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.