Mark Scheme (Results) Summer 2010 Level/English-Langu… · Mark Scheme (Results) Summer 2010 GCE GCE English Language & Literature (6EL01) Paper 01 – Exploring Voices in Speech

Mark Scheme (Result s)

Summer 2010

GCE

GCE Engl ish Language & Lit erat ure (6EL01) Paper

01 – Exploring Voices in Speech & Writ ing

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Summer 2010

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June 2010

Mark Scheme

English Language and Literature – Unit 1

Mark Assessment Objective

0 – 6

AO1: Select and apply relevant concepts and approaches from integrated

linguistic and literary study, using appropriate terminology and accurate,

coherent written expression

Question

Number Answer Mark

1(a)(i)

1 mark for each identification (1x3)

1 mark for accurate exemplification of feature (1x3)

Features identified and exemplified might include:

• cont rast bet ween t he professional greet ing (good

af t ernoon, t ake a seat , how can I help you) and t he

informal (hi…)

• adj acency pairs/ t ag quest ions (f l ying when?/ 24t h; how many

t ravel l ing?/ t wo)

• backt racking (shal l we book/ do you want t o book)

• f i l ler (erm)

• simult aneous speech/ overlapping (marked wit h/ / )

• col loquial ism (div/ wobbler)

• imperat ives/ inst ruct ions (t ake a seat )

• repet it ion as conf irmat ion (28t h/ yeah 28t h)

These are suggest ions only. Accept any val id spoken word feat ures.

(6)

6EL01 Mark Scheme - Summer 2010 5

Question

Number Indicative content Mark

1(a)(ii)

(2x2) for comment s t hat relat e t he chosen feat ures t o t he

funct ion wit hin t he ext ract . Accept any comment t hat relat es

t hought ful ly (and wit h underst anding) t o t he feat ure and it s

funct ion. Expect comment s on t he t ransact ional nat ure of t he

exchange and t he dynamic bet ween agent / cust omer/ brot her.

(4)

Band Mark

AO1: Select and apply relevant concepts and approaches from

integrated linguistic and literary study, using appropriate

terminology and accurate, coherent written expression

1 0 – 2

• Provides basic comment wit h inaccuracies or omissions

• Gives general ised comment which may be l imit ed t o a generic

def init ion of t he funct ion.

2 3 – 4

• Makes accurat e comment s which are ful l and insight ful

• Makes comment showing considerat ion of t he funct ion of t he

feat ure wit hin t he ext ract .


Question

Number Indicative content

1(b) Candidat es are l ikely t o show awareness of cont ext and comment on devices t hat

relat e t o t he st ruct ure, form and language af forded by t he very dif ferent

cont ext s of t he ext ract s.

Candidat es may wel l ident ify and exempli fy t he spoken language feat ures/ t erms

cont ained wit hin each ext ract . Higher band answers are l ikely t o cont ext ual ise

t hese wit hin t he ext ract s and according t o t he furt her prompt s of t he quest ion.

Reward any comment t hat relat es t o t he cont ext or dynamic of t he piece or t o

t he funct ion of t he language feat ures wit hin t his cont ext .

Candidat es may respond t o each bul let point in t urn, or provide an int egrat ed

reponse.

Candidat es’ responses can be expect ed t o include t he fol lowing:

Text B: blog

Audience:

• t hose browsing/ fol lowing t he Guardian blog sit e – specif ical ly t ravel

post ings

• st udent s/ gap year st udent s

• t hose int erest ed in Skins (a t een TV drama)

Purpose:

• t o inform, ent ert ain, promot e

• writ t en t o est abl ish rapport wit h audience

Mode:

• blog af f i l iat ed t o a nat ional newspaper websit e which suggest s a higher

degree of planning t han a spont aneous post and invit es comment s and

int eract ion

Point s of int erest / comment might include:

• t he sense of voiced int roduct ion in t his, t he f irst , ent ry (Hel lo. I’ m Max

Gogart y. . . ). The reference t o age and experience incorporat ed here t o

signal fut ure cont ent / approach/ appeal

• assumed/ shared knowledge and experience/ shared sense of cont ext wit h

specif ic focus on yout h/ st udent cult ure and cont ext

• sense of immediacy and shared j ourney t hrough use of t ense

• t he focus of ant icipat ed experience : t he assumpt ions it makes about

audience in t erms of expect at ion and aspirat ion and t he language used t o

convey t his (swimming/ sunbat hing/ f ul l -moon par t ies/ beaut i f ul gi r ls. . . )

• t he promot ional nat ure of t he f inal sect ion

• sense of mult iple purposes

Spoken language feat ures:

• direct address (you could come wt h me. . . )


• use of punct uat ion t o indicat e del ivery or pause (. . . / -)

• shif t s in focus/ regist er

• col loquial ism (bunch/ dodgy/ sharpish. . . )

• backt racking (wel l , not every st ep).

