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EDUQAS AS/A LEVEL ENGLISH LANGUAGE AND LITERATURE CPD AUTUMN 2016 Contents Page 1 Page 16 Page 46 Page 48 Page 60 Page 94 Page 11 1 Page 119 1
EDUQAS AS/A LEVEL ENGLISH LANGUAGE AND LITERATURE
CPD AUTUMN 2016
Contents
Page 1
Page 16
Page 46
Page 48
Page 60
Page 94
Page 111
Page 119
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WJEC Eduqas AS/A Level
English Language and Literature CPD Autumn 2016
Eduqas Website
www.eduqas.co.uk is the main place to go for:
• Specifications
• Sample assessment materials
• Teaching and learning support
• i.e. online magazine
• Examiner reports and past papers
• Applying to become an examiner
• Subscribing to news bulletins
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Eduqas Website
Our online resources are FREE.
Eduqas Website
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WJEC Online Examination Review OER
(Available for 2016 AS Components: Autumn term) http://oer.wjec.co.uk
Summer 2016 exams
OER resources will be prepared throughout the Autumn term to exemplify candidate responses to the summer’s reformed AS question papers.
There are also a range of marked exemplar AS responses from summer 2016 available via the Eduqas website.
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Initial view
A feedback module will look like this when opened.
The following slides will take you through this example module, providing instructions on how it should be used and explaining the tools available.
Making notes
The pen tool allows the user to make notes on any part of the screen.
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Changing pen colour
Choose the colour palette at any time to change the pen colour – this is done by clicking the right mouse button on the pen icon and choosing ‘Tool Default Properties’. This can be useful if there is need to distinguish between different types of comment, or if being used by students in the classroom.
Termly newsletters are sent to all centres who subscribe and relay timely information and updates.
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Specifications and sample assessment materials are available for our reformed AS and A level English Language qualifications via the Eduqas site.
… As are our detailed Teacher Handbooks and Assessment Grids.
Exams Results Analysis - on the secure website
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Item Level Data What is it?
A detailed breakdown of performance on each ‘item’ (usually questions or part questions within a script).
Item Level Data is available for most subjects (where marks are submitted via EMI or there is electronic script marking ESM).
Item Level Data What is it for?
For centres, it can be used to:
• evaluate their own performance againstspecification norms;
• identify strengths and weaknesses for acandidate cohort and suggest areas ofimprovement;
• assist individual candidates in improving theirown performance.
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Item Level Data
There are two levels of data that are available…
Access to this data is gained via WJEC secure website (www.wjecservices.co.uk) or from a link on the public website).
1. Item Level Summary (Candidates)
For each component a candidate has sat, the mark achieved on each item is given.
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1. Item Level Summary (Candidates)
You can select a subject from the drop-down menu.
1. Item Level Summary (Candidates)
Click the candidate’s name to compare his/her performance with other candidates in the centre and overall as a report.
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1. Item Level Summary (Candidates)
The report shows:
• Mark achieved bycandidate
• Average markachieved bycentre
• Average markachieved for allcandidatesentered withWJEC
Click the ‘DOWNLOAD DATA’ icon for a complete set of candidate data that can be viewed and manipulated as a spread sheet.
1. Item Level Summary(Candidates)
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2. Centre Performance in Context
Centre Performance in Context
This is used to see how your centre performed relative to other centres with WJEC.
2. Centre Performance in Context
This gives (for each item) the mean, facility factor and attempt %, for all candidates as well as males and females separately.
mean facility attempt %
factor
This is used to see how your centre performed, relative to other centres with WJEC.
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Using the Item Level Data
• Take ownership – it’s YOUR data.
• Understand what your data is telling you about yourcentre.
• Make decisions or recommendations within yourcentre based on the data evidence.
• Identify the accessible and challenging questions foryour centre and address them.
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• We value the contribution you as experienced teachers andlecturers make in assessing candidates’ work, ensuring thatall are given a fair result which accurately reflects theirability.
• We appoint examiners to mark externally assessed workand moderators to review the original marking of teachersfor internally assessed components.
• We provide face-to-face training for examiners andmoderators (appointees) prior to assessment workcommencing.
• Our senior examiners and subject officers provide supportand advice during the assessment period.
• Complete an application using the on-line application system available on theAppointees page of the WJEC website.
• Once you have completed the initial registration, please make sure that youvalidate your email account so that you can complete the application process.
• When you have completed your application, remember to click ‘submit’ on thehomepage to complete the process.
• Remember to inform your referee of your application, as sometimes delays occurdue to referees not completing the reference section.
• On rare occasions, applicants may not be accepted due to a lack of relevantteaching experience.
• Applicants may re-apply once they have gained sufficient experience.
• Some applicants will be approved, but may have to wait on the reserve list until asuitable vacancy arises.
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Component 4
Critical and Creative Genre Study
Non-examination assessment
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gothic war/conflict science fiction adventure/journeys romance life-writing dystopia journalism crime travel satire/comedy identity/the outsider historical fiction
Component 4
Critical and Creative Genre Study
Non-examination assessment
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Component 4
Critical and Creative Genre Study
Non-examination assessment
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Component 4
Critical and Creative Genre Study
Non-examination assessment
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Possible Approaches
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Task Setting •
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Task Setting
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Task Setting
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Coursework Proposal
Example Tasks
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Example Tasks
Structuring a Response
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Structuring a Response
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Visit our website to access qualification information and download key documents.
eduqas.co.uk/qualifications/english-language-and-literature
Free Eduqas digital resources to support the teaching and learning of a broad range of
subjects.
resources.eduqas.co.uk
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!Name !! ! _____________________________________________________________!!!Core Text! ! _____________________________________________________________!!!Wider Reading! _____________________________________________________________!!!Proposed Title!
!Proposed Argument - Please provide topic sentences for each paragraph!!
Non Examination Assessment - Proposal
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Sections for Study (Core)!!
!Sections for Study (Wider)
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Example Tasks:!!Gothic!!Section A:!!Using integrated literary and linguistic approaches, explore the significance of the castle as a gothic setting. You should make close reference to Bram Stoker’s Dracula and wider reference to Angela Carter’s The Bloody Cham-ber and Horace Walpole’s The Castle of Otranto.!!Section B:!!Write the opening of a gothic story set in a castle.!!!Write a travelogue for a visit to Bran Castle in Transylvania.!!_____________________________________________________________!!Science Fiction!!Section A:!!With close reference to ‘The Veldt’ and ‘Zero Hour’ from Ray Bradbury’s The Illustrated Man and other short stories explore the role of children in science fiction. You should make wider reference to H. G. Wells’ The War of the Worlds in your response. Your response must include a wide range of literary and linguistic approaches.!!Section B:!!Write a short science fiction story with a child protagonist.!!!!Write a review of Netflix’s Stranger Things focusing on the impact its child stars have had on its success with audiences.! !_____________________________________________________________!!!
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Example Tasks:!Romance!!Section A:!!How does Audrey Niffenegger use narrative structure to explore romantic re-lationships in The Time Traveler’s Wife? You should illuminate your study of this text with wider reference to Ian McEwan’s Enduring Love.!!Section B:!!Write a short romance story which alternates between two narrative perspec-tives.!!!!Write an article for a lifestyle magazine exploring the differences between male and female perspectives on relationships.!!_____________________________________________________________!!Dystopia!!Section A:!!With close reference to Ray Bradbury’s Fahrenheit 451 and wider reference to George Orwell’s 1984, explore how dystopian texts subvert the presenta-tion of the male hero.!!Section B:!!Write a dramatic monologue for a character who is struggling to conform to society’s expectations.!!!!Write a review of a dystopian film in which you focus on the role of the hero in the success (or failure) of the film.!!_____________________________________________________________!!!
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Example Tasks:!Crime!!Section A:!!Using integrated literary and linguistic approaches, explore how Kate Sum-merscale uses the country house as a backdrop for her murder thriller The Suspicions of Mr Whicher. You should make wider reference to Agatha Christie’s The Murder of Roger Ackroyd and Wilkie Collins’ The Moonstone.!!Section B:!!Write a short crime story set in a country house.!!!!Write an editorial criticising crime writers for their lack of originality.!!_____________________________________________________________!!Identity/The Outsider!!Section A:!!‘It is better to burn than to disappear.’ With close reference to J. D. Salinger’s The Catcher in the Rye and wider reference to Iain Banks’ The Wasp Factory, explore the significance of endings. How is the experience of the outsider re-solved? !!!Section B:!!Write an article on the disappearance of the teen outsider in modern film and literature.!!!!Write the closing chapter of a novel in which the first person narrator has been the victim of alienation by society.
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Crafting Introductions!Task One!!What are the qualities of a ‘good’ introduction?!
!Task Two!!Look at the following examples. What advice would you give these students in order to improve their introductions?!!!Example 1!!Using integrated literary and linguistic approaches, explore the presentation of marriage and rela-tionships in Emily Bronte’s Wuthering Heights with wider reference to Anne Bronte’s Agnes Grey and Jane Austen’s Pride and Prejudice.!!______________________________________________________________________________!!Wuthering Heights can be seen as a novel full of gender ambiguity. Traditional ideals of feminine weakness can be found in both Isabella and Linton and masculine qualities of strength and power are represented in the characters of both Catherine and Heathcliff. However, despite this androg-yny, women are often degraded and bound by the conventions of a patriarchal society - a society which had bound the author herself as she published under the sexually ambiguous pseudonym of Ellis Bell. The pressures placed on women to conform to social expectations can also be seen in Bronte’s sisters’ work and particularly in Anne Bronte’s Agnes Grey where the central character Rosalie Murray marries for financial rather than emotional reasons, similar to Catherine Earnshaw. Jane Austen’s Pride and Prejudice also explores the pressures placed upon women through the juxtaposition of the various Bennet sisters and their differing attitudes to love and marriage.!!
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!Example 2!!With detailed discussion of the role of Jane and wider reference to the role of Antoinette, explore the position of women in Charlotte Bronte’s Jane Eyre and and Jean Rhys’ Wide Sargasso Sea!!______________________________________________________________________________!!Charlotte Bronte’s Jane Eyre can be described as a social commentary, revealing the prejudices against females in the Victorian Era. One of Jane’s greatest obstacles is her classless, orphan state, which is only rectified at the end of the narrative. Antoinette too faces a number of obstacles as she struggles with her outsider status as the daughter of an ex slave owner and a “Martinique girl”. Both, however, try to reject the silence which society seems to want to them to conform to as they try to resist the many patriarchal attempts to, quite literally, silence them and prevent them from becoming educated. This struggle against oppression has different outcomes for the two women. Jane is independent and equal to Rochester at the end, although only through discover-ing her class and gaining wealth. Antoinette’s fate is much different as she loses everything, even her mind and name, and is ultimately locked away when too wild to be tamed by the patriarchal society.!!!Example 3!!Using integrated literary and linguistic approaches, explore the presentation of obsession. You should make close reference to Ian McEwan’s Enduring Love and wider reference to The Sea, The Sea by Iris Murdoch.!!______________________________________________________________________________!!!Ian McEwan’s Enduring Love is one of the most chilling books on obsession. It centres on Jed Parry’s growing obsession with Joe Rose which ultimately has destructive consequences. Iris Murdoch’s The Sea, The Sea also looks at the insidious Charles Arrowby’s obsessive desire to de-stroy his ex-girlfriends’s new marriage. The motives for each of their obsessive behaviours are very different as Parry’s mental weakness leads him to imagine a relationship with Rose that does not exist, whereas Arrowby’s intention is to make his ex suffer because he is bitter that she is now happy. Obsession is also interesting in terms of the impact that it has on the victims, resulting in them having a complete lack of power over their own lives. The romance genre does not always deal with happy relationships and these texts subvert the stereotypical loving relationships which often exist within the genre.
