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LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 1 For teaching from 2011 For awards from 2013 LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE SPECIMEN ASSESSMENT MATERIALS

WJEC Level 1 - Level 2 Certificate in English Literature ... 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen ... LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen

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Page 1: WJEC Level 1 - Level 2 Certificate in English Literature ... 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen ... LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen

LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 1

For teaching from 2011 For awards from 2013

LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE

SPECIMEN ASSESSMENT MATERIALS

Page 2: WJEC Level 1 - Level 2 Certificate in English Literature ... 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen ... LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen
Page 3: WJEC Level 1 - Level 2 Certificate in English Literature ... 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen ... LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen

LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 3

Contents Page

Question Papers English Literature - Paper 1 5 English Literature - Paper 2 27

Mark Schemes English Literature - Paper 1 33 English Literature - Paper 2 47 Assessment Grid 53

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LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE PAPER 1 Specimen Assessment Materials For teaching from 2011 For examination from 2013 2 HOURS

SECTION A

Question Pages 1. Jane Eyre 6-7 2. Brick Lane 8-9 3. Tess of the D'Urbervilles 10-11 4. Brighton Rock 12-13 5. Brave New World 14-15

SECTION B 6. Hamlet 16-17 7. The Browning Version 18-19 8. The Crucible 20-21 9. A Raisin in the Sun 22-23 10. The Lost Prince 24-25 ADDITIONAL MATERIAL Twelve page answer booklet. INSTRUCTIONS TO CANDIDATES Answer both Section A and Section B. Answer one question in Section A and one question in Section B. INFORMATION FOR CANDIDATES The number of marks is given in brackets at the end of each question or part-question. You are reminded that assessment will take into account the quality of written

communication used in your answers.

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SECTION A

1. Jane Eyre Answer part (a) and either part (b) or part (c).

You are advised to spend about 20 minutes on part (a), and about 40 minutes on part (b) or part (c). (a) Read the extract on the opposite page. Then answer the following question:

With close reference to the extract, show how Charlotte Bronte creates mood and atmosphere here. [10]

Either; (b) Choose one or two female characters and discuss how Bronte presents

women. [20] Or, (c) Rochester describes himself to Jane as "a poor blind man ... a crippled man

... whom you will have to wait on". How is Rochester presented in the novel? [20]

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But it was not fated that I should sleep that night. A dream had scarcely approached my ear, when it fled affrighted, scared by a marrow-freezing incident enough. This was a demoniac laugh—low, suppressed, and deep—uttered, as it seemed, at the very keyhole of my chamber door. The head of my bed was near the door, and I thought at first the goblin-laughter stood at my bedside—or rather crouched by my pillow: but I rose, looked round, and could see nothing; while, as I still gazed, the unnatural sound was reiterated: and I knew it came from behind the panels. My first impulse was to rise and fasten the bolt; my next again to cry out, "Who is there?" Something gurgled and moaned. Ere long, steps retreated up the gallery towards the third-storey staircase: a door had lately been made to shut in that staircase; I heard it open and close and all was still. 'Was that Grace Poole? and is she possessed with a devil?' thought I. Impossible now to remain longer by myself; I must go to Mrs Fairfax. I hurried on my frock and a shawl; I withdrew the bolt and opened the door with a trembling hand. There was a candle burning just outside, and on the matting in the gallery. I was surprised at this circumstance: but still more was I amazed to perceive the air quite dim, as if filled with smoke: and, while looking to the right hand and left, to find whence these blue wreaths issued, I became further aware of a strong smell of burning. Something creaked: it was a door ajar; and that door was Mr Rochester's, and the smoke rushed in a cloud from thence. I thought no more of Mrs Fairfax; I thought no more of Grace Poole, or the laugh: in an instant, I was within the chamber. Tongues of flame darted round the bed: the curtains were on fire. In the midst of blaze and vapour, Mr Rochester lay stretched motionless, in deep sleep. 'Wake ! wake', I cried. I shook him, but he only murmured and turned: the smoke had stupefied him. Not a moment could be lost: the very sheets were kindling. I rushed to his basin and ewer; fortunately, one was wide and the other deep, and both were filled with water. I heaved them up, deluged the bed and its occupant, flew back to my own room, brought my own water-jug, baptized the couch afresh, and, by God's aid, succeeded in extinguishing the flames which were devouring it.

