GENERAL CERTIFICATE OF EDUCATION
TYSTYSGRIF ADDYSG GYFFREDINOL
EXAMINERS' REPORTS
ENGLISH LANGUAGE & LITERATURE
AS/Advanced
JANUARY 2008
Unit
Page
ELL1 - Poetry Pre-1900
1
ELL3 - Analysis of Literary and Non-literary Texts
4
ELL4 - Drama pre-1770
8
Statistical Information
This booklet contains summary details for each unit: number entered; maximum mark
available; mean mark achieved; grade ranges. N.B. These refer to 'raw marks' used in the
initial assessment, rather than to the uniform marks reported when results are issued.
Annual Statistical Report
The annual Statistical Report (issued in the second half of the Autumn Term) gives overall
outcomes of all examinations administered by WJEC.
ENGLISH LANGUAGE & LITERATURE
General Certificate of Education
January 2008
Advanced Subsidiary/Advanced
Principal Examiner:
Sally Llewellyn
Unit Statistics
The following statistics include all candidates entered for the unit, whether or not they
'cashed in' for an award. The attention of centres is drawn to the fact that the statistics listed
should be viewed strictly within the context of this unit and that differences will undoubtedly
occur between one year and the next and also between subjects in the same year.
Unit
Entry
ELL1
1518
Max Mark
50
Grade Ranges
A
B
C
D
E
36
31
26
21
16
N.B. The marks given above are raw marks and not uniform marks.
1
Mean Mark
29.4
ELL1: Poetry Pre-1900
General Comments
Some good analysis was evident in the examination responses this winter. Both questions
asked candidates to respond to named poems from the Anthology. There was some
evidence of a slight preference for Q.1; however, many candidates successfully tackled the
issue of how Milton presents his devotion to God in ‘Sonnet XIX: On His Blindness’.
Responses that are carefully planned and structured often achieve high marks and it was
pleasing to note an increasing number of candidates doing so.
In the lower bands responses often focused on a narrative description of the poem’s ideas
with limited references made to how the poet creates specific effects by using literary and
linguistic approaches. As in previous years, all candidates should be urged towards an
analytical response which is closely focused on language. A combined approach is vital.
Essentially, candidates need to engage with the poem’s meaning. Even the most basic of
readings should begin to engage with structure, form, imagery and the development of
ideas.
There was an increasing number of candidates referring to audience and purpose in their
answers, which is a phrase most commonly used in relation to ELL3 where the bullet points
in the question on Section A prompt students to consider such issues. This has never been a
requirement of the ELL1 response and where students adopted this approach, they did not
add a great deal to their answers.
In the upper bands candidates revealed their ability to explore the set poems and their own
choices using a wide range of terminology (AO1), considering a range of concepts and
approaches (AO3) built in to a sensitive analysis of the poem’s content, poetic intention and
contextual variation (AO4). It has been pleasing to note in recent examination series the
increasing amount of relevant contextual information candidates are able to bring to bear in
their analysis of their chosen poem.
Weaknesses in written expression and inaccuracy in spelling of basic key terms is a
fundamentally self-limiting problem. If a candidate’s basic skills are significantly weak this will
undermine their ability to develop a point of view and therefore result in a very low mark. A
common spelling error or mis-quotation this winter included changing ‘thickset’ to ‘thickest’,
with students going on to comment, in error, on the significance of this as a superlative.
Rather general comments on the effects of specific approaches are often unhelpful. The sole
purpose of rhyme, it would appear, is to make a poem ‘flow’ and the most complex of ideas
are often reduced to a simple discussion of their ‘positive’ or ‘negative’ qualities; comments
on punctuation such as ‘the poem is mostly written in full stops’ are less helpful than a more
sensitive appreciation of sentence mood.
Q.1
(a)
Most responses demonstrated a good understanding of the poem. They were
able to engage with Rossetti’s techniques, and explore her use of imagery as
well as a range of other literary and linguistic approaches such as sentence
mood and other features of syntax such as listing and repetition in order to
explore how Rossetti presents her emotions in this poem. There were some
interesting readings of the poem’s meaning, ranging from human
relationships, divine interaction and even pregnancy. This proved to be a
highly accessible poem for all students and even the weakest responses
managed to find something valid to say about Rossetti’s poetic technique.
