Feedback on Comparative Coursework
I’m pleased to see that many of you have been reading around the texts, well done!
Please make sure that you:
 AO1: focus on answering the question
 AO1: put a clear, strong topic sentence at the beginning of your paragraph
 AO1: use DETAIL and DEVELOP your points
 AO1: write clear sentences (remember LESS IS MORE)
 AO1: think about the structure of your essay.
 AO1: Use a more sophisticated vocabulary (see examples on next pages)
 AO!: Use literary terminology
 AO2: analyse language, structure and form. Hardly any of you are doing this!!!
 AO3: evaluate the critical quotes you have chosen and weave them into your essay
 AO3: consider different interpretations
 AO4: consider the contexts of reception and production
There are many ways to skin a cat, as they say, but here are a few ideas on how to structure your essays
more effectively:
 Set out your thesis VERY CLEARLY in the introduction
 Work chronologically through the acts of the two plays, comparing them as you go. This is helpful as it means
that you are automatically writing about structure.
 Structure the essay under Form/genre, Structure, Language (word and syntax) and compare how these
elements present the message of the two plays.
 Split your essay into two argument and counter argument, comparing as you go.
 Structure each point around a critical quote that answers the question.
Here are a few mini-questions that will help ensure you don’t simply repeat what you have read or heard in
class.
1. At the end of the play, Nora slams the door to the “doll house” and walks away. Yet she leaves Torvald with
hope for “the greatest miracle.” Why did Ibsen write an ambiguous ending? Cite evidence from Nora’s and
Torvald’s closing speeches to indicate what you believe to be the ultimate ending to this drama. How does this
compare to the ambiguity of SV’s ending? Why do both plays have ambiguous endings? Is it because they
are both “realist” dramas?
2. Consider the character of Torvald Helmer. Is Torvald an antagonist? A misogynist? Or could Torvald be just
as much a victim of nineteenth century societal norms as Nora? What about Joe? And Costas?
3. Is it satisfying that neither Nora nor SV take the easy option and run away with Costas and Dr Rank?
4. Ibsen infuses his play with vivid dramatic devices such as the many artificial lights, the letter hitting the
mailbox, and the slamming door. How does the dramatic genre help tell the playwright’s story in a manner
unparalleled by the novel form? And what about the wall, the rock,the kitchen etc in SV?
5. A Doll’s House is full of references to dolls, puppets, and playthings. Trace these references throughout the
play while summarizing Ibsen’s ideas about gender and societal roles. How do they compare to the various
props/symbols used in Shirley Valentine?
6. What is the role of Dr. Rank in A Doll’s House? Is he simply a friend and admirer? Or is he more? Explain.
How can you compare him to Costas in SV?
7. Mrs. Linde tells Krogstad, “I’ve learned to be realistic. Life and hard, bitter necessity have taught me that.”
How is A Doll’s House a realistic play? What sets it apart from other nineteenth century dramas we’ve read?
How does A Doll’s House help define the realistic movement in drama? Similarly, what is “Kitchen sink”
drama? What are the similarities and differences with Realist drama?
8. Is there any comedy in ADH? How does Willy Russell use comedy to tell his story in SV? What can comedy
do that more serious drama can’t?
9. Why does Russell use the monologue form? What meanings does it bring out that the 3-act drama doesn’t?
Also, how does Ibsen use the tragic genre to bring out meanings in ADH?
10. Why is he so careful to reproduce Shirley’s Liverpudlian accent? Is it significant that ADH was set in Norway
and SV in Liverpool?
11. Are Shirley and Nora truly liberated at the end? To what extent?
12. Would a contemporary audience view these plays in the same way as we view them today?
13. Do the plays still have resonance for us today?
14. Is ADH a tragedy?
15. Is Shirley Valentine a comedy?
16. Can comedy be used to present a serious message?
CW Feedback Feb 2015
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Presentation of Your Essay
 11pt Times New Roman 1.15 pt line spacing
 One line space between each paragraph
 Your name at the top right-hand of each page
 All pages numbered
 The essay title in bold
 Names of characters, texts, places, authors etc have capital letters and are written in full. In titles of texts,
capitalise all words except prepositions (to, through, of, by, on etc), except when they are at the beginning of
the title e.g. Of Mice and Men.