Text C: autobiography

Audience:

• readers wit h an int erest in t he l i fe and perspect ive of Berkof f

Purpose:

• t o inform, ent ert ain and connect wit h t he audience

Mode:

• print ed, permanent , highly-craf t ed, l i t erary record

Point s of int erest / comment might include:

• use of age (when I was t en years old) t o cont ext ual ise – opport unit ies for

comment s on generic convent ion here

• assumed knowledge in t he reader regarding t he ‘ geography’ of London

and t he way in which dist rict s are referenced (Ant hony St reet (of f

Commercial Road, E1); a mi le up t he road in Poplar)

• cont ext ual isat ion (af t er t he war) and impl ied references t o rat ioning

• use of product names (Tizer) and t it les (Troxy) t o generat e a sense of

place and t ime

• use of cinema as source of social and cult ural l i fe/ st imulat ion and how

t his cont ribut es t o our underst anding of Berkof f

• t he int egrat ion of child and adult voice/ perspect ive and how t his is

achieved

Spoken language feat ures:

• use of parent hesis t o add informat ion and achieve a sense of direct

conversat ion wit h t he reader (my parent s, sist er Beryl and I)

• use of informal/ col loquial language t o capt ure t he voice – bot h of t he boy

and t he t imes – (hang out / nat t er / old bloke)

• t he sense of t he adult evaluat ive/ ref lect ive voice (I seemed t o be

perpet ual ly hungry/ t hen considered a f i rst -class grammar school / I not ice

t hat t he local aut hor i t ies. . . ) and how t his is incorporat ed

• use of el ision (I’ d)

Higher band responses wil l cont ext ual ise t hese feat ures according t o t he

audience and purpose of t he wider t ext and of fer t hought ful comment on how

t hese are int egrat ed.

These are suggest ions only. Accept any val id spoken word feat ures

(40)


Band Mark

AO2: Demonstrate detailed critical understanding in analysing the

ways in which structure, form and language shape meanings in a

range of spoken and written texts

1 0 – 4

• makes basic observat ional and descript ive comment s

• makes comment s on how st ruct ure, form and language shape

meaning, comment s are l ikely t o be general and brief

• support s some comment s wit h minimal exemplif icat ion

• makes reference t o one of t he t wo ext ract s only.

2 5 – 9

• makes some observat ional and descript ive crit ical comment s

• makes comment s on st ruct ure, form and language, comment s

wil l be part ial ly developed and l inks t o how t hese shape meaning

may be underdeveloped

• support s most comment s wit h exemplif icat ion, but may lack

consist ency at t he bot t om of t he band

• makes reference t o bot h ext ract s wit h minimal coverage of one

of t he t wo ext ract s.

3 10 – 15

• crit ical ly analyses in a most ly accurat e way, ident if ies clear l inks

bet ween form and funct ion, at t he bot t om of t he band t he

crit ical analysis wil l be l imit ed

• makes comment s on st ruct ure, form and language, comment s

wil l be det ailed, and wil l l ink consist ent ly t o show how t hese

shape meaning

• support s al l comment s wit h relevant exemplif icat ion

• makes reference t o bot h ext ract s, select ing appropriat e mat erial

f rom bot h ext ract s.

4 16 – 20

• crit ical ly analyses providing det ailed and accurat e comment ,

examining clear l inks bet ween form and funct ion

• makes comment s on st ruct ure, form and language, t hat are ful l

and insight ful , and wil l examine some of t he ef fect s produced

• support s al l comment s wit h relevant and wel l -chosen

exemplif icat ion

• makes reference t o bot h ext ract s, select ing mat erial f rom bot h

ext ract s wit h insight and discriminat ion.


Band Mark

AO3: Use integrated approaches to explore relationships between

texts, analysing and evaluating the significance of contextual

factors in their production and reception

1 0 – 4

• makes some basic comment s on cont ext al t hough t his is l ikely t o

be uneven across t he ext ract s

• ident if ies aspect s but an ext ract may be omit t ed.

2 5 – 9

• makes some developed comment s on cont ext . Responses include

comment s on t he relat ionship bet ween t he language of t he t ext s

and t he cont ext in which t hey are produced and received

• examines bot h ext ract s: at t he bot t om of t he band t he det ail

across ext ract s may be uneven and t here wil l be omissions; at

t he t op of t he band t he det ail across ext ract s wil l be more

devleoped.

3 10 – 15

• makes developed comment s on cont ext . Responses include wel l-

developed l inks bet ween t he language of t he t ext s and t he

cont ext in which t hey are produced and received

• examines bot h ext ract s: at t he bot t om of t he band det ail across

ext ract s wil l be consist ent and t horough; at t he t op of t he band

t here wil l be some evidence of sophist icat ion.