2
Q.2
(b)
The Anthology is bursting with poems rich in imagery that the students could
have selected for this question. In fact, this question promoted the widest
ranging choice of poems for any question set so far on this paper. Popular
choices, however, were: ‘To Autumn’, ‘Spellbound’, ‘Sonnet CXXX’, The
Passionate Shepherd to His Love’ and many more. There was some
tendency to concentrate solely on the selected poem’s imagery, which
admittedly was the focus of the first half of the question but this was
sometimes at the expense of analysis of a wider range of combined
approaches. Students were encouraged in the second half of the question to
‘remember to explore the context of the poem and the literary and linguistic
devices used by the poet.' As a result some responses chose to look at
metaphors and similes etc. in several poems from the Anthology without
really developing a full analysis of perhaps one or two poems in particular.
This approach was generally adopted by weaker candidates and proved to be
rather limiting at times.
(a)
This question was marginally less popular than Question 1, but candidates
nevertheless produced some excellent responses. On the whole, students
wrote well about this poem, drawing on obvious contextual details in Milton’s
life in order to explore the poem’s meaning. Whilst AO4 is not an objective
assessment in section (a) of these questions, it is of course beneficial to a
reading of the poem’s ideas and was therefore credited accordingly. Many
responses noted the biblical references, such as the references to the
parables and explored Milton’s use of imagery to present his devotion to God.
Generally candidates wrote well about the form and structure of the sonnet
and its impact on the poem’s meaning.
(b)
Metaphysical poems, in particular, were popular choices in response to this
question on ‘belief or faith’. Candidates often selected ‘The Collar’ and ‘Batter
My Heart’, which are excellent choices for a question on this theme and the
better responses engaged convincingly with the Metaphysical conceits used
by Herbert and Donne in these poems. The imagery used by these poets is
obviously central to the expression of their ideas and all candidates should be
urged to write in detail about this aspect should they select a metaphysical
poem for study in section (b). Several other poems were also selected,
including ‘God’s Grandeur’, ‘I Syng of a Mayden’ and Dickinson’s rather
enigmatic ‘There’s a Certain Slant of Light’.
For future examinations candidates should
• Ensure that a combined approach is adopted using the framework offered in the
question.
• Select poems wisely, always justifying their choice in the light of the question.
• Aim to write in a fluent, structured and sophisticated style using a wide range of
literary and linguistic terminology; avoiding simple spelling errors which appear
despite the Anthology being available to them.
• Avoid generalised comments on the effects of the features identified.
• Plan and structure their responses to encompass a wide range of approaches,
without needing to address issues of audience and purpose.
3
ENGLISH LANGUAGE & LITERATURE
General Certificate of Education
January 2008
Advanced Subsidiary/Advanced
Principal Examiner:
Jan Mably
Unit Statistics
The following statistics include all candidates entered for the unit, whether or not they
'cashed in' for an award. The attention of centres is drawn to the fact that the statistics listed
should be viewed strictly within the context of this unit and that differences will undoubtedly
occur between one year and the next and also between subjects in the same year.
Unit
Entry
ELL3
736
Max Mark
50
Grade Ranges
A
B
C
D
E
33
28
23
19
15
N.B. The marks given above are raw marks and not uniform marks.
4
Mean Mark
24.4
ELL3: Analysis of Literary and Non-literary Texts
General Comments
There were some problems with the timing of answers. In some centres, a significant
number failed to answer at all on the whole text in Section B. Very few candidates show no
evidence of combined study but the ability to use, or even attempt, more demanding
terminology such as word class and sentence mood varies markedly from centre to centre.
At the top of the range, closely analytical approaches were used in both Section A and
Section B. On the other hand, a few candidates failed to refer to any actual words in the
texts.
Candidates should be repeatedly reminded that an analytical point has three parts: the
accurate identification of a literary or linguistic feature, a brief, precise quotation to support it
and explanation of its purpose and/or effect. The third part often produces weak and
repetitive comment e.g. ‘for impact’ ‘to make the piece flow’ ‘to create imagery for the
reader’. Explanations need to be linked with the meaning of the text (AO2i) and the
attitudes or values of writer, speaker or character (AO5).
Section A
The three texts on fashion had something to offer candidates of all abilities. Few complicated
the task by extensive comparison. A few spent far too long on text A and had to rush
comment on Text C.