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2. Brick Lane Answer part (a) and either part (b) or part (c).

You are advised to spend about 20 minutes on part (a), and about 40 minutes on part (b) or part (c).

(a) Read the extract on the opposite page. Then answer the following question:

With close reference to the extract, show how Monica Ali creates mood and atmosphere here. [10]

Either, (b) How does the presentation of Chanu create sympathy for him and his

situation? [20] Or, (c) How does Monica Ali present the Bangladeshi community of East London? [20]

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Nazneen walked. She walked to the end of Brick Lane and turned right. Four blocks down she crossed the road (she waited next to a woman and stepped out with her, like a calf with its mother) and took a side street. She turned down the first right, and then went left. From there she took every second right and every second left until she realized she was leaving herself a trail. Then she turned off at random, began to run, limped for a while to save her ankle, and thought she had come in a circle. The buildings seemed familiar. She sensed rather than saw, because she had taken care not to notice. But now she slowed down and looked around her. She looked up at a building as she passed. It was constructed almost entirely of glass, with a few thin rivets of steel holding it together. The entrance was like a glass fan, rotating slowly, sucking people in, wafting others out. Inside, on a raised dais, a woman behind a glass desk crossed and uncrossed her thin legs. She wedged a telephone receiver between her ear and shoulder and chewed on a finger-nail. Nazneen craned her head back and saw that the glass above became dark as a night pond. The building was without end. Above, somewhere, it crushed the clouds. The next building and the one opposite were white stone palaces. There were steps up to the entrances and colonnades across the front. Men in dark suits trotted briskly up and down the steps, in pairs or in threes. They barked to each other and nodded sombrely. Sometimes one clapped a hand on his companion's shoulder and Nazneen saw that this was not for reassurance, but for emphasis. Every person who brushed past her on the pavement, every back she saw, was on a private, urgent mission to execute a precise and demanding plan: to get a promotion today, to be exactly on time for an appointment, to buy a newspaper with the right coins so that the exchange was swift and seamless, to walk without wasting a second and to reach the roadside just as the lights turned red. Nazneen, hobbling and halting, began to be aware of herself. Without a coat, without a suit, without a white face, without a destination. A leafshake of fear — or was it excitement? — passed through her legs.

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3. Tess of the D'Urbervilles Answer part (a) and either part (b) or part (c). You are advised to spend about 20 minutes on part (a), and about 40 minutes on part (b) or part (c). (a) Read the extract on the opposite page. Then answer the following question: Look closely at how Tess speaks and behaves here. What does it reveal about her character at this point in the novel? [10] Either, (b) How does Hardy present men in Victorian society in the novel? [20] Or, (c) 'Tess is a victim of circumstances.' How is Tess presented as a victim? [20]

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But Tess, really tired by this time, flung herself upon an oblong slab that lay close at hand, and was sheltered from the wind by a pillar. Owing to the action of the sun during the preceding day the stone was warm and dry, in comforting contrast to the rough and chill grass around, which had damped her skirts and shoes. 'I don't want to go any further, Angel,' she said stretching out her hand for his. 'Can't we bide here?' 'I fear not. This spot is visible for miles by day, although it does not seem so now.' 'One of my mother's people was a shepherd hereabouts, now I think of it. And you used to say at Talbothays that I was a heathen. So now I am at home.' He knelt down beside her outstretched form, and put his lips upon hers. 'Sleepy are you, dear? I think you are lying on an altar.' 'I like very much to be here,' she murmured. 'It is so solemn and lonely—after my great happiness—with nothing but the sky above my face. It seems as if there were no folk in the world but we two; and I wish there were not—except 'Liza-Lu.' Clare thought she might as well rest here till it should get a little lighter, and he flung his overcoat upon her, and sat down by her side. 'Angel, if anything happens to me, will you watch over 'Liza-Lu for my sake?' she asked when they had listened a long time to the wind among the pillars. 'I will.' 'She is so good and simple and pure. O, Angel—I wish you would marry her if you lose me, as you will do shortly. O, if you would!' 'If I lose you I lose all! And she is my sister-in-law.'

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4. Brighton Rock Answer part (a) and either part (b) or part (c).

