AQA English Literature A
Unit 1 Texts in context (Open book 2hr exam 60% of final AS mark)
SOW - Short term plan
AS English Literature 2012/13
Exam date – 17.05.13
ROP dates –
Parents’ evenings Health and Safety – Ensure that all coats/bags are safely stowed under desks during classroom based lessons. In ICT rooms ensure that there is a
safe passage to/from printer (if required) and that all cables do not constitute a trip hazard. When students are presenting to whole class and
using IWB ensure that they do not look directly into the light of the projector.

This SOW encourages students to develop interest in and enjoyment of English Literature, through reading widely, critically and
independently, across centuries, genre and gender, and through experience of an extensive range of views about texts and how to read
them. It aims to do this by:
 its clear philosophy of reading and meaning
 emphasis on the development of the informed, independent reader of literary texts through a course of wide and close reading
 the centrality of the unprepared text as the test
of the candidate’s ability to synthesise the key knowledge, understanding and
skills of the course.
Aims as outlined by AQA
The aims of this AS course are:
1. to encourage literary study within a coherent contextual framework
2. to introduce candidates to all three genres within the shared context through a combination of close and wide reading
3. to consider how readers’ responses are shaped by the context, by writers’ choices and by other readers’ interpretations
4. to develop independent, individual interests within the shared context
5. to lay a firm foundation for deeper study at A2.
Support from AQA
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http://www.aqa.org.uk/rn/askaqa.php
http://www.aqa.org.uk/support/teachers.html
http://events.aqa.org.uk/ebooking
01483 477860 or email teachersupport@aqa.org.uk
Wider reading will involve the reading of at least three whole texts and may be supported by the reading
of relevant extracts and shorter pieces of
writing.
The SOW encourages candidates to have an informed, independent reader builds a reading of a text through:
• careful and close reading of a text which yields appropriate and specific textual evidence
 consideration and understanding of other readings
 research into the contexts of both reading and writing.
Candidates need to be actively engaged with texts in order to develop informed personal responses to their texts.
The specification aims to develop the candidate as an informed, independent reader who comes to an understanding of meaning
through close study of the primary text: it also relies on knowledge of the context of the text and of other possible meanings. This is a
specification which provides the reader with maximum opportunities for both coursework and open text examination papers. Such
opportunities promote research on the one hand and close focus on specific parts of a text on the other.
Reading:
• is an active process: the reader is an active creator, not a passive recipient of second hand opinion
• can never be “innocent”: all readings are historically, socially and individually specific
• is not a single skill: some kinds of reading are more demanding than others.
Meaning:
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for an individual reader, depends as much on what is brought to the text as upon what is contained within it
will not necessarily be instantly accessible
will be different on different occasions, and changeable as a result of discussion and reflection
can be multiple: different readings of a text can co-exist.
Scheme of Assessment
Aims
AS and A Level courses based on this specification should encourage candidates to develop their interest in and enjoyment of
literature and literary studies as they:
 read widely and independently both set texts and others that they have selected for themselves
 engage creatively with a substantial body of texts and ways of responding to them
 develop and effectively apply their knowledge of literary analysis and evaluation in speech and writing
 explore the contexts of the texts they are reading and others’ interpretations of them
 deepen their understanding of the changing traditions of literature in English.
The examination
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2 hour examination paper.
The paper will consist of two sections and candidates will answer one question in each section. The paper will be marked out
of 90. Candidates may bring their set poetry text into the examination room. This text should be a clean text, that is, free from
annotation.
Section A Contextual Linking 45 marks
There will be one compulsory question in this section. A short extract related to the area of study (from
a work of criticism,
diary, letter, biography, cultural commentary, for example) will be printed. Candidates will then be invited to link all their
reading in their chosen area of Literature to the focus of the given passage.
Section B Poetry 45 marks
There will be a choice of two questions on each set poetry text. Candidates answer one question. One of the two questions will
foreground one particular poem and its relation to the whole text, the other will provide a view about the poems for candidates
to discuss.