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!!!!Setting Extracts:!!Dracula by Bram Stoker The Woman in Black by Susan Hill Gormenghast by Mervin Peak The Mysteries of Udolpho by Ann Radcliffe The Fall of the House of Usher by Edgar Allen Poe
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Dracula by Bram Stoker!!!Castle Dracula Extract 1: Chapter 1!!By-and-by, however, as I was curious to know how time was passing, I struck a match, and by its flame looked at my watch. It was within a few minutes of midnight. This gave me a sort of shock, for I suppose the general superstition about midnight was increased by my recent experiences. I waited with a sick feeling of suspense. !Then a dog began to howl somewhere in a farmhouse far down the road, a long, ago-nized wailing, as if from fear. The sound was taken up by another dog, and then another and another, till, borne on the wind which now sighed softly through the Pass, a wild howling began, which seemed to come from all over the country, as far as the imagina-tion could grasp it through the gloom of the night. !At the first howl the horses began to strain and rear, but the driver spoke to them sooth-ingly, and they quieted down, but shivered and sweated as though after a runaway from sudden fright. Then, far off in the distance, from the mountains on each side of us be-gan a louder and a sharper howling, that of wolves, which affected both the horses and myself in the same way. For I was minded to jump from the caleche and run, whilst they reared again and plunged madly, so that the driver had to use all his great strength to keep them from bolting. In a few minutes, however, my own ears got accustomed to the sound, and the horses so far became quiet that the driver was able to descend and to stand before them. !He petted and soothed them, and whispered something in their ears, as I have heard of horse-tamers doing, and with extraordinary effect, for under his caresses they became quite manageable again, though they still trembled. The driver again took his seat, and shaking his reins, started off at a great pace. This time, after going to the far side or the Pass, he suddenly turned down a narrow roadway which ran sharply to the right. Soon we were hemmed in with trees, which in places arched right over the roadway till we passed as through a tunnel. And again great frowning rocks guarded us boldly on ei-ther side. Though we were in shelter, we could hear the rising wind, for it moaned and whistled through the rocks, and the branches of the trees crashed together as we swept along. It grew colder and colder still, and fine, powdery snow began to fall, so that soon we and all around us were covered with a white blanket. The keen wind still carried the howling of the dogs, though this grew fainter as we went on our way. The baying of the wolves sounded nearer and nearer, as though they were closing round on us from every side. I grew dreadfully afraid, and the horses shared my fear. The driver, however, was not in the least disturbed. He kept turning his head to left and right, but I could not see anything through the darkness. !Suddenly, away on our left I saw a fain flickering blue flame. The driver saw it at the same moment. He at once checked the horses, and, jumping to the ground, disappeared into the darkness. I did not know what to do, the less as the howling of the wolves grew closer. But while I wondered, the driver suddenly appeared again, and without a word took his seat, and we resumed our journey. I think I must have fallen asleep and kept dreaming of the incident, for it seemed to be repeated endlessly, and now looking back,
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it is like a sort of awful nightmare. Once the flame appeared so near the road, that even in the darkness around us I could watch the driver's motions. He went rapidly to where the blue flame arose, it must have been very faint, for it did not seem to illumine the place around it at all, and gathering a few stones, formed them into some device. Once there appeared a strange optical effect. When he stood between me and the flame he did not obstruct it, for I could see its ghostly flicker all the same. This startled me, but as the effect was only momentary, I took it that my eyes deceived me straining through the darkness. Then for a time there were no blue flames, and we sped onwards through the gloom, with the howling of the wolves around us, as though they were fol-lowing in a moving circle. !At last there came a time when the driver went further afield than he had yet gone, and during his absence, the horses began to tremble worse than ever and to snort and scream with fright. I could not see any cause for it, for the howling of the wolves had ceased altogether. But just then the moon, sailing through the black clouds, appeared behind the jagged crest of a beetling, pine-clad rock, and by its light I saw around us a ring of wolves, with white teeth and lolling red tongues, with long, sinewy limbs and shaggy hair. They were a hundred times more terrible in the grim silence which held them than even when they howled. For myself, I felt a sort of paralysis of fear. It is only when a man feels himself face to face with such horrors that he can understand their true import. !All at once the wolves began to howl as though the moonlight had had some peculiar ef-fect on them. The horses jumped about and reared, and looked helplessly round with eyes that rolled in a way painful to see. But the living ring of terror encompassed them on every side, and they had perforce to remain within it. I called to the coachman to come, for it seemed to me that our only chance was to try to break out through the ring and to aid his approach, I shouted and beat the side of the caleche, hoping by the noise to scare the wolves from the side, so as to give him a chance of reaching the trap. How he came there, I know not, but I heard his voice raised in a tone of imperious command, and looking towards the sound, saw him stand in the roadway. As he swept his long arms, as though brushing aside some impalpable obstacle, the wolves fell back and back fur-ther still. Just then a heavy cloud passed across the face of the moon, so that we were again in darkness. !When I could see again the driver was climbing into the caleche, and the wolves disap-peared. This was all so strange and uncanny that a dreadful fear came upon me, and I was afraid to speak or move. The time seemed interminable as we swept on our way, now in almost complete darkness, for the rolling clouds obscured the moon. We kept on ascending, with occasional periods of quick descent, but in the main always ascending. Suddenly, I became conscious of the fact that the driver was in the act of pulling up the horses in the courtyard of a vast ruined castle, from whose tall black win-dows came no ray of light, and whose broken battlements showed a jagged line against the sky. !!Castle Dracula Extract 2: Chapter 2 !5 May.--I must have been asleep, for certainly if I had been fully awake I must have no-ticed the approach of such a remarkable place. In the gloom the courtyard looked of
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considerable size, and as several dark ways led from it under great round arches, it per-haps seemed bigger than it really is. I have not yet been able to see it by daylight. When the caleche stopped, the driver jumped down and held out his hand to assist me to alight. Again I could not but notice his prodigious strength. His hand actually seemed like a steel vice that could have crushed mine if he had chosen. Then he took my traps, and placed them on the ground beside me as I stood close to a great door, old and stud-ded with large iron nails, and set in a projecting doorway of massive stone. I could see even in the dim light that the stone was massively carved, but that the carving had been much worn by time and weather. As I stood, the driver jumped again into his seat and shook the reins. The horses started forward, and trap and all disappeared down one of the dark openings. !I stood in silence where I was, for I did not know what to do. Of bell or knocker there was no sign. Through these frowning walls and dark window openings it was not likely that my voice could penetrate. The time I waited seemed endless, and I felt doubts and fears crowding upon me. What sort of place had I come to, and among what kind of peo-ple? What sort of grim adventure was it on which I had embarked? Was this a customary incident in the life of a solicitor's clerk sent out to explain the purchase of a London es-tate to a foreigner? Solicitor's clerk! Mina would not like that. Solicitor, for just before leaving London I got word that my examination was successful, and I am now a full-blown solicitor! I began to rub my eyes and pinch myself to see if I were awake. It all seemed like a horrible nightmare to me, and I expected that I should suddenly awake, and find myself at home, with the dawn struggling in through the windows, as I had now and again felt in the morning after a day of overwork. But my flesh answered the pinch-ing test, and my eyes were not to be deceived. I was indeed awake and among the Carpathians. All I could do now was to be patient, and to wait the coming of morning. !Just as I had come to this conclusion I heard a heavy step approaching behind the great door, and saw through the chinks the gleam of a coming light. Then there was the sound of rattling chains and the clanking of massive bolts drawn back. A key was turned with the loud grating noise of long disuse, and the great door swung back. !Within, stood a tall old man, clean shaven save for a long white moustache, and clad in black from head to foot, without a single speck of colour about him anywhere. He held in his hand an antique silver lamp, in which the flame burned without a chimney or globe of any kind, throwing long quivering shadows as it flickered in the draught of the open door. The old man motioned me in with his right hand with a courtly gesture, say-ing in excellent English, but with a strange intonation. !"Welcome to my house! Enter freely and of your own free will!" He made no motion of stepping to meet me, but stood like a statue, as though his gesture of welcome had fixed him into stone. The instant, however, that I had stepped over the threshold, he moved impulsively forward, and holding out his hand grasped mine with a strength which made me wince, an effect which was not lessened by the fact that it seemed cold as ice, more like the hand of a dead than a living man. Again he said. !"Welcome to my house! Enter freely. Go safely, and leave something of the happiness you bring!" The strength of the handshake was so much akin to that which I had noticed in the driver, whose face I had not seen, that for a moment I doubted if it were not the same person to whom I was speaking. So to make sure, I said interrogatively, "Count Dracula?”
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!He bowed in a courtly was as he replied, "I am Dracula, and I bid you welcome, Mr. Harker, to my house. Come in, the night air is chill, and you must need to eat and rest."As he was speaking, he put the lamp on a bracket on the wall, and stepping out, took my luggage. He had carried it in before I could forestall him. I protested, but he insisted. !"Nay, sir, you are my guest. It is late, and my people are not available. Let me see to your comfort myself."He insisted on carrying my traps along the passage, and then up a great winding stair, and along another great passage, on whose stone floor our steps rang heavily. At the end of this he threw open a heavy door, and I rejoiced to see within a well-lit room in which a table was spread for supper, and on whose mighty hearth a great fire of logs, freshly replenished, flamed and flared. !!Castle Dracula Extract 3: Chapter 2 !After breakfast I did a little exploring in the castle. I went out on the stairs, and found a room looking towards the South. !The view was magnificent, and from where I stood there was every opportunity of seeing it. The castle is on the very edge of a terrific precipice. A stone falling from the win-dow would fall as thousand feet without touching anything! As far as the eye can reach is a sea of green tree tops, with occasionally a deep rift where there is a chasm. Here and there are silver threads where the rivers wind in deep gorges through the forests. !But I am not in heart to describe beauty, for when I had seen the view I explored further. Doors, doors, doors everywhere, and all locked and bolted. In no place save from the windows in the castle walls is here an available exit. The castle is a veritable prison, and I am a prisoner! !!Castle Dracula Extract 4: Chapter 4 !Then there came the sound of many feet tramping and dying away in some passage which sent up a clanging echo. I turned to run down again towards the vault, where I might find the new entrance, but at the moment there seemed to come a violent puff of wind, and the door to the winding stair blew to with a shock that set the dust from the lintels flying. When I ran to push it open, I found that it was hopelessly fast. I was again a prisoner, and the net of doom was closing round me more closely. !The door is shut, the chains rattle. There is a grinding of the key in the lock. I can hear the key withdrawn, then another door opens and shuts. I hear the creaking of lock and bolt. !Hark! In the courtyard and down the rocky way the roll of heavy wheels, the crack of whips, and the chorus of the Szgany as they pass into the distance. !I am alone in the castle with those horrible women. Faugh! Mina is a woman, and there is nought in common. They are devils of the Pit! !
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I shall not remain alone with them. I shall try to scale the castle wall farther than I have yet attempted. I shall take some of the gold with me, lest I want it later. I may find a way from this dreadful place. !And then away for home! Away to the quickest and nearest train! Away from the cursed spot, from this cursed land, where the devil and his children still walk with earthly feet! !!Castle Dracula Extract 5: Chapter 27 !MINA HARKER'S JOURNAL !6 November.--It was late in the afternoon when the Professor and I took our way towards the east whence I knew Jonathan was coming. We did not go fast, though the way was steeply downhill, for w e had to take heavy rugs and wraps with us. We dared not face the possibility of being left without warmth in the cold and the snow. We had to take some of our provisions too, for we were in a perfect desolation, and so far as we could see through the snowfall, there was not even the sign of habitation. When we had gone about a mile, I was tired with the heavy walking and sat down to rest. Then we looked back and saw where the clear line of Dracula's castle cut the sky. For we were so deep under the hill whereon it was set that the angle of perspective of the Carpathian moun-tains was far below it. We saw it in all its grandeur, perched a thousand feet on the summit of a sheer precipice, and with seemingly a great gap between it and the steep of the adjacent mountain on any side. There was something wild and uncanny about the place. We could hear the distant howling of wolves. They were far off, but the sound, even though coming muffled through the deadening snowfall, was full of terror. I knew from the way Dr. Van Helsing was searching about that he was trying to seek some strategic point, where we would be less exposed in case of attack. The rough roadway still led downwards. We could trace it through the drifted snow. !!Castle Dracula Extract 6: Chapter 27 !But, on the instant, came the sweep and flash of Jonathan's great knife. I shrieked as I saw it shear through the throat. Whilst at the same moment Mr. Morris's bowie knife plunged into the heart. !It was like a miracle, but before our very eyes, and almost in the drawing of a breath, the whole body crumbled into dust and passed from our sight. !I shall be glad as long as I live that even in that moment of final dissolution, there was in the face a look of peace, such as I never could have imagined might have rested there. !The Castle of Dracula now stood out against the red sky, and every stone of its broken battlements was articulated against the light of the setting sun. !!!!!!
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Carfax Estate Extract 1: Chapter 2 !"The estate is called Carfax, no doubt a corruption of the old Quatre Face, as the house is four sided, agreeing with the cardinal points of the compass. It contains in all some twenty acres, quite surrounded by the solid stone wall above mentioned. There are many trees on it, which make it in places gloomy, and there is a deep, dark-looking pond or small lake, evidently fed by some springs, as the water is clear and flows away in a fair-sized stream. The house is very large and of all periods back, I should say, to medi-aeval times, for one part is of stone immensely thick, with only a few windows high up and heavily barred with iron. It looks like part of a keep, and is close to an old chapel or church. I could not enter it, as I had not the key of the door leading to it from the house, but I have taken with my Kodak views of it from various points. The house had been added to, but in a very straggling way, and I can only guess at the amount of ground it covers, which must be very great. There are but few houses close at hand, one being a very large house only recently added to and formed into a private lunatic asy-lum. It is not, however, visible from the grounds.” !When I had finished, he said, "I am glad that it is old and big. I myself am of an old fami-ly, and to live in a new house would kill me. A house cannot be made habitable in a day, and after all, how few days go to make up a century. I rejoice also that there is a chapel of old times. We Transylvanian nobles love not to think that our bones may lie amongst the common dead. I seek not gaiety nor mirth, not the bright voluptuousness of much sunshine and sparkling waters which please the young and gay. I am no longer young, and my heart, through weary years of mourning over the dead, is attuned to mirth. Moreover, the walls of my castle are broken. The shadows are many, and the wind breathes cold through the broken battlements and casements. I love the shade and the shadow, and would be alone with my thoughts when I may." Somehow his words and his look did not seem to accord, or else it was that his cast of face made his smile look ma-lignant and saturnine. !!!!- !!!!!!!!!!!!!
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!Woman in Black by Susan Hill!!Eel Marsh House Extract 1: ‘Across the Causeway’!
!!!Eel Marsh House Extract 2: ‘Across the Causeway’!!Then, thinking thus fancifully, I walked away from the house in the direction of the field, and across it, towards the ruin. Away to the west, on my right hand, the sun was already beginning to slip down in a great, wintry, golden-red ball which shot arrows of fore and blood-red streaks across the water. To the east, sea and sky had darkened slightly to a uniform, leaden grey. The wind that came suddenly snaking off the estuary was cold.!!As I neared the ruins, I could see clearly that they were indeed of some ancient chapel, perhaps monastic in origin, and all broken-down and crumbling, with some of the stones and rubble fallen, probably in recent gales, and lying about in the grass. The ground sloped a little down to the estuary shore and, as I passed under one of the old arches, I startled a bird, which rose up and away over my head with loudly beating wings and a harsh croaking cry that echoed all around the old walls and was taken up by another,
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some distance away. It was an ugly, satanic-looking thing, like some species of sea-vul-ture - if such a thing existed - and I could not suppress a shudder as its shadow passed over me, and I watched its ungainly flight away towards the sea with relief. Then I saw that the ground at my feet and the fallen stones between were a foul mess of droppings, and guessed that these birds must nest and roost in the walls above.!!Otherwise, I rather liked this lonely spot, and thought how it would be on a warm evening at midsummer, when the breezes blew balmily from off the sea, across the tall grasses, and wild flowers of white and yellow and pink climbed and bloomed among the broken stones, the shadows lengthened gently, and June birds poured poured out their finest songs, with the faint lap and wash of water in the distance.!!So musing, I emerged into a small burial ground. It was enclosed by the remains of a wall, and I stopped in astonishment at the sight. There were perhaps fifty old gravestones, most of them leaning over or completely fallen, covered in patches of greenish-yellow lichen and moss, scoured pale by the salt wind, and stained by years of driven rain. The mounds were grassy, and weed-covered, or else they had disappeared altogether, sunken and slipped down. No names or dates were now decipherable, and the whole place had a decayed and abandoned air.!!Ahead, where the walls ended in a heap of dust and rubble, lay the grey water of the estu-ary. As I stood, wondering, the last light went from the sun, and the wind rose in a gust, and rustled through the grass. Above my head, that unpleasant, snake-necked bird came gliding back towards the ruins, and I saw that it’s beak was hooked around a fish that writhed and struggled helplessly. I watched the creature alight and, as I did so, it disturbed some of the stones which toppled and fell out of sight somewhere. !!!!!!!!!!!!!!!!!!!!!!!!!!
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Eel Marsh House Extract 3: ‘Trap’!
!!!!!!!!!!!!!!!!!!
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Eel Marsh House Extract 4: ‘A Packet of Letters’!!