In most centres, candidates are clearly aware of the Assessment Objectives and make sure
they address style, attitudes and contexts. Some, however, do not understand what basic
terms such as imagery, grammar and syntax actually refer to, using them interchangeably
or at random. Many were able to define attitudes in terms more precise than ‘positive’ and
‘negative’ but need to be reminded to discuss how attitudes are shown.(AO5) The quality
of work on contextual factors does vary considerably; in a few centres, candidates
overlooked the nature of the audiences or failed to consider that a text might have more than
one purpose.(AO4)
Text A ( James Laver, fashion historian)
The most common error with the spoken text is to describe surface features without
engaging with the speaker’s meaning. Such responses were quite common and some who
grasped Laver’s point about ‘freedom’ saw it as primarily personal or physical rather than
political. More able candidates who reached a view of his attitude argued that he favoured
female emancipation but only a minority were able to support this e.g. by referring to
emphatic stress on the adjective ‘repressive’. Better candidates often did well on the Sixties
time context.
Text B ( from Elle magazine)
This text was the most accessible of the three, producing the most thorough responses and
enabling weaker candidates to make some reasonable observations. Most observed the
form of the text but often failed to look closely at words and meanings in the titles and
strapline. Those candidates who were able to discuss e.g. modification and dynamic verbs
as well as register and lexical sets produced a competent range of analytical points. Weaker
responses were often correct about audience/purposes/ attitudes but failed to use precise
textual support.
5
Text C (feature article introduction)
Quite a few overlooked the text descriptor ‘an introduction’ and therefore struggled with the
purposes of the text. As the piece relies on linguistic tricks, there was a good deal of feature
spotting. Better candidates were able to show off their knowledge of phonological features
and sentence mood, linking language with meaning and explaining how the writers deliver
promises to the fashion-conscious readership. Most saw the point of the interrogative
sentence mood which opens the text but far fewer were able to identify the series of
imperatives later on.
Section B
Again, successful candidates are familiar with the assessment objectives. The most common
problem here is with AO3i (the use of literary and linguistic approaches).
Candidates need to be reminded that the analytical skills and terminology used in Section
A should also be applied to the extract from their set text. Some stronger responses
which show a clear understanding of meaning (AO2i) with accurate judgment of characters’
attitudes (AO5) fail to use literary and linguistic concepts and approaches (AO3i) with
any range or precision.
A sound knowledge of the set text enables candidates to select particular episodes,
conversations or images to support a coherent and detailed account of the methods a
writer uses to present e.g. a character, a theme or a relationship. Weaker responses are
characterised by vague assertion or narration. A significant minority of candidates seemed
only distantly acquainted with the novel; this problem was particularly evident in answers on
Enduring Love in this examination.
Emma
The question on Emma and Harriet was popular. While most were able to identify the nature
of their views in the extract, some did not mention any feature more demanding than
exclamation marks. Better answers were thorough and detailed, some making use of a
spoken language framework but there was a tendency to paraphrase Emma’s views without
commenting on how they were expressed. Responses on the theme of marriage were best
when they developed ideas on characters’ attitudes and values rather than narrating their
courtship histories. Although the question featuring Jane Fairfax was less popular, the
characters of Mr Woodhouse and Mrs Elton were well understood, with comment often
sensibly supported. Answers on Jane were sometimes focused too much on her role in the
development of Emma’s character.
Wuthering Heights
Both questions were popular. Those writing on Catherine and the Lintons were most
successful when they argued that the relationship was unequal and ultimately unsustainable.
Most were aware of the important images such as the thorn and the honeysuckles; many
were able to recognise a metaphor; fewer explored the meanings of the image in any detail
and very few combined this with a linguistic approach. There were answers which showed a
sound grasp of the metaphors but used no linguistic terms at all. Most were able to develop
some account of Catherine and Edgar in the novel as a whole. Better responses selected
purposefully to illustrate contrasting attitudes and values. The question on Heathcliff was
often less well done. The passage is quite chaotic and so were some of the responses.
Better candidates summarised his state of mind and then selected points from different parts
of the extract, rather than trying to work through it chronologically. Better answers to the
second part developed the revenge idea rather than dwelling on reactions similar to those in
the passage.
6
The Awakening and Selected Stories
There were very few responses on this text.
Great Expectations
The extract from Chapter 8 was popular but the standard of the answers varied markedly
between centres. There was much reasonable observation of Pip’s feelings and subsequent
reflections but much less attention to the ways in which these were conveyed through
language. In some centres, energetic analysis of stylistic features supported close reading
and the nature of the narrative voice was well understood. On the theme of injustice the
better responses selected different areas of the novel to focus on. Digression into storytelling
was quite common. There were very few answers to the question on Chapter 21.