 Call an author by their full name the first time they are mentioned and then by their surname only (never just
their first name)
Titles
 Titles of texts are shown in italics OR underlined, not in inverted commas (Macbeth or Macbeth not
“Macbeth”).
 Titles of poems or short stories are written using inverted commas, to differentiate them from the collection of
poetry or stories of which they are part. (The poem ‘Death of a Naturalist’ is found in the book Death of a
Naturalist.)
Quotations
 If the quotation is a whole sentence, you can add it to the end of the sentence, incorporating it into your
paragraph, but you must use a colon to introduce it:
o The opening of Pride and Prejudice clearly establishes the novel’s obsessive relationship between
marriage and wealth: ‘It is a truth universally acknowledged that a single man in possession of a good
fortune must be in want of a wife.’ Here Austen suggests that . . .
 Where the quotation is a phrase extracted from a sentence, it can form part of your sentence:
o The fact that the action of the poem is placed in ‘the heart / Of the townland’ demonstrates the uneasy
relationship between town and country life.
o (Note: the slash (/) shows where a quotation spans a line break in poetry)
 If you wish to clarify an aspect of your quotation, use square brackets to demonstrate words that aren’t part of
the text:
o “I shan’t show you anything else. You’re [Rank] being naughty.”
 If you wish to omit a section of text from your quote, use an ellipsis (. . . ):
o ‘It is a truth universally acknowledged that a single man . . . must be in want of a wife.’
 It is best to use single inverted commas for quotations rather than double. If you have to quote a speech in
fiction, the speech marks will appear inside the quotation marks like this:
o ‘”Hello,” said Martha. “How are you?”’
Bibliography
 When you quote use superscript e.g. “ultimately powerless” 1
 Your essay should always be followed by a bibliography – a list of books you have consulted – with some data
(author, publisher, date) that will allow others to locate the text if they want to. The following is an example of
a standard way of setting out a bibliography:
o McEvoy, S (2009) Tragedy: A Student Handbook. London: English and Media Centre
 Web-based sources must be referenced:
o www.norton.com/nael (accessed 21 October, 2013)
CW Feedback Feb 2015
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A Level Vocabulary
Synonyms for explaining opinions/concepts
Say
Assert, affirm, maintain, mention, declare, announce, remark, state, propose,
paraphrase
Think
Believe, consider, imagine, judge, regard, suppose, conjecture, ruminate
Represent
Personify, embody, typify, symbolise, indicate, depict, characterise, delineate,
illustrate, give the impression of/that, reproduce, outline, assume the role of,
impersonate, dramatise, portray
Suggest
Imply, insinuate, intimate, indicate, hint, allude, evoke, bring/call to mind, conjure up,
purport
Distinguish/able, contrast, in contrast to, alternate, alternative/ly, oppose, opposite/in
opposition to, differentiate
Compare
Describe
Criticise
Explain, portray, depict, illustrate, express, communicate, review, trace (an
argument/idea), summarise, define
Denigrate, defame, disparage, assess, analyse, evaluate, appraise, critique,
disapprove, censure, pass judgment on, find fault with, condemn, decry
This quotation. . .
(avoid!)