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Other Examples of Gothic Settings:!!!!Castle Udolpho in The Mysteries of Udolpho, Ann Radcliffe (1794) !… though it was now lighted up by the setting sun, the gothic greatness of its features,and its mouldering walls of dark grey stone, rendered it a gloomy and sublime object … the light died away on its walls, leaving a melancholy purple tint, which spread deeper and deeper, as the thin vapour crept up the mountain, while the battlements above were still tipped with splendour. From those too, the rays soon faded, and the whole edifice was invested with the solemn duskiness of evening. Silent, lonely and sublime, it seemed to stand the sovereign of the scene, and to frown defiance on all, who dared to invade its solitary reign. As the twilight deepened, its features became more awful in obscurity … The gateway … leading into the courts was of gigantic size, and was defended by two round towers, crowned by over-hanging turrets, embattled, where, instead of banners, now waved long grass and wild plants … The towers were united by a curtain, pierced and embattled also, below which appeared the pointed arch of an huge portcullis, sur-mounting the gates: from these, the walls of the ramparts extended to other towers, over-looking the precipice, whose shattered outline … told of the ravages of war. !!!!!!The Fall of the House of Usher - Edgar Allen Poe !During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country, and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher. I know not how it was —but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit. I say insufferable; for the feeling was unrelieved by any of that half-pleasurable, because poetic, sentiment with which the mind usually receives even the sternest natural images of the desolate or terrible. I looked upon the scene before me—upon the mere house, and the simple landscape features of the domain— upon the bleak walls —upon the vacant eye-like windows— upon a few rank sedges—and upon a few white trunks of decayed trees—with an utter depression of soul which I can compare to no earthly sensation more properly than to the after-dream of the reveller upon opium—the bitter lapse into every-day life—the hideous dropping off of the veil. There was an iciness, a sinking, a sickening of the heart—an unredeemed dreariness of thought which no goading of the imagination could torture into aught of the sublime. What was it—I paused to think —what was it that so unnerved me in the contemplation of the House of Usher? It was a mystery all insoluble; nor could I grapple with the shadowy fancies that crowded upon me as I pondered. I was forced to fall back upon the unsatisfactory conclusion, that while, beyond doubt, there are combinations of very simple natural objects which have the power of thus affecting us, still the analysis of this power lies among considerations beyond our depth. It was possible, I reflected, that a mere different arrangement of the particulars of the scene, of the details of the picture, would be sufficient to modify, or perhaps to
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annihilate its capacity for sorrowful impression; and, acting upon this idea, I reined my horse to the precipitous brink of a black and lurid tarn that lay in unruffled lustre by the dwelling, and gazed down—but with a shudder even more thrilling than before—upon the remodelled and inverted images of the gray sedge, and the ghastly tree-stems, and the vacant and eye-like windows. !!!Gormenghast - Mervin Peak !GORMENGHAST, that is, the main massing of the original stone, taken by itself would have dis-played a certain ponderous architectural quality were it possible to have ignored the circumfusion of those mean dwellings that swarmed like an epidemic around its outer walls. They sprawled over the sloping earth, each one half way over its neighbour until, held back by the castle ramparts, the innermost of these hovels laid hold on the great walls, clamping themselves thereto like limpets to a rock. These dwellings, by ancient law, were granted this chill intimacy with the stronghold that loomed above them. Over their irregular roofs would fall throughout the seasons, the shadows of time-eaten buttresses, of broken and lofty turrets, and, most enormous of all, the shadow of the Tower of Flints. This tower, patched unevenly with black ivy, arose like a mutilated finger from among the fists of knuckled masonry and pointed blasphemously at heaven. At night the owls made of it an echoing throat; by day it stood voiceless and cast its long shadow, Very little communication passed between the denizens of these outer quarters and those who lived within the walls, save when, on the first June morning of each year, the entire population of the clay dwellings had sanction to enter the Grounds in order to display the wooden carvings on which they had been working during the year. These carvings, blazoned in strange colour, were generally of animals or figures and were treated in a highly stylized manner peculiar to themselves. The competition among them to display the finest object of the year was bitter and rabid. Their sole passion was directed, once their days of love had guttered, on the production of this wooden sculp-ture, and among the muddle of huts at the foot of the outer wall, existed a score of creative crafts-men whose position as leading carvers gave them pride of place among the shadows. At one point within the outer wall, a few feet from the earth, the great stones of which the wall itself was constructed, jutted forward in the form of a massive shelf stretching from east to west for about two hundred to three hundred feet. These protruding stones were painted white, and it was upon this shelf that on the first morning of June the carvings were ranged every year for judgement by the Earl of Groan. Those works judged to be the most consummate, and there were never more than three chosen, were subsequently relegated to the Hall of the Bright Carvings. Standing immobile throughout the day, these vivid objects, with their fantastic shadows on the wall behind them shifting and elongating hour by hour with the sun’s rotation, exuded a kind of dark-ness for all their colour. The air between them was turgid with contempt and jealousy. The crafts-men stood about like beggars, their families clustered in silent groups. They were uncouth and prematurely aged, all radiance gone.!!!!!!!!!!!
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Unseen Text Analysis The role of word classes
BACKGROUND
One of the achievements of the Language and Literature Specifications post-2000 was the introduction of a range of linguistic terms, including word classes, so that candidates had more precise tools for handling close analysis. For several years, some centres were reluctant to venture into this new territory and preferred to rely on familiar literary terms and concepts, with ‘lexis’ thrown in occasionally. This has changed: the vast majority of centres approach the linguistic side of the course systematically and thoroughly. This has resulted in extensive and detailed knowledge which candidates are understandably keen to use.
More recently, however, examiners have noticed a tendency to attach linguistic labels, especially word class and phrase type, to elements of a quotation, in a way that clutters analysis without improving it.
From the LL4 Report 2016 on The ‘Unseen Texts’ section
Word classes
These are difficult to master and easy to get wrong. Effective close analysis requires some accurate word classing but word class labels also take up time and space, which would often be better occupied by widening the range of linguistic and literary approaches. Because it would be technically possible to attach word class labels to every single word on the page, selection is a useful skill to practise. It is rarely useful to specify the class of each word in a quotation but a few centres do seem to have encouraged this.’
Examples are from the octave of ‘High Flight’, the 1941 sonnet by John Gillespie Magee. Candidates were required to compare the presentation of aeroplanes and flying in three texts. The examples are chosen to focus on AO1 (integrated linguistic and literary study, using associated terminology) and AO2 (analysis of how meanings are shaped), rather than comparative or contextual work.
High Flight
Oh! I have slipped the surly bonds of Earth And danced the skies on laughter-silvered wings; Sunward I’ve climbed, and joined the tumbling mirth Of sun-split clouds - and done a hundred things You have not dreamed of - wheeled and soared and swung High in the sunlit silence. Hov’ring there, I’ve chased the shouting wind along, and flung My eager craft through footless halls of air...
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Read the following paragraphs and mark them according to AO1 and AO2:
CANDIDATE 1
The persona suggests that flying aeroplanes gives him a sense of euphoria, the personification
of his aeroplane in ‘danced the skies on laughter-silvered wings’ elucidates how the persona
presents aeroplanes as something which provide immense joy. ‘Tumbling mirth’ also creates the
imagery of happiness.
CANDIDATE 2
The writer uses the past participle dynamic verbs ‘danced’, ‘climbed’ and ‘joined’ with the plural
nouns ’skies’ and ‘wings’ to create imagery for the reader. The pre-modified noun phrases
‘laughter-silvered wings’ and ‘tumbling mirth’ show his positive feelings about flying. He uses
sibilance in the compound adjective ‘sun-split’ to show the reader what the clouds look like.
CANDIDATE 3
The metaphorical verb in 'danced' the skies’ helps to convey the excitement of flight as the
connotations of ‘danced’ include grace and celebration, reflecting the freedom and energy the
poet associates with aeroplanes. The unusual compound adjective ‘laughter-silvered’, which
pre-modifies the ‘wings’ personifies the aeroplane as shining with enjoyment. The noun phrase
‘tumbling mirth’, followed by enjambment assisting the idea of free-fall, connects careless, even
dangerous, movement with fun, presenting the pilot as a playmate of the clouds. Although flying
solo, he is not lonely.
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Overview
Written examination: 2 hours (120 marks) 30% of qualification
Section A: Shakespeare (closed-book) One compulsory extract-based task and one essay question from a choice of two based on the reading of a Shakespeare play from a prescribed list
Section B: Post-1900 drama (closed-book) One question from a choice of two based on the reading of one play from a prescribed list.
• Questions in Section A carry 72 marks (part (a) 24marks and part (b) or (c) 48 marks).
• Questions in Section B carry 48 marks.
• Section A – it is advisable to spend 30 minutes on theextract-based question and 45 minutes on the essay
• Section B - spend 45 minutes
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In both Section A and Section B, candidates will need to demonstrate that they can:
• use integrated linguistic and literary approaches• analyse how meanings are shaped in their set text• show knowledge and understanding of relevant language levels• use accurately a range of linguistic and literary terminology• demonstrate an understanding of the significance and influence
of the contexts in which texts are produced and received• organise responses in a clear and effective academic style and
register with coherent written expression.
Section A is based on the study of one Shakespeare play selected from the list below:
Antony and Cleopatra King Lear Much Ado About Nothing Othello The Tempest
Section A requires candidates to respond to: • one compulsory extract-based task (24 marks)• one extended essay from a choice of two (48 marks).
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For the extract-based task, candidates will need to demonstrate their ability to read closely a key passage from the set text.
AO1 - (12 marks) Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology and coherent written expression
AO2 - (12 marks) Analyse ways in which meanings are shaped in texts
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The essay will require candidates to demonstrate knowledge of the wider play and to select appropriate supporting evidence in their response.
There will be a choice of question on the studied text. Candidates are required to answer one of the questions.
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AO1 - (12 marks) Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology and coherent written expression
AO2 - (12 marks) Analyse ways in which meanings are shaped in texts
AO3 – (24 marks) Demonstrate the significance and influence of the contexts in which texts are produced and received
Section B is based on the study of one post-1900 drama text from the list below:
Edward Albee: Who’s Afraid of Virginia Woolf? Alan Bennett: The History Boys Brian Friel: Translations Diane Samuels: Kindertransport Tennessee Williams: Cat on a Hot Tin Roof
Section B requires candidates to answer one question from a choice of two.
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There will be a choice of question on the studied text. E.g.
AO1(16 marks) Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology and coherent written expression
AO2 (16 marks) Analyse ways in which meanings are shaped in texts
AO3 (16 marks) Demonstrate the significance and influence of the contexts in which texts are produced and received
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King Lear
(a) By focusing closely on the literary and linguistic techniques used, discuss Shakespeare’s presentation of the relationship between Goneril and Albany in this extract from Act 4 Scene 2.
[24]
ALBANY O Goneril!
You are not worth the dust which the rude wind
Blows in your face. I fear your disposition:
That nature, which contemns its origin,
Cannot be border'd certain in itself;
She that herself will sliver and disbranch
From her material sap, perforce must wither
And come to deadly use.
GONERIL No more; the text is foolish.
ALBANY Wisdom and goodness to the vile seem vile:
Filths savour but themselves. What have you done?
Tigers, not daughters, what have you perform'd?
A father, and a gracious aged man,
Whose reverence even the head-lugg'd bear would lick,
Most barbarous, most degenerate! have you madded.
Could my good brother suffer you to do it?
A man, a prince, by him so benefited!
If that the heavens do not their visible spirits
Send quickly down to tame these vile offences,
It will come,
Humanity must perforce prey on itself,
Like monsters of the deep.
GONERIL Milk-liver'd man!
That bear'st a cheek for blows, a head for wrongs;
Who hast not in thy brows an eye discerning
Thine honour from thy suffering; that not know'st
Fools do those villains pity who are punish'd
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Ere they have done their mischief. Where's thy drum?
France spreads his banners in our noiseless land;
With plumed helm thy slayer begins threats;
Whiles thou, a moral fool, sit'st still, and criest
'Alack, why does he so?'
ALBANY See thyself, devil!
Proper deformity seems not in the fiend
So horrid as in woman.
GONERIL O vain fool!
ALBANY Thou changed and self-cover'd thing, for shame,
Be-monster not thy feature. Were't my fitness
To let these hands obey my blood,
They are apt enough to dislocate and tear
Thy flesh and bones: howe'er thou art a fiend,
A woman's shape doth shield thee.
GONERIL Marry, your manhood now--
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By focusing closely on the literary and linguistic techniques used, discuss Shakespeare’s presentation of the relationship between Goneril and Albany in this extract from Act 4 Scene 2.
Act 4 Scene 2 highlights the shift in the relationship between Goneril and her husband as Albany finally embraces societal expectation of masculinity. Within this extract the audience sees Albany metamorphose into a man of moral integrity and inner strength. Goneril, however, refuses to conform to conventional expectations of women by challenging her husband and attacking his manhood.
Throughout the extract Albany is the dominant speaker and this represents a potential power shift in his relationship with Goneril. Shakespeare immediately draws the audience’s attention to the way Albany expresses his disgust and disbelief at Goneril’s behaviour through the exclamative utterance ‘O Goneril!’ Through the use of the interjection ‘O’ and the vocative ‘Goneril’, Shakespeare emphasises to the audience Albany’s incredulity as he confronts Goneril about her actions. Albany’s emphatic denunciation of Goneril is evident through the forceful declarative utterance ‘You are not worth the dust which the rude wind/Blows in your face.’ The stress on the personal pronoun ‘you’ creates an insulting address and the use of the adverb ‘not’ immediately emphasises the negativity of the current situation in the relationship between Goneril and Albany. The use of the predicative adjective ‘rude’ and the abstract noun ‘wind’ accentuates the fact that Albany feels much distaste and unhappiness at Goneril’s actions as he expresses his feelings of her unworthiness with vehemence and anger. Through the use dynamic plosive verb ‘blows’, Shakespeare also highlights the forceful nature of Albany’s rebuke as he reduces his wife to less than ‘dust’ – a noun which emphasizes how inconsequential she has now become to him.
Shakespeare creates the impression that the relationship between Goneril and Albany is irreparable as Albany implies that Goneril is now unworthy of his trust and that he fears her ‘disposition’. Albany’s use of the metaphorical noun phrase ‘material sap’ to represent the family unity that should unconditionally exist draws the audience’s attention to the fact that nobody can be worthy of trust when they are willing to abuse their own flesh and blood, to betray someone they should respect and look up to. Through the modal verb phrase ‘will silver and disbranch’ Albany implies that Goneril, like a branch breaking away from that tree, has metaphorically broken away from her relations. However, the use of the reflexive pronoun ‘herself’ emphasizes the fact that Goneril has personally and deliberately made this morally unsound decision and that her actions will lead to her own destruction. .
Goneril tries to re-assert power within the relationship and seize control of the conversation by dismissing Albany’s claims with the imperative utterance ‘No more’ and labelling his words with the modifier ‘foolish’. Albany, however, refuses to be silenced. Through his extended turn, he launches into a fierce and sustained attack presenting Goneril in an increasingly disparaging light. The rhetorical interrogative utterances ‘What have you done? And ‘what have you perform’d?’ emphasise Albany’s disbelief at his wife’s part in Lear’s downfall. Albany displays an ability to empathise with Lear who he refers to with the noun phrase ‘a gracious aged man.’ In contrast, he denounces Goneril who he perceives as ‘most barbarous, most degenerate.’ The repetition of the superlative ‘most’ and the harshness of the plosive sounds on ‘degenerate’ and ‘barbarous’ serve to emphasize the appalling depths to which he feels Goneril has sunk both as a wife and daughter. Here, he stresses the primitive and uncivilised manner in which she has behaved and the fact she has no moral code. He also de-humanises Goneril through the noun ‘Tigers’ and the simile ‘Like monsters of the deep’, suggesting her animalistic behaviour stands outside the norms of society. The collective noun ‘daughters’ in the parenthetical clause further accentuates the fact that Albany believes that Goneril and her sister are barbaric and not worth the status of human as they have behaved with such low morality it would be a disgrace to humanity to say so.
