exposes the racism all three women face. The prop of the police baton is added to create an extra layer and help us understand why Mary declares"'... I'll hitchhike".' The characterisation of Dorothy is also important, as she lies defiantely under the car doing the work of a man as she refuses to admit defeat. As I characterise her, I feel that it is important to show her taking the initiativein their struggle against racism, as we understand that someone who will walk for sixteen miles to get to work will also eventually become head supervisor of NASAs colored computers and saving them from redundancy in the new IBM world.

I chose to use first person to express similar ideas as I explore the perspectives of Aibileen, Minny and Skeeter. The suffering of the other help is made apparent through the dialogue between these characters, as they explore the discrimination and injustice that existed in the 1960s. Readers learn that the white women would ...count every piece of silver after [the help] finished polishing ... and this makes the white voice of Skeeter more powerful as she declares these things I know already, yet hearing them from colored mouths, it is as if I am hearing them for the first time. In The Benefit chapter I use an ironic twist through the the motif of chocolate custard pie to show how Minny fights back against the prejudice that is levelled at her. As baking is a significant part of the helps work, I chose a motif that represented her hard work but also sweetened the bitter things the maids endured, as it was also used as a weapon. The irony of this is strengthened by my use of the Southern patois, with the effluent within the pie transforming it to something terrible awful and I use a third person perspective to include the reader as an objective observer. Together with Hilly [who] stands very still I hope my thinking female readers understand the sweetness of the undoing of white pride.

Do you use motifs as well, Theodore?

Yes, I use motifs to target a more mature audience with the chalk being the prominent motif. The chalk is a symbol of knowledge and privilege, and also represents Katherines journey from an impotent child to a powerful woman. The opening sequence shows Katherines colored teacher passing her the white chalk. This sequence is repeated when Katherine is working for NASA and is given chalk by the most powerful man in NASA scientist, who finally acknowledges her mathematical abilities and asks her to solve the discrepancy in the IBM computers calculations. The composition I use here is important, with the hands framing Katherines hand as lower when the motif is first shown, and as higher when she gains status at NASA. My intention is to target this older well-educated audience to contemplate who the teacher actually might be.

Theodore, I notice that you both have a common fascination with toilets! Whats that all about?

[THEODORE LAUGHS] Well done, Oprah! I choose to use these props to focus on coloured and non-coloured bathrooms, using Pharrell Williams original score of, Runnin as it is a modern and upbeat jazz tune that captures the spirit of the day for older viewers but also appeals to todays male and female modern audience. Along with the toilet scenes, these diegetic lyrics reinforce the hurdles Katherine encounters. I use several scenes showingKatherine running in heels - yes, props are very important [LAUGHS] - to carry classified information to the 'colored' restrooms on the other side of the campus. Although Katherine is given highly redacted material to check, she's forced to take it all the way to the coloured rest rooms, the satirical point of using this set being that segregation trumped security and also time pressures to meet deadlines! The lyrics '...runnin' from a man...' allow us to realise she is "running" from the Space Task Group of white men, which is an irony in itself.

However, later on, I use the film's narrative to have Sam Turner, the assistant, running to get Katherine from the West side of the campus to check their numbers before launch.

It's fascinating isn't it, Theodore, that such a basic human need as going to a nearby toilet can be denied due to skin colour. I explore segregation through the narrative structure as Hilly works to introduce segregated toilets for the African-American help, ridiculously declaring that '99% of all coloured diseases are carried in the urine' and that 'whites can become permanently disabled by nearly all of these diseases'. I believe humour is a powerful tool for engaging the younger reader as well, as it communicates truths about segregation in a non-confrontational way - so I have Skeeter cleverly organising all unwanted toilets to be dropped off on Hilly's front lawn.

Yes, it's powerful seeing whites sticking up for African-Americans, is that something you tried to show too?

Yes, I use setting of the segregated tea rooms and toilet signage to show the extent of the discrimination, but this changes in the pivotal sequence when Mr Harrison realises that white - coloured segregation is holding NASA back from achieving its goals so, at a key moment of realisation in the film, he peels the 'colored' sticker from the coffee pot.

Language use is also important here, as a combined use of hyperbole and simile conveys the inequalities of 'coloreds' as Katherine walks '...to Timbuktu, just to relieve [herself]...' and describes herself as '... work[ing] like a dog day and night, living on coffee from a pot none... want [her] to touch'.

What are some of the other ways you achieve your purpose in depicting racial discrimination?