4 16 – 20

• makes ful ly developed comment s on cont ext . Responses include

conf ident and insight ful l inks bet ween t he language of t he t ext s

and t he cont ext in which t hey are produced and received

• examines bot h ext ract s: at t he t op of t he band sophist icat ion is

more ful ly developed and t here wil l be discriminat ion and

insight .


Question


2

The f irst prompt invit es a det ailed invest igat ion of t he given ext ract wit h a

specif ic focus on t he at t i t ude and perspect ive of t he female narrat or.

Candidat es’ responses may include references t o aspect s of synt ax, lexis,

phonology, graphology and discourse t hat cont ribut e t o t he creat ion of voice

t hroughout t he ext ract , such as:

• t he impact of t he opening declarat ive and how it funct ions wit hin t he

st ruct ural convent ion of fairy t ale

• t he insight af forded by Cart er’ s use of f irst -person perspect ive

• t he passive role of t he girl in t he t ransact ion and how t his is achieved

• t he at t i t ude of t he girl narrat or t o t his enforced passivit y and how t his is

conveyed t o t he reader (f ur ious cynicism/ circumst ances f orce mut ely. . . / I

wat ched/ r ids himself of t he last scraps of my inher i t ance)

• t he girl ’ s at t i t ude t o her fat her and how t his is conveyed t o t he reader:

ref lexive pronoun (beggars) himsel f t o at t r ibut e blame; t one/ irony what a

burden al l of t hose possessions must have been t o him; det ail of

observat ion t he veins in his f orehead st and out and t hrob; underst anding of

fat her’ s value syst em expect at ion of perpet ual pleasure

• t he girl as represent at ive of women in societ y ( I wat ched wi t h t he f ur ious

cynicism pecul iar t o women. . . )

• t he underlying mat erial ism of t he girl and how t his is revealed t o t he

reader( my inher i t ance; we owned; ser f s. . . )

• t he sense of j ourney/ escape – l inks t o convent ion – cult ural and cl imat e

cont rast and how t his in achieved/ conveyed. There is considerable

pot ent ial t o cit e l i t erary devices in t his respect (alliteration: lovely land

where t he lemon t rees grow/ l ion l ies down wi t h t he lamb; personification

t he snow f ol lowed us f rom Russia/ i t ran behind our carr iage/ t he sun spi l l s

f rui t f or you

• t he sensuous modif icat ion in descript ion of t he Sout h t o furt her t his

cont rast (volupt uous air/ sensual let hargy / sweet Sout h)

• t he use of pronoun t o height en cont rast and develop t he sense of

st ranger/ dif ference (at home we are at war/ t he f i rewat er they cal l . . . )

• t he danger and decept ion embedded wit hin t his cont rast

(deat hly/ inf ect s/ st arved/ let hargy. . . )

• t he way in which references t o t he Beast are capit al ised – ident if icat ion

wit h t he Devil – consol idat ed wit h reference t o t he Devi l ’ s pict ure cards

and Bibl ical al lusion t he l ion l ies down wi t h t he lamb.

These are suggest ions only. Accept any point t hat considers Cart er’ s t echnique and

which sust ains focus on issues of t he t ask.

The second prompt ext ends t o t he wider col lect ion wit h a direct focus on t he

posit ion of women and t heir at t i t ude t o t his posit ion.

Reward responses t hat demonst rat e an underst anding of t he component s of t he

second prompt , especial ly t he impact on t he reader.

(50)


Question


3

The f irst prompt invit es a det ailed invest igat ion of t he given ext ract wit h a

specif ic focus on t he perspect ive of t he child narrat or.

Look for a close reading of t he ext ract it self – t here are many opport unit ies t o

explore Doyle’ s t echnique and t o make l inks wit h t he rest of t he novel.

Point s t o look out for and reward may include aspect s of synt ax, lexis, phonology,

graphology and discourse t hat cont ribut e t o t he creat ion of voice t hroughout t he

ext ract such as:

• insight af forded by f irst –person perspect ive

• t he visual/ sensory/ cont ext ual fact ors which combine t o develop t he

voice/ perspect ive of t he narrat or

• breaks in chronological sequence and how t hey capt ure t he t hought

processes of a child (I was on my own. . . )

• evidence of Paddy’ s det erminat ion t o move on t o a dif ferent phase in his l i fe

and his awareness of t he process he must undert ake t o achieve t his

t ransit ion (he t err i f ied me/ t hat was j ust messing)

• met hods used t o convey Paddy’ s admirat ion of Leavy t o t he reader

• t he fact t hat it is t he det achment of Leavy t hat at t ract s Paddy and how t his

prepares him for t he inevit abil i t y of his fut ure (al l by himsel f / i t wasn’ t a

real smi le/ f ight s t hat never t ouched him). There is considerable scope t o

make l inks wit h Paddy’ s accept ance of t he breakdown in his parent ’ s

marriage here

• st ruct ured sequencing and incorporat ion of direct speech (reference t o how

t his is marked – no speech marks/ repeat ed hyphen - and why)