Enduring Love
The question on Chapter 12 (Joe searching Clarissa’s desk) was very popular. It produced a
small number of outstanding responses at the top of the range and a much larger number of
very weak answers from candidates who did not know the novel well enough. Almost all
candidates tried to say something about the language. The most successful selected from
the whole passage, rather than working through chronologically and running out of time.
Comments on Joe were often generalised and sometimes inaccurate. Some showed no
clear understanding of what Joe was doing or why. Several thought mistakenly that he was
looking for a letter from Parry. In short, in some centres, few seemed to have read the novel
with any attention; the same candidates often did not attempt the second part of the question
at all. There were fewer answers on Jean Logan. Better responses took an overview of Joe’s
attitude as well as hers. There were a few convincing accounts of the Logan family’s
contribution to the novel, linked with discussion of major themes but many candidates
seemed never to have considered the idea before.
The God of Small Things
There were very few responses on the opening chapter. The question on Baby Kochamma
was popular and produced some sound answers. Many candidates were able to support an
account of her selfish and ruthless behaviour, although some merely quoted the key images
without analysing them. Baby Kochamma’s character was generally well understood and the
second part was sometimes very well done with pertinent references to her attitude to Ammu
and the twins and/or themes of love, loss, status and class.
7
ENGLISH LANGUAGE & LITERATURE
General Certificate of Education
January 2008
Advanced Subsidiary/Advanced
Principal Examiner:
Catherine Porter
Unit Statistics
The following statistics include all candidates entered for the unit, whether or not they
'cashed in' for an award. The attention of centres is drawn to the fact that the statistics listed
should be viewed strictly within the context of this unit and that differences will undoubtedly
occur between one year and the next and also between subjects in the same year.
Unit
Entry
ELL4
1142
Max Mark
50
Grade Ranges
A
B
C
D
E
33
28
23
18
14
N.B. The marks given above are raw marks and not uniform marks.
8
Mean Mark
24.9
ELL4: Drama pre-1770
General comments
On the whole, candidates demonstrated good and sometimes excellent general
understanding of texts. Most candidates showed some evidence of combined study and
used a range of terminology, although as in previous years, some candidates relied too
heavily on word level terminology. Once again it must be stressed that candidates need to
be more precise in their use and application of terminology. Some candidates made
generalised references to terminology that lacked specific support. Other candidates
resorted to quoting whole lines in support of a single term – something that is clearly not
helpful. In order for candidates to do well they must identify a specific term, select a relevant
example and analyse how the language used creates attitudes and values.
It is worthwhile reminding candidates that Band 4 responses need to demonstrate accurate
and sensitive use of terminology. At times terminology was limited and there was a minority
of cases where candidates did not use a single term and thus did not meet the Assessment
Objectives. This was particularly evident in part (b) of the set questions, which some
candidates approached as a ‘literature’ response and did not use any linguistic terminology
at all! Some responses provided limited focus on AO3ii. Candidates need to use and
evaluate different literary and linguistic approaches in their study of written, and spoken
language and to show how these approaches inform their readings.
Using relevant textual support must also be stressed to candidates. Once again, examiners
saw potential Upper Band 3/Band 4 responses being let down by a lack of textual support
and close analysis. It was particularly frustrating (and alarming) to note that a number of
candidates who confidently provided textual support on the extract based question, failed to
include a single quotation when responding to part (b) of the question. Candidates need to
be reminded of the need for combined study and evaluation in both parts of their
response - essential requirements if candidates are to do well and access top band marks.
It is worth reminding candidates of the need to answer the set question. It was particularly
noticeable on the extract-based questions that some students chose to ignore the set
question altogether and proceeded to answer on anything they found of interest. Students
need to be reminded to read the actual question and to formulate their response so that it
addresses the needs of the set question.
Although contextual understanding continues to remain a challenge for some candidates,
examiners did see a number of responses where contextual factors were firmly embedded in
candidates’ responses. Candidates did particularly well on context in response to the King
Lear and Much Ado About Nothing questions. Although less popular as a studied text, once
again there was also a sophisticated awareness of context in some of the Duchess of Malfi
responses. Candidates responding at Band 4 level used contextual awareness in a
perceptive way to support and inform their reading of the text.
Candidates should continue to be aware of the need for accurate and coherent written
expression (AO1). Candidates are reminded that the correct spelling of names of characters
and writers is essential. Furthermore, some candidates need reminding that they are
expected to write in paragraphs and use full stops.