The audience
This interpretation, view, opinion, citation, passage, extract, reference, excerpt,
reading
Spectators, viewers, listeners, onlookers, those watching/hearing
The
book/play/poem
Show
Novel, text, drama, work, extract, chapter, passage, verse, stanza
Demonstrate, display, express, illustrate, confirm, appear, indicate, spectacle
Descriptions of language/style/effects
Tone
(Mode of) expression, style, vocabulary, idiom
Style
Elaborate, rhetorical, fluent, forceful, verbose (wordy), perspicuous (expressed or
expressing clearly), concise, elegant, precise
Descriptions of
tone
Sarcastic, cruel, sardonic (mockingly scornful, heartless), bitter, sycophantic (servile,
flattering, sucking up), irritable, livid, indignant, incensed, excitable, cheerful,
contented, elated, depressed, demoralised, pathetic, fragile, bold, confident,
whinging, complaining, pleading, dismissive, attentive, gentle, understanding, harsh
Unnecessary
Superfluous, needless, pointless, redundant, gratuitous, unwarranted, uncalled-for,
excessive, avoidable, preventable
Necessary
Essential, fundamental, required, compulsory, obligatory, indispensable, basic,
crucial, vital, mandatory
Clear, understandable, palpable, noticeable, apparent, evident, observable,
recognisable, discernable
Deliberately, methodically, intentionally, purposely, with intent, consciously,
calculatingly, by design, knowingly, purposefully
Obvious
On purpose
Weak
Vulnerable, susceptible, naïve, defenceless, helpless, exposed, in danger
Strong
1) Physically: powerful, burly, brawny, muscular, strapping, sturdy, tough, stalwart,
robust, sturdy, stout, solid, durable, resilient
2) Argument: convincing, sound, clear, clear-cut, persuasive, compelling, effective,
formidable
3) Feelings: keen, staunch, dedicated, firm, fanatical, zealous, eager, fervent, great,
intense, deep, deep-seated, fierce, powerful, potent, passionate, ardent
CW Feedback Feb 2015
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Language bank
Basic
Introduction
I am going to write about . . .
More sophisticated
This essay will explore/examine the topic/issue/question of N,
focusing on several different aspects of the text/topic in order
to show/demonstrate/prove/suggest that . . .
I will answer the question by saying . . .
Argument
I think
It is clear/apparent/evident that
It would be logical/reasonable to assert/claim/ argue that . . .
I believe
A compelling/powerful/forceful argument can be made by
saying that . . .
I would argue
A highly credible line of argument can be made by saying that .
..
A highly credible line of argument is . . .
It seems sensible to state/say that
It is impossible to deny/ignore that . . .
Evidence
Introducing it:
In Act 1 Sn 1 . . .
This happens in Act 1 Sn1 . . .
Analysing it in relation to the question:
These words show . . .
This language/symbolism is . . .
These words show . . .
This language/symbolism is . . .
A pertinent instance of . . . can be found/identified/
observed/seen in Act 1 Sn 1, when . . .
Throughout Act 1 Sn 1 one can see/ it could be said that there
are several/many/a few/notable occurrences of . . . . One of
these is . . .
. . . is used with particular skill/precision/effect in Act 1 Sn 1, as
...
This technique/device/use of language is highly
effective/moving/significant, as the word/phrase . . . could hold
connotations of/relate directly to/evoke/link to/ . . . for the
reader
This particular use/employment of . . . can be seen to
support/substantiate/refute/ negate/undermine the notion/idea
/argument/theory of . . . , as/since/because
Embedding quotes:
A good quote from Chapter 7 is . . .
In Chapter 7 Amir says/declares/states that . . .. This . .
In Chapter 7, the phrase . . . ., used by Amir to describe Baba .
..
Chapter 7 contains Amir’s declaration that Baba is…
Hosseini uses the events of Chapter 7 to show Amir’s feeling
about his father, as the character passionately states that . . .
CW Feedback Feb 2015
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A2 Unit 4 Indicative Content
Task 1 Indicative Content:
o write a comparative essay on at least two texts
o show an informed knowledge and understanding of both texts
o investigate aspects of form, structure and language comparatively across texts
looking at how they shape meanings
o find similarities and differences within texts, informed by different interpretations and
critical approaches
o consider and evaluate possible contexts of production and their effects
comparatively across texts
o consider and evaluate possible contexts of reception and their effects comparatively
across texts.
Example Tasks 1
1. Focusing on Ishiguro's Remains of the Day and Pinter's The Servant compare some of the
ways authors use servants in their stories.
2. Focusing on Brideshead Revisited and Rebecca compare some of the ways in which
authors create symbolic meanings out of houses.