• Paddy’ s awareness of t he dif ference bet ween Leavy and himself and t he

ot her children, and how t his is conveyed t o t he reader (pronoun: he had no

f riends/ we l iked gangs…)

• t he qual it ies in Leavy t o which Paddy aspires and why

• t he use of smoking as a vehicle and symbol of change and development

• t he process of smoking and t he received/ inst ruct ional voices incorporat ed

int o t his process (i t was a Maj or t he st rongest / I made sure my l ips were

dry…duck’ s arse of i t )

• language t echniques employed by Doyle t o capt ure t he event and process of

shared smoking

• t he sense of r it e of passage achieved by t he f inal declarat ive (I’ d made i t . ).

These are suggest ions only. Accept any point t hat considers Doyle’ s t echnique and


The second prompt requires candidat es t o move beyond t he ext ract t o make l inks

wit h ot her part s of t he novel and t o explore t hese l inks t hrough j udicious

select ion – and appl icat ion- of evidence f rom t he novel as a whole.

(50)


Question


4

There are obvious opport unit ies t o analyse aspect s of black vernacular here and

candidat es may wel l analyse t his aspect of t he ext ract in some det ail , l inking

cont ent and st yle t o Cel ie’ s voice and her ret el l ing – t hey should obviously be

rewarded for t his. Examples include:

• omission of copula verb ‘ t o be’ (she black as t ar )

• omission of t hird person inf lect ion (I sneak back/ he say)

• double negat ion (don’ t say not hing)

• unmarked possessive (t hey husband whore).

Expect comment on t he epist olary nat ure of t he novel.

The f irst prompt invit es specif ic invest igat ion of t he narrat ive perspect ive and t he

insight it af fords int o t he at t i t ude of t he t hree charact ers t o Shug Avery and t he

nat ure of t he relat ionships bet ween fat her and son/ husband, and wife/ husband,

and ‘ lover’ / Cel ie and Shug. Candidat es’ responses may include references t o

aspect s of synt ax, lexis, phonology, graphology and discourse t hat cont ribut e t o t he

creat ion of voice t hroughout t he ext ract such as:

• direct speech and how t his is marked

• Celie’ s sensit ivit y t o Shug ( I shet t he widow)

• Celie’ s observat ion of non-verbal signals (Old Mr _____ clear his t hroat / Mr

_____’ s grunt r ight t here)

• old Mr _____’ s descript ion of Shug, his use of negat ively-versed met aphor

and simile and what it reveals about his at t i t udes and values (she black as

t ar / she nappy headed…). Pot ent ial for invest igat ion int o at t i t udes t owards

degree of ‘ blackness’ here

• at t it udes t o race, and relat ionships bet ween black and whit e communit ies

impl ied by her mammy t o t his day t ake in whi t e people dir t y clot hes.

• t he escalat ion of old Mr _____’ s insult s f rom t he physical (she got legs l ike

basebal l bat s) t o t he moral (I hear she got t he nast y woman disease/ nobody

even sure who her daddy is/ al l her chi ldren got di f f erent daddys) and t he

mot ivat ion behind t his escalat ion. The use of euphemism (nast y woman

disease) especial ly t he choice of adj ect ive may wel l be explored here

• t he dif fering, yet paral lel , escalat ion of responses t o t hese insult s:

o Mr_____ don’ t say not hing/ I drop a l i t t le spi t …

o I t wir l t he spi t round wi t h my f inger . I t hink bout ground

glass/ Mr_____ t urn his head slow/ you aint got i t in you t o

underst and…

• Mr _____’ s at t i t ude t o his fat her, his developing st rengt h/ def iance and how

t he voice of Cel ie bot h capt ures and responds t o t his (wat ch his daddy

dr ink/ t urn f ul l f ace on his daddy)

• Mr _____’ s at t i t ude t o, and defence of , Shug and how t he voice of Cel ie bot h

capt ures and responds t o t his (I Love Shug Avery/ should have marr ied her

when I had t he chance/ al l Shug Avery chi ldren got t he same daddy/ I vouch

f or t hat …)

• t he t hreat conveyed by t he l ist ed declarat ives (and repeat ed st ruct ures) of

Old Mr _____’ s f inal ut t erance (Wel l , t his is my house… Trash blow over I

burn i t )


• Walker’ s use of t ense as Cel ie ref lect s t hen proj ect s (next t ime he come I

put a l i t t le Shug Avery pee in his glass)

• t he unif icat ion and mut ual underst anding conveyed by t he f inal declarat ives

(our eyes meet / This t he closest us ever f el t ).

These are suggest ions only. Accept any point t hat considers Walker’ s t echnique and


Al l point s – t hrough t heir exemplif icat ion – of fer opport unit y for close analysis.