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Goneril, however, refuses to be intimidated by Albany and attempts to assume authority, dismissing Albany as a coward and weakling through the exclamatory utterance ‘Milk-liver’d man!’ Here, Goneril’s behaviour immediately subverts stereotypical gender roles as she belittles Albany and attacks his masculinity. This unstereotypical female behaviour is further reiterated in the way Goneril condemns Albany’s spinelessness. Through the use of the rhetorical interrogative ‘Where’s thy drum?’ she implies Albany lacks the patriotic attitude needed to defend his country and is a man incapable of action. Goneril further attempts to emasculate Albany with her second interrogative ‘Whiles thou, a moral fool, sit’st still, and criest ‘Alack, why does he do so?’’ Through the use of the predicative adjective ‘moral’ and the common noun ‘fool’ Goneril essentially creates a weak and pathetic image of Albany. The sibilant sounds on the verbs ‘sit’st’ and ‘criest’ present Albany as a whimpering fool who complains when things are not done but lacks the ability to do it himself. Shakespeare clearly highlights how Goneril attacks Albany’s masculinity as she attempts to diminish any shred of self-belief and security Albany has in himself as a man. Shakespeare also draws the audience’s attention to how Goneril subverts stereotypical ideologies of women in a patriarchal society as she uses derogatory language in order for Albany to be a subject of her abuse. In Goneril’s eyes, true marriage is a foreign concept as from her perspective there is no respect or love enveloping her relationship with Albany and she refuses to conform to conventional expectations.
Albany retaliates with increasingly violent language as he represents Goneril as the embodiment of all evil. This is highlighted through the use of the lexical set of imagery of hell. Albany uses the vocative ‘devil’, the repetition of the noun ‘fiend’ and the compound adjective ‘Be-monster’ to describe Goneril’s unfeminine and unnatural behaviour. The repetition of the abstract noun ‘fiend’ implies that, to him, Goneril is nothing more than an incessant, evil woman who cannot comprehend the intensity of her actions. Also, the use of the vocative ‘devil’ indicates that she is of a demonic nature and is the complete antithesis of anything that can be considered good and pure – expected traits of the Elizabethan woman. The violence of Albany’s language becomes more apparent as he warns Goneril of the physical harm he is tempted to inflict upon her as a result of her lack of self-recrimination and deliberately provocative attack upon him. The violence implied in the infinitive verb phrase ‘to dislocate and tear’ clearly highlights both the emotional and physical effect that Goneril’s remorseless and challenging behaviour has had upon Albany personally. Goneril, however, once again outfaces him with the imperative utterance ‘Marry, your manhood – mew!’ attacking his masculinity and implying his effeminate nature.
In conclusion, this extract clearly highlights the now dysfunctional nature of the relationship between Albany and Goneril. The verbally aggressive and heated nature of this exchange emphatically suggests to the audience that this situation has gone too far for them to ever come back from.
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‘Sure I shall never marry like my sisters.’ Examine Shakespeare’s presentation of marital relationships in King Lear.
King Lear is based on a story that Shakespeare heard of two daughters who wished their father to be declared mad, in order to inherit his land. Although set in Pagan times, Lear was performed in Jacobean times, following the death of Elizabeth 1, meaning that the audience could identify with the strong females in the play who defied the stereotypical portrayal of women, just as their queen had done.
In Lear the relationship that is different to the expectations of the time is the relationship between the evil Goneril and her husband, Albany. Although Albany is a duke, it is Goneril who inherits the land. Goneril becomes obsessed with the power she gains and treats her husband almost as a servant rather than a partner of equal status. She makes all the decisions herself, such as when she decides to throw Lear out and Albany has no idea: ‘My lord I am guiltless, as I am ignorant/Of what has moved you.’ The pre-modifying adjectives ‘guiltless’ and ‘ignorant’ convey Albany’s lack of knowledge. This suggest that he is not important enough for Goneril to share her plots with.
Goneril’s constant interrupting of Albany also conveys that she is in charge -
‘Albany: I cannot be so partial, Goneril To the great love I bear you –
Goneril: Pray you content.’
Goneril tells Albany, using the imperative mood to stop talking, showing once more that she is going against the times as women would not usually speak in this manner to their husbands.
Goneril’s lack of respect for her husband is because she thinks he is weak. She describes him as ‘our mild husband’ to Edmund. The pre-modifying adjective ‘mild’ conveys that she does not believe he has the strength. Later in the play Goneril calls Albany ‘Milk-livered man’. This conveys Goneril’s thinks her husband is weak as the noun ‘liver’ gives a grotesque image. But Albany is not weak. He argues back with ‘Wisdom and goodness to the vile seem vile’. The sibilance here creates a hissing sound similar to that made by a serpent, conveying how evil Albany believes Goneril to be. The audience were familiar with the deceitful serpent in the book of Genesis.
Albany is not just a victim though because he also does not respect for his wife. He describes her as a beast: ‘Thy flesh and bones; howev’er thou art a fiend/ A woman’s shape does shield thee.’ This declarative suggests his wife is wicked. In Shakespeare’s time the audience would have been frightened at the mention of demons and it shows how evil Albany thinks Goneril is.
Power is why the pair come to blows violently in Act 4 Scene 2. The argument shows Albany standing up for himself. He uses the command: ‘Shut your mouth dame!’. Albany is mocking his wife by calling her dame instead of majesty or queen. This means Albany is in control for a moment and Goneril does not have as much power as she thinks she does.
The power in Regan and Cornwall’s relationship is more equal. They share power in their treatment of Gloucester. Cornwall takes out Gloucester’s first eye, then Goneril uses
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imperatives to demand that Cornwall takes out the other eye ‘One side will mock another; the other too.’ This conveys how the power passes from one to the other. Regan calls Gloucester a ‘filthy traitor’, the pre-modifying adjective ‘filthy’ conveys Regan’s opinion of him. Cornwall calls him a ‘villain’. These similar words mean the pair are united, unlike Goneril and Albany.
Regan and Cornwall are also closer than Goneril and Albany. Regan charges at her husband’s attacker and kills him shouting ‘A peasant stand up thus!’ The plosive ‘p’ in peasant shows Regan is shocked that her husband was in danger. Cornwall refers to his wife as ‘my Regan’. The pronoun ‘my’ shows that Cornwall feels responsible for Regan. This conveys the attitudes of the time, that wives were their husbands’ properties.
So, the difference between the two relationships is clear. The relationship between Goneril and Albany defies expectations, whilst Regan is more prepared to let her husband take control of things.
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Exploding the AOs
AO1 Expression, organisation and terminology
AO2 Analysis, understanding, meaning
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AO1 Organisation
• Selection of relevant material to form anargument
• Overview paragraph outlines argument andprovides some context
• Choice of episodes is crucial—have a range atfingertips
• Conclusion is essential, even if it is brief
AO1 Selection of episodes
Activity!
Selecting relevant material for the
examination and structuring responses.
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Selecting relevant material for the examination and structuring responses
All Components of this specification require candidates to refer to episodes from the whole text.
An episode should be considered to be a passage which demonstrates the candidate’s awareness of how this moment has relevance and significance for the question. For an episode to prove successful, it should be a passage of the text which is significant and potentially rich in both language and content. This provides candidates with more opportunity to analyse and discuss. Candidates need to be taught to select the most relevant and useful episodes to enable them to answer the question. This will enable them to make purposeful choices and discuss/analyse in detail, rather than choosing multiple passages with little relevance or analysis. Unless candidates select suitable episodes, they are self-penalising, as their argument may not relate to the question. Therefore, careful selection and analysis of episodes is crucial for success.
Task
To enable candidates to prepare for the examination, they need to consider which episodes may prove beneficial for responding to questions on the whole text. As this is an open-book examination, they will have access to the texts so can easily locate episodes to aid their response.
Using Component 2 as an example, Section A Part (ii) select up to 8 episodes from the play you study. They should be key moments in the play—either in relation to character or theme, and provide the opportunity to analyse language and context. Record the page numbers and brief synopsis:
1.
2.
3.
4.
5.
6.
7.
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8.
Candidates should find ample material in these episodes to match questions which appear on the examination. The key is to ensure that they select the most suitable or interesting episodes.
One activity the class can undertake is to match the most suitable episodes to different questions and prepare a defence for their choices. This will help them prepare an argument and the class can pool resources so that they create an extensive essay bank. Prepare up to 5 questions for your Drama text and select the most suitable episodes—then discuss with colleagues.
Questions
1.
Episodes…
2.
Episodes…
3.
Episodes…
4.
Episodes…
5.
Episodes…
This approach is equally effective for the Non-Literary text, although candidates should select up to 10 episodes for this case, so that they have more to choose from in the examination.
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Using terminology to shape writing and improve commentaries.
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e Extract from TED talk 'Nature is everywhere' delivered by Emma Marris. "We are stealing nature from our children. Now, when I say this, I don't mean that we are destroying nature that they will have wanted us to preserve, although that is unfortunately also the case. What I mean here is that we've started to define nature in a way that's so purist and so strict that under the definition we're creating for ourselves, there won't be any nature left for our children when they're adults. But there's a fix for this. So let me explain."
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- First person plural narrative voice - Emotive verb 'stealing' - First person plural possessive determiner 'our' - Discourse marker 'Now' - Syndetic pair of intensified adjectives 'so purist and so strict' - Dramatic declarative '...there won't be any nature left...' Foregrounded conjunction 'But..' Imperative mood 'So let me explain'
These features act as your 'recipe' for your own writing.
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Task: Imagine that you are a tour guide of a National Trust Country Park. Write the opening of your talk given to a group of schoolchildren about the Park. "We welcome you to Margam Country Park! We hope you enjoy yourselves today in our hundred acre grounds; what you are going to see is so exciting and so beautiful! Now, in a moment we will be giving out clipboards and a quiz sheet for you to complete in pairs. But, remember that whilst you are here to have fun, you must stay safe and with your teacher. Ready? Let's go!"
Com
men
tary
You should now be able to write a commentary, with SEA, based on the terminology that you put into your writing, using your original recipe list. Example: "In my tour guide speech I have used the syndetic pair of intensified adjectives 'so exciting and so beautiful' to convey a tone of passion and enthusiasm to interest the child audience. I have also used the foregrounded conjunction 'But' to signal a change in tone and to accentuate the need for the children to act safely..."
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Embedding Context
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Embedding Context
Hardy’s use of the extended metaphor of death to describe the body of the past century ‘outleant’, with the nouns ‘crypt’ and ‘corpse’, adds to the melancholy and pessimistic tone of the first two stanzas.
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Context Presentations
Context Presentations
Once in a House on Fire by Andrea Ashworth
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Vancouver is a city in British Columbia, Canada. It is a thriving coastal seaport and, by
popular opinion, is one of the most ethnically and linguistically diverse cities in Canada
with statistics showing that 52% of its inhabitants speak a 1st language other than English.
The city boasts scenic views, a warm climate and is recognised for its high quality of life. Perhaps this is why Andrea’s family chose to emigrate?
We see Lorraine explain that: ‘The standard of living’s fantastic’
‘Any Tom, Dick and Harry can afford steak for tea’ ‘You don’t have to be loaded if you want to build your own
house’
These quotations alone are demonstrative of the fact that Canada’s affordability of life, paired with the idea that
anybody can make a life there are essentially the main two attractions which appeal most to Lorraine and Peter.
Andrea and her family after
arriving in Canada
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Immigration plays an integral role throughout the first five chapters of Once in a House on Fire as we see Andrea’s
stepdad Peter and mother Lorraine make the decision to move in search of a better life. Ashworth here, alludes to the
idea of escapism.
• It’s believed that, at notime has immigration
played a greater rolein Canadian history
than the 20th century.Particularly, between
the years of 1900-1914.• Many speculate that
without the influx ofimmigration, Canada
wouldn’t be theculturally rich country
that we see today.
Canadian census of
ethnic origin of
1971: 9,624,115
people of British
origin formed the
Canadian
population=44.6%
Like Andrea, Gillian was subjected to racism and
called a ‘paki’ when she moved to Surrey, this
demonstrates that Canada is more of a culturally rounded
country and implies that immigration would offer an
escape from prejudice.
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The underlined text exemplifies reasons for immigration. Peter and Lorraine were likely
to be attracted by similar factors that this woman speaks of.
• Vancouver has what is known as a moderate oceanic climate- this means that,whilst summer months are dry and hot, the rest of the year is generally rainy. Winter
months, typically colder and usually accompanied by snow.• All encompassing scenery- Canada has mountains, volcanoes, lakes, glaciers and
Arctic tundra's, most of it is untouched nature.
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Looking at these two photos, would you agree with Lorraine and Peter’s choice to emigrate?
Margaret Thatcher’s Politics
By Jamie Powell
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Background Information
• Margaret Thatcher first became a Member of Parliament (MP)in 1959, winning the seat for Finchley.
• She became the Education and Science Secretary after theConservatives won the 1970 general election.
• After losing the 1974 election, Edward Heath, theConservative leader at the time, resigned. Thatcher wouldlater win the title of Leader of the Opposition.
• After the Labour government lost a vote of no confidence in1979, a general election was called. It was in this election thatThatcher became Britain’s first, and currently only, femalePrime Minister.
Voting pattern of each general election Thatcher won
1987 election results 1983 election results 1979 election results
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The 1980 recession and The 1981 Budget
• When Thatcher came into power, she inherited anunemployment figure of around 1.5 million and the countrywas in the midst of a recession.
• Thatcher’s attempts at resolving the issue were seen asvery controversial.
• Through the 1981 budget, the Conservative governmentincreased taxes and cut government spending.
• Duties (taxes) were raised on items such as cigarettes, beer,spirits and wine.
• This budget was later blamed for an unemployment figurethat neared 3 million and manufacturing falling by 1/5th.
The Right to Buy Scheme • One scheme that the Thatcher government is most
remembered for is the Right to Buy scheme. • The scheme allowed council tenants to buy the houses they
were living in at a discounted price. • The scheme proved to be immensely popular and, as a
result, more than 1,000,000 homes had been sold by 1987. • However, there were some negatives. For example, councils
were forbidden from using money from house sales to build new houses. This fact would later cause homelessness to triple between 1980 (55,000) and 1990 (165,000).
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How are Thatcher’s politics reflected in Once in a House on Fire?
• The Thatcher government of the 1980s followed an idea ofaspiration.
• This ideal is reflected in the character of Tamsyn Lee, a friend ofAndrea’s.
• The Lee family seem to reflect the ideal image of the middle-classand Tamsyn herself is said to read “classics”, such as Nineteen Eighty-Four and Great Expectations, which would “help make [her] middle-class”.
• The Lees live in a “semi-detached house” in the suburban area ofDidsbury, whilst Andrea, who feels like she “isn’t part of” their “posh world”, lives in the inner-city area of Rusholme.
• Via the introduction of Tamsyn, a number of comparisons betweenthe two families and their views of society can be made.