Assessment Objectives (AOs)
AO1 Articulate creative, informed and relevant responses to literary texts, using appropriate terminology and concepts, and
coherent, accurate written expression
AO2 Demonstrate detailed critical understanding in analysing the ways in which structure, form and language shape meanings
in literary texts
AO3 Explore connections and comparisons between different literary texts, informed by interpretations of other readers
AO4 Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and
received.
Prior learning AQA state that there are no prior learning requirements. They recommend that candidates should have acquired the skills
and knowledge associated with a GCSE English Literature course or equivalent.
Synoptic Assessment and Stretch and Challenge
1. Coursework
• An extended essay requiring the selection of appropriate texts including a Shakespeare
play; research, discussion and choice of
task; organisation and planning; sustained writing and discussion of genre, context and alternative interpretations.
2. Examination
1. The questions on the Unit 3 paper require candidates to apply their knowledge and understanding of literature through time
(Chaucer to the present day), across genre and gender, as well as their skills of analysis, interpretation, comparison and
connection and evaluation to unprepared extracts drawn from all three genres and linked by the theme of love.
2. Both close and wide reading are required as well as the ability to apply knowledge and understanding of the contexts of
literature to specific unprepared texts.
The requirement that Stretch and Challenge is included at A2 is met by:
• accessible questions that will be open to candidates of all abilities but offering appropriate opportunities to the most able
• the use of a variety of stems in questions – “explore”, “comment on the ways”, “write a comparison” and “consider”
• connectivity between sections of questions
• the requirement for extended writing in all questions and especially the extended essay in the coursework
• the use of a range of question types – the comparative study in coursework as well as
the examination questions are all open
answer questions where the candidate will assemble appropriate material and structure the question.
• the ways the synoptic paper (unit 3) requires candidates to refer to and make use of knowledge and understanding of literature
across the ages, genres, and gender to support their responses
to the unprepared extracts. It also requires candidates to use all the
relevant skill areas.
Spiritual, Moral, Ethical, Social and other Issues
European Dimension
AQA has taken account of the 1988 Resolution of the Council of the European Community in preparing this specification and associated
specimen units.
Environmental Education
AQA has taken account of the 1988 Resolution of the Council of the European Community and the Report “Environmental Responsibility: An
Agenda for Further and Higher Education” 1993 in preparing this specification and associated specimen units.
Avoidance of Bias
AQA has taken great care in the preparation of this specification and specimen units to avoid bias of any kind.
AQA English Literature A
Unit 1 Texts in context (Open book 2hr exam 60% of final AS mark)
Short term plan
AS English Literature 2012/13
Term 1
5 weeks Set poetry text (Question 2)
5 hours per fortnight
Question 1
AO1 6%
AO2 9%
AO3 4%
AO4 18%
Question 2
6%
9%
8%
Overall
12%
18%
12%
18%
After each lesson students should reread the poems set for study, making further notes and find out some biographical notes
for each of the authors studied.
Students should also be encouraged to find and read further WW1 poems written by the authors studied each week placing
these on a time line, building up a bank of wider reading.
Students should read and analyse the poems set for study during the next lesson.
Aims
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to become familiar with the chosen collection of poems
to investigate the themes and poetic forms used by the poets
to begin to explore connections and comparisons
to become a more independent learner
Scheme of Work Title: AS English literature AQA A Poetry ‘The Oxford Book of War Poetry’
Typically a 1 hour session will be 10/20/20/10 and a ‘double’ session will be 15/30/30/15
Lesson
2
Objectives
Starter
Introduction
Development
Plenary
Outcome (objective
linked)
Objective
Articulate creative,
informed and relevant
responses to literary
texts, using
appropriate
terminology and
concepts, and
coherent, accurate
written expression.
(AO1)
 Starter
list of archaic
words/key phrases
from the poems –
discuss with partner
'of the faith and fire
within us'
'Friend with the
musing eye'
'doubt and a dolorous
sigh'
'a purblind prank'
'England's need are
we'
'Though Dynasties
pass'
'harrowing clod'
'Nay'
'braggarts'
'Victory'
'Yonder'
'annals'
 Introduction
Read Men Who March
Away x 2
Individually make a note
of the rhyme pattern and
the rhythm – what do you
note?
