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LITERATURE (ENGLISH) (US)
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Cambridge International General Certificate of Secondary Education
0427 Literature (English) (US) June 2012
Principal Examiner Report for Teachers
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Paper 0427/01
Open Books
Key messages
The following are necessary for success in this paper:
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Detailed knowledge of whole texts.
Relevance to the question. Candidates do need to be trained to read the question and to analyse it,
looking for the key words and phrases on which to base their answers. A few minutes planning an
answer before beginning to write it is time well spent.
Focus on the extract in the passage-based questions and particularly on the language of the passage.
Narrative or descriptive run-through is not sufficient for high reward; successful answers will analyse and
explore the writer’s method, not merely through language and imagery but also through structure, theme,
and characterisation.
A well structured and developed argument
Detailed support by way of well chosen quotation or close echoes of the text.
Adhering to the instructions about numbers and types of questions to be answered. The instructions on
the front of the question paper should be understood in advance, and re-read carefully.
General comments
The most popular texts offered were A Raisin in the Sun, Macbeth, Songs of Ourselves and To Kill a
Mockingbird. There were far too few examples of response to the other texts (and no responses to some of
them) to make general comment on those appropriate.
An enjoyment of reading and an effort to engage with the terms of the questions was conveyed in many
scripts, but many candidates did not seem ready to take the paper. The knowledge and understanding of
the texts displayed in many answers was very sketchy: for example, in Question 4 many answers seemed to
show no knowledge of why Lady Macbeth is sleepwalking, illustrated by comments like ‘she seems to have
committed a murder and it has traumatised her’, or ‘she seems to be guilty about something’, and in
Question 16 on To Kill a Mockingbird, a significant number seemed to think that Tim Johnson was a man not
a dog. While a few candidates showed an appreciation of the necessity to consider the writers’ methods and
to respond to language and imagery in a developed way, generally reference to language was limited to
simple quotation with little, if any, analysis. Candidates gave personal responses, but in a general and
undeveloped way.
Contrary to the instructions on the front of the question paper, some candidates answered more than three
questions, and some answered three passage-based (asterisked) questions. Many did not number their
answers. Some attempted two questions on a text within one essay, basing their answer to an essay
(dagger) question on the extract for the passage-based (asterisked) question. This limited the answer at
best, and was wholly inappropriate at worst: for example, in the To Kill a Mockingbird questions, trying to
describe the relationship between the children and Miss Maudie was impossible if the extract was used.
There was also evidence of misreading of the questions, and sometimes 4 and 5 merged into each other.
Some answers were extremely short.
The passage-based questions were the most popular, probably because candidates perceived them as
being an easier option since the material is selected for them. Key to success is close reading and analysis,
and candidates need to refer closely to the passage in front of them. But the most successful answers will be
able to draw on knowledge and understanding of the text as a whole.
The empathic tasks, though approached with enthusiasm, proved challenging for most of the candidates who
attempted them. They often did not grasp the idea that the piece was to be written as though the character
was speaking and therefore began answers along the lines of ‘If I were Scout I would feel...’This meant that
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© 2012
Cambridge International General Certificate of Secondary Education
0427 Literature (English) (US) June 2012
Principal Examiner Report for Teachers
the creation of a voice, which distinguishes answers in the top bands, was unachievable. Crucial is location
of the precise moment specified – and everything will then flow from identification with the character.
In answers on poetry there was a tendency to explanation and description rather than analysis, and there
was limited response to poetry as poetry. The impression gained was that many candidates were seeing the
poems printed on the question paper for the first time and had very little idea of what they were about.
In order to improve performance, candidates need to be very familiar with the three texts that are selected
(not just with movie versions). They should have read the texts several times and have discussed them and
have written assignments on them. Acting out parts of the text in class and exercises such as hot-seating
will improve the standard of empathic responses. Detailed study of the texts will enable them to refer
confidently and to support their ideas with well selected references. Perhaps the main broader aim of this
paper is that candidates should be able to form their own opinions about what they have read and be able to
shape and support an argument. Furthermore, the study of literature requires a consideration of the writers’
purposes and they way in which they use language and imagery to create an effect. The Assessment
Objectives in the syllabus document set out clearly what is required.
Comments on specific questions
Section A: Drama
Question 1
This question required candidates to identify the different emotions of Ruth, Mama and Walter and to explore
the ways in which they are conveyed. They therefore needed to focus on the word ‘powerfully’. The
emotions were not hard to identify: Ruth’s uncertainty about moving to a white neighborhood which changes
to euphoria at getting out of the tenement, Mama’s satisfaction at having done something to improve the lot
of her children and disappointment at Walter’s reactions, and Walter’s anger and frustration at the butchering
of his dream (to buy the liquor store). Some candidates identified most of the emotions shown in the extract
and realised that stage directions were indicative of emotions. Most felt some sympathy for Mama and
showed some grasp of her well-intentioned motives. Walter was dealt with less successfully, very few
candidates recognising his bitter anger and disappointment. Nobody realised that ‘So you butchered up a
dream of mine...’ provided a chance to comment on language. Some mentioned Ruth’s changing emotions.
