GCE TEACHER GUIDANCE ENGLISH LANGUAGE & LITERATURE LL4

LL4 Teacher Guidance Introduction This document is intended to offer guidance and support to teachers in preparing students for the first summer examination in summer 2010. There are 4 sections to this document: • • • •

The specification requirements for LL4 Preparing for the question paper with the revised rubric for Section B Candidate responses to LL4 January 2010 Specimen Paper (revised March 2010) and assessment grid.

The specification requirements for LL4 LL4 – 30% Comparative Textual Analysis and Review (synoptic) 80 marks Section A: Comparative analysis of texts - 40 marks Relevant assessment objectives: AO1 AO2 AO3 Candidates will be required to answer one compulsory question in this section. The question will require candidates to produce a detailed comparative analysis of three unseen texts of different genres, chosen from a range of types and periods. The focus of the analysis will be provided in the question. In their response to the question, candidates are expected to select and apply relevant linguistic and literary approaches from their integrated studies across the course as a whole.

Section B: Reviewing approaches ('open' text – clean copy) – 40 marks Relevant assessment objectives: AO1 AO2 AO3 Candidates will be required to answer one question in this section, from a choice of five. Each question will require a piece of extended writing designed to allow candidates to reflect on insights gained from integrated linguistic and literary study across the whole A level course. In preparation for this question, candidates are required to study one text from the list below: Charles Dickens: Hard Times (Penguin) Emily Bronte: Wuthering Heights (Penguin) George Orwell: Shooting an Elephant: and Other Essays (Penguin) ed. Ian Jack: The Granta Book of Reportage (Classics of Reportage) (Granta Books) Ted Hughes: Birthday Letters (Faber) T.S. Eliot: Selected Poems (Faber) A clean copy (no annotation) of the set text studied must be taken into the examination. Note: no other texts or material may be taken into the examination. The questions set will not be directly linked to the prescribed texts, but will invite discussion of aspects of integrated study which will involve detailed knowledge of these texts as well as comparative reference to at least one other text (literary/nonliterary, spoken/written) studied in the course as a whole or selected for wider independent study. The selected prescribed text should be regarded as the ‘core’ text, and will require sustained reference and more detailed discussion than the text/texts discussed for comparative reference, which should be regarded as the ‘partner’ text(s). Candidates are not required to quote from their partner texts, but if they wish to they may. Candidates should prepare for the following aspects of integrated study: • •

presentation of characters/people themes e.g. family life, power, love

• • • • •

narrative technique influence of contextual factors in the production and reception of texts importance of setting/location language variation according to time, place, context different readers’ or listeners’ interpretations of individual texts.

Addressing the Assessment Objectives in LL4 Sections A and B The same weighting of assessment objectives applies to both sections of the paper: LL4

%

AO1%

AO2%

AO3% 12 (6)

SECTION A

30 (15)

6 (3)

12 (6)

SECTION B

30 (15)

6 (3)

12 (6)

12 (6)

AS TOTAL LL4

60 (30)

12 (12)

24 (6)

24 (12)

The notional distribution of marks for both sections is therefore: AO1: 8 marks

AO2: 16 marks

AO3: 16 marks

This weighting is reflected in the tasks for both sections, as candidates should be equally engaged with analysing a range of texts, considering the significance of contextual factors and exploring relationships between the unseen texts in Section A and between the set text and other text(s) studied on the course in Section B: •

select and apply relevant concepts and approaches from integrated linguistic and literary study, using appropriate terminology and accurate, coherent written expression (AO1);

•

demonstrate detailed critical understanding in analysing the ways in which structure, form and language shape meanings in a range of spoken and written texts (AO2);

•

use integrated approaches to explore relationships between texts, analysing and evaluating the significance of contextual factors in their production and reception (AO3).