What is your first
impression of the poem?
Model annotation of the
first stanza.
 Development
Look carefully at the
second stanza and
discuss in pairs/groups
the elements of doubt it
contains.
Additional contextual
information about Hardy
on slideshow – Read
whole poem again and
make additional notes
before feedback as a
whole class. (Good notes
on p5 Wessex)
 Plenary
Feedback/verbal/written
key points of subject
matter and themes of
poem linked to key terms
used today. Refer back
to objective
Gain an understanding
of a WW1 poem
Begin to understand
the key technical terms
used when analysing
poetry.
archaic language,
rhyme, rhythm,
imagery, tone,
alliteration, repetition,
stanza, imagism,
description, adjectives
Thomas Hardy (18401928)
Men Who March Away
(Song of the Soldiers)
Lesson
1
Objective
Articulate creative,
informed and relevant
responses to literary
texts, using
appropriate
terminology and
concepts, and
coherent, accurate
written expression.
(AO1)
Key terms RAG rate
archaic language,
rhyme, rhythm,
imagery, tone,
pastoral, alliteration,
repetition, stanza,
imagism, description,
adjectives & ?????
Read In Time of 'The
Breaking Nations' X2
Make a note of the
rhyme and rhythm
pattern.
What are your first
impressions of the
poem?
Model annotations of
stanza 1.
Thomas Hardy (18401928)
In Time of 'The
Breaking Nations'
In groups mark the
pastoral imagery in
the text and discuss
the images that the
poet expresses in this
apparently simple
poem. What is the
effect of this imagery?
What tone does the
poem have? How
does Hardy achieve
his effects and
convey his underlying
belief? (p6 Wessex)
What is your impression of
the poem as a whole? Is it
what you were expecting a
war poem to be?
RAG rate key terms from
start of lesson.
Assessment
Knowledge and understanding of key terms
Ability to annotate poems
Differentiation
How to become an informed, independent reader – Nelson Thornes textbook pp1-3
Homework opportunties
6. Reread all of the poems set for study today adding notes to those made in class.
7. Research each of the authors studied today.
8. Essay – Select any of the poems set for study today and write a detailed account of the situation
described by the poet.
9. Read ahead the poems set for study next lesson.
10. http://www.firstworldwar.com/poetsandprose/index.htm
11. Introduce www.gwlsrc.co.uk
SHORT TERM PLANNING TEMPLATE
Scheme of Work Title: AS English literature AQA A Poetry ‘The Oxford Book of War Poetry’
Lesson
3
Objectives
Starter
Introduction
Development
Plenary
Outcome (objective
linked)
Articulate creative, informed and
relevant responses to literary texts,
using appropriate terminology and
concepts, and coherent, accurate
written expression. (AO1)
Individually read
In Flanders Fields
X2, mark the
imagery that you
find most striking.
How does the
poet's use of
imagery succeed in
making this one of
the most popular
and enduring
poems of WW1?
In pairs discuss
the imagery noted
and make further
comment on the
effect these
images have on
the audience.
Introduce
contextual
information
about the
composition of
the poem.
(slideshow
lesson 3)
Groups feed back.
What is the persona
of the poet here?
Pro war or anti war?
Understand the effect of
imagery.
John McCrae (1872-1918)
In Flanders Fields
http://www.greatwar.co.uk/poems/johnmccrae-in-flanders-fields.htm
Lesson 3 slideshow
In groups of 4
decide which 2
images you will
feedback to the
class about – use
appropriate
terminology.
Lesson
4
Demonstrate detailed critical
understanding in analysing the
ways in which structure, form
and language shape meanings
in literary texts. (AO2)
To be able to comment how
structure, form and language
shape meaning.