3. How far do you agree with the view that the presentation of masculinity is central to Things
Fall Apart and Translations?
4. To what extent can The Secret Agent and Waterland be categorised as detective novels?
Task 2 Indicative Content:
o write in an appropriate form for the task, such as a short essay, a review, a piece of
journalism
o show an informed knowledge of the critical ideas they are testing and of the literary
text(s) they are applying them to
o show how form, structure and language affect the way literary texts can be read
o make connections between the critical material and literary text(s)
o consider possible different interpretations in the light of the critical source material
and other ideas including their own
o consider and evaluate possible contexts of production and their effects
comparatively across texts
o consider and evaluate possible contexts of reception and their effects comparatively
across texts.
Example Tasks 2
1. Having read the critical material on whether it is possible to define the aesthetic nature of
literature, explore and evaluate the aesthetic qualities of a poem of your choice.
2. Based on your reading of the critical material, write an argument for the inclusion (or
exclusion) of an author of your choice into the A Level Literature canon of texts
3. To what extent is feminist criticism helpful in opening up potential meanings in text x?
4. What potential significances can be found when studying the use of metaphors in text y?
CW Feedback Feb 2015
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A2 Unit 4 CW Mark Scheme
Band 2 (6 – 10 marks)
AO1 some use of critical vocabulary despite technical weakness
AO1 simple attempt at structuring argument/ usually relevant with some focus on task
AO2 some awareness of how form and structure shape meanings
AO2 some awareness of how aspects of language shape meanings
AO3 some connections made between texts
AO3 some reference to different interpretations of texts/ some textual support
AO4 some consideration of contexts of reception
AO4 some consideration of possible contexts of production
Band 3 (11 – 15 marks)
AO1 use of some critical vocabulary and generally clear expression
AO1 some structured argument though not sustained/ relevant with focus on task
AO2 consideration of some features of form and structure and how these features shape meanings
AO2 consideration of some aspects of language and how these aspects shape meanings
AO3 consideration of connections between texts
AO3 consideration of different interpretations of texts, with general textual support
AO4 consideration of contexts of reception
AO4 consideration of possible contexts of production
Band 4 (16 – 20 marks)
AO1 use of accurate critical vocabulary and clear argument expressed accurately
AO1 relevant with clear focus on task/ informed knowledge and understanding of texts
AO2 consideration of how specific features of form and structure shape meanings
AO2 consideration of how specific aspects of language shape meanings
AO3 detailed consideration of connections between texts
AO3 clear consideration of different interpretations of texts with apt supportive references
AO4 examination of contexts of reception
AO4 examination of possible contexts of production
Band 5 (21 – 25 marks)
AO1 use of appropriate critical vocabulary and well structured argument expressed accurately
AO1 relevant with sharp focus on task/ detailed knowledge and understanding of texts
AO2 exploration of several features of form and structure with evaluation of how they shape meanings
AO2 exploration of several aspects of language with evaluation of how they shape meanings
AO3 detailed and evaluative discussion of connections between texts
AO3 clear consideration of different interpretations of texts with evaluation of their strengths and
weaknesses and with significant supportive references
AO4 detailed exploration of contexts of reception
AO4 detailed exploration of possible contexts of production
Band 6 (26 – 30 marks)
AO1 use of appropriate critical vocabulary and technically fluent style/ well structured and
coherent
argument
AO1 always relevant with very sharp focus on task and confidently ranging around texts
AO2 exploration and analysis of key features of form and structure with perceptive evaluation of how they
shape meanings
AO2 exploration and analysis of key aspects of language with perceptive evaluation of how they shape
meanings
AO3 detailed and perceptive understanding of issues raised in connecting texts
AO3 perceptive consideration of different interpretations of texts with sharp evaluation of their strengths
and weaknesses and with excellent selection of supportive references
AO4 excellent understanding of contexts of reception with detailed links between context/text/task
AO4 excellent understanding of possible contexts of production with detailed links between context/text/
task
CW Feedback Feb 2015
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