Well, we shot the 'West Wing Computing' in a dirty rundown basement using low-key yellow lighting, to depict the socio-economic plight of the 'coloreds'. In contrast, I apply white pristine light to the 'East Wing' set, the home of the white computing group. There is natural light shining through the windows to depict their freedom and to tell my viewers that to be white is to enjoy a position of privilege and freedom. We spent a long time on the set for this film, crafting the red-brick buildings to replicate those of the 1960', creating the large white-paneled wooden church-building to resonate with an older generation, and filming on location in Atlanta Georgia to engage American viewers but also add interest for

a global audience. I felt it important that we attract as wide an audience as possible, as the films message is so applicable to all of us. Theodore, I love the costuming - can you tell us more about it?

Theodore, I love the costuming - can you tell us more about it?

Well, the pearl necklace is another motif, as it reveals the unattainable, with Kathryn remarking Lord knows, you dont pay the coloreds enough to own pearls. The costuming relays this message of blind discrimination again with the use of the white business shirts revealing the monoculture of the white men following each other blindly. I dress the African-American women in their flamboyant colours to signify their determination not to conform, and also to show their optimistic joy despite the oppression and cruelty that confronts them.

Kathryn, your costuming is significant too - tell us about the maids uniform ...

Yes. I write from a white person's perspective to allow readers to see the inequalities in the society I describe. So, Skeeter cant help but notice, [that Aibileen] stands a little taller in a green dress with black piping when she has never seen Aibileen in anything but her whites. I want readers to recognise that the maid is a person, even though she is hired help. I also use costuming to create irony, as they need to wear it around white people even though it gets dirty I put on my white uniform for is it not ironic that they wear white uniform to work when it just gets dirty! Yet their costuming also makes them white and I characterise Abilene to observe, long as I got my white uniform on, Im allowed to shop in this Jitney. I therefore also target an affluent audience, hoping for more self-awareness.

The times must have been hard for these impoverished women?Yes, it was. I chose the symbol of peace as a resolution for my narrative as the help have their voice through Skeeters book and the whites have a chance to listen. I think my novel is still very current and needs a global audience because we desperately need peace in our world today. Look at the current crisis in Myanmar for example, where the Buddhists are persecuting the Rohingya Muslims. This is so much like what happens in my novel, if not worse.

That certainly is a great message for America, if not the whole world. [AUDIENCE APPLAUSE] I adore both pieces of work. I love your exposition of history that speaks to our own American audiences and reveals the inequality that, hopefully, we can continue to overcome. Kathryn, the first person perspective of the protagonists allows female readers to understand the struggles and prejudice each faces. Incorporating the complex pie motif resonates with an educated female audience and your irony here attracts the generation. [PAUSE] Theodore, your setting and dialogue absolutely capture the discrimination against female African-Americans. With your costuming motif of the pearl necklace, we can see the limitations of the 'colored' characters clearly that interests both genders and all ages - and the diegetic jazz transcends time. This inspires me the most because I still need to push through those barriers of racism and sexism. And your visual literacy as a director showcases the vibrant personalities, and individual strengths of these real-life 'figures'. Well done to both of you, thank you for inspiring us all today.

Words: 1995

Performance Standards for Stage 2 English

Overall: A+ (30/30)

Knowledge and UnderstandingAnalysisApplicationAComprehensive knowledge and understanding of ideas and perspectives in a range of texts.

Thorough knowledge and understanding of ways in which creators of texts use a range of language features, stylistic features, and conventions to make meaning.

Extensive knowledge and understanding of a wide range of ways in which texts are created for different purposes, audiences, and contexts. Complex analysis of ideas, perspectives, and/or aspects of culture represented in texts.

Perceptive analysis of language features, stylistic features, and conventions used in texts, and thoughtful evaluation of how these influence audiences.

Critical analysis of similarities and differences when comparing texts. Versatile and precise use of language and stylistic features to create a wide range of coherent texts that address the purpose, audience, and context.

Fluently integrated use of evidence from texts to develop and support a response.

Sophisticated use of accurate, clear, and fluent expression.

BKnowledge and understanding of ideas and perspectives in a range of texts.

Knowledge and understanding of ways in which creators of texts use a range of language features, stylistic features, and conventions to make meaning.

Knowledge and understanding of a range of ways in which texts are created for different purposes, contexts, and audiences. Detailed analysis of ideas, perspectives, and/or aspects of culture represented in texts.

Detailed analysis of language features, stylistic features, and conventions, and evaluation of how these influence audiences.

Clear analysis of similarities and differences when comparing texts. Accurate use of language and stylistic features to create a range of coherent texts that address the purpose, context, and audience.

Appropriate use of evidence from texts to develop and support a response.

Consistent use of accurate, clear, and fluent expression.