You are advised to spend about 20 minutes on part (a), and about 40 minutes on part (b) or part (c). (a) Read the extract on the opposite page. Then answer the following question: With close reference to the extract, show how Graham Greene creates mood and atmosphere here. [10]

Either, (b) How does Graham Greene present the relationship between Pinkie and Rose

in the novel? [20] Or, (c) How is the character of Ida presented in the novel? [20]

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Hale knew, before he had been in Brighton three hours, that they meant to murder him. With his inky fingers and his bitten nails, his manner cynical and nervous, anybody could tell he didn't belong—belong to the early summer sun, the cool Whitsun wind off the sea, the holiday crowd. They came in by train from Victoria every five minutes, rocked down Queen's Road standing on the tops of the little local trams, stepped off in bewildered multitudes into fresh and glittering air: the new silver paint sparkled on the piers, the cream houses ran away into the west like a pale Victorian water-colour; a race in miniature motors, a band playing, flower gardens in bloom below the front, an aeroplane advertising something for the health in pale vanishing clouds across the sky. It had seemed quite easy to Hale to be lost in Brighton. Fifty thousand people besides himself were down for the day, and for quite a while he gave himself up to the good day, drinking gins and tonics wherever his programme allowed. For he had to stick closely to a programme: from ten till eleven Queen's Road and Castle Square, from eleven till twelve the Aquarium and Palace Pier, twelve till one the front between the Old Ship and West Pier, back for lunch between one and two in any restaurant he chose round the Castle Square, and after that he had to make his way all down the parade to the West Pier and then to the station by the Hove streets. These were the limits of his absurd and widely advertised sentry-go.

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5. Brave New World Answer part (a) and either part (b) or part (c).

You are advised to spend about 20 minutes on part (a), and about 40 minutes on part (b) or part (c).

(a) Read the extract on the opposite page. Then answer the following question:

With close reference to the extract, show how Aldous Huxley creates mood and atmosphere here. [10]

Either, (b) "The inhabitants of the brave new world are happy consumers." How are the

characters presented as "happy consumers" in the novel? [20] Or, (c) How does the presentation of John the Savage create sympathy for him and

his situation in the novel? [20]

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Bent over their instruments, three hundred Fertilizers were plunged, as the Director of Hatcheries and Conditioning entered the room, in the scarcely breathing silence, the absentminded, soliloquizing hum or whistle, of absorbed concentration. A troop of newly arrived students, very young, pink and callow, followed nervously, rather abjectly, at the Director's heels. Each of them carried a note-book, in which, whenever the great man spoke, he desperately scribbled. Straight from the horse's mouth. It was a rare privilege. The DHC for Central London always made a point of personally conducting his new students round the various departments. 'Just to give you a general idea,' he would explain to them. For of course some sort of general idea they must have, if they were to do their work intelligently – though as little of one, if they were to be good and happy members of society, as possible. For particulars, as everyone knows, make for virtue and happiness; generalities are intellectually necessary evils. Not philosophers, but fret-sawyers and stamp collectors compose the backbone of society. 'Tomorrow,' he would add, smiling at them with a slightly menacing geniality, 'you'll be settling down to serious work. You won't have time for generalities. Meanwhile ...' Meanwhile, it was a privilege. Straight from the horse's mouth into the note-book. The boys scribbled like mad.

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SECTION B

6. Hamlet Answer part (a) and either part (b) or part (c).

You are advised to spend about 20 minutes on part (a) and about 40 minutes on part (b) or part (c).

(a) Read the extract on the opposite page. Then answer the following question: With close reference to the extract, show how Shakespeare creates mood

and atmosphere here. [10] Either, (b) How does the presentation of Claudius create sympathy for him and his

situation in the play? [20] Or, (c) How are relationships between parents and children presented in the play?

[20]

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Enter Francisco and Barnardo, two sentinels

BARNARDO Who's there? FRANCISCO Nay, answer me. Stand and unfold yourself. BARNARDO Long live the King! FRANCISCO Barnardo? BARNARDO He. FRANSICO You come most carefully upon your hour. BARNARDO 'Tis now struck twelve. Get thee to bed, Francisco. FRANSICO For this relief much thanks. 'Tis bitter cold,

And I am sick at heart. BARNARDO Have you had quiet guard? FRANSICO Not a mouse stirring. BARNARDO Well, good night.

If you do meet Horatio and Marcellus, The rivals of my watch, bid them make haste.

Enter Horatio and Marcellus FRANCISCO I think I hear them. Stand ho! Who is there? HORATIO Friends to this ground. MARCELLUS And liegemen to the Dane. FRANCISCO Give you good night. MARCELLUS O, farewell, honest soldier.