Candidat es are expect ed t o move beyond t he ext ract t o make l inks wit h ot her part s

of t he novel wit h a specif ic focus on t hese voices and how t hey have been shaped

by t he societ y around t hem.

Candidat es should be able t o demonst rat e t heir awareness of t he met hods used t o

capt ure t hese voices and t o comment on t he cont ext s t hat shape/ inf luence t hem

t hrough j udicious select ion of evidence f rom t he novel as a whole.

(50)


Question


5 This ext ract develops t he perspect ive of Merivel t owards himself and his l i fe.

There are many opport unit ies t o use t his as a base f rom which t o t race t he

development and shif t s in t hese at t it udes as t he novel progresses (t hereby

addressing t he second component of t he quest ion) and t o of fer shif t s in his values

and perspect ive on Sevent eent h cent ury England as a result .

Expect a close reading of t he ext ract i t sel f .

Candidat es’ responses may include references t o aspect s of synt ax, lexis,

phonology, graphology and discourse t hat cont ribut e t o t he creat ion of voice

t hroughout t he ext ract such as:

• t he opening declarat ives and t he sense of ‘ diary’ t hey convey l inked t o t he

fact t hat t his, coming as it does, at t he st art of a chapt er, signals a

progression/ change t o t he reader. Candidat es might also make reference

t o t he fact t hat t his chapt er is ent it led ROBERT (as opposed t o Merivel) as

an indicat ion of a change in t he way t he narrat or views himself

• t he immediacy af forded by t he use of present t ense

• t he direct address t o t he reader (t he man you know al l t oo wel l / t he person

I asked you t o pict ure)

• t he signif icant use of ref lexive pronoun in Merivel ’ s self -appraisal (I have

been absent f rom mysel f ) and t he sense of separat ion it conveys t o t he

reader

• t he use of t he t hird person t o refer t o his former self (I saw him/ t he man

you know al l t oo wel l )

• his descript ion of his former self – and his reference t o t hat self as Merivel

(t he person… wear ing a scar let sui t / t he Fool Mer ivel ) and his involvement

of t he reader wit h t his observat ion of himself in his former incarnat ion (I

asked you t o pict ure…) t he use of past t ense signif icant here

• t he af fect ion he conveys for his former self (a sent iment al

t enderness/ af f ect ion) which af fords cont rast t o his previous self -

ef facement and t he use of t his af fect ion as spur t o complet e t he st ory (i t is

t his t enderness t hat has led me t o complet e t he st ory)

• awareness of closure (I passed f rom one l i f e int o anot her)

• t he imperat ive t o t he reader (under t hese t hings you may draw a l ine)

fol lowed by t he l ist t hat encapsulat es change, culminat ing wit h t he shared

sense of closure (nei t her you nor I wi l l see t hem again/ you wi l l not be

ret urned t o t hem)

• t he use of f ire as a met aphor for consumpt ion and t he l inks it af fords t o t he

st ruct ure/ sequence of t he novel as a whole

• t he use of t he proper noun (No one cal ls me Mer ivel / I am not even Sir

Robert / I am Robert ) and t he t ransit ion embedded wit hin t his

• t he det ail of t he descript ion of his ‘ present ’ self of fers sharp comparison t o

his ‘ former’ self where adornment is replaced by funct ional it y

• Merivel ’ s communicat ion of his discomfort (a vexat ious i t ching of t he

nipples/ very heavy/ causes me a deal of misery) and of his sense of

deprivat ion achieved by cont rast wit h his former l i fe - especial ly t hrough

his t hought s on food

• his det erminat ion t o rel inquish his old l i fe and t o overcome t he urge t o

escape t he present (such t hought s I set aside/ a yearning (almost

perpet ual ) t o saddle Daneuse and r ide away f rom here)


• t he sense of hopelessness and lack of direct ion conveyed in t he quest ion

wit her should I r ide?

These are suggest ions only. Accept any point t hat considers Tremain’ s t echnique

and which sust ains focus on issues of t he t ask.

Al l point s – t hrough t heir exemplif icat ion – of fer opport unit y for close analysis.

Prompt ed by t he second component of t he quest ion, candidat es are expect ed t o

move beyond t he ext ract t o make l inks wit h ot her part s of t he novel. Candidat es

should be able t o demonst rat e t heir awareness of t he met hods used t o capt ure

Merivel ’ s voice and t o comment on t he cont ext s t hat shape/ inf luence it t hrough

j udicious select ion of evidence f rom t he novel as a whole.

(50)


Question


6

Candidat es are l ikely t o explore t he ext ract in dept h and t o comment on t he let t er

writ ing convent ions employed t o cont ext ual ize it and t o shape t he voice of Max.

Expect comment on t he epist olary nat ure of t he novel la. Alt hough t he ext ract is

select ed mid–way t hrough t he let t er candidat es may wel l make references t o t he

codes and convent ions t hat shape it s cont ent and should be rewarded for t his if

t hey do.