Planning for Context Introduction: Key word(s) in the question and context The presentation of …
Selected Extract 1 from Once: Page…. Chapter …. Ashworth presents the theme of………in this extract taken from……..
Selected Extract 2 from Once (link back to make connections to your
first extract): Page…. Chapter…… Likewise, the theme of…….is also presented in this extract taken from……
Selected Extract 3 from Once (include more context in this section):
Page…. Chapter…… Ashworth also explores the theme of…….in this extract where…..
Conclusion key word(s) in question and context:
Throughout Once in a House on Fire…
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Component 1
Section A
The importance of context
This exam offers the opportunity for teachers to address not only the biographical contextual detail related to each poet, but also to use the anthology as a vehicle through which to develop a broader understanding of cultural, historical, political and social developments.
It is vital that students show awareness of the impact of contextual factors on the texts they have studied. By establishing a strong contextual focus in the AS year, candidates will be thoroughly prepared for the requirements, of the second year units.
• Candidates should use contextual material throughout their essay; they should avoidwriting a stand-alone paragraph on context at the start of the essay and should insteadembed it into their analysis
• Contextual material will mostly relate to the anthology poem that they have beentaught and have prepared; it can also relate to the unseen material they select. Spokentexts in particular will have a strong sense of audience and purpose and candidatescan use this as a spring board to discussing relevant contextual factors
• Rather than teaching the poems individually, it is possible to group them into literarymovements / periods. This would help candidates think about historical, social andpolitical changes over time in, for example, attitudes to love or religion. It might alsoallow for the teaching of several poems in one session, allowing students to then workindependently on annotating them in more detail
• Presentations on context work well and often students will come up with contextualmaterial that is unexpected and different, but valid. Dividing up the poems between aclass and asking them to research and then present their findings to the rest of theclass is a good way of highlighting how important context is.
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Using contextual material correctly is a bit like assembling a jigsaw. Each ‘piece’ of context that you use should fit seamlessly to a ‘piece’ of analysis. Like the pieces of a jigsaw, contextual material should appear throughout an essay and should always be relevant to the overall picture.
In your essays, remember that each time you use contextual material, you should ‘fit it’ into another piece of analysis on the text.
TASK
Poem: Thomas Hardy’s ‘The Darkling Thrush’
On the next page, look at the eight different jigsaw pieces which represent four comments on context and four pieces of analysis.
Match the context pieces to their analysis partner.
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At the change of the century, there was a feeling of doubt and pessimism – especially among intellectuals and the people of the upper class. Social problems
were on the increase: a huge number of
people belonged to the working class and had to
suffer from poor conditions. Also, developments in science and rationalism meant that people were becoming more alienated from religion.
Hardy’s use of the extended metaphor of death to describe the body of the past century ‘outleant’, with the nouns ‘crypt’ and ‘corpse’, adds to the melancholy and pessimistic tone of the first two stanzas.
Born in Dorset, Thomas Hardy retained a deep affinity for the countryside for his whole life. When he died his ashes were buried in Poet’s Corner in Westminster Abbey, but his heart was buried in his local parish churchyard, back in Dorset.
By considering the lexical set of nouns related to nature in the poem, the reader
can vividly imagine the rural scene described. Noun Phrases such as
“tangled bine-stems”,
“bleak twigs” and the noun
“wind” reveal the Winter landscape to us.
Hardy was heavily influenced by Romantic poets such as Keats, Coleridge and Shelley. In the Romantic tradition, birds expressed emotions in their song that had human significance; they would often be used as symbols of optimism and hope.
The ‘aged thrush’ is immediately vibrant, in contrast to the gloomy wood. The dynamic verb ‘fling’
and the plosive noun phrase ‘blast-
beruffled plume’ present the bird as a source of hope and energy.
It is said by critics that Thomas Hardy wrote this poem on New Year’s Eve, 1899.
Hardy sets his poem at dusk, using the metaphor of a ‘weakening eye’ to describe the poor quality of light at the end of the day. This symbolises a feeling of things coming to an end, and adds to the poem’s initial tone of uncertainty and tension.
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Using context in the overview
Once candidates have selected their material for their response, they then need to construct their argument ensuring they address the relevant AOs. If we move to Section B of Component 2, those AOs are AO1, 2 and 3. One way to initially address context (AO3) is by providing an overview at the very start of the essay, rather than beginning with discussion of selected episodes. This provides a springboard into the essay, and serves as a reminder to candidates that they should address context right from the start of their response, and then throughout.
The following openings are taken from responses this year. Which is most effective? Why? How could context be addressed more effectively?
In Cold Blood—Justice system
“In the non-fiction novel In Cold Blood by Truman Capote, the American justice system is presented in a majorly negative light, with many ironically unjust characteristics.”
“Contextually speaking the American Justice System in 1959 shows a clear contrast to that of modern day. That being said despite aversions to capital punishment it still exists today.”
In Cold Blood—Friendship
“In In Cold Blood, Capote can be seen to present the attitude towards friendship to be close and important for good health and happiness through the relationship between Nancy and Susan. This can be shown by the line ‘No other friend of Nancy’s would have presumed to make such a suggestion’ which conveys that Nancy and Susan are close friends and rely on each other for help and support, which could lead to them being happier and therefore healthier.”
Once in a House on Fire—Sisters
“Perhaps the strongest bonds created in Ashworth’s autobiography, Once in a House on Fire, are those between the sisters. Frequently left with no-one else to depend upon, the sisters face the brutality of life in 1970s England as a unit. Through the traumas of domestic physical violence and financial insecurity, Ashworth’s novel presents a world of hope for the future, one which might not have been possible save for the relationships she established with her sisters.”
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•••
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•
•
•http://www.youtube.com/watch?v=MlbxRBfGAr0
•https://www.youtube.com/watch?v=pSm7BcQHWXk
•
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Studying spoken language
On the Eduqas course, AS learners will have the option of analysing a spoken text as one of the two unseen texts in Component 1 Section A.
At A Level, they will be required to compare and contrast three spoken texts in Component 3 Section A. At least one of these texts will be a transcript.
The most important principle is to ensure that learners have access to many different types of spoken language, including speeches, commentaries, voiceovers, interviews etc.
The following resources are intended as starting points for the study of spoken language, with a particular focus on transcript conventions and on analysing similarities and differences between written and spoken language.
A good introduction is to create transcriptions from narrative prose dialogue. Even though they are not actually required to make transcriptions as part of the assessment, it is still a useful exercise as it enables learners to explore the key similarities and differences between written language and spoken language. Remember that they are already very familiar with the analysis of written language, but the analysis of spoken language will be new to most of them. Therefore, it seems sensible to use their existing knowledge of written language as a starting point for the study of spoken language.
The following tasks are adapted from the WJEC CPD material for AS English Language.
Key to prosodic markers:
Underlining indicates a stressed syllable (.) micro pause (2) timed pause in seconds / rising intonation \ falling intonation // overlapping = latch-on
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TASK 1
Read Texts 1 and 2 below. Identify the techniques used to create a sense of how the spoken words are delivered. Then answer the following question.
Analyse and compare the ways in which each text uses linguistic techniques to recreate an informal conversation.
You will need to think about: •the difference between dialogue and spontaneous conversation•the lexical and grammatical choices•the way the speech is recorded and the effect it has•the meaning communicated by the prosodic features.
TEXT 1 “I don’t know why you’re so horrible to me … you just don’t seem to understand.” Jane was getting upset and her tone was rising. Her words were emphatic. “You don’t help … You’re never there when I need you. I just want you to …” There was a silence—a painful silence as the two faced each other. Then they both began to speak at once. “That’s not fair!” “You have to change!” Silence again. This time Stephen began, hesitantly but with a clear sense that he wanted to explain. “I … know it … it seems as if I don’t care. But that’s not true I ...” “Really? Well it certainly seems that way to me.” Jane was indignant now. Her words were tumbling out, the tone strident and the pitch creeping up again. “You never— “Just listen can’t you,” Stephen’s insistence was difficult to ignore. He had a powerful voice.
TEXT 2 J I don’t know why you’re so horrible to me (3) you just don’t seem to understand (.) you
don’t help(6) you’re ne ve r there when I need you (.) I just want you to (8) /
S // that’s not fair
J // you have to change (5) \
S I I I know it it s. seems as if I don’t care (.) but (.) but that’s not true // I
J // well it certainly seems that way to me you never =
S = just listen can’t you
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TASK 2
Read the following narrative extract and re-write it as a transcript using appropriate prosodic markings.
"Isn’t this annoying?" Hannah cried. "And the weather’s just right for exploring! I hate delays. What can we do? The summer will be over and we’ll have done nothing." "You could come to ours," replied Mark. "Come and eat the strawberries. They’re ripe now." Mark’s proposal was received with delight; and the excitement of her "Oooh! I’d like that more than anything" was followed by repeated promises that she would most definitely come. "You can depend on me," she cried. "I will definitely be there. Just name the day." "I can’t name a day," he said, " not till I’ve spoken to some other people." "Oh! leave all that to me. It can be my party. I’ll organise it—don’t be afraid of delegating to me. Leave it all to me. I’ll invite the guests." "No," he calmly replied " I— "Aah! Don’t be a spoil sport!" she exclaimed. "You never let me do stuff," whining now. "There’s no point you stressing yourself,” he said, low key, but assertive. “You know what happens when—” Hannah looked sulky. “Suit yourself.” She paused, but then couldn’t resist carrying on breathlessly. “We could pick the strawberries ourselves and sit under trees—and eat whatever else you’re going to provide. But it’s all got to be outdoors—a table in the shade, you know. Everything natural and simple. Does that sound good?" "No way. My idea of simple and natural is to eat indoors. When you’re tired of eating strawberries in the garden, you can come in for the rest!" Mark was clearly going to be inflexible. "Well—I—ooh ooh can I choose the dec—?” “Nope!” Hannah had pushed her luck; Mark had now lost interest.
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A useful approach for teaching transcription conventions is to give learners an unannotated transcript of a short clip and ask them to add prosodic markers such as pauses and intonation. Pairs/groups can then compare their findings and discuss any differences.
Transcribed version without prosodic markers:
Criminal penguins – extract from Frozen Planet http://www.youtube.com/watch?v=MlbxRBfGAr0
Over the coming months the few parts of Antarctica that are ice free will be
the stage on which five million Adelies will build their nests to construct one
they need pebbles and without a good looking nest a male will be unable to
attract a female when they at last arrive an impressive property demonstrates
your worth as a mate it takes stones of all shapes and sizes to build a decent
nest and finding ones that are just right is not easy so some penguins turn to a
life of crime the one who has been robbed seems unaware that the thief is just
over his shoulder and looking for more the thief’s nest is coming along nicely
uh probably because he keeps a particularly sharp lookout for robbers after
all it takes one to know one
First part of the transcript with some prosodic markers added:
/
Over the coming months (.) the few parts of Antarctica that are ice free will be
the stage on which five million Adelies will build their nests
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When they have completed this exercise they can then move on to analyse the impact of the stresses, pauses and intonation, (e.g. Attenborough stresses the first syllable of millions to suggest incredulity at the numbers involved), in addition to looking at the speaker’s lexical and grammatical choices and other techniques (e.g. the noun ‘stage’ suggesting that the penguins are entertainers and we are the audience/further examples of anthropomorphism in the text; the inclusion of the specialised proper noun ‘Adelies’ in the context of the nature documentary genre etc.)
As an extension, show a similar clip but this time with the sound turned off – e.g. https://www.youtube.com/watch?v=pSm7BcQHWXk
Learners can then write a script for a voiceover using the genre conventions they have explored. They could also record themselves speaking it aloud, using prosodic features such as stress, pauses and intonation. Then show them the actual script and invite them to compare it with their versions.
The actual transcript is below (again, without prosodic markers):
This is the sleepy island of St Kitts in the Caribbean three hundred years ago
vervet monkeys were brought here from west Africa along with slaves serving
the rum industry escaped monkeys acquired a taste for alcohol by eating
fermented sugar cane left in the fields today they satisfy their thirst by raiding
local bars they have learnt to be sneaky picking the right moment is everything
for years the monkeys have been studied for insights into our own drinking
habits just as we vary in our taste for alcohol so do the monkeys some do
anything for an alcoholic cocktail but just as some people are teetotal so are
some monkeys these reject alcohol in favour of soft drink significantly the
percentage of teetotal monkeys matches the non-drinkers in the human
population in line with human habits most drink in moderation twelve per cent
are steady drinkers and five per cent drink to the last drop this similarity
between us shows that a liking for alcohol is determined mainly by our genes
after each daily raid other human parallels soon appear but unlike us monkeys
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that are heavy drinkers make better leaders respected by other monkeys they
seem to tolerate leaders that monkey around like monkeys our taste for
alcohol began when we scoured the forest for ripe fermenting fruit food and
alcohol became linked with intoxicating effect
Another interesting ‘way in’ to the study of spoken language is to use ‘word clouds’ to measure the frequency of specific words. This can be particularly interesting for political speeches. This word cloud shows Donald Trump’s acceptance speech for the Republican Party nomination, with the size of each word indicating its frequency.
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This is the word cloud for Barack Obama’s acceptance speech for the Democratic Party nomination in 2008, which makes an interesting comparison:
(www.wordclouds.com)
Learners can speculate about the possible reasons behind the similarities and differences, and there are also opportunities to link the word-level analysis to contextual factors. Learners could be asked to use some of the words in the word clouds to suggest some possible sentences in the actual speeches, and then compare their ideas to the originals.
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When learners start to analyse political speeches, these prompts could be used to encourage detailed engagement with the text:
REGISTER: what is the mode? Spoken? Written? Written to be read/spoken? Spontaneous spoken answers? What is the manner (relationship between participants) – formal or informal? Same or different ideology? Supporters or opposers?
LEXIS: Are there any examples of subject specific vocab? General? Typical of certain ideological stance? Any abstract nouns reflecting beliefs or political policy? How are participants named? Titles? Forenames? Surnames? Focus on the role? Or individual? Anything significant about connotations of words? Are verbs dynamic or stative? Are adjectives particularly evaluative?
GRAMMAR (PRONOUNS): How are pronouns used? Do they create distance? Opposition? (they/those) Do they dehumanise the reference, make it seem faceless/threatening (it)? Create a very formal tone - high social class? Or create sense of authority (one)? Do pronouns bring speaker and audience together, giving an individual tone and suggesting a sincere attitude (by repeating I), particularly with mental process verbs (think, feel believe)? Establish a rapport with audience (by using I)? Link issues and policies to particular person (by using his, hers, theirs)? Draw the audience in (by using you)? Do the pronouns show that speaker is accepting responsibility for something (I), sharing responsibility (we) or rejecting it (they).
GRAMMAR (SENTENCE STRUCTURE): Is the sentence structure varied? Simple sentences making direct and emphatic statements? Compound sentences balancing arguments? Complex sentences exploring abstract concepts, or building tension grammatically or semantically?
GRAMMAR (VOICE): Are there any examples of passive voice? – refocusing audience’s attention on certain elements? Concealing the person’s responsible for an action by omitting by + agent?