Who hath relieved you? FRANCISCO Barnardo hath my place.

Give you good night. Exit MARCELLUS Holla, Barnardo! BARNARDO Say -

What, is Horatio there? HORATIO A piece of him. BARNARDO Welcome, Horatio. Welcome, good Marcellus. MARCELLUS What, has this thing appeared again tonight? BARNARDO I have seen nothing. MARCELLUS Horatio says 'tis but our fantasy,

And will not let belief take hold of him Touching this dreaded sight twice seen of us. Therefore I have entreated him along With us to watch the minutes of this night, That, if again this apparition come, He may approve our eyes and speak to it.

HORATIO Tush, tush, 'twill not appear. BARNARDO Sit down awhile,

And let us once again assail your ears, That are so fortified against our story; What we have two nights seen.

HORATIO Well, sit we down, And let us hear Barnardo speak of this.

BARNARDO Last night of all, When yond same star that's westward from the pole Had made his course t'illume that part of heaven Where it now burns, Marcellus and myself, The bell then beating one -

Enter the Ghost

MARCELLUS Peace, break three off. Look where it comes again. BARNARDO In the same figure like the King that's dead.

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7. The Browning Version Answer part (a) and either part (b) or part (c).

You are advised to spend about 20 minutes on part (a) and about 40 minutes on part (b) or part (c). (a) Read the extract on the opposite page. Then answer the following question:

Look closely at how the characters speak and behave here. How does it create mood and atmosphere? [10]

Either, (b) How does Rattigan present the relationship between Andrew Crocker-Harris

and Frank Hunter in the play? [20] Or, (c) How is life in a public school presented in the play? [20]

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MILLIE Hullo, Frank. I'm glad you're in time. (She picks up the medicine bottle and the glass from the table and puts them aside. To FRANK.) Lend me a cigarette. I've been gasping for one for an hour.

FRANK once more extends his case and MILLIE takes a cigarette which he lights. FRANK Your husband has just had a very nice present. MILLIE Oh? Who from? FRANK Taplow. MILLIE (smiling) Oh, Taplow. Let's see. (She takes the book from ANDREW) ANDREW He bought it with his own pocket-money, Millie, and wrote a very charming inscription

inside. FRANK God looks kindly upon a gracious master. ANDREW No – not gracious – gentle, I think– tδν kpatoûvta μaλθαкώς – yes I think gentle is the

better translation. I would rather have had this present than almost anything I can think of.

Pause. MILLIE laughs suddenly.. MILLIE The artful little beast – FRANK (Urgently) Millie – ANDREW Artful? Why artful? MILLIE looks at FRANK who is staring meaningly at her. Why artful, Millie? MILLIE laughs again, quite lightly, and turns from FRANK to ANDREW. MILLIE My dear, because I came into this room this afternoon to find him giving an imitation

of you to Frank here. Obviously he was scared still I was going to tell you, and you'd ditch his remove or something. I don't blame him for trying a few bobs' worth of appeasement.

She hands the book back to ANDREW who stands quite still looking down at it. ANDREW (Nodding, at length) I see. (He puts the book gently on the table and walks to the

door.) MILLIE Where are you going, dear? Dinner's nearly ready. ANDREW Only to my room for a moment. I won't be long. He takes the medicine bottle and a glass. MILLIE You've just had a dose of that, dear. I shouldn't have another, if I were you. ANDREW I am allowed two at a time. MILLIE Well, see it is two and no more, won't you? ANDREW meets her eye for a moment, at the door, then goes out quietly. MILLIE turns to FRANK with an expression half defiant and half ashamed. FRANK (With a note of real repulsion in his voice.) Millie! My God! How could you? MILLIE Well, why not? Why should he be allowed his comforting little illusions? I am not. FRANK If you don't, I will. MILLIE I shouldn't if I were you. It'll only make things worse. He won't believe you. FRANK (Moving.) We'll see about that. MILLIE Go ahead. See what happens. He knows I don't lie to him. He knows what I told

him was the truth, and he won't like your sympathy. He'll think you're making fun of him, like Taplow.

FRANK hesitates at the door then comes slowly back into the room. MILLIE watches him, a little frightened.