Point s t o look out for and reward in t erms of t he explorat ion of t he ext ract it self

may include references t o aspect s of synt ax, lexis, phonology, graphology and

discourse t hat cont ribut e t o t he creat ion of voice t hroughout t he ext ract such as:

• t he let t er heading t hat formalizes and dist ances and which also hint s at

censorship

• t he signif icance of t he dat e and l inks t o comment s on pol it ical cont ext

• t he pol it ical nat ure of address – t he f irst inst ance of break in

convent ion/ direct address

• t he st ruct ures indicat ive of a non-Engl ish voice (I much regret / not qui t e a

week ago)

• t he lack of passion and dist ance achieved by t he harsh declarat ive and t he

pronoun embedded wit hin it (Your sist er is dead), which might wel l be

cont ext ual ized in l ight of t he former relat ionship bet ween Grisel le and

Mart in

• t he manipulat ion – and dist ort ion – of Max’ s voice/ words t o dist ribut e

blame/ responsibil i t y (she was, as you have said, very much a f ool )

• t he nat ure of Mart in’ s descript ion of his family l i fe and what it reveals about

his priorit ies and his increasing af f luence

• t he signif icance of his naming of t he baby (Adolf )

• t he use of t ense in t he second and t hird paragraphs t o achieve t ension in t he

ret el l ing and t o af ford insight int o t he t hought processes and j udgment s

made by Mart in

• t he use of t he int errogat ive t o develop t his (can I hide her?/ can I endure…?)

• t he swit ch t o an assimilat ed voice of propaganda and nat ional dut y t o

f inal ise choice but t he manipulat ion of t hat voice t o ref lect an element of

courage/ loyalt y which might speak of underlying guil t (as a German I have

one plain dut y/ she has displayed her Jewish body…pure young German

men/ I should hold her / t his I cannot do)

• t he t ransfer of choice/ responsibil i t y t o Grisel le (she looks at me and

smi les…and makes her own choice) and what t his reveals about Mart in

• t he manner in which he relays t he ki l l ing of Grisel le, t he separat ion f rom it

he achieves, and t he underlying horror, t hrough t he el l ipt ical approach he

adopt s, in t he simple declarat ives he employs (I go int o t he house/ in a f ew

minut es she st ops screaming)

• his repeat ed assert ion t hat he was powerless t o int ervene (I was helpless/ I

was helpless t o aid her).

These are suggest ions only. Accept any point t hat considers Taylor’ s t echnique and



The second component requires candidat es t o move beyond t he ext ract and should

cert ainly explore t he changes in voice and at t it ude – part icularly in Max – t hat t he

relayed incident t r iggers.

There are many opport unit ies for analysis here and, provided t hat candidat es

sust ain focus on t he cent ral issues of t he t ask – i.e. Mart in’ s response and

subsequent act ion which signals a shif t in t he direct ion of t he novel la and t he

correspondence t hat is i t s cent ral st ruct ure - t hey should be rewarded.

(50)


Question


7

Candidat es are l ikely t o explore t he ext ract in det ail and t o comment on what it

reveals about Fish and t he impact of his near-drowning on himself and his family.

Responses should of fer explorat ion of how Wint on’ s manipulat ion of narrat ive

perspect ive enables t he development of t his myst ical narrat or and t hat it is

perhaps t he voice of t he drowned Fish who succumbed t o t he wat er, separat ed

f rom t he incomplet e survivor t hat Fish has become. They should be able t o

comment on t he innovat ion t his represent s and on t he added dimension it af fords

t o t he novel as a whole.

Point s t o look out for and reward in t erms of t he explorat ion of t he ext ract it self

may include references t o aspect s of synt ax, lexis, phonology, graphology and

discourse t hat cont ribut e t o t he creat ion of voice t hroughout t he ext ract such as:

• t he impact of direct address and t he conversat ional nat ure of t his address

(she sees you, boy) and what it reveals about Fish’ s condit ion

• how t he prot ect ive act ions of t he family are conveyed and perceived (wi t h

t he cord of her dressing gown she t ies you t o a t ree/ t here’ s always

someone wi t h t hei r f ingers in t he bel t loops of your pant s…). There is a

dist ance and separat ion achieved t hrough pronouns (she/ t heir ). There may

be comment on t he fact t hat t hese act ions, al t hough wel l-int ended,

separat e Fish f rom his dest iny

• how ot her voices are incorporat ed, for example t he int egrat ion of t he l ines

f rom a hymn (t he beaut i f ul , t he beaut i f ul , t he r iver) and t he Bibl ical t one

and al lusion (every l iving creat ure t hat swarms/ t hat t he wat ers of t he sea

become f resh…) wit h obvious l inks t o Fish’ s experience/ upbringing and how

t his has shaped his voice

• how t his ‘ int ernal ’ voice reveals t he operat ion of a damaged mind t hrough

it s disj oint ed st ruct ure and sequence

• how t he voice est abl ishes and communicat es t he lure of t he river - and

conveys t he inevit abil i t y of Fish’ s end. For example, t he simple repet it ion

of t he noun (river) highl ight s it s signif icance and endows it wit h a voice of

it s own

• t he profound nat ure of t he voice as it decodes, for Fish, t he nat ure of

exist ence and how t his is conveyed t o t he reader (now is always and

never / f rom and t o wi l l be always and never)