CKnowledge and understanding of some ideas and perspectives in texts.

Knowledge and understanding of ways in which creators of texts use some language features, stylistic features, and conventions to make meaning.

Knowledge and understanding of ways in which everyday texts are created for different purposes, contexts, and audiences. Analysis of some ideas and perspectives represented in texts.

Description and some analysis of different language features, stylistic features, and conventions, and/or some evaluation of how these influence audiences.

Analysis of some similarities and differences when comparing texts. Generally accurate use of language and stylistic features to create texts that address the purpose, context, and audience.

Selection of some evidence from texts to develop and support a response.

Appropriate use of accurate, clear, and fluent expression.

DKnowledge and understanding of some ideas in a narrow range texts.

Some knowledge and understanding of ways in which creators of texts use language features and conventions to make meaning.

Knowledge and understanding of ways in which some everyday texts are created for different purposes and audiences. Description of some ideas in texts.

Description of some language features, stylistic features, and/or conventions.

Description of some similarities and differences in texts. Use of some language and stylistic features to create a narrow range of texts.

Partial use of basic evidence from texts to develop a response.

Inconsistent use of expression.

EIdentification of an idea in a text.

Identification of a limited range of ways in which creators of texts use language techniques.

Recognition of one or more ways in which a familiar text is created. Reference to an idea in a text.

Recognition of language or stylistic features.

Recognition of a simple connection between texts. Restricted use of language or stylistic features to create a text.

Limited use of evidence from a text in a response.

Limited use of clear expression.

Stage 2 English Assessment Type 3: Comparative Analysis

Complete a written analysis of Nikita Khrushchev's 1953 Secret Speech and his 1959 Kitchen Debate with US Vice President Richard Nixon evaluating the ways in which language techniques, purpose and persuasive features are utilised to represent political perspectives in order to influence audiences.

Extracts of then Soviet Premier Nikita Khrushchev's 1953 Secret Speech denouncing his predecessor Joseph Stalin and the televised 1959 Kitchen Debate between Khrushchev and then-United States Vice President Richard Nixon at an American National exhibition in Moscow, represent Cold War-era communist and capitalist perspectives. Differing in purpose, both texts influence audiences through language and stylistic features.

Referencing the previously censored Lenin's Testament' by Bolshevik revolutionary Vladimir Lenin, Khrushchev's revisionist assessments of communism in the cautiously planned, drafted and edited Secret Speech influenced largely reactionary, high-ranking Communist Party members as well as astute international readers. Amid a new emphasis by the United States and Soviet Union on cultural exchanges, the unscripted Kitchen Debate facilitated a frank discussion where Khrushchev asserts rhetorical superiority, disquieting Nixon as well as American and Soviet audiences at the exhibition and on television. Khrushchev assumes the Secret Speech's audience understands communism and its reformist denomination known as Leninism. Although the Kitchen Debate also assumes knowledge of communism, the speakers assume the audience understands capitalism and American distrust of Soviets.

Both texts differ in tenor and register. As a prepared, considered report, the Secret Speech employs an academic register. Thus, Khrushchev nominalises throughout, such as in stating that Lenin described the "application" of terror as being necessitated by, "resistance of the exploiting classes". Khrushchev maintains proper syntax, employing formal sentence constructions such as, "we are" and, "it is". By contrast, the Kitchen Debate's impromptu style means the audience holds the speakers to a comparatively lower standard. Thus, the audience accepts spontaneous use of familiar constructions such as the word "Stupid" as is appropriate in informal banter. Additionally, improper prose is to be expected, particularly when Nixon states: "make life more easy". Given the absence of formal debating procedures, where the exchange of ideas is mediated, Khrushchev interjects to embarrass Nixon: "No, in rockets we've passed you by".

However, as the debate occurs through interpreters, and the audience's attention is divided between the orators and the exhibition, Khrushchev and Nixon frequently pause; facilitating adequate translation and comprehension of arguments. The fact that the Kitchen Debate was filmed places Khrushchev under public scrutiny, unlike in the unrecorded Secret Speech. Therefore, Khrushchev moderates his language to advocate only general and uncontroversial communist perspectives such as disapproval of the, "capitalistic attitude toward women". Moreover, cordiality underpins the style. Nixon speaks politely as a foreign representative, complimenting Khrushchev: 'you would have made a good lawyer". However, Khrushchev assuming that Soviet audiences are familiar with his personality is comparably boisterous, with his humorous hand gesture provoking laughter when saying: ''As we pass you by, we'll wave 'hi"'. Both texts exhibit fundamentally different structures.