METAPHORICAL / RHETORICAL LANGUAGE: Any metaphors? Establishing a direct link between abstract theories and concrete examples? Helping the listener to understand? Extended metaphors emphasising a particular message? What image is created and how does this fit into the ideology of the speaker and strengthen his/her argument? What is the focus or theme of key sentences? Reordering of sentences to bring key elements to the attention of the audience? Clusters of three? Hyperbole Litotes? Anecdotes? Emotive language? Evaluative adjectives? Parallelism? How is the speech structured? Binary oppositions? Anything else?
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Online sources for spoken language
News websites, e.g. http://www.telegraph.co.uk/video/
BBC Radio 4 – recently broadcast programmes: http://www.bbc.co.uk/radio4
Clips from recent editions of Radio 4’s Today programme: http://www.bbc.co.uk/programmes/b006qj9z/clips
Archive clips – TV interviews: http://www.radiotimes.com/news/2011-08-16/video-the-greatest-broadcast-interviews-of-all-time
Collection of transcribed historical speeches – some also in audio format: http://www.historyplace.com/speeches/previous.htm
An archive of British political speeches: http://www.britishpoliticalspeech.org/
Useful books
Speeches That Changed the World (Quercus, 2014) – includes CD with clips of speeches
Sam Leith: You Talkin’ To Me? Rhetoric from Aristotle to Obama (Profile Books, 2012)
David Crystal, The Gift of the Gab: How Eloquence Works (Yale University Press, 2016)
Sara Thorne, Mastering Advanced English Language (Palgrave, 2008)
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Charlotte Bronte: Jane Eyre
Comment in detail on how Brontë presents Mr Rochester and Bertha, his wife, in this extract.
Relevant features to examine include: • lexis• grammar and syntax• dialogue.
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Charles Dickens: Great Expectations
Explore how Dickens presents the characters and the situation in this extract.
Relevant features to examine include: • lexis• grammar and syntax• the narrative voice• dialogue.
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Alice Walker: The Color Purple
Explore the way Walker presents the characters and the situation in this extract.
Relevant features to examine include: • lexis• grammar and syntax• dialogue.
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Component 1 Exemplar Script
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Component 2Exemplar Script
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WJEC Eduqas GCE AS in
ENGLISH LANGUAGEAND LITERATURE
ASSESSMENT GRIDS
Teaching from 2015
GCE AS
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Assessment Grid for Section A Band AO1
Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology and coherent
written expression (15 marks)
AO2 Analyse ways in which meanings are shaped in texts
(15 marks)
AO4 Explore connections across texts, informed by linguistic and literary concepts and methods
(10 marks)
5 13-15 marks
thorough knowledge, understanding and insights gained fromintegrated study
confident and purposeful application of concepts and methods; apttextual support
accurate and precise use of terminology effectively organised response, utilising an academic style and register confident and fluent expression
13-15 marks
perceptive analysis of how language choices, formand structure affect meaning, particularly in the setpoem
mature and assured reading of set poem andperceptive discussion of unseen text
confident understanding of and appreciation ofwriters’ techniques
9-10 marks
confident understanding of the similarities anddifferences between the set poem and unseentext
productive, discerning connections, firmlylinked to question focus
4 10-12 marks
clear evidence of integrated study secure use of terminology clearly understands and applies relevant concepts and methods accurate and coherent written expression effectively organised and shaped response
10-12 marks
sustained analysis of how language choices, formand structure affect meaning, particularly in setpoem
thoughtful reading of set poem and unseen text secure reading of implicit meaning sound understanding of literary/linguistic features
7-8 marks
secure understanding of similarities anddifferences between the set poem and unseentext
secure and sound exploration of connections,with a clear and sensible link to question focus
3 7-9 marks
some evidence of integrated study reasonable use of terminology some understanding of literary/linguistic concepts and methods, not
always relevant generally accurate and coherent written expression clearly organised
7-9 marks
some reasonable analysis of how languagechoices, form and structure affect meaning,particularly in set poem
sensible reading of both set poem and unseen text sensible reading of implicit meaning sensible understanding of literary/ linguistic features
5-6 marks
reasonable understanding of the similaritiesand differences between the set poem andunseen text
some sensible connections, generally linked toquestion focus
2 4-6 marks
basic evidence of integrated study basic use of key terminology, though may include some inaccuracy basic understanding of concepts and methods lapses in quality of written expression straightforward organisation
4-6 marks
basic analysis of how language choices, form andstructure affect meaning
awareness of key linguistic/ literary features basic understanding of set poem and some grasp of
unseen text, with some generalisation andsimplification
3-4 marks
some selection and discussion of some of themost obvious similarities and differencesbetween the set poem and unseen text
connections may be tenuous attimes/superficial, not always relevant toquestion focus
1 1-3 marks
limited evidence of integrated study limited application of concepts and methods irregular use of terminology frequent lapses in clarity response may lack organisation
1-3 marks
limited awareness of how some of the most obviouschoices in language, form, structure and vocabularycreate basic meaning
superficial analysis of set poem and unseen text uncertain knowledge and understanding of set
poem and limited understanding of unseen text
1-2 marks
limited evidence of understanding basic pointsof comparison and/or contrast; set poem andunseen text may be discussed individually andunevenly
limited exploration of connections between setpoem and unseen, with limited relevance toquestion focus
0 0 marks: Response not worthy of credit or not attempted
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Assessment Grid for Section B parts (a) and (b)
Band AO5 Demonstrate expertise and creativity in the use of
English to communicate in different ways (10 marks per task)
5 9-10 marks
style is confidently controlled for audience, form, genre and purpose writing is original and engaging language choices reveal confident knowledge of linguistic and literary features
and their impact high degree of technical accuracy and consciousness in vocabulary and
punctuation choices4 7-8 marks
register is clearly suited to audience, form, genre and purpose evidence of thoughtful creativity and response will show some signs of originality language choices are appropriate and increasingly purposeful at the top of the
band mostly secure levels of technical accuracy
3 5-6 marks
style and tone are appropriate for audience, form, genre and purpose creates a personal voice and makes a conscious attempt to organise material for
effect language choices reveal sound knowledge of linguistic and literary features and
their impact generally sound levels of technical accuracy though there may be some lapses
2 3-4 marks
some variation in register for audience, form, genre and purpose, increasinglymore successful at the top of the band
attempts to engage creatively with task and to match form and content to purpose beginning to apply knowledge of linguistic and literary features and their impact in
their writing some technical errors
1 1-2 marks
style is not always successful and there may be limited attempts to vary registerappropriately for audience, form, genre and purpose
limited engagement with the task and limited creativity limited attempt to apply knowledge of linguistic and literary features to own writing frequent inaccuracies
0 marks: response not worthy of credit or not attempted
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Assessment Grid for Section B task (c):
Band AO1 Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology and coherent
written expression 5 marks
AO2 Analyse ways in which meanings are shaped in texts
5 marks
AO4 Explore connections across texts, informed
by linguistic and literary concepts and methods 10 marks
5 5 marks thorough knowledge, understanding and insights gained from integrated
study confident application of concepts and methods when discussing their
own writing accurate and sensitive use of terminology confident expression and skilful organisation
5 marks perceptive awareness of how choices of form, structure and
language have created meaning insightful and confident understanding of the literary and
linguistic techniques employed in own writing mature and assured reading of both creative writing pieces
9-10 marks confident understanding of the similarities and
differences between their creative writing pieces
connections should be meaningful andproductive
4 4 marks sound evidence of integrated study purposefully identifies a range of terminology purposefully applies some relevant key concepts and methods controlled expression and effective organisation
4 marks
sustained focus on how language has been used to createmeaning within their own writing.
thoughtful reading of own writing with some insight into thesub-text
7-8 marks secure understanding of the similarities
between their creative writing pieces points will be well supported with relevant
textual support
3 3 marks clear evidence of integrated study identifies a range of appropriate terminology understanding of some relevant key concepts and methods uses generally accurate, coherent expression shows clear evidence organisation
3 marks
some analysis of how choices in language, form and structure have created meaning in both creative writing pieces
sensible reading of their own writing
5-6 marks sensible and clear discussion of some key
similarities and differences between their creative writing pieces
2 2 marks basic evidence of integrated study begins to apply key concepts and methods identifies some key terminology in their own writing but the approach
may be descriptive written expression should use generally accurate expression, but with
lapses, particularly towards bottom of band
2 marks basic awareness of some key language features used in
their own writing basic discussion of how they have used language, form and
structure to create meaning in both both creative writing pieces
responses may tend to be descriptive rather than analytical
3-4 marks some selection and discussion of some of the
more obvious and relevant points of comparison and contrast between their creative writing pieces
1 1 mark simple content features observed limited evidence of integrated study minimal application of concepts and methods basic terminology may often be misunderstood and misapplied lapses in accuracy and clarity in written expression the response may lack organisation
1 mark limited awareness of how some of the most obvious
choices in form, structure and vocabulary create basic meaning in both creative writing pieces
1-2 marks
limited evidence of understanding the similarities and differences between their creative writing pieces, particularly towards the bottom of the band
0 marks: Response not worthy of credit or not attempted
114
Assessment Grid for Component 2 Section A: Drama (i) Band AO1
Apply concepts and methods from integrated linguistic and literary
study as appropriate, using associated terminology and coherent written expression
(10 marks)
AO2 Analyse ways in which
meanings are shaped in texts
(10 marks) 5 9-10 marks
thorough knowledge,understanding and insightsgained from integrated study
purposeful application ofconcepts and methods; apttextual support
accurate and precise use ofterminology
effectively organised response, confident and fluent expression
9-10 marks
perceptive analysis of howlanguage choices, form andstructure affect meaning
mature reading of texts confident understanding of
and appreciation of writers’techniques
4 7-8 marks
clear evidence of integratedstudy
Secure use of terminology clearly understands and applies
relevant concepts and methods coherent written expression well organised and shaped
response
7-8 marks
sustained analysis of howlanguage choices, form andstructure affect meaning
thoughtful reading of texts secure reading of implicit
meaning sound understanding of
literary/linguistic features3 5-6 marks
some evidence of integratedstudy
reasonable use of terminology some understanding of
literary/linguistic concepts andmethods, not always relevant
generally coherent writtenexpression
clearly organised
5-6 marks
some analysis of howlanguage choices, form andstructure affect meaning,though may not always besustained
sensible reading of texts sensible reading of implicit
meaning sensible understanding of
literary/ linguistic features2 3-4 marks
basic evidence of integratedstudy
basic use of key terminology,though may include someinaccuracy
basic understanding of conceptsand methods
lapses in quality of writtenexpression
straightforward organisation
3-4 marks
basic analysis of howlanguage choices, form andstructure affect meaning
awareness of key linguistic/literary features
straightforwardunderstanding of texts withsome generalisation andsimplification
1 1-2 marks
limited evidence of integratedstudy
limited application of conceptsand methods
irregular use of terminology frequent lapses in clarity response may lack organisation
1-2 marks
limited awareness of howsome of the most obviouschoices in language, form,structure and vocabularycreate basic meaning
superficial analysis of texts
0 0 marks: response not worthy of credit or not attempted
115
Assessment Grid for Component 2 Section A: Drama (ii)
Band AO1 Apply concepts and methods from
integrated linguistic and literary study as appropriate, using associated
terminology and coherent written expression 10 marks
AO2 Analyse ways in which
meanings are shaped in texts
10 marks
AO3 Demonstrate the significance
and influence of the contexts in which texts are produced and
received
20 marks
5 9-10 marks
thorough knowledge, understandingand insights gained from integratedstudy
purposeful application of concepts andmethods; apt textual support
accurate and precise use ofterminology
effectively organised response, utilisingan academic style and register
confident and fluent expression
9-10 marks
perceptive analysis of howlanguage choices, form andstructure affect meaning
mature reading of texts confident understanding of
and appreciation of writers’techniques
17-20 marks
confident evaluation of impactof contextual factors inshaping the production andreception of texts
confident grasp of overview
4 7-8 marks
clear evidence of integrated study secure use of terminology clearly understands and applies
relevant concepts and methods coherent written expression well organised and shaped response
7-8 marks
sustained analysis of howlanguage choices, form andstructure affect meaning
thoughtful reading of texts secure reading of implicit
meaning sound understanding of
literary/linguistic features
13-16 marks
clear awareness of theinfluence of contextual factorson the production andreception of texts
secure grasp of overview
3 5-6 marks
some evidence of integrated study reasonable use of terminology some understanding of literary/linguistic
concepts and methods, not alwaysrelevant
generally coherent written expression clearly organised
5-6 marks
some analysis of howlanguage choices, form andstructure affect meaning,though may not always besustained
sensible reading of texts sensible reading of implicit
meaning sensible understanding of
literary/ linguistic features
9-12 marks
sensible awareness of theinfluence of contextual factorson the production andreception of texts
sensible grasp of overview
2 3-4 marks
basic evidence of integrated study basic use of key terminology, though
may include some inaccuracy basic understanding of concepts and
methods lapses in quality of written expression straightforward organisation
3-4 marks
basic analysis of howlanguage choices, form andstructure affect meaning
awareness of key linguistic/literary features
straightforwardunderstanding of texts withsome generalisation andsimplification
5-8 marks
basic awareness of theinfluence of contextual factorson the production andreception of texts
basic overview
1 1-2 marks
limited evidence of integrated study limited application of concepts and
methods irregular use of terminology frequent lapses in clarity response may lack organisation
1-2 marks
limited awareness of howsome of the most obviouschoices in language, form,structure and vocabularycreate basic meaning
superficial analysis of texts
1-4 marks
limited awareness of theinfluence of contextual factorson the production andreception of texts
limited overview
0 0 marks: response not worthy of credit or not attempted
116
Assessment Grid for Component 2 Section B: Non-literary texts Band AO1
Apply concepts and methods from integrated linguistic and literary study as
appropriate, using associated terminology and coherent written
expression 20 marks
AO2 Analyse ways in which
meanings are shaped in texts
20 marks
AO3 Demonstrate the significance
and influence of the contexts in which texts are produced and
received
20 marks
5 17-20 marks
thorough knowledge, understandingand insights gained from integratedstudy
purposeful application of concepts andmethods; apt textual support
accurate and precise use ofterminology
effectively organised response, utilisingan academic style and register
confident and fluent expression
17-20 marks
perceptive analysis of howlanguage choices, form andstructure affect meaning
mature reading of texts confident understanding of
and appreciation of writers’techniques
17-20 marks
confident evaluation of impactof contextual factors inshaping the production andreception of texts
confident grasp of overview
4 13-16 marks
clear evidence of integrated study secure use of terminology clearly understands and applies
relevant concepts and methods coherent written expression well organised and shaped response
13-16 marks
sustained analysis of howlanguage choices, form andstructure affect meaning
thoughtful reading of texts secure reading of implicit
meaning sound understanding of
literary/linguistic features
13-16 marks
clear awareness of theinfluence of contextual factorson the production andreception of texts
secure grasp of overview
3 9-12 marks
some evidence of integrated study reasonable use of terminology some understanding of literary/linguistic
concepts and methods, not alwaysrelevant
generally coherent written expression clearly organised
9-12 marks
some analysis of howlanguage choices, form andstructure affect meaning,though may not always besustained
sensible reading of texts sensible reading of implicit
meaning sensible understanding of
literary/ linguistic features
9-12 marks
sensible awareness of theinfluence of contextual factorson the production andreception of texts
sensible grasp of overview
2 5-8 marks
basic evidence of integrated study basic use of key terminology, though
may include some inaccuracy basic understanding of concepts and
methods lapses in quality of written expression straightforward organisation
5-8 marks
basic analysis of howlanguage choices, form andstructure affect meaning
awareness of key linguistic/literary features
straightforwardunderstanding of texts withsome generalisation andsimplification
5-8 marks
basic awareness of theinfluence of contextual factorson the production andreception of texts
basic overview
1 1-4 marks
limited evidence of integrated study limited application of concepts and
methods irregular use of terminology frequent lapses in clarity response may lack organisation
1-4 marks
limited awareness of howsome of the most obviouschoices in language, form,structure and vocabularycreate basic meaning
superficial analysis of texts
1-4 marks
limited awareness of theinfluence of contextual factorson the production andreception of texts
limited overview
0 0 marks: response not worthy of credit or not attempted
117
AS English Language and Literature Allocation of examination component marks by assessment objective
Component Section AO1 marks
AO2 marks
AO3 marks
AO4 marks
AO5 marks
Component 1: Comparative Analysis and Creative Writing 2 hours (80 marks)
A (40 marks) Comparative analysis
15 15 - 10 -
B (40 marks) Creative writing and commentary Task (a) Task (b) Task (c)
- - 5
- - 5
- - -
- -
10
10 10 -
Component 2: Drama and Non-literary Texts 2 hours (120 marks)
A : (60 marks) Post-1900 Drama part (i) part (ii)
10 10
10 10 20
- -
- -
B: (60 marks) Non-literary text study
20 20 20 - -
- -
Total Marks 200 60 60 40 20 20
118
WJEC Eduqas GCE A LEVEL in
ENGLISH LANGUAGEAND LITERATURE
ASSESSMENT GRIDS
Teaching from 2015
GCE A LEVEL
119
A LEVEL ENGLISH LANGUAGE AND LITERATURE Assessment Grid for Component 1 Section A: Poetry Band AO1
Apply concepts and methods from integrated linguistic and literary study as appropriate, using
associated terminology and coherent written expression (20 marks)
AO2 Analyse ways in which meanings are
shaped in texts
(20 marks)
AO3 Demonstrate the significance and influence of the contexts in which texts are produced and received
(10 marks)
AO4 Explore connections across texts, informed by linguistic and literary
concepts and methods
(10 marks) 5 17-20 marks
• thorough knowledge, understanding and insightsgained from integrated study
• sophisticated and purposeful application ofconcepts and methods; apt textual support
• accurate and precise use of terminology• effectively organised response, utilising an
academic style and register• confident and fluent expression
17-20 marks • perceptive analysis of how language
choices, form and structure affect meaning• mature and assured reading of texts• confident understanding of and
appreciation of writers’ techniques
9-10 marks • confident evaluation of impact of
contextual factors in shaping theproduction and reception of texts
• confident grasp of overview
9-10 marks • astute and illuminating connections
between extract and poems includingcomments on style, attitudes etc.