Couplet, aural, concrete poetry,
typographical arrangement,
Dadaism,Surrealism, pastoral
imagery, hyperbole, sonnet form,
personification, rhyming couplet,
Housman (1859-1936)
Apollinaire (1880-1918)
Stevens (1879-1955)
Peret (1899-1959)
MacDiarmid (1892-1978)
Sandburg(1878-1967)
Rickword (1898-1982)
Lesson 4 slideshow
Assessment
Comment on
structure of
poems set for
study today (Lesson 4
slideshow)
Each small
group is given a
poem to
analyse and
comment on
although much
of the focus will
be on structure
comments
inevitably the
students will
comment on
language use
[note AO1 type
questions they
could be asking
– What is the
situation in the
poem? What is
the setting?]
Use Wessex
notes to help
students to
focus their
thoughts and
ideas.
Read through
each poem.
Group
feedback 5
main points
about their
poem – rest of
class make
notes.
What aspects of
form, structure
and language
have enhanced
meaning?
Gain a greater
understanding of AO2
Differentiation
p18 Wessex gives supporting comment for students who require additional support.
Homework
1. Read all of the poems set for study this week, adding notes to the ones made in class.
2. Research all of the authors covered this week.
3. Select any single poem set for study this week – write an essay on how language,
form and structure shape meaning. (Give essay plan)
4. Read ahead the poems set for study next lesson.
5. Introduce The First World War Poetry Digital Archive and www.thegreatwar.co.uk
SHORT TERM PLANNING TEMPLATE
Scheme of Work Title: AS English literature AQA A Poetry ‘The Oxford Book of War Poetry’
Objectives
Starter
Introduction
Development
Plenary
Outcome
(objective linked)
Lesson
Objective
5
Articulate
creative, informed
and relevant
responses to
literary texts,
using appropriate
terminology and
concepts, and
coherent,
accurate written
expression. (AO1)
Begin to make
connections and
comparisons
between poems
(AO3)
Be able to articulate
a personal opinion
of the poems set for
study.
Richard
Aldington (18921962)
Battlefield
Edgell Rickword
(1898-1982)
Winter Warfare
Read poem aloud
Richard Aldington (1892-1962)
Battlefield
Individual written response –
What is your personal response
to this poem?
Highlight the key terminology
you used to comment on this
poem.
Repeat process with Edgell
Rickword (1898-1982)
Winter Warfare
Take feedback from
individuals – noting the
key terminology used in
their responses - list on
board/make annotations
on IWB and cross match
similarities with both
poems.
Remind yourself of
all of the poems
studied so far. What
similarities and
differences are there
between the
poems?
Take feedback
drawing out the
coordinating
conjunctions and
Add to the list of
key terminology
referring back to
all poems
studied today.
Show how an
informed and
relevant
response has
been achieved
using
appropriate
terminology
Be able to make
connections and
comparisons
between poems
studied.
Lesson
Objective
6
Articulate
creative, informed
and relevant
responses to
literary texts,
using appropriate
terminology and
concepts, and
coherent,
accurate written
expression. (AO1)
Begin to make
connections and
comparisons
between poems
(AO3)
Be able to articulate
a personal opinion
of the poems set for
study.
Sorley (18951915)
When you see
millions of the
mouthless dead
ICT ROOM/LAPTOPS
NEEDED
Complete online questions
– whole class activity.
Read poem
http://www.youtube.com/watch?v
=Et9KkDIPebw
http://www.teachit.co.uk/c
ustom_content/online/Mill
ions/index.htm
Note your initial impression of
structure and meaning.
(paper
copies
on
the
questions are available but
better to do online)
What is your
opinion of the
poem?
Which
key
terms
have you used in
your
today?
response
Detailed analysis
of a sonnet
Assessment
Differentiation
Homework
Supporting comments on p
95 Wessex can be used for students who need additional support
1.
2.
3.
4.
Read all of the poems set for study this week, adding notes to the ones made in class.
Research all of the authors covered this week.
Read ahead the poems set for study next lesson.
Essay – In what ways are the poems ‘Battlefield’(Rickword) and ‘Winter Warfare’ (Aldington)
effective?
5. Or – “‘When you see millions of the mouthless dead’ was the last poem that Sorley wrote. It was found
in his kitbag after his death. The fact that he is writing about the futility of losing one’s life in war
makes it particularly poignant.” How far do you agree with this statement?