Preparing for the LL4 Question Paper- revised rubric The LL4 question paper for summer 2010 onwards features a revised rubric which is intended to improve and simplify the instructions for Section B. The main changes are the removal of the text box containing the list of set texts, and also the removal of bullet points in all the questions. The general rubric will also be more streamlined and ask candidates to make comparative reference to at least one other text, either studied on the course or selected for wider independent study. The decision to make these changes, while still keeping to the requirements of the specification, was taken in the light of candidate responses to the first January paper. The revised rubric should enable candidates to apply their knowledge and skills in a more focused way, whilst still maintaining the stretch and challenge required of this paper. The revised specimen paper, which includes these revisions, appears at the end of this document, but it can also be downloaded as a separate document. The basic approach to all Section B questions remains the same: candidates need to answer one of the five questions with sustained reference to their set core text and comparative reference to one or more texts. They must use integrated approaches and consider contextual factors. The general rubric as it stands on the first specimen paper and first January paper asks for literary and non-literary texts, written and spoken, but the new rubric allows candidates to choose any one or more type of text to illuminate discussion of the core text. While some candidates might offer a range of references, including their own reading, others may feel more comfortable drawing on one or more of their AS texts or their Shakespeare LL3 text. Candidates who only offer one text will not be disadvantaged, provided that they produce a response that offers valid connections which are relevant to their discussion of the question they are answering. Teachers who prepare their students by exposing them to a variety of text types and encouraging them to undertake wider independent reading in addition to revisiting their AS texts and LL3 texts will enable their students to draw from a rich pool of resources in answering their chosen question. Our advice still holds that in making comparative connections, candidates should focus on producing quality rather than quantity, ensuring that their connections are used meaningfully and purposefully to illuminate their discussion of the core text. As a rough guide, two-thirds of the essay should address the core text, with a third on the selected ‘partner’ text(s). The Examiner’s Report for the first January paper should be read in conjunction with this document.

LL4 Section A: Comparative Textual Analysis Candidate response January 2010 Question 1 Using integrated approaches, compare and contrast how Hadrian’s Wall is presented in Texts A-C. In your response you must analyse and evaluate how the different contexts and purposes of the texts influence linguistic choice. You must also consider how effective each text is in developing its ideas.

All three texts use various literary and linguistic techniques in their shared relaxed approach to the description of Hadrian’s Wall. While texts B and C are written ultimately to inform their

Comment [L1]: AO3 Comparative approach from outset

audience of a history of the wall, the author of text A assumes the role of a Roman guard, and tells more of the hardships and details of his life within the context of his station as a guard. Each text uses various techniques to create a light and often amusing tone. This is

Comment [L2]: AO2 Appreciates humour

particularly notable in texts B and C as they both use modern language, phrases and idioms imposed on a historical context, with the intent to entertain. Text B is written purposefully for younger readers, and so while Terry Deary aims to capture

Comment [L3]: AO2 Audience

their imagination, it is important that there is an undercurrent of informative details throughout. One way in which the author entertains his readers is through the repetition of the modifier ‘rotten’ in the first line, which is used for its alliterative effect when placed with

Comment [L4]: AO1 Range of terms used

‘Romans’, and ‘ruthless’, and creates the impression the author relishes their rottenness, as he repeats the idea. Deary then combines the two adjectives ‘rotten’ and ‘ruthless’ to form ‘Rotless’, an imaginary word, end-focused to amuse the younger reader. There are several examples of Deary’s use of alliteration in this piece. For example, the phrase ‘worked on the wild wall’ uses the alliterated ‘w’ sound to create an almost onomatopoeic effect, in mimicking the breathing sound of the wind. The rhythm of this

Comment [L5]: AO2 Explores impact of language choices

phrase also allows the stress to fall on the pre-modifier ‘wild’, as a dactyl is used, and this heavy stress emphasises to create a dramatic suspense for what is to come in the rest of the book. This effect, along with Deary’s use of ellipsis, are particularly important as the purpose of the extract is to grab the interest of the young reader and spark their imagination, in that it is an introductory passage and will want to entice the reader to continue with the book. In text A, Auden also uses alliteration for its onomatopoeic effect, in the first line of the poem. Here, the alliterated ‘w’s of ‘wet wind blows’ indicated the same wildness of the surroundings

Comment [L6]: AO3 Close comparison

achieved by Deary in text B. What Auden also achieves is a sense of the harshness of the soldier’s surroundings, through the three heavily stressed monosyllables (spondee). A further linguistic device used by Deary is assonance in the phrase ‘wicked Pictish winds’, which indicates the harsh environmental conditions by the brisk phonetics of the phrase. The assonance and alliteration used by Deary when describing the setting is particularly important as this is an introduction, and they help to imaginatively set the scene in the minds of the reader. This structural device is also used by Auden in that he opens the poem with details of the soldier’s harsh surroundings, which as well as creating empathy for the character depicted, sets in context his position in life, as Auden is assuming the role of a fictional character who

Comment [L7]: AO3 Literary context

must be introduced to the reader. Interestingly, Auden holds in dichotomy the ideas of the soldiers harsh living conditions in