• confident connections across selectedgenre
• purposeful and productive comparisons
4 13-16 marks • clear evidence of integrated study• purposeful use of terminology• clearly understands and applies relevant concepts
and methods• accurate and coherent written expression• effectively organised and shaped response
13-16 marks • sustained analysis of how language
choices, form and structure affect meaning• thoughtful reading of texts• secure reading of implicit meaning• sound understanding of literary/linguistic
features
7-8 marks • sound awareness of the
influence of contextual factorson the production and receptionof texts
• secure grasp of overview
7-8 marks • secure exploration of connections
between extract and poems• secure understanding of connections
within selected genre• well-selected points of comparison
and/or contrast
3 9-12 marks • some evidence of integrated study• reasonable use of terminology• some understanding of literary/linguistic concepts
and methods, not always relevant• generally accurate and coherent written expression• clearly organised
9-12 marks • some analysis of how language choices,
form and structure affect meaning, thoughmay not always be sustained
• sensible reading of texts• sensible reading of implicit meaning• sensible understanding of literary/
linguistic features
5-6 marks • sensible awareness of the
influence of contextual factorson the production and receptionof texts
• sensible grasp of overview
5-6 marks • sensible exploration of connections
between extract and poems• sensible understanding of connections
within selected genre• reasonable selection of points for
comparison and/or contrast
2 5-8 marks • basic evidence of integrated study• basic use of key terminology, though may include
some inaccuracy• basic understanding of concepts and methods• lapses in quality of written expression• straightforward organisation
5-8 marks • basic analysis of how language choices,
form and structure affect meaning• awareness of key linguistic/ literary
features• straightforward understanding of texts with
some generalisation and simplification
3-4 marks • basic awareness of the influence
of contextual factors on theproduction and reception of texts
• basic overview
3-4 marks • basic exploration of connections
between extract and poems• some understanding of connections
within selected genre• points of comparison and/or contrast
may be tenuous at times, or a tendencyto be superficial
1 1-4 marks • limited evidence of integrated study• limited application of concepts and methods• irregular use of terminology• frequent lapses in clarity• response may lack organisation
1-4 marks • limited awareness of how some of the
most obvious choices in language, form,structure and vocabulary create basicmeaning
• superficial analysis of texts
1-2 marks • limited awareness of the
influence of contextual factorson the production and receptionof texts
• limited overview
1-2 marks • limited exploration of connections
between extract and poems• limited evidence of understanding of
basic points of comparison and/orcontrast; texts may be discussedindividually and unevenly
• limited understanding of genre0 marks: response not worthy of credit or not attempted
120
A LEVEL ENGLISH LANGUAGE AND LITERATURE
Assessment Grid for Component 1 Section B: Prose (i)
Band AO1 Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology
and coherent written expression (10 marks)
AO2 Analyse ways in which
meanings are shaped in texts
(10 marks) 5 9-10 marks
• thorough knowledge,understanding and insightsgained from integrated study
• sophisticated and purposefulapplication of concepts andmethods; apt textual support
• accurate and precise use ofterminology
• effectively organisedresponse,
• confident and fluentexpression
9-10 marks • perceptive analysis of how
language choices, formand structure affectmeaning
• mature and assuredreading of texts
• confident understanding ofand appreciation of writers’techniques
4 7-8 marks • clear evidence of integrated
study• purposeful use of terminology• clearly understands and
applies relevant concepts andmethods
• coherent written expression• well organised and shaped
response
7-8 marks • sustained analysis of how
language choices, formand structure affectmeaning
• thoughtful reading of texts• secure reading of implicit
meaning• sound understanding of
literary/linguistic features3 5-6 marks
• some evidence of integratedstudy
• reasonable use of terminology• some understanding of
literary/linguistic concepts andmethods, not always relevant
• generally coherent writtenexpression
• clearly organised
5-6 marks • some analysis of how
language choices, formand structure affectmeaning, though may notalways be sustained
• sensible reading of texts• sensible reading of implicit
meaning• sensible understanding of
literary/ linguistic features2 3-4 marks
• basic evidence of integratedstudy
• basic use of key terminology,though may include someinaccuracy
• basic understanding ofconcepts and methods
• lapses in quality of writtenexpression
• straightforward organisation
3-4 marks • basic analysis of how
language choices, formand structure affectmeaning
• awareness of key linguistic/literary features
• straightforwardunderstanding of texts withsome generalisation andsimplification
1 1-2 marks • limited evidence of integrated
study• limited application of concepts
and methods• irregular use of terminology• frequent lapses in clarity• response may lack
organisation
1-2 marks • limited awareness of how
some of the most obviouschoices in language, form,structure and vocabularycreate basic meaning
• superficial analysis of texts
0 0 marks: response not worthy of credit or not attempted
121
A LEVEL ENGLISH LANGUAGE AND LITERATURE
Assessment Grid for Component 1 Section B: Prose (ii)
Band AO1 Apply concepts and methods from
integrated linguistic and literary study as appropriate, using associated terminology and coherent written
expression
(10 marks)
AO2 Analyse ways in which
meanings are shaped in texts
(10 marks)
AO3 Demonstrate the significance and influence of the contexts in which texts are produced
and received
(20 marks) 5 9-10 marks
• thorough knowledge, understandingand insights gained from integrated study
• sophisticated and purposefulapplication of concepts and methods; apt textual support
• accurate and precise use ofterminology
• effectively organised response,utilising an academic style and register
• confident and fluent expression
9-10 marks • perceptive analysis of
how language choices, form and structure affect meaning
• mature and assuredreading of texts
• confident understandingof and appreciation of writers’ techniques
17-20 marks • confident evaluation of
impact of contextual factors in shaping the production and reception of texts
• confident grasp of overview
4 7-8 marks • clear evidence of integrated study• purposeful use of terminology• clearly understands and applies
relevant concepts and methods• accurate and coherent written
expression• effectively organised and shaped
response
7-8 marks • sustained analysis of how
language choices, form and structure affect meaning
• thoughtful reading of texts• secure reading of implicit
meaning• sound understanding of
literary/linguistic features
13-16 marks • sound awareness of the
influence of contextual factors on the production and reception of texts
• secure grasp of overview
3 5-6 marks • some evidence of integrated study• reasonable use of terminology• some understanding of
literary/linguistic concepts andmethods, not always relevant
• generally accurate and coherentwritten expression
• clearly organised
5-6 marks • some analysis of how
language choices, form and structure affect meaning, though may not always be sustained
• sensible reading of texts• sensible reading of
implicit meaning• sensible understanding of
literary/ linguistic features
9-12 marks • sensible awareness of the
influence of contextual factors on the production and reception of texts
• sensible grasp of overview
2 3-4 marks • basic evidence of integrated study• basic use of key terminology, though
may include some inaccuracy• basic understanding of concepts and
methods• lapses in quality of written expression• straightforward organisation
3-4 marks • basic analysis of how
language choices, form and structure affect meaning
• awareness of keylinguistic/ literary features
• straightforwardunderstanding of texts with some generalisation and simplification
5-8 marks • basic awareness of the
influence of contextual factors on the production and reception of texts
• basic overview
1 1-2 marks • limited evidence of integrated study• limited application of concepts and
methods• irregular use of terminology• frequent lapses in clarity• response may lack organisation
1-2 marks • limited awareness of how
some of the most obvious choices in language, form, structure and vocabulary create basic meaning
• superficial analysis oftexts
1-4 marks • limited awareness of the
influence of contextual factors on the production and reception of texts
• limited overview
0 0 marks: response not worthy of credit or not attempted
122
A LEVEL ENGLISH LANGUAGE AND LITERATURE
Assessment Grid for Component 2 Section A: Shakespeare (a)
Band AO1 Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology
and coherent written expression (12 marks)
AO2 Analyse ways in which
meanings are shaped in texts
(12 marks) 4 10-12 marks
• thorough knowledge,understanding and insightsgained from integrated study
• sophisticated and purposefulapplication of concepts andmethods; apt textual support
• accurate and precise use ofterminology
• effectively organised response• confident and fluent
expression
10-12 marks • perceptive analysis of how
language choices, formand structure affectmeaning
• mature and assuredreading of extract
• confident understanding ofand appreciation ofShakespeare’s’ techniques
3 7-9 marks • clear evidence of integrated
study• purposeful use of terminology• clearly understands and
applies relevant concepts andmethods
• coherent written expression• well organised response
7-9 marks • sustained analysis of how
language choices, formand structure affectmeaning
• thoughtful and sensiblereading of extract
• secure and sensiblereading of implicit meaning
• sound and sensiblediscussion ofliterary/linguistic features
2 4-6 marks • some evidence of integrated
study• reasonable use of terminology• some understanding of
literary/linguistic concepts andmethods, not always relevant
• generally coherent writtenexpression
• generally clearly organised
4-6 marks • some analysis of how
language choices, formand structure affectmeaning, though may notalways be sustained
• some sensible reading ofextract
• some grasp of implicitmeaning
• some understanding ofliterary/ linguistic features
1 1-3 marks • limited evidence of integrated
study• limited application of concepts
and methods• irregular use of terminology• frequent lapses in clarity• response may lack
organisation
1-3 marks • limited awareness of how
some of the most obviouschoices in language, form,structure and vocabularycreate basic meaning
• superficial analysis of texts
0 0 marks: response not worthy of credit or not attempted
123
A LEVEL ENGLISH LANGUAGE AND LITERATURE
Assessment Grid for Component 2 Section A: Shakespeare (b and c)Band AO1
Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated
terminology and coherent written expression
(12 marks)
AO2 Analyse ways in which meanings are shaped in
texts
(12 marks)
AO3 Demonstrate the significance and influence of the contexts
in which texts are produced and received
(24 marks) 4 10-12 marks
• thorough knowledge, understanding and insights gainedfrom integrated study
• sophisticated and purposeful application of conceptsand methods; apt textual support
• accurate and precise use of terminology• effectively organised response• confident and fluent expression
10-12 marks • perceptive analysis of how language choices,
form and structure affect meaning • mature and assured reading of play• confident understanding of and appreciation of
Shakespeare’s’ techniques
22-24 marks • perceptive, confident evaluation of impact of contextual
factors in shaping the production of the play and influencing its reception
• confident grasp of overview
19-21 marks • purposeful and sound discussion of the impact of
contextual factors in the production and reception of the play
• clear grasp of overview
3 7-9 marks • clear evidence of integrated study• purposeful use of terminology• clearly understands and applies relevant concepts and
methods• coherent written expression• well organised response
7-9 marks • sustained analysis of how language choices,
form and structure affect meaning • thoughtful and sensible reading of play• secure and sensible reading of implicit meaning• sound and sensible discussion of
literary/linguistic features
16-18 marks • sound awareness of the impact of contextual factors in the
production and reception of the play • secure grasp of overview
13-15 marks • sensible awareness of the impact of contextual factors on
the production and reception of the play • reasonable grasp of overview
2 4-6 marks • some evidence of integrated study• reasonable use of terminology• some understanding of literary/linguistic concepts and
methods, not always relevant• generally coherent written expression• clearly organised
4-6 marks • some analysis of how language choices, form
and structure affect meaning, though may not always be sustained
• some sensible reading of play• some grasp of implicit meaning• some understanding of literary/ linguistic
features
10-12 marks • some awareness of the impact of contextual factors on the
production and reception of the play • some grasp of overview
7-9 marks • some awareness of influence of contextual factors but may
not be linked effectively to production/reception of the play • attempts to grasp overview
124
A LEVEL ENGLISH LANGUAGE AND LITERATURE
1 1-3 marks • limited evidence of integrated study• limited application of concepts and methods• irregular use of terminology• frequent lapses in clarity• response may lack organisation
1-3 marks • limited awareness of how some of the most
obvious choices in language, form, structure and vocabulary create basic meaning
• superficial analysis of play
4-6 marks • shows very basic awareness of the influence of contextual
factors but not always linked to the production and reception of the play
• limited overview1-3 marks
• limited awareness of contextual influences and struggles tolink these to the production/reception of the play
• very limited overview
0 0 marks: response not worthy of credit or not attempted
125
A LEVEL ENGLISH LANGUAGE AND LITERATURE
Assessment Grid for Component 2 Section B: Drama Band AO1
Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology
and coherent written expression (16 marks)
AO2 Analyse ways in which
meanings are shaped in texts
(16 marks)
AO3 Demonstrate the significance and influence of the contexts in which texts are produced
and received
(16 marks) 4 13-16 marks
• thorough knowledge,understanding and insightsgained from integrated study
• sophisticated and purposefulapplication of concepts andmethods; apt textual support
• accurate and precise use ofterminology
• effectively organised response• confident and fluent
expression
13-16 marks • perceptive analysis of how
language choices, formand structure affectmeaning
• mature and assuredreading of play
• confident understanding ofand appreciation ofShakespeare’s’ techniques
13-16 marks • confident evaluation of
impact of contextual factorsin shaping the productionand reception of the play
• confident grasp of overview
3 9-12 marks • clear evidence of integrated
study• purposeful use of terminology• clearly understands and
applies relevant concepts andmethods
• coherent written expression• well organised response
9-12 marks • sustained analysis of how
language choices, formand structure affectmeaning
• thoughtful and sensiblereading of play
• secure and sensiblereading of implicit meaning
• sound and sensiblediscussion ofliterary/linguistic features
9-12 marks • sound awareness of the
influence of contextualfactors on the productionand reception of the play
• secure grasp of overview
2 5-8 marks • some evidence of integrated
study• reasonable use of terminology• some understanding of
literary/linguistic concepts andmethods, not always relevant
• generally coherent writtenexpression
• clearly organised
5-8 marks • some analysis of how
language choices, formand structure affectmeaning, though may notalways be sustained
• some sensible reading ofplay
• some grasp of implicitmeaning
• some understanding ofliterary/ linguistic features
5-8 marks • some awareness of the
influence of contextualfactors on the productionand reception of the play
• some grasp of overview
1 1-4 marks • limited evidence of integrated
study• limited application of concepts
and methods• irregular use of terminology• frequent lapses in clarity• response may lack
organisation
1-4 marks • limited awareness of how
some of the most obviouschoices in language, form,structure and vocabularycreate basic meaning
• superficial analysis of play
1-4 marks • limited awareness of the
influence of contextualfactors on the productionand reception of the play
• limited overview
0 0 marks: response not worthy of credit or not attempted
126
A LEVEL ENGLISH LANGUAGE AND LITERATURE
Assessment Grid for Component 3 Section A: Comparative analysis of spoken non-literary texts
Band AO1 Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology
and coherent written expression (10 marks)
AO2 Analyse ways in which
meanings are shaped in texts
(10 marks)
AO4 Explore connections across texts, informed by linguistic
and literary concepts and methods
(20 marks) 5 9-10 marks
• thorough knowledge,understanding and insightsgained from integrated study
• sophisticated and purposefulapplication of concepts andmethods; apt textual support
• accurate and precise use ofterminology
• effectively organisedresponse
• confident and fluentexpression
9-10 marks • perceptive analysis of how
language choices, form andstructure affect meaning
• mature and assuredreading of texts
• confident understanding ofand appreciation of writers’techniques
17-20 marks • astute and illuminating
connections betweenunseen texts, includingcomments on style,attitudes etc.