There was a general tendency to narrate the passage and a reluctance to refer closely to the text. Some
answers focused entirely on how punctuation showed emotion, a relevant and interesting area, but not as
important here as how characters behaved and what they said.
Question 2
There were only a few responses to this question. Some mentioned some valid points about Travis being
the reason why some things happen in the family, but often the answers struggled to say much about his
importance and some appeared not to have known who he is in the play.
Question 3
This was attempted by only very few candidates and their answers were usually just a few lines long.
Questions 4 and 5
As noted above, these two questions were frequently taken together. Candidates offered some reasons why
they felt pity for Lady Macbeth. Many did not seem to realise that there were two separate characters.
There were attempts to infer Lady Macbeth’s emotions from what she says and what the Doctor and the
gentlewoman say about her, but there was a general lack of knowledge of what the play is about and what
has brought Lady Macbeth to this point. Nobody seemed to know anything about Macbeth.
Question 6
There were no answers to this question.
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© 2012
Cambridge International General Certificate of Secondary Education
0427 Literature (English) (US) June 2012
Principal Examiner Report for Teachers
Section B: Poetry
Question 13
Central to tackling the question is demonstrating personal response and analysis of the words
‘How…..moving’. Very few answers showed understanding of the poem, and the imagery was not
understood at all. Often candidates simply repeated lines from the poem or tried to paraphrase a little.
Slightly better answers grasped the idea that this man was ill and suffering although some thought he had
just had a bad dream. Some used this poem to answer Question 14.
Question 14
Answers tended to ‘narrate’ the poem rather than answer the question. Some wrote about both poems and
some wrote about both poems and Night Sweats. Hardly anyone had any ideas about how the poem
chosen might reflect modern life.
Question 15
Answers did not understand what ‘striking words and phrases’ meant.
Section C: Prose
Question 16
Some were able to retell the story of what happens in the extract but very few focused on ‘the drama of the
moment’. Misreading led to problems. Some thought Tim Johnson was a person and some confused him
with Tom Robinson. A few even thought that Atticus shot Tom Robinson because he was so dangerous.
Question 17
A few candidates made some relevant comments about how Miss Maudie liked the children and let them
play in her yard but went no further. Her role as educator, listener, adviser, dispenser of wisdom, baker of
cakes and friend was ignored. Some confused Miss Maudie with Calpurnia and wrote about how she
disciplined the children and cooked their meals.
Question 18
This was a popular choice and there was some knowledge of Scout’s first day at school in evidence. A few
did manage to capture Scout’s voice a little and conveyed her anger with poor Walter and Miss Caroline.
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© 2012
Cambridge International General Certificate of Secondary Education
0427 Literature (English) (US) June 2012
Principal Examiner Report for Teachers
LITERATURE (ENGLISH) (US)
Paper 0427/02
Coursework
Key Messages
Appropriate phrasing of coursework assignments is vital: it is important to ensure that the framing of a task
encourages candidates to meet the band descriptors of which they are capable by providing focus.
It is important that all work is clearly marked by the teacher with relevance to the band descriptors.
General Comments
In addition to this report, Centres receive individual reports on their moderation. This general review draws
together the main points contained within these Centre reports. Many of the key messages and general
comments for the examination paper are relevant also for the coursework component.
The texts studied for the Coursework component this session included Twelfth Night, Jane Eyre and poems
such as Shelley’s Ozymandias and Stevie Smith’s Away, Melancholy. Candidates were generally able to
explain key themes and to respond to the characters in these texts, and there was evidence that they had
enjoyed the texts they studied.
Cambridge International Examinations’ Coursework Handbook for the related Syllabus 0486 Literature
(English) has much useful guidance about task-setting which should be read by all teachers involved in
delivering a Literature Syllabus. Tasks set should have a clear and manageable focus that permits
candidates to meet the relevant band descriptors in the assessment criteria. Merely giving the title of the text
as the title of the assignment provides insufficient direction to candidates. The following is an example of a
suitable task on Twelfth Night: ‘How far does Shakespeare make it possible for you to feel sorry for
Malvolio?’ Such a question allows candidates to offer their own personal response to the question by
engaging with Shakespeare’s dramatic methods, including his use of language.
It should be remembered that sustained and detailed analysis of how writers achieve their effects is required
for the award of a mark in the top two bands.
As far as administration is concerned, there are a number of ways in which Centres can contribute effectively
to the moderation process for a Literature Syllabus. The following greatly assist the essential dialogue
between Centre and Moderator, enabling the latter to see why a particular mark has been awarded by the
Centre:
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focussed ticking of thoughtful and relevant points made in the assignments
brief teacher comments made in the margin indicating strengths and weaknesses
a mark and summative comment referring to the relevant band descriptors written at the end of each
assignment.
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© 2012