FRANK (At length.) We're finished, Millie – you and I. MILLIE (laughing) Frank, really! Don't be hysterical. FRANK I'm not, I mean it. MILLIE (Lightly) Oh, yes, you mean it. Of course you mean it. Now just sit down, dear, and

relax and forget all about artful little boys and their five-bob presents, and talk to me. She touches his arm. He moves away from her brusquely.

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8. The Crucible Answer part (a) and either part (b) or part (c).

You are advised to spend about 20 minutes on part (a) and about 40 minutes on part (b) or part (c).

(a) Read the extract on the opposite page. Then answer the following question:

Look closely at how Elizabeth and John Proctor speak and behave here. What does it reveal about their relationship at this point in the play? [10]

Either, (b) How is John Proctor presented in the play? [20] Or, (c) With reference to two or three characters, write about how religion is

presented in the play. [20]

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The common room of Proctor's house, eight days later. At the right is a door opening on the fields outside. A fireplace is at the left, and behind it a stairway leading upstairs. It is the low, dark and rather long living-room of the time. As the curtain rises, the room is empty. From above ELIZABETH is heard softly singing to the children. Presently the door opens and JOHN PROCTOR enters, carrying his gun. He glances about the room as he comes toward the fireplace, then halts for an instant as he hears her singing. He continues on to the fireplace, leans the gun against the wall as he swings a pot out of the fire and smells it. Then he lifts out the ladle and tastes. He is not quite pleased. He reaches to a cupboard, takes a pinch of salt, and drops it into the pot. As he is tasting again, her footsteps are heard on the stair. He swings the pot into the fireplace and goes to a basin and washes his hands and face. ELIZABETH enters. ELIZABETH What keeps you so late? It's almost dark. PROCTOR I were planting far out to the forest edge. ELIZABETH Oh, you're done then. PROCTOR Aye, the farm is seeded. The boys asleep? ELIZABETH They will be soon. [And she goes to the fireplace, proceeds to ladle up stew in a dish.] PROCTOR Pray now for a fair summer. ELIZABETH Aye. PROCTOR Are you well today? ELIZABETH I am [She brings the plate to the table, and indicating the food] It is a rabbit. PROCTOR [going to the table]: Oh, is it! In Jonathan's trap? ELIZABETH No, she walked into the house this afternoon; I found her sittin' in the corner like she

came to visit. PROCTOR Oh, that's a good sign walkin' in. ELIZABETH Pray God. It hurt my heart to strip her, poor rabbit. [She sits and watches him taste

it.] PROCTOR It's well seasoned. ELIZABETH [blushing with pleasure] I took great care. She's tender? PROCTOR Aye. [He eats. She watches him.] I think we'll see green fields soon. It's warm as

blood beneath the clods. ELIZABETH That's well. [Proctor eats, then looks up.] PROCTOR If the crop is good I'll buy George Jacob's heifer. How would that please you? ELIZABETH Aye, it would. PROCTOR [with a grin]: I mean to please you, Elizabeth. ELIZABETH [it is hard to say]: I know it, John.

[He gets up, goes to her, kisses her. She receives it. With a certain disappointment, he returns to the table.]

PROCTOR [as gently as he can]: Cider? ELIZABETH [with a sense of reprimanding herself for having forgot] Aye! [She gets up and goes

and pours a glass for him. He now arches his back.] PROCTOR This farm's a continent when you go foot by foot droppin' seeds in it. ELIZABETH [coming with the cider]: It must be. PROCTOR [drinks a long draught, then, putting the glass down]: You ought to bring some

flowers in the house. ELIZABETH Oh, I forgot! I will tomorrow. PROCTOR It's winter in here yet. On Sunday let you come with me, and we'll walk the farm

together; I never see such a load of flowers on the earth. [With good feeling he goes and looks up at the sky through the open doorway.] Lilacs have a purple smell. Lilac is the smell of nightfall, I think. Massachusetts is a beauty in the spring!

ELIZABETH Aye, it is. [There is a pause. She is watching him from the table as he stands there absorbing the night. It is as though she would speak but cannot. Instead, now, she takes up his plate and glass and fork and goes with them to the basin. Her back is turned to him. He turns to her and watches her. A sense of their separation rises.]

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9. A Raisin in the Sun Answer part (a) and either part (b) or part (c).