SHORT TERM PLANNING TEMPLATE
Scheme of Work Title: AS English literature AQA A Poetry ‘The Oxford Book of War Poetry’
Objectives
Starter
Lesson
Objective
7
Discuss how
Recap the effect form, structure and Give out poem by stanza – also
language have on meaning.
broken down by indentation to
groups. Each groups to focus on
http://movehimintothesun.wordpres analysing their section of the poem
s.com/2010/12/20/all-the-hills-and- with an AO2 focus.
vales-along-charles-sorely/
language, form
and structure
shape meaning
(AO2)
Charles Sorley
(1895-1915)
All the hills and
vales along
Introduction
Development
Plenary
Feedback
analysis points
with AO2
focus.
Compare
Snowball/whole
class/
group
small
two
Outcome
(objective linked)
the
Sorley
poems studied.
To be able to
make detailed
reference to
poems and make
connections and
comparisons
between poems.
Lesson
8
Objective
Language from Peace and The
Soldier sort and categorise activity.
AO3 Explore
connections and
comparisons
between
different
literary texts,
informed by
interpretations
of other readers
specialist
vocabulary
when
appropriate.
To be able to
make
connections and
comparisons
between texts.
Key terms
sonnet, octet,
sestet,
Shakespearean
form
,
Petrarchian
form
Rupert Brooke
(1887-1915)
Use Wessex pp
7-11 for
support points
on each poem
Peace
The Soldier
Discuss the language in the poem
and the impact it has on you as a
reader. What categories have been
selected?
Order words as positive and
negative. Discuss reasons for
choices and effect of language on
the reader.
 Read both poems aloud
The Soldier
http://www.youtube.com/watch?v=
S6wPAp3Gy1E
http://www.youtube.com/watch?v=
O_bXBVKmjwo&feature=related
http://www.youtube.com/watch?v=
M7hQaoS7_u8&feature=related
http://www.youtube.com/watch?v=
9TMQY4JVBMA&feature=related
Peace
http://www.youtube.com/watch?v=
oZyaZcfi56c
Why do you
think Brooke's
poems were
and still are so
well received?
Read both
poems and
select lines
from both
which help to
answer your
question.
Feedback
Assessment
Differentiation
Homework
1. Read the whole sequence of the '1914' sonnets by Brooke.
2. Reread all of the poems set for study today adding notes to those made in class.
3. Why do you think Stallworthy has chosen these three sonnets from the whole of Brooke's collection?
4. Background research about each author.
Read poems set for study next week.
SHORT TERM PLANNING TEMPLATE
Scheme of Work Title:
Objectives
Starter
Introduction
Development
Plenary
Outcome (objective
linked)
Lesson 9
Objective
AO3 Explore
connections and
comparisons between
different literary texts,
informed by
interpretations of other
readers specialist
vocabulary when
appropriate.
To be able to make
connections and
comparisons between
texts.
Key terms
sonnet, octet, sestet,
Shakespearean form ,
Petrarchian form
Rupert Brooke (18871915)
The Dead
Read poem X 2
Select 10 words
that stand out for
you and write them
on post its.
 In turn
students
come to
front of
room and
put words
on board
under
selected
categories
of their
choice
(negative,
positive,
nouns etc.)
In what way is
Brooke's portrayal
of Death in this
poem different from
that in 'Peace'?
Group activity.
 Feedback
Thinking about all 3
poems studied today
what connections and
comparisons can be
made about
1. language
2. tone
3. structure
4. form
5. content
6. mood
7. patriotism etc.
.
Lesson
Objective
10
AO1 Articulate creative,
informed and relevant
responses to literary
texts, using appropriate
terminology and
concepts, and coherent,
accurate written
expression.
AO3 Explore
connections and
comparisons between
different literary texts,
informed by
interpretations of other
readers specialist
vocabulary when
appropriate.
To be able to make
connections and
comparisons between
texts.