Comment [L8]: AO1 Sophisticated expression of ideas

relation to the weather and natural surroundings, through the juxtaposition of the external and internal hardships of the first three couplets of the poem. What this achieves is a sense that the wildness of the surroundings truly impact on the people who live and work around the wall, and this gives the reader an impression of the power of Hadrian’s Wall. This connection between the wildness of the weather and the power of the wall is made in both texts A and B, and particularly in text A, could be seen to be an example of pathetic

Comment [L9]: AO3 Comparisons sustained

fallacy, in that the ‘wet winds’ and the mist that ‘creeps’ are reflective of the soldier’s miserable state of mind. In the poem, it is perhaps surprising then that the character of the soldier chooses to return to the idea of nature in the final line. By end focusing ‘sky’, a hopeful note is created through the idea of vastness, as if he sees the sky as an escape from the petty trivialities of life on the wall. This hopeful, human idea creates empathy for the character, as it appears a timeless image, connecting the reader with the historical context, and also in emphasising

Comment [L10]: AO3 Subtle appreciation of context

the harshness of his daily life. An important link between all three passages is this link between modern ideas in a historical context, as this makes the ideas discussed more accessible for a modern reader, and in texts B and C, helps create a lighter tone. In text C, the author uses modern idioms such as ‘does exactly what it says on the tin’ and ‘put une chausette in it, Napoleon’ for comedic effect, as they seem incongruous with the historical setting of the wall, and also minimise the ‘respect’ usually shown to the events of great historical significance, i.e. the French Revolution or the building of Hadrian’s Wall. Text C also imposes modern ideas on the historical context through the use of rhetorical interrogative, ‘Had Hadrian not dined out in gastronomic Glasgow?’ which achieves humour through the mismatch of time periods/cultural references. The author of this text uses these techniques to lighten the tone, and make Hadrian’s Wall seem more accessible to a modern

Comment [L11]: AO1 Terminology

reader. It is clear through the cultural references of ‘Edinburgh Festival’ and the use of French in the English idiom stated previously, that the intended audience is more culturally aware than that of text B. In text B, Deary similarly uses modern references imposed on the historical context, but instead used the alliterated simile, ‘plague of pasta’ when describing the Roman empire for

Comment [L12]: AO1 Phonology and imagery

its comedic effect through its phonetics, ridiculousness as an image, and portrayal of a modern stereotype in a historical context. A further way in which the authors of text B and C create a casual tone include their manipulation of the mode of address. In text B, this is particularly important as it changes

Comment [L13]: AO3 Compares mode of address

from third person narrative to second person, when the author addresses the reader as ‘you’ in the seventh paragraph. Here, imperatives such as ‘imagine’ are foregrounded, and they instruct the reader with the aim of capturing the young reader’s imagination. The author of text C uses as informal tone throughout. using parenthesis to create the impression of an ‘inside joke’, again using imperatives such as ‘calm down’, but here this is more for comedic purpose than to capture the reader’s imagination like in text B. A final comparison to be made between texts A and B is the use of parallelism. In text A, this is achieved in the line ‘I want my girl and I want my pay’. The rhythmical effect perhaps imitates the predictability of his life as a Roman soldier, and the simplistic language used to create an impression of his desperation through his demand of basic needs. Terry Deary uses parallelism for a very different reason, in the repetition of the phrase ‘let me imagine it for you. Let me tell you.’ Here, this repetition again creates a rhythmical effect, but is more to adopt the role of the story teller in that the imperative draws the reader into the book. To conclude, all three texts are written with the purpose of informing the reader, although texts B and C achieve this through stated historical facts whilst text A gives a personal account through connecting with a fictional historical character. Texts B and C have a lighter tone to them, to amuse whilst informing, delivered by manipulation of the mode of address, alliteration and inclusion of modern ideas in a historical context.

Examiner’s Comment: AO1 (Band 4+) Thorough knowledge and understanding gained from integrated study. Terminology is used sensitively and addresses a wide range of features. Written expression is confident and fluent. Material is well organised. AO2 (Band 4+) Perceptive awareness of how choices of form, structure and language affect readers. Confident evaluation of techniques. Explores attitudes and values meaningfully

Comment [L14]: AO1 Grammar

through sustained focus in how language is used to create different impacts on different audiences. AO3 (Band 4+) Confident awareness and discussion of relationships between texts, making specific and productive connections. Subtle appreciation of contextual factors and their significance. Mark: 40/40

LL4 Section B: Reviewing Approaches Candidate response January 2010 Question 2 Discuss how the theme of power is presented in the texts you have studied.