You are advised to spend about 20 minutes on part (a) and about 40 minutes on part (b) or part (c). (a) Read the extract on the opposite page. Then answer the following question:

With close reference to the extract, show how Lorraine Hansberry creates mood and atmosphere. [10]

Either, (b) How does the presentation of Beneatha create sympathy for her and her

situation? [20] Or, (c) How is the theme of dreams presented in the play? [20]

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Time: An hour later. At curtain, there is a sullen light of gloom in the living-room, grey light not unlike that which began the first scene of Act One. At left we can see WALTER within his room, alone with himself. He is stretched out on the bed, his shirt out and open, his arms under his head. He does not smoke, he does not cry out, he merely lies there, looking up at the ceiling, much as if he were alone in the world. In the living-room BENEATHA sits at the table, still surrounded by the now almost ominous packing crates. She sits looking off. We feel that there is a mood struck perhaps an hour before, and it lingers now, full of the empty sound of profound disappointment. We see on a line from her brother's bedroom the sameness of their attitudes. Presently the bell rings and BENEATHA rises without ambition or interest in answering. It is ASAGAI, smiling broadly, striding into the room with energy and happy expectation and conversation. ASAGAI I came over ... I had some free time. I thought I might help with the packing.

Ah, I like the look of packing crates! A household in preparation for a journey! It depresses some people ... but for me ... it is another feeling. Something full of the flow of life, do you understand? Movement, progress ... It makes me think of Africa.

BENEATHA Africa! ASAGAI What kind of a mood is this? Have I told you how deeply you move me? BENEATHA He gave away the money, Asagai ... ASAGAI Who gave away what money? BENEATHA The insurance money. My brother gave it away. ASAGAI Gave it away? BENEATHA He made an investment! With a man even Travis wouldn't have trusted. ASAGAI And it's gone? BENEATHA Gone! ASAGAI I'm very sorry ... And you, now? BENEATHA Me? ... Me? ... Me I'm nothing ... Me. When I was very small ... we used to take

our sleds out in the wintertime and the only hills we had were the ice-covered stone steps of some houses down the street. And we used to fill them in with snow and make them smooth and slide down them all day ... and it was very dangerous you know ... far too steep ... and sure enough one day a kid named Rufus came down too fast and hit the sidewalk ... and we saw his face just split open right there in front of us ... And I remember standing there looking at his bloody open face thinking that was the end of Rufus. But the ambulance came and they took him to the hospital and they fixed the broken bones and they sewed it all up ... and the next time I saw Rufus he just had a little line down the middle of his face ... I never got over that ...

WALTER sits up, listening on the bed. Throughout this scene it is important that we feel his reaction at all times, that he visibly responds to the words of his sister and ASAGAI.

ASAGAI What? BENEATHA That that was what one person could do for another, fix him up – sew up the

problem, make him all right again. That was the most marvellous thing in the world ... I wanted to do that. I always thought it was the one concrete thing in the world that a human being could do. Fix up the sick, you know – and make them whole again. This was truly being God.

ASAGAI You wanted to be God? BENEATHA No – I wanted to cure. It used to be so important to me I wanted to cure. It

used to matter. I used to care. I mean about people and how their bodies hurt ...

ASAGAI And you've stopped caring? BENEATHA Yes - I think so.

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10. The Lost Prince Answer part (a) and either part (b) or part (c).

You are advised to spend about 20 minutes on part (a) and about 40 minutes on part (b) or part (c). (a) Read the extract on the opposite page. Then answer the following question:

With close reference to the extract, show how Stephen Poliakoff creates mood and atmosphere. [10]

Either, (b) How is Prince George presented in the play? [20] Or, (c) How does Stephen Poliakoff present the relationship between Prince John

and his parents in the play? [20]

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INT. BUCKINGHAM PALACE. THE BALLROOM. NIGHT. We cut to a wide shot of the banquet. The light is low, the table decoration is plain, the guest list much smaller than the great banquet before the outbreak of war, the guests are still very cold, and look immensely pale. The atmosphere is sepulchral, hardly anyone is talking, just the sound of the heavy rain. There is a sadness and fragility in the adult faces. On their plates we see small pieces of a very brown fish. STAMFORDHAM is sitting near the middle of the table watching everybody with beady eyes. YOUNG GEORGE is standing in the doorway among the flunkeys. He whispers to one of them.

YOUNG GEORGE I don't see a special table plan any more ... just all the bishops together ... the generals together ... GEORGE, the King, is eating his fish very fast at one end of the table, hardly looking up at anybody. MARY is trying to convey a greater sense of occasion and calm at the other end of the table.