BBC world war one
movies
Grenfell (1888-1915)
Thomas (1878-1917)
Key Terms
fragment, nature,
sadness, distilled
language, melancholy,
atmospheric,
symbolism, lyrical,
visual imagery,
Read each poem
through a couple of
times – why do you
think they have been
selected to be studied
together? What
common link do they
have? (15)
Edward Thomas
biographical
information –
Wessex p53
In Memoriam
(Easter 1915)
The Cherry Trees
How does Thomas
achieve such
profound effects in
such short poems?
In groups/pairs
discuss statement
and prepare to
feedback to the
class. See Wessex
p54 for supporting
comments. (20)
Rain
As the team's head
brass
Split class into 4
groups
(differentiate
groups by TMGs)
and give them
either poem – again
differentiate poem
given to each
group. Make notes
on the symbolism
used in the poem.
Prepare 5 points to
feedback to the
class. (30)
Groups feedback
their points to the
class. (20)
Debate point - How far
do you agree with the
statement that Thomas'
poetry is typical of the
poetry of WW1? (20)
Assessment
Differentiation
Homework
1. Read poems set for study next week.
2. Background research about each author.
3. Reread all of the poems set for study today adding notes to those made in class.
4. How have the authors used interesting imagery in any 2 of the poems studied today?
SHORT TERM PLANNING TEMPLATE
Scheme of Work Title:
Objectives
Starter
Introduction
Development
Plenary
Outcome (objective linked)
Lesson
Objective
11
Grenfell Into Battle
“I adore war. It is
like a big picnic...I
have never been more
well or more happy.”
“Here we are in the
burning centre of it
all, and I would not
be anywhere else for
a million pounds and
the Queen of Sheba”
What do you think of
these statements?
What type of poetry
might this author be
inclined to write?
(10)
Collapsed text of
Into Battle select
key vocabulary
choices made by
the author. (15)
How does
Grenfell use
various aspects of
the natural world
to show that it is
Man's destiny to
fight and die for
his country? See
Wessex pp14-16
for additional
comments. (20)
Feedback comments.
Which other poems
could Into Battle be
compared with?
Lesson
Objective
12
AO1
AO2
AO3
To be able to make
connections and
comparisons between
poems using appropriate
terminology.
Comment on how form,
structure and language
shape meaning.
To promote more
independent learning.
Key terms
atmosphere,
patriotic,
anti-war stance, portrays,
symbolism,
religion,
adjectives,
evocative,
visual
imagery,
onomatopoeia,
Rosenburg (1890-1918)
Asquith (1881-1947)
Frost (1874-1963)
Dead man's Dump
Read poem. Write a
few sentences about
your initial reaction
to the poem. (10)
In groups of 4 (or in 7 groups
depending upon number in
class) take each of the
following points to make
notes on. The tasks are
differentiated.
1. Like so much of
Rosenburg's work,
this poem is
extremely visual
and lacking any
trace of
sentimentality.
Select 5 examples
of visual imagery
to comment on.
2. Find examples of
personification in
stanzas 4 and 5
comment on this
and the metaphor
of a bullet in the
fifth stanza.
3. Find and comment
on onomatopoeia
used in the poem.
4. Look closely at the
eighth stanza.
Comment on the
description of an
incident of a
wounded man's
brain splattering a
stretcher-bearers
face so that he
drops the man.
What is your
reaction to this?
5. What happens in
the final two
stanzas?
6. Comment on the
effective use of
alliteration in the
poem.
7. What lines are
particularly
memorable and
why? (30)
Read poem again. Add
another few sentences to you
initial reaction to the poem.
(10)
Break of Day in
the Trenches
After reading the
poem highlight
and comment on
use of adjectives.
(10)
Compare your list
with a partner –
what differences
are found?
Comment on the
effectiveness of
the adjectives.
(10)
How does
language, form
and structure
shape meaning?
In groups of 3
select one of
these areas to
comment on and
report back to
your group. (20)
What evidence is
there to suggest
that these poems
are by the same
author? (10)
Sassoon said of Break
of Day in the Trenches
“Sensuous frontline
experience is there,
hateful and repellent,
unforgettable and
inescapable.” To
which
lines/phrases/words in
the poem might he
have been referring?
(10)
Assessment
Differentiation
Homework
Essay