Khrushchev adheres to the forms appropriate to his context, for each text. According with political speech conventions, Khrushchev carefully and logically structures the Secret Speech with an introduction, body and conclusion, gradually destroying Stalin's messianic image. Parallel sentence structure, repetition and triples command attention to the central ideas: "the cult of Stalin became the source of a series of exceedingly serious perversions of party principles, of party democracy, of revolutionary legality." In addition, short, emotive sentences such as, "Innocent individuals became victims" focus the audience's attention. The body contains many examples of imagery and triples supporting Khrushchev's inference that Stalin brainwashed the audience with, "[philosophical] deviations, cover-ups of shortcomings, and vanishings of reality". By scrutinising Stalin's corruption, Khrushchev's concludes with, "Leninism!" to signify a restoration of Lenin's more genuine principles. On the contrary, the Kitchen Debate's conventions derive from the audience's expectations regarding structure and style. The accepted style invites the use of the Russian idiom: "we don't beat flies with our nostrils!" and formal language: "/ have been insulted by experts". However, Khrushchev and Nixon use the personal pronoun "we" as a political language convention, presenting opinions as national, rather than personal to increase their validity for the audience. While the Secret Speech also uses "we" frequently, this relates ideas to the immediate audience rather than the entire constituencies as in the Kitchen Debate. The Secret Speech applies colloquialisms to a lesser degree such as "shifty", which is used to generalise, rather than convey specific facts. Generally, the Secret Speech conforms to rigid report conventions, whereas the Kitchen Debate's conventions are abstract.

The purpose behind the Secret Speech was to use language to alienate Stalinists, reinforcing Khrushchev's agenda to redefine communism. Pursuing this objective, persuasive devices such as triples and generalisations expose Stalin's terrors: "Mass arrests and deportations of many thousands of people, execution without trial, created conditions of insecurity, fear and even desperation." Facts substantiate Khrushchev's arguments: "Of the 139 members and candidates of the central committee ... 70 per cent, were arrested and shot." In comparison to the Secret Speech, the Kitchen Debate seeks to argue the merits of communism and capitalism, in which Khrushchev conveniently omits the bleaker aspects of life under the former. For example, his contrasts, sarcasm and imagery serve to criticise American inequality: In Russia...You are entitled to housing ... In America, if you don't have a dollar you have the right to choose between sleeping in a house or on the pavement." Khrushchev's anecdote about First Deputy Premier Anastas Mikoyan who, conversely to Khrushchev, "likes very peppery soup" advertises opportunities for mutual understanding, reiterating that, "this does not mean that we do not get along." In a cunning quip, Nixon's repetition and triples advocate free markets and democracy: "Let the people choose the kind of house, the kind of soup, the kind of ideas that they want." Disparate purposes convey that as Khrushchev is ashamed of Stalin's legacy and hence desires peaceful coexistence with Americans.

Ethos fortifies Khrushchev and Nixon's credibility, as they undermine past and present political figures via commentary, which the audience is not privy to in the Secret Speech, but is in the Kitchen Debate. The Secret Speech's ethos arises from comparisons between Leninism and Stalinism. Citing Lenin's The State and Revolution, Khrushchev delivers a reasoned judgement: "Lenin taught that the application of revolutionary violence... referred to the era when the exploiting classes... were powerful." Consequently, the audience learns that Stalin blurred the boundaries between revolutionary necessities and despotic excesses. Furthermore, opinion as fact and inclusive language reiterate the Party's submission to Stalinist despotism: "We cannot say that we have been following this Leninist example in all respects." Depicting Stalinism as an unfortunate misadventure, Khrushchev persuades the audience to accept the Secret Speech as a framework for rehabilitating communism. A profound distinction is that the Kitchen Debate sees Khrushchev and Nixon convey ethos through anecdotes instead of facts. Khrushchev's anecdote casts aspersion on Nixon in order to protect his own reputation: "I have read much about America and American houses, and I do not think that this exhibit and what you say is strictly accurate." Nixon's failure to rebut presents Khrushchev as being more knowledgeable. Recognising Khrushchev's rhetorical intentions, Nixon's anecdote threatens his opponent's standing by spotlighting the lasting impression of wealthy American life:"!... went down to visit a market, where the farmers... bring in their items to sell... there was a great deal of interest among these people". Khrushchev utilises ethos in both texts, but faces a more loyal audience in the Secret Speech and so alters his language.