Core Text ‘Wuthering Heights’

Often power is presented in texts as a negative quality where it is abused to teach a moral lesson of hubris or greed. Less often, power is shown with positive aspects, in political speeches in particular assuring listeners such power will be put to good use. Themes of power have changed over time regarding gender and relationships owing to contextual factors such as feminism.

Comment [WJEC15]: AO3 Coherent overview

‘Wuthering Heights’, the nineteenth century novel, depicts the oppression of women by powerful men in their relationships. In chapter 12 Brontë portrays Isabella as weak and submissive when she runs away with Heathcliff conforming to the gothic conventions of

Comment [WJEC16]: AO2 genre

weak female characters. Isabella’s weak character is juxtaposed with Heathcliff’s causing him to appear much more powerful. Brontë’s use of the noun phrase, ‘real little fool’, demeans any power Isabella may hold with emphasis on the pre-modifier ‘little’. Heathcliff’s power over her is also suggested by his treatment of her such as calling her a ‘mere slut’,

Comment [WJEC17]: AO2 selects firmly

throwing a knife at her and hanging up ‘her little dog’ but ‘no brutality disgusted her’. Such events heighten the power of Heathcliff through specific choice of the lexis ‘flung’ which suggests it was a reckless action rather than thrown. Similarly, Stephen King’s modern horror novel, ‘Rose Madder’, consists of specific modifiers and lexis to heighten the power of the male gender over the female gender. This is shown in the prologue where Rose’s husband is careless and violent whilst Rose is having a miscarriage on the floor. The use of simile which includes the verb ‘rips’, the adjective ‘monstrous’ and comparison ‘like a hacksaw blade’ all connote violence and pain as it is describing the pain of Rosie’s miscarriage with her husband’s ignorance when he hums

Comment [WJEC18]: AO2 impressive analysis

‘When a man loves a woman’, showing his sadistic nature and power over Rosie; much similar to Heathcliff and Isabella’s relationship which is also violent. Since ‘Wuthering Heights’ was written earlier when subjects of pregnancy or miscarriage were seen as a taboo, such topics are not discussed like it is explored in King’s novel. Nevertheless, ‘Wuthering Heights’ was already seen as controversial due to the excessive passion within the novel between Catherine and Heathcliff. The theme of power is exploited through Catherine and Heathcliff’s passion in Volume two, chapter one where they reunited

Comment [WJEC19]: AO3 explicit link

as lovers for the final time before Catherine’s death. Brontë’s use of animalistic lexis, ‘foamed like a mad dog’, ‘eyes flashed fiercely’ and ‘heaved convulsively’ to describe Heathcliff shows the excessiveness of Heathcliff’s desire and possession of Catherine. Such lexis remove all qualities of a man from Heathcliff showing this love is more powerful than the conventional love as it is extreme and nothing a human has experience. This moment is the climactic moment of the novel, enabling, in particular, the readers of the nineteenth century to be drawn into the second half of the novel, as the volumes were sold as separate books at that time. The power of passion is also shown in Churchill’s speech around the 1930s to boost the morale of listeners in Britain, as Britain appeared to be failing in the battle. Churchill uses many pauses to enable his message to sink into the listeners’ minds, to inevitable brainwash them with positivity. Also, use of future tense verbs and inclusive language such as ‘we will fight…’ portrays that the listeners are not alone, it is a team effort and there is hope. In contrast, in ‘Antigone’, a Greek play of around 440AD, shows abusiveness of power like Heathcliff as Creon becomes too proud, almost like a god therefore takes a fall from his staus costing him his wife and his son; all due to hubris. This shows a political and moral message relevant to audiences of ‘Antigone’s’ time as well as politics today. In ‘Wuthering Heights’ the power of money is also shown as it drives the plots such as:

Comment [WJEC20]: clearly organises

Catherine’s motive to marry Edgar which was social ambition and wealth in chapter ten; Heathcliff’s corrupt motive to marry Isabella to gain property and finally the forced marriage between Catherine and Linton so Heathcliff could inherit the property. All of which are narrative devices to cause conflict within the novel, where Brontë plays with the readers’

Comment [WJEC21]: AO2 writer’s techniques

hopes of a happy ending. In the romantic poet Shelley’s ‘Ozymandias’, the sonnet shows the power of time and nature portraying the insignificance of political ruler ‘Ozymandias’ compared to time which could be applied to political rulers of all times teaching readers a lesson that the power of man is nothing; art and nature hold greater power typical of the Romanticists. Overall, power is depicted negatively to mainly teach the corruption and responsibilities of power to audiences but in speeches it can be used to persuade and boost morale. In particular, the power of gender has changed although some relationships remain with the male in the powerful role.