GEORGE Two courses ... we only serve two courses any more ... and no alcohol as you can see ... And the fish is an attempt at my favourite dish Bombay Duck, but we can't get the right ingredients any more, so they've tried to make it with kippers ... (He prods at the fish.) And it's pretty disgusting I think you'll agree ... There is a small nervous laugh around the table. LADY WARRENDER, a talkative woman of about forty, tries to cheer the King up.

LADY WARRENDER I think it's refreshing to have such small portions – so appropriate! I went to the Maitlands last week and they were still serving six courses, carrying on quite simply as if nothing had happened ... well, that's not completely true, when the war started it was eight courses – so in three years they've gone down to six ... (She laughs.) ... a sacrifice of a sort!

We cut to a high shot, YOUNG GEORGE staring through the screen from the gallery like he did with JOHNNIE before the war. Then there was such an air of confidence, now when he stares down he sees shivering nervous adults and this virtual silence as his father continues to look at nobody.

For an instant YOUNG GEORGE imagines JOHNNIE with him watching it all.

We cut down to the level of the table as LADY WARRENDER tries again, this time to the Queen

You know, Your Majesty, I heard the most stupid thing I have ever heard in my life last week ...

MARY The most stupid thing ever ... that is some claim ... what was it and where did you hear it ...?

LADY WARRENDER (momentarily flustered): Well, I forget exactly where it was ... maybe it was at the Maitlands again or maybe it wasn't – but I heard such a foolish comment ... that there are rumours going around (She waves her hand airily.) amongst the people and so forth ... that the royal family must be pro-German because you have a German name ...!!

We see immediate alarm in MARY's eyes. GEORGE has half heard the remark.

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LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE PAPER 2 Specimen Assessment Materials For teaching from 2011 For examination from 2013 2 HOURS

SECTION A

Question Pages 1. Poems from Other Centuries 28

SECTION B 2. Poetry 28

SECTION C

3. Prose 29 4. Drama 30-31 ADDITIONAL MATERIAL Twelve page answer booklet. Booklet of poems on specified theme. INSTRUCTIONS TO CANDIDATES Answer Section A, Section B and Section C. Answer the question in Section A, the question in Section B, and one question in Section C. INFORMATION FOR CANDIDATES The number of marks is given in brackets at the end of each question or part-question. You are reminded that assessment will take into account the quality of written

communication used in your answers.

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SECTION A

1. Poems from Other Centuries Experiences of Nature

Choose two poems from the booklet which create the atmosphere of a particular time of year. Write about how the poet(s) create(s) this atmosphere, the links between the poems, and the effect each poem has on you. [20]

SECTION B

2. Write about the poem and its effect on you. You may wish to include some or all of these points: • the poem's content – what it is about; • the ideas the poet may have wanted us to think about; • the mood of the poem; • how it is written – words or phrases you find interesting, the way the poem is structured or organised, and so on; • your response to the poem. [10]

The Richest Poor Man in the Valley On the outside he seemed older than he was. His face was like a weather map full of bad weather while inside his heart was fat with sun. With his two dogs he cleared a thin silver path across the Black Mountain. And when winter kicked in they brought his sheep down from the top like sulky clouds. Harry didn't care for things that other people prize like money, houses, bank accounts and lies. He was living in a caravan until the day he died. But at his funeral his friends' tears fell like a thousand diamonds. LINDSAY MACRAE

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SECTION C

Answer either Question 3 or Question 4.

3. The extract below is the opening to a novel set in London in the winter of 2007. With close reference to the extract, show how the writer creates mood and atmosphere. [10]