• t he reference t o t he myst ical aborigine and t he l inks t his af fords t o ot her

charact ers (such as Quick) and t o t he narrat ive as a whole (a dark man

comes f l ying by your t ree…). There is pot ent ial t o explore indigenous

Aust ral ian cult ure here and t o comment on t he f igure as a st ruct ural device

across t he novel

• t he shif t of t ense in t he penult imat e paragraph, and t he cert aint y

conveyed (your t ime wi l l come/ you’ l l have a second of knowing…)

• t he sense t hat Fish wil l somehow become unit ed/ whole/ healed in t he f inal

act of drowning (you’ l l be me…) and t he l iberat ion deat h wil l bring –

t hrough repet it ion (f ree t o come and go/ f ree t o puzzle…/ f ree f rom t he net

of t ime). The force of his int ernal voice not only account s for his obsession

but also engenders an underst anding of t his on t he part of t he reader. The


voice here conveys a sense of what has been lost .

These are suggest ions only. Accept any point t hat considers Wint on’ s t echnique

and which sust ains focus on t he voice and it s signif icance in conveying Fish’ s

sit uat ion t o t he reader.

The second element of t he quest ion prompt s candidat es t o move beyond t he

ext ract t o make l inks wit h ot her part s of t he novel and t o explore t hese l inks

t hrough j udicious select ion – and analysis - of evidence f rom t he novel as a whole.

Reward responses t hat focus on Wint on’ s manipulat ion of t he narrat ive t o

int egrat e myst ical/ ancest ral voices t o lead Fish and ot her charact ers t o t he f inal

act of release.

(50)


Question


8

Candidat es are l ikely t o ident ify t he st ory as represent at ive of t he ‘ adult ’ sect ion

of t he col lect ion and explore t he charact erist ics of voice and viewpoint i t

cont ains. They might also l ink it t o t he cent ral t heme of paralysis.

This ext ract comes part -way t hrough Gabriel ’ s encount er wit h Miss Ivors who is

involved in t he movement t o rest ore Irish language and cult ure. Look for a close

reading of t he ext ract it self .

Point s t o look out for and reward in t erms of t he explorat ion of t he ext ract may

include references t o aspect s of synt ax, lexis, phonology, graphology and discourse

t hat cont ribut e t o t he creat ion of voice t hroughout t he ext ract such as:

• Miss Ivors’ s underlying obj ect ive in what seems a pol it e invit at ion. The

reference t o t he Aran Isles (wit h ful l cont ext ual isat ion af forded in t he

Appendix) as predominant ly Ir ish-speaking and a common dest inat ion for

t hose involved in t he Nat ional ist movement

• The guile t hat t he voice of Miss Ivor’ s conveys t hrough t he seemingly

innocent / convent ional manner in which t he invit at ion is versed (Wil l you

come wit h us on an excursion?/ i t wi l l be splendid out in t he At lant ic/ she’ s

f rom Connacht isn’ t she?)

• Gabriel ’ s sense of her mot ivat ion and t he nat ure of his curt response,

emphasised t hrough use of adverb (her people are, said Gabr iel shor t ly)

• t he escalat ing pressure on Gabriel conveyed t hrough Joyce’ s t hird-person

observat ion of t he act ions of Miss Ivors laying her warm hand eager ly on his

arm

• t he increasing aggression on t he part of Miss Ivors conveyed t hrough t he

repeat ed int errogat ive but where? which int errupt s Gabriel ’ s

uncomfort able at t empt s t o respond and which reveal her det erminat ion t o

ext ract Gabriel ’ s dest inat ion

• t he cont inued aggression of Miss Ivors’ quest ioning and t he ef fect it has on

Gabriel

• t he impact of Gabriel ’ s declarat ive Ir ish is not my language

• Joyce’ s use of t he t hird person t o at t r ibut e t he t erm cross examinat ion

wit h it s connot at ion of court room int errogat ion and t he reference t o an

ordeal and how t his places t he reader in respect of t he exchange

• Joyce’ s use of adverb t o convey Gabriel ’ s increasing discomfort (and

possibly guil t ) (awkwardly/ nervously)

• t he accusat ion achieved t hrough int errogat ive and use of pronoun (haven’ t

you your own land/ your own count ry/ your own count ry)

• Gabriel ’ s f inal response I’ m sick of my own count ry. Sick of i t !