Examiner’s Comment

AO1 (Band 4+) Excellent organisation. Fluency throughout. Confident use of integrated approaches and terms.

Comment [WJEC22]: AO3 context

AO2 (Band 4) Relevant selections. Analyses ideas and details with assurance. AO3 (Band 4+) Impressive range and linking. Several different contextual considerations discussed.

Mark:38/40

GENERAL CERTIFICATE OF EDUCATION TYSTYSGRIF ADDYSG GYFFREDINOL

2009 - 2010

ENGLISH LANGUAGE & LITERATURE ADVANCED

LL4 SPECIMEN QUESTION PAPER (REVISED RUBRIC issued March 2010)

GCE A level 1174/01 New A2 ENGLISH LANGUAGE & LITERATURE LL4: Comparative Textual Analysis and Review

2½hours

ADDITIONAL MATERIALS In addition to this examination paper, you will need: • a 'clean' copy (i.e. with no annotation) of the text you have studied for Section B; • a 12 page answer book.

INSTRUCTIONS TO CANDIDATES Answer the compulsory question in Section A. Answer one question from Section B.

INFORMATION FOR CANDIDATES Section A and Section B both carry 40 marks. In both sections, you will be assessed on your ability to: • • •

select and apply relevant concepts and approaches from integrated linguistic and literary study, using appropriate terminology and accurate, coherent written expression (AO1) demonstrate detailed critical understanding in analysing the ways in which structure, form and language shape meanings in a range of spoken and written texts (AO2) Use integrated approaches to explore relationships between texts, analysing and evaluating the significance of contextual factors in their production and reception (AO3).

You are reminded that assessment will take into account the quality of written communication used in your answers.

Section A: Comparative Textual Analysis Answer the following compulsory question. 1. This question is based on all three texts which follow. TEXT A The opening section of Lines Composed a Few Miles above Tintern Abbey, On Revisiting the Banks of the Wye during a Tour, July 13, 1798 by William Wordsworth (1770-1850). In this poem, Wordsworth describes the landscape around Tintern Abbey, South Wales, and his feelings at seeing it again after a five year interval. The whole poem is 159 lines long. TEXT B A transcription of the opening of the radio drama, Under Milk Wood by Dylan Thomas (1914-1953) as performed in 1988 with Sir Anthony Hopkins as First Voice. The opening describes the fictional Welsh town of Llareggub and its sleeping characters. It was first published in 1954, then later performed as a stage play and a film. First Voice functions as a narrator. TEXT C A page from the official Ministry of Tourism for India website (2004).

Using integrated approaches, compare and contrast how a sense of place is created in Texts A-C. In your response, you must analyse and evaluate how the different contexts and purposes of the texts influence linguistic choice. You must also consider how effective each passage is in developing a sense of place.

Text A: the opening of the poem, ‘Tintern Abbey’, by William Wordsworth. Five years have passed; five summers, with the length Of five long winters! and again I hear These waters, rolling from their mountain-springs With a soft inland murmur.--Once again 5 Do I behold these steep and lofty cliffs, That on a wild secluded scene impress Thoughts of more deep seclusion; and connect The landscape with the quiet of the sky. The day is come when I again repose 10 Here, under this dark sycamore, and view These plots of cottage-ground, these orchard-tufts, Which at this season, with their unripe fruits, Are clad in one green hue, and lose themselves 'Mid groves and copses. Once again I see 15 These hedge-rows, hardly hedge-rows, little lines Of sportive wood run wild: these pastoral farms, Green to the very door; and wreaths of smoke Sent up, in silence, from among the trees! With some uncertain notice, as might seem 20 Of vagrant dwellers in the houseless woods, Or of some Hermit's cave, where by his fire The Hermit sits alone. These beauteous forms, Through a long absence, have not been to me As is a landscape to a blind man's eye: 25 But oft, in lonely rooms, and 'mid the din Of towns and cities, I have owed to them, In hours of weariness, sensations sweet, Felt in the blood, and felt along the heart; And passing even into my purer mind 30 With tranquil restoration.