Five o'clock and freezing. Piledrivers and jackhammers were blasting into the wasteland by the side of West Cross Route in Shepherd's Bush. With a bare ten months to the scheduled opening of Europe's largest urban shopping centre, the sand-covered site was showing only skeletal girders and joists under red cranes, though a peppermint façade had already been tacked on to the eastward side. This was not a retail park with trees and benches, but a compression of trade in a city centre, in which migrant labour was paid by foreign capital to squeeze out layers of profit from any Londoner with credit. At their new 'Emirates' Stadium, meanwhile, named for an Arab airline, Arsenal of North London were kicking off under floodlights against Chelsea from the West, while the goalkeepers – one Czech, one Spanish – jumped up and down and beat their ribs to keep warm. At nearby Upton Park, the supporters were leaving the ground after a home defeat; and only a few streets away from the Boleyn Ground, with its East End mixture of sentimentality and grievance, a solitary woman paid her respects to a grandfather – came from Lithuania some eighty years ago – as she stood by his grave in the overflowing cemetery of the East Ham Synagogue. Up the road in Victoria Park, the last of the dog-walkers dragged their mongrels back to flats in Hackney and Bow, grey high-rises marked with satellite dishes, like ears cupped to the outside worlds in the hope of gossip or escape; while in a minicab that nosed along Dalston Road on its way back to base, the dashboard thermometer touched minus two degrees. In his small rooms in Chelsea, Gabriel Northwood, a barrister in his middle thirties, was reading the Koran, and shivering. He practised civil law, when he practised anything at all; this meant that he was not involved in 'getting criminals off', but in representing people in a dispute whose outcome would bring financial compensation to the claimants if they won. For a long time, and for reasons he didn't start to understand, Gabriel had received no instructions from solicitors – the branch of the legal profession he depended on for work. Then a case had landed in his lap. It was to do with a man who had thrown himself under a Tube train, and concerned the extent to which the transport provider might be deemed responsible for failing to provide adequate safety precautions. Almost immediately, a second brief had followed: from a local education authority being sued by the parents of a Muslim girl in Leicester for not allowing her to wear traditional dress to school. With little other preparatory work to do, Gabriel thought he might as well try to understand the faith whose demands he was about to encounter; and any educated person these days, he told himself, really ought to have read the Koran.

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4. The extract which follows is a dialogue between a married couple who run a pub. Look closely at how the characters speak and behave in this extract. What does it reveal about their relationship? [10]

LANDLADY I can't stand it no more! The blame hurts and burns too much. LANDLORD I never blamed you. LANDLADY Liar. LANDLORD I did not blame you, all right? LANDLADY Who did you blame then, yourself? LANDLORD No. LANDLADY Who do you blame then, him? LANDLORD Don't say things like that! LANDLADY What, leave him out of this, like he never existed, is that what you're

saying? LANDLORD Stop. Stop with your filth! LANDLADY What? ... You're mad. LANDLORD (back to work) Leave the dead. LANDLADY God you're worse than me. LANDLORD (working on) I'm worse than no one, just leave it, eh? LANDLADY Look we've got to get this out for our own sanity. LANDLORD You worry about that, I'm all right. LANDLADY It's rotted us. LANDLORD Well, what's the point of bothering then? LANDLADY You cold gone bastard. LANDLORD Aye. She grabs up a glass to him. He turns to her, lifts his chin. LANDLORD Go on break it and shove it in where it's soft. Go on. (Waits). You

want to, and I don't mind. She drops glass. LANDLADY What have we come to? She turns away. He stays in that position, chin up.

Pause. She turns back. She looks at him standing there like that. Still in that position, like a statue, he speaks. Eyes closed.

LANDLORD I loved it when we all loved. When we all were loving. Him and ... When we were ... Me and you bickered like we do now, all very funny, all on the surface, but love was underneath then. Now it's hate. Hate for sure.

Silence LANDLORD (Opens eyes) I see him every day. My son. (pause) I remember

when he could ... Pulling at the crates like his Dad. He thought he could do it, didn't he? I see him here like as ... In his pyjamas. At night his hair was always ... (Touches his own head) Peeping in the pub. You'd shout, but I'd always let him in, and lift him up and on the counter.

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Oh God, how do you die when you're seven years old. Covers his eyes. Pause When it happened I had to turn away. I thought later I could turn back, but I couldn't. Nothing healed, it just went harder and harder and harder.

LANDLADY And you blamed. LANDLORD No. LANDLADY Liar! LANDLORD No LANDLADY A blaming man. A stupid blaming man. LANDLORD No. LANDLADY Yes! LANDLORD You were driving!

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LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen assessment materials First teaching September 2011 First examination Summer 2013 PAPER 1 MARKING GUIDELINES GENERAL 1. Expression Where problems with presentation seriously impede communication, assessment can

be problematic. In such cases you should refer the candidate, after discussion with your team leader, to me for a second opinion: write Refer to C.E. boldly at the top of the script. Confused or vague expression is often a result of faulty understanding or appreciation of a point a candidate is trying to make. Avoid the temptation of saying to