These are suggest ions only. Accept any point t hat considers Joyce’ s t echnique and

which sust ains focus on at t it udes t owards Dubl in and elsewhere in Ireland.

The second element of t he quest ion prompt s t he candidat e t o move beyond t he

ext ract and t o make l inks wit h ot her aspect s of t he st ory.

(50)


Band Mark

AO1: Select and apply relevant concepts and approaches from

integrated linguistic and literary study, using appropriate

terminology and accurate, coherent written expression

1 0 - 4

• responses wil l not ext end beyond t he ext ract . At t he bot t om of

t he band, mat erial select ed f rom t he ext ract is l imit ed. At t he

t op of t he band, mat erials select ed f rom t he ext ract wil l be

appropriat e

• ident if ies a l imit ed number of l inguist ic and l i t erary feat ures,

wit hout employing appropriat e t erminology

• writ es wit h minimal clarit y and t echnical lapses.

2 5 - 10

• responses may not ful ly ext end beyond t he ext ract , select ion of

addit ional evidence might not ful ly l ink t o t he t ask

• ident if ies some l inguist ic and l i t erary feat ures, wit h some use of

accurat e t erminology

• writ es wit h some clarit y and wit h some t echnical lapses.

3 11 - 15

• responses wil l ext end beyond t he ext ract and explorat ion is

l ikely t o l ink ful ly t o t he t ask. Select ion of evidence wil l be

largely appropriat e wit h clearly developed l inks t o t he t ask. At

t he bot t om of t he band, t hese l inks might lack clarit y and

precision

• ident if ies a range of l inguist ic and l it erary feat ures, wit h some

use of accurat e and appropriat e t erminology

• writ es wit h clarit y and t echnical accuracy.

4 16 - 20

• responses wil l ext end beyond t he ext ract and explorat ion wil l

l ink conf ident ly t o t he t ask. Select ion of evidence wil l be

sophist icat ed, wit h consist ent ly developed l inks t o t he t ask

• explores conf ident ly a ful l range of l i t erary and l inguist ic

feat ures, wit h sophist icat ed use of accurat e and appropriat e

t erminology

• displays sophist icat ed, wel l-cont rol led writ t en expression,


Band Mark

AO2: Demonstrate detailed critical understanding in analysing the

ways in which structure, form and language shape meanings in a

range of spoken and written texts

1 0 - 4

• makes basic observat ional and descript ive comment s

• makes basic comment s on st ruct ure, form and language

• support s comment s wit h minimal exemplif icat ion

• refers only t o t he ext ract .

2 5 - 10

• makes some observat ional and descript ive comment s

• makes l imit ed comment on st ruct ure, form and language. Links

t o how t hese shape meaning wil l be undeveloped

• support s some comment s wit h exemplif icat ion, but at t he

bot t om of t he band t his wil l be l imit ed

• makes l imit ed reference t o mat erial beyond t he ext ract .

3 11 - 15

• analyses some of t he mat erial , at t he bot t om of t he band

analysis wil l be l imit ed

• makes some comment s on st ruct ure, form and language. Links t o

how t hese shape meaning wil l be part ial ly developed

• support s comment s wit h exemplif icat ion alt hough t his wil l lack

consist ency at t he bot t om of t he band

• makes some reference beyond t he ext ract .

4 16 - 20

• of fers a reasonable range of analysis

• comment s on st ruct ure, form and language wil l general ly l ink t o

how t hese shape meaning

• support s most comment s wit h most ly appropriat e

exemplif icat ion

• makes developed reference t o mat erial beyond t he ext ract .

5 21 - 25

• analyses t he mat erial conf ident ly

• analyses st ruct ure, form and language wit h clear l inks t o how

t hese shape meaning

• support s most comment s wit h discriminat ing choice of

exemplif icat ion

• makes det ailed reference t o mat erial beyond t he ext ract .


6 26 – 30

• analyses t he mat erial conf ident ly and crit ical ly

• analyses st ruct ure form and language wit h ful ly developed and

percept ive l inks t o how t hese shape meaning

• support s comment s wit h a discriminat ing choice of

exemplif icat ion

• makes percept ive and det ailed reference t o mat erial beyond t he

ext ract .


Furt her copies of t his publ icat ion are available f rom Edexcel Publ icat ions, Adamsway, Mansf ield, Not t s, NG18 4FN Telephone 01623 467467 Fax 01623 450481

Email publicat ions@linneydirect .com

Order Code US023826 Summer 2010 For more informat ion on Edexcel qual if icat ions, please visit www.edexcel.com/ quals Edexcel Limit ed. Regist ered in England and Wales no.4496750 Regist ered Of f ice: One90 High Holborn, London, WC1V 7BH

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Mark Scheme (Results) Summer 2010 Level/English-Langu… · Mark Scheme (Results) Summer 2010 GCE GCE English Language & Literature (6EL01) Paper 01 – Exploring Voices in Speech