Text B: the opening of Under Milk Wood by Dylan Thomas. Key to discourse features word underlining indicates a stressed syllable (.) a micropause (1) a timed pause in seconds word whispered word [italics] stage directions [Silence] FIRST VOICE [very softly]: to begin (1.5) at the beginning (2) it is Spring (.) moonless night in the small town (0.5) starless (.) and bible-black (1) the cobblestreets silent and the hunched courters'-and- rabbits' wood (0.5) limping invisible down to the sloeblack1 (0.5) slow (0.5) black (.) crowblack (.) fishingboat-bobbing sea (1) the houses are blind as moles (.)

though moles see fine tonight in the snouting velvet dingles2 (0.5) or blind as Captain Cat (.) there in the muffled middle by the pump and the town clock (.) the shops in mourning (.) the Welfare Hall in widows' weeds 3 (1) and all the people of the lulled and dumbfound town (.) are sleeping now 1

sloe: the small blue-black fruit of the blackthorn shrub 2 dingle: a small wooded valley 3 widows’ weeds: the black clothes traditionally worn as a sign of mourning

Text C: a page from the official Ministry of Tourism for India website India's amazing diversity offers you everything you could ever want in a holiday. From the moment that you set foot in India to be greeted by a graceful namaste, a gesture that denotes both welcome and respect, you are on the way to one of the most rewarding experiences of your life. Bounded by the majestic Himalayan ranges in the north and edged by a spectacular coastline surrounded by three seas, India is a vivid kaleidoscope of landscapes, magnificent historical sites and royal cities, golden beaches, misty mountain retreats, colorful people, rich cultures and festivities. At any part of the year India can offer you a dazzling array of destinations and experiences. In summer, when the subcontinent is sizzling, there are spectacular retreats amidst the heady beauty of the Himalayas or the lush heights of the Western Ghats with cool trekking trails, tall peaks to conqueror stretches of white water for the adventure seekers. In the cool of an Indian winter, cities come alive with cultural feasts of music and dance. The balmy weather is an ideal time for you to go century hopping in romantic cities studded with medieval forts and palaces. The sun drenched beaches are inviting and wildlife sanctuaries with their abundance of flora and fauna are a buzz with the nurture of the young. You can taste the delights of the Indian monsoon anywhere in the country- on a camel safari in the Rajasthan desert when nature comes alive and the peacocks dance; along the west coast where the relentless slanting rain paints the countryside in brilliant greens or even trekking amidst the stark grandeur of mountain valleys lying in the rain shadow of the Himalayas. Experience exotic India; live like a maharaja in the rich ambiance of royal forts and palaces that are now heritage hotels; luxuriate in the serene beauty of a coral island with its turquoise lagoon; participate in the exuberance of a village fair or a colorful festival; day dream on a house boat drifting down the palm - fringed backwaters; delight in the grace of a dancer or shop till you drop - buying exquisite silks, carved figurines, brass and silver ware, marble inlaid with semi-precious stones, finely crafted jewelry, miniature paintings, carpets ....at unbelievable prices. India, always warm and inviting, is a place of infinite variety - one that favors you with a different facet of its fascination every time you come on a visit.

Section B: Reviewing Approaches . You will need a 'clean' copy (no annotation) of the text which you have studied for this section in order to answer one of the following questions.

Answer one of the questions below. Your response must include: • sustained reference to your chosen set text; • comparative reference to at least one other text that you have either studied as part of the course or selected for wider independent study.

Either, 2.

Explore the different ways children and childhood are presented in the texts you have studied. In your response you must use integrated literary and linguistic approaches and consider the significance of contextual factors.

Or, 3.

Analyse the range of techniques used to engage the reader’s or audience’s attention in the texts you have studied. In your response you must use integrated literary and linguistic approaches and consider the significance of contextual factors.

Or, 4. ‘Writers and speakers today have more freedom to choose their content and style than they ever did’. How far do you agree with this statement? In your response you must use integrated literary and linguistic approaches and consider the significance of contextual factors. Or, 5. Evaluate the importance of a sense of place in the texts you have studied. In your response you must use integrated literary and linguistic approaches and consider the significance of contextual factors. Or, 6. ‘It is impossible for an Englishman to open his mouth without making some other Englishman hate or despise him’. Explore the presentation of different accents and dialects in the texts you have studied. In your response you must use integrated literary and linguistic approaches and consider the significance of contextual factors.

