Preparing for paper 2
Paper 2 requires students to answer one of six questions in a way that
reflects their own achievement of the learning outcomes for part 3 of the
course (see the subject guide and “Syllabus requirements: Parts 1–4” in this
document). They will be expected to discuss at least two of the texts studied
in part 3, paying particular attention to the creation of meaning in those texts
via:
1. literary devices
2. historical context
3. critical reception.
Students should also be aware that there is yet another way in which the
meaning of the text is created—and it is literally in the room with them:
4. personal context.
Teachers should use the class time to reinforce these aspects of the particular
texts. In this section we will look at each “skill set” individually, as well as
focusing on ways in which all four may be combined in the classroom.
Literary devices
Perhaps the most logical—or at least the most comfortable—place for
teachers to start this preparation will be through the “traditional” study of
literary devices employed by authors to create and convey meaning. This
would involve the close reading of texts while paying attention to devices
such as imagery, metaphor, symbolism, structure and diction. Students
should be encouraged to connect the devices they see to the meaning that is
created by those devices. Make sure that they understand that no device
exists without a corresponding effect—if students name one, they must name
the other. This “device–effect” link may seem simplistic at first, but it can
actually yield exciting and revelatory results, especially if the students are
accustomed to simply compiling a “laundry list” of poetic devices without
ever being asked to describe the influence that those devices have on their
understanding of the work.
 How does the recurrence of the “s” sound in “The Tide Rises, the Tide
Falls” reinforce the meaning of Longfellow’s poem?
 How do humour and allusion work in “The History Teacher” to
convey what Billy Collins truly means to get across to his reader in
this deceptively humorous poem?
Historical context
The meanings of a literary work may shift and change over time, but it is
still important to examine that work in the light of the social and historical
background against which it was created. A literature class is not meant to
substitute for a history class, yet students must be trained to understand the
importance of the time and place of a work’s production and publication.
While exercises that focus on literary devices stress a close reading of a text
with no real acknowledgment of the work’s historical setting, this is a
chance to open up the exploratory possibilities of the classroom and allow
students to incorporate their own historical knowledge and research into
their construction of the meaning of a work.
Critical reception
One of the most esoteric ways of approaching textual analysis, at least to
most students, will involve the examination of the critical reception of a
work. This is where the teacher must play the most active role in the
classroom, as students are not only unaccustomed to dealing with actual
literary criticism and theory, but are also unaware of the very means by
which this information can be found. Teachers are encouraged to make sure
that critical theory is seen by the students as yet another “lens” through
which a text can be viewed, and not as the “correct” reading in any way. In
fact, one goal of the course is to allow students to understand the way in
which a critical viewpoint is influenced by the historical and cultural context
and that their own consideration of the work constitutes, in a way, yet
another “criticism” of the text.
The classroom should not be a place where numerous and confusing critical
theories are thrown about in an attempt to broaden the horizons of the
students. Indeed, the teacher should try to minimize confusion by presenting,
for the most part, established and accessible lines of critical inquiry.
Students often respond well to writings based on:
 Marxist theory (in which economics and labour are brought to the
forefront)
 feminist theory (in which readers pay close attention to the
expectations and roles of males and females in a work)
 psychological theory (somewhat less credible—but still intriguing—in
which the actions and motivations of characters are discussed from a
psychoanalytic perspective).
Of course, each teacher should be free to introduce other ways in which
critical theory may be used to open up a text based on the needs and abilities
of the students in the class.
Personal context
Every reader brings with him or her a set of values, beliefs and life
experiences that shape the ways in which a text is interpreted or understood.
Students must be taught to both value this particular way of seeing a work
and to articulate this viewpoint in a useful and intelligent fashion.
Perhaps one of the best ways to approach this particular aspect of the course
is to revisit texts that have already been discussed in the classroom, with a
new emphasis on personal readings and the ways in which the meanings of
the works may have been shaped differently, depending on the reader. This
is a rich source of possibilities, as readers may bring their ideas on topics
such as marriage, suicide, parental obligations and duties in society into their
own readings of the text. Again, students must be taught to value these
different readings, but also to understand where they fit in the overall
process of “making meaning” and how important it is to be able to identify
and articulate these particular interpretations of a work.
 How may readers’ differing opinions on morality—and the ways in
which a “moral compass” can (or should) be passed on to children—
shape the meaning of Sheenagh Pugh’s “The Beautiful Lie”?
 Is it possible that female readers of “Huswifery” may be seeing
different themes or points of interest than their male counterparts?
Note: Activity 7, available in the appendices to this document (appendix 3),
offers a way to bring the various analytical approaches together.
Final thoughts on preparation
Though teachers are certainly free to work with any texts as they prepare for
paper 2, it is essential that these kinds of exercises are done with the part 3
texts, ensuring full preparation for that part of the exam. However, teachers
should not simply “teach to the test”; by focusing on the skills involved in
this particular assessment, teachers can push students to be stronger and
more critical thinkers and writers about all literature (these are also skills
that come into play for the oral assessment of part 4 as well).
Ideally, preparation for paper 2 should be an organic part of the entire
course, not restricted to a particular section of the course or to the literary
texts studied for part 3. The strategies and approaches listed above can be
incorporated into all four parts of the syllabus in one form or another—
indeed, by the time the explicit preparation for paper 2 begins in class, these
approaches may be standard procedure in the classroom.
Other methods of preparation for paper 2
As the exam approaches, there are other, less time-intensive ways in which a
teacher can prepare students. These include, but are not limited to, the
following.
 Create a workable and clear strategy that keeps students focused on
the meaning of a text.
 Practise with sample questions, including discussions of which part 3
texts work best with each question (and which may be “unworkable”).
 Practise writing well-structured responses to paper 2 sample
questions. Keep in mind the following issues.
o How can one incorporate personal response into a literary
exploration?
o How can one strike a balance between all the possible ways of
discussing how meaning is created in a work?
o How can a response that incorporates a discussion of numerous
approaches to a text stay focused?
These are crucial issues that need to be addressed in both a large
group and on a one-to-one basis.
 Practise creating introductory paragraphs or outlines for potential
essay questions, allowing for a discussion of text selection, focus and
organization without sacrificing instructional time in favour of writing
time.