9
Shakespeare: Much Ado About Nothing
Q.1
Q.2
(a)
This question was the more popular of the two. Candidates selecting this
question generally had plenty to say although it was not always focused.
Several candidates focused on Leonato’s speeches in depth rather than
examining how Beatrice’s attitudes were conveyed. Candidates explored
syntax and phonology, and were comfortable with word level analysis. The
most successful responses embarked upon discourse analysis.
(b)
There were some excellent responses to this part of the question. The best
responses were evaluative and selective, focusing on the challenges Beatrice
presented to the conventional role of women. Some students chose to
contrast Beatrice with Hero and made pertinent points about the position of
women in society. The best responses selected relevant supporting examples
and fully engaged with Beatrice’s use of language. Some students made very
sophisticated points in terms of context. Weaker students struggled with the
‘how typical’ part of the question and made a limited selection from the rest of
the text.
(a)
This question was the less popular choice. However, it was answered
relatively well. The best responses looked at discourse, analysing how the
use of turn-taking and short utterances established dramatic tension.
(b)
Responses to this question either tended to be exceptionally strong or very
weak. Weaker responses tended to focus solely on plot and were descriptive
and generalised. The best responses looked at the relevance of the title,
linking it to characters, themes and plot and provided relevant focus on
contextual factors. Better candidates competently discussed the pun within
the title, exploring its literal and implied meanings.
Shakespeare: King Lear
Q.3
Q.4
(a)
King Lear was a popular text this year and this was by far the more popular
question. Examiners saw some excellent responses to this question, the best
of which fully engaged with the question and showed sophisticated insight
into Edmund’s manipulative character. This extract provided ample
opportunity for students to engage with language and many candidates
showed sophisticated understanding of how attitudes and values are created.
Many candidates demonstrated sophisticated contextual understanding.
Some candidates, however, failed to answer the set question. They made
generalised comments about the extract, focusing on dramatic tension rather
than Edmund’s character.
(b)
The best responses to this question were evaluative and selective, focusing
on Edmund and the way he is presented elsewhere in the play. However, as
with the Much Ado About Nothing question, some candidates found the ‘how
typical’ part of the question challenging and repeated much of their response
to part (a).
(a)
This question was less popular with candidates and produced a range
responses. Similar to question 3 part (a), some candidates chose
generally discuss the extract and failed to consider the presentation
Albany, Goneril and their relationship. However, there were a number
excellent responses to this extract that fully engaged with the language.
10
of
to
of
of
(b)
This theme-based question worked well and the majority of candidates
responded relevantly. Candidates tended to focus on Edmund, Goneril and
Regan. Once again, weaker responses were descriptive and largely narrative
but they did show some engagement with the text. There were some
excellent responses that considered not just the physical cruelty present
within the play but also the emotional cruelty that is inflicted upon individuals.
Students used contextual information very effectively in this question.
Jonson: Volpone
Q.5 and Q.6
This was very much a minority text again this session and there were too few
scripts to comment.
Webster: The Duchess of Malfi
Q.7
Q.8
(a)
Although less popular than the Shakespeare plays, responses to this text
were generally of a high standard. Responses were generally well structured.
In general, candidates who did very well were able to examine in detail the
ways in which dramatic impact was created. They used CAST (Character,
Action, Staging, Themes) and made very effective comments about
stagecraft. Many candidates demonstrated a high level of appreciation of
language, characterisation and relationships and fully analysed how they
created tension within the extract. Weaker responses tended to ignore the
question and describe what happened in the extract.
(b)
This question was popular with candidates and produced a range of
responses. Some candidates did little more than describe the relationship
between the Duchess and Ferdinand. Several candidates resorted to
examining Ferdinand’s role within the play and largely ignored the Duchess.
Candidates who did focus on the relationship did well, exploring its complexity
and linking it to key themes and wider social issues. Better responses
included firmly embedded contextual information.
(a)
Many of the comments from Question 7 part (a) are relevant here. Once
again, the best responses fully engaged with the language and through the
use of CAST (Character, Action, Staging, Themes) showed sophisticated
awareness of how dramatic tension is created.
(b)
There were excellent responses here. Many students had clearly prepared for
this question and demonstrated excellent understanding of contextual factors.
Many candidates tended to focus on Bosola and provided a competent
discussion of how his character contributed to the theme of revenge within the
play. The best responses, however, discussed the generic conventions of the
revenge tragedy itself, focusing closely on specific sections of the play to
support their points.
GCE Examiners Report English Language and Literature (January 2008)/JD
11
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