A2 ENGLISH LANGUAGE & LITERATURE

Bands

Marks

1

0-10

Low

0-4

Mid

5-6

High

7-10

2

11-20

Low

11-14

Mid

15-16

High

17-20

3

21-30

Low

21-24

Mid

25-26

High

27-30

4

31-40

Low

31-34

Mid

35-36

High

37-40

LL4 SECTIONS A and B

A01 Select and apply relevant concepts and approaches from integrated linguistic and literary study, using appropriate terminology and accurate, coherent written expression. Weighting: 8 marks Limited evidence of integrated study. Minimal, unconvincing application of concepts and approaches. Written expression often has lapses in accuracy and clarity. Response may lack organisation Basic terminology often misunderstood and misapplied.

A02 Demonstrate detailed critical understanding in analysing the ways in which structure, form and language shape meanings in a range of spoken and written texts. Weighting: 16 marks

AO3 Use integrated approaches to explore relationships between texts, analysing and evaluating the significance of contextual factors in their production and reception. Weighting: 16 marks

Limited awareness of how some of the most obvious choices in form, structure and vocabulary create basic meanings. Some difficulty in understanding meaning in texts.

Some simplistic awareness of the broadest contextual factors. Limited sense of genre. Limited evidence of understanding basic points of comparison and contrast. Texts may be discussed individually and unevenly.

A01 Select and apply relevant concepts and approaches from integrated linguistic and literary study, using appropriate terminology and accurate, coherent written expression. Weighting: 8 marks Limited evidence of integrated study. Minimal, unconvincing application of concepts and approaches. Written expression often has lapses in accuracy and clarity. Response may lack organisation Basic terminology often misunderstood and misapplied.

Some basic evidence of integrated study. Some application of key concepts and approaches. Some use of key terminology. Generally clear expression, but with lapses in accuracy. Straightforward vocabulary and sentence organisation. Clear organisation towards top of band.

Some awareness of some key language features. Analysis mainly at word level at bottom of band. Clear grasp of basic meaning. Texts understood on a straightforward level. Some generalisation and simplification. Adequate awareness of genre, more secure towards top of band.

Reasonable observations of some key contextual factors. Some relevant discussion of how different contexts influence the way the texts have been/are received, more relevant towards top of band. Selection and discussion of some of the more obvious points of comparison and contrast.

Some basic evidence of integrated study. Some application of key concepts and approaches. Some use of key terminology. Generally clear expression, but with lapses in accuracy. Straightforward vocabulary and sentence organisation. Clear organisation towards top of band.

Clear evidence of integrated study. Purposeful use of appropriate terminology. Relevant and purposeful application of some relevant key concepts and approaches. Generally accurate, coherent expression. Effective organisation, particularly towards top of band.

More sustained focus on language used to create meaning, including some convincing phrase and sentence level analysis. Sensible use of key literary and linguistic concepts and approaches. Sound reading of implicit meaning, with increasingly detailed appreciation of writers’/speakers’ techniques.

Sensible and clear awareness of the influence of some key contextual factors on the production and reception of texts. Some sensible evaluation of how different audiences/readers in different times might respond. Able to present generally convincing overview. Points for comparison and contrast are well-chosen and clearly argued.

Clear evidence of integrated study. Purposeful use of appropriate terminology. Relevant and purposeful application of some relevant key concepts and approaches. Generally accurate, coherent expression. Effective organisation, particularly towards top of band.

Thorough knowledge, understanding and insights gained from integrated study. Sophisticated application of concepts and a wide range of approaches. Accurate and sensitive use of terminology. Very wellorganised. Written expression is confident, fluent, with varying degrees of flair. Mature vocabulary.

Perceptive awareness of how choices of form, structure and language affect readers and audiences. Assured reading of texts. Convincing and perceptive subtextual exploration. Some evidence of originality may be shown. Clear and sustained focus throughout response.

Confident evaluation of the impact of contextual factors in shaping the production of texts and influencing different audiences/readers at different times. Points of comparison and contrast are astute and illuminating. Title/question addressed consistently and perceptively.

Thorough knowledge, understanding and insights gained from integrated study. Sophisticated application of concepts and a wide range of approaches. Accurate and sensitive use of terminology. Very well-organised. Written expression is confident, fluent, with varying degrees of flair. Mature vocabulary.