Khrushchev and Nixon exchange arguments with logic to communicate logos retrospectively and prospectively, imbuing it with rhetoric. Most notably, Khrushchev employs anaphora in describing films illustrative of Stalin's foolish personality cult: "Let us recall 'The Fall of Berlin'. Here only Stalin acts. He does not reckon with anyone. He asks no one for advice." Refuting the film's historical accuracy, Khrushchev conjures emotional and nationalistic appeal claiming, "the party" and, "our... talented [military] leaders and brave soldiers" achieved the Soviet victory in World War. As a consequence, Khrushchev prompts the audience to feel betrayed by Stalin's attempt to rewrite history. Alternatively, the Kitchen Debate's logos derives from assumed knowledge applied in the context of present communist and capitalist successes. For instance, Khrushchev undercuts capitalism by juxtaposing its emphasis on short-term luxuries: "American houses are built to [become outmoded after] 20 years" with communism's focus on long-term necessities in building, "firmly... for...children and grandchildren." Nixon's anaphora and repetition produce a counterargument on how economic liberalism promotes freedom of choice: "We don't have one decision made at the top by one government official." Hence, he judges the state controlled Soviet economy, because it restricts entrepreneurship and economic competition. Contrasts in logos reveal Khrushchev and Nixon's reflection on the American and Soviet politico economic divides.

Another variation is that the Secret Speech's pathos reduces the audience's fear whereas the Kitchen Debate fosters anxieties about the Soviet-American Arms Race, epitomising the underlying disdain between Cold War rivals. ln the Secret Speech, Khrushchev's opinion as fact and inclusive language secure the audience's loyalty by portraying his avowals as virtuous: "The fact that we present... the basic problems of overcoming the cult of the individual is evidence of .. great moral and political strength". Fortifying this claim, Khrushchev's powerful imagery and emotive language assuage fears about a post Stalinist future: "our party... will lead the...people to new successes." Though the Secret Speech's pathos eases the audience to some degree, the Kitchen Debate fuels consternation among the viewers. Khrushchev attempts to frighten American audiences with prospects that the Soviets will achieve economic and strategic superiority: "in another 7years, we'll be at the level of America, and after that we'll go farther." As a result, he challenges American notions of supremacy by exploiting the nation's exaggerated fears of communism. Notwithstanding his desire for peace with Americans, Khrushchev displays subconscious contempt for them and hence subtle rejection of Nixon's perspectives. In particular, he makes the boorish gesture of donning his hat as Nixon speaks, and points passively-aggressively at Nixon, demanding he tell the truth: "give me your word that my speech will...be taped in English." The subliminal inference to the audience is that both leaders are somewhat sceptical of the other's outward geniality. Pathos relieves the audience to some extent in the Secret Speech, yet agitates Soviet-American rivalry in the Kitchen Debate.

The Secret Speech's register makes its tone more serious compared to the Kitchen Debate's convivial atmosphere. Khrushchev is initially frustrated in the Secret Speech, but later shifts to a galvanising tone. His emotive language, analogy and repetition invoke disgust in Stalin's personality: "Stalin was a very distrustful man... The sickly suspicion created in him a general distrust." However, Khrushchev transitions to confidence in connecting his concepts to the, "resolute will to accomplish the great task of building communism". Here he manipulates the audience's guilt to appeal to their loyalty by convincing them that Party goals require their active endorsement. Distinguishing the Secret Speech from the Kitchen Debate is the latter's fervent and jovial tones. Khrushchev's direct address and hyperbole disparage Nixon: 'you know absolutely nothing about Communism, except for fear!" Later, he switches to jocularity through a metaphorical jest referencing Russian greeting etiquette, light-heartedly underlining the irrelevance of ideological differences in international co-operation: "You're a lawyer for capitalism, I'm a lawyer for communism. Let's kiss." In doing so, Khrushchev reduces American hostility towards Soviets, echoing his key message that political beliefs need not proselytise hate. Both leaders reinforce this idea with affable body language, as they are smiling, laughing and patting each other on the shoulder; positioning the audience to appreciate their diplomatic bond. Tonal contrasts suggest that Khrushchev recognises that international friendship is possible despite political divisions.

Contrasting convictions on the Cold War arise from the application of language features, purpose, and persuasive features in the different occasions presented by the Secret Speech and Kitchen Debate. As the Secret Speech delivers an organised, insightful and linguistically rich synopsis of the past's misgivings and seeks to reinvigorate communist ideals apparent in Lenin's time, it is more informative than the Kitchen Debate. Nevertheless, the Kitchen Debate entertainingly compares communism and capitalism in front of an audience comprising of both Soviets and Americans. Khrushchev's stylistically, linguistically and emotionally varied expressions result in the surprising observation that the same man speaks articulately and effectively in markedly distinctive situations.