• confident connectionsbetween text genres
• purposeful and productivecomparisons
4 7-8 marks • clear evidence of integrated
study• purposeful use of terminology• clearly understands and
applies relevant concepts andmethods
• coherent written expression• well organised response
7-8 marks • sustained analysis of how
language choices, form andstructure affect meaning
• thoughtful reading of texts• secure reading of implicit
meaning• sound understanding of
literary/linguistic features
13-16 marks • secure exploration of
connections betweenunseen texts
• secure understanding ofconnections between textgenres
• well-selected points ofcomparison and/or contrast
3 5-6 marks • some evidence of integrated
study• reasonable use of terminology• some understanding of
literary/linguistic concepts andmethods, not always relevant
• generally coherent writtenexpression
• clearly organised
5-6 marks • sensible analysis of how
language choices, form andstructure affect meaning,though may not always besustained
• sensible reading of texts• sensible reading of implicit
meaning• sensible understanding of
literary/linguistic features
9-12 marks • sensible exploration of
connections betweenunseen texts
• sensible understanding ofconnections between textgenres
• reasonable selection ofpoints for comparisonand/or contrast
2 3-4 marks • basic evidence of integrated
study• basic use of key terminology,
though may include someinaccuracy
• basic understanding ofconcepts and methods
• lapses in quality of writtenexpression
• straightforward organisation
3-4 marks • basic analysis of how
language choices, form andstructure affect meaning
• awareness of key linguistic/literary features
• straightforwardunderstanding of texts withsome generalisation andsimplification
5-8 marks • basic exploration of
connections betweenunseen texts
• some understanding ofconnections between textgenres
• points of comparisonand/or contrast may betenuous at times, or atendency to be superficial
1 1-2 marks • limited evidence of integrated
study• limited application of concepts
and methods• irregular use of terminology• frequent lapses in clarity• response may lack
organisation
1-2 marks • limited awareness of how
some of the most obviouschoices in language, form,structure and vocabularycreate basic meaning
• superficial analysis of texts
1-4 marks • limited exploration of
connections betweenunseen texts
• limited evidence ofunderstanding of basicpoints of comparisonand/or contrast; texts maybe discussed individuallyand unevenly
• limited understanding oftext genres
0 0 marks: response not worthy of credit or not attempted
127
A LEVEL ENGLISH LANGUAGE AND LITERATURE
Assessment Grid for Component 3 Section B (i): Non-literary text study
Band AO1 Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology and coherent written expression
(12 marks)
AO2 Analyse ways in which meanings are shaped in texts
(12 marks) 4 10-12 marks
• thorough knowledge, understanding andinsights gained from integrated study
• sophisticated and purposeful application ofconcepts and methods; apt textual support
• accurate and precise use of terminology• effectively organised response• confident and fluent expression
10-12 marks • perceptive analysis of how language
choices, form and structure affect meaning • mature and assured reading of extract• confident understanding of and
appreciation of writer’s techniques
3 7-9 marks • clear evidence of integrated study• purposeful use of terminology• clearly understands and applies relevant
concepts and methods• coherent written expression• well organised response
7-9 marks • sustained analysis of how language
choices, form and structure affect meaning • thoughtful and sensible reading of extract• secure and sensible reading of implicit
meaning• sound and sensible discussion of
literary/linguistic features2 4-6 marks
• some evidence of integrated study• reasonable use of terminology• some understanding of literary/linguistic
concepts and methods, not always relevant• generally coherent written expression• generally clearly organised
4-6 marks • some analysis of how language choices,
form and structure affect meaning, though may not always be sustained
• some sensible reading of extract• some grasp of implicit meaning• some understanding of literary/ linguistic
features1 1-3 marks
• limited evidence of integrated study• limited application of concepts and methods• irregular use of terminology• frequent lapses in clarity• response may lack organisation
1-3 marks • limited awareness of how some of the
most obvious choices in language, form, structure and vocabulary create basic meaning
• superficial analysis of extract
0 0 marks: response not worthy of credit or not attempted
128
A LEVEL ENGLISH LANGUAGE AND LITERATURE
Assessment Grid for Component 3 Section B: Non-literary text study (ii)
Band AO2 Analyse ways in which meanings are
shaped in texts
(8 marks)
AO3 Demonstrate the significance and
influence of the contexts in which texts are produced and received
(8 marks) 4 7-8 marks
• perceptive analysis of how languagechoices, form and structure affect meaning
• mature and assured reading of text• confident understanding of and
appreciation of writer’s techniques
7-8 marks • confident evaluation of impact of
contextual factors in shaping the production and reception of the text
• confident grasp of overview
3 5-6 marks • sustained analysis of how language
choices, form and structure affect meaning
• thoughtful and sensible reading of text• secure and sensible reading of implicit
meaning• sound and sensible discussion of
literary/linguistic features
5-6 marks • sound awareness of the influence of
contextual factors on the production and reception of the text
• secure grasp of overview
2 3-4 marks • some analysis of how language choices,
form and structure affect meaning, though may not always be sustained
• some sensible reading of text• some grasp of implicit meaning• some understanding of literary/ linguistic
features
3-4 marks • some awareness of the influence of
contextual factors on the production and reception of the text
• some grasp of overview
1 1-2 marks • limited awareness of how some of the
most obvious choices in language, form, structure and vocabulary create basic meaning
• superficial analysis of text
1-2 marks • limited awareness of the influence of
contextual factors on the production and reception of the text
• limited overview
0 0 marks: response not worthy of credit or not attempted
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A LEVEL ENGLISH LANGUAGE AND LITERATURE
A Level English Language and Literature Allocation of examination component marks totals by assessment objective
Component Section marks AO1 marks AO2 marks AO3 marks AO4 marks
Component 1:
Poetry and Prose
(120 marks)
A (60)
Poetry
20 20 10 10
B (60)
Prose
Part (i) 10
Part (ii) 10
Part (i) 10
Part (ii) 10
-
Part (ii) 20
-
-
Component 2:
Drama
(120 marks)
A :Shakespeare
(a) extract (24) 12 12 - -
(b) and (c) extended writing (48)
12 12 24 -
B: (48)
Drama
16 16 16 -
Component 3:
Non-literary texts
(80 marks)
A : (40)
Analysis of unseen non-literary texts
10 10 - 20
B: (i) (24)
Non-literary text study extract
12 12 - -
(ii) (16)
extended writing
- 8 8 -
TOTAL MARKS 320 102 110 78 30
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© WJEC CBAC Ltd.
Band AO1 Apply concepts and methods from integrated
linguistic and literary study as appropriate, using associated terminology and coherent
written expression (10 marks)
AO2 Analyse ways in which meanings are
shaped in texts
(10 marks)
AO3 Demonstrate the significance and
influence of the contexts in which texts are produced and received
(10 marks)
AO4 Explore connections across texts, informed by linguistic and literary
concepts and methods (10 marks)
5 9-10 marks
thorough knowledge, understanding andinsights gained from integrated study
sophisticated and purposeful application ofconcepts and methods; apt textual support
accurate and precise use of terminology effectively organised response, utilising an
academic style and register confident and fluent expression
9-10 marks
perceptive analysis of how languagechoices, form and structure affectmeaning
mature and assured reading of texts convincing and perceptive sub-textual
exploration within selected genre confident understanding of and
appreciation of writers’ techniques
9-10 marks
confident evaluation of impact ofcontextual factors in shaping theproduction and reception of key text andwider reading
confident grasp of overview
9-10 marks
astute and illuminating connectionsbetween key text and wider readingincluding comments on style, attitudesetc.
confident connections across selectedgenre
purposeful and productive comparisons
4 7-8 marks
clear evidence of integrated study purposeful use of terminology clearly understands and applies relevant
concepts and methods coherent written expression effectively organised and shaped response
7-8 marks
sustained analysis of how languagechoices, form and structure affectmeaning
thoughtful reading of texts secure reading of implicit meaning sound understanding of literary/linguistic
features
7-8 marks
sound awareness of the influence ofcontextual factors on the production andreception of key text and wider reading
secure grasp of overview
7-8 marks
secure exploration of connectionsbetween key text and wider reading
secure understanding of connectionswithin selected genre
well-selected points of comparisonand/or contrast
3 5-6 marks
some evidence of integrated study reasonable use of terminology some understanding of literary/linguistic
concepts and methods, not always relevant generally accurate and coherent written
expression clearly organised
5-6 marks
some analysis of how language choices,form and structure affect meaning,though may not always be sustained
sensible reading of texts sensible reading of implicit meaning sensible understanding of literary/
linguistic features
5-6 marks
sensible awareness of the influence ofcontextual factors on the production andreception of key text and wider reading
sensible grasp of overview
5-6 marks
sensible exploration of connectionsbetween key text and wider reading
sensible understanding of connectionswithin selected genre
reasonable selection of points forcomparison and/or contrast
2 3-4 marks
basic evidence of integrated study basic use of key terminology, though may
include some inaccuracy basic understanding of concepts and
methods lapses in quality of written expression straightforward organisation
3-4 marks
basic analysis of how language choices,form and structure affect meaning
awareness of key linguistic/ literaryfeatures
straightforward understanding of texts/genre with some generalisation andsimplification
3-4 marks
basic awareness of the influence ofcontextual factors on the production andreception of key text and wider reading
basic overview
3-4 marks
basic exploration of connections betweenkey text and wider reading
some understanding of connectionswithin selected genre
points of comparison and/or contrast maybe tenuous at times, or a tendency to besuperficial
1 1-2 marks
limited evidence of integrated study limited application of concepts and methods irregular use of terminology frequent lapses in clarity response may lack organisation
1-2 marks
limited awareness of how some of themost obvious choices in language, form,structure and vocabulary create basicmeaning
superficial analysis of texts
1-2 marks
limited awareness of the influence ofcontextual factors on the production andreception of key text and wider reading
limited overview
1-2 marks
limited exploration of connectionsbetween key text and wider reading
limited evidence of understanding ofbasic points of comparison and/orcontrast; texts may be discussedindividually and unevenly
limited understanding of genre0 marks: Response not worthy of credit or not attempted
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© WJEC CBAC Ltd.
Assessment Grid for Component 4 Section B: Related Creative Writing
Band AO5 Demonstrate expertise and creativity in the use of English to communicate in different ways
(20 marks per task)
5 17-20 marks
style is confidently controlled for audience, form, genre and purpose writing is original and engaging; individuality is most marked at the top of the band language choices reveal detailed knowledge of linguistic and literary features and their impact strong degree of technical accuracy and consciousness in vocabulary and punctuation choices
4 13-16 marks
register is engaged and clearly suited to audience, form, genre and purpose evidence of thoughtful creativity and response will show some signs of originality language choices are appropriate and increasingly purposeful at the top of the band mostly secure levels of technical accuracy
3 9-12 marks
style and tone are appropriate for audience, form, genre and purpose creates a personal voice and makes a conscious attempt to organise material for effect language choices reveal sound knowledge of linguistic and literary features and their impact generally sound levels of technical accuracy though there may be some lapses
2 5-8 marks
some variation in register for audience, form, genre and purpose, increasingly more successful at the top of the band attempts to engage creatively with task and to match form and content to purpose some language choices are appropriate but not always purposeful in relation to task some technical errors
1 1-4 marks
style is not always successful and there may be limited attempts to vary register appropriately for audience, form, genre and purpose limited engagement with the task and limited creativity language choices frequently inappropriate in relation to task frequent inaccuracies
0 marks: Response not worthy of credit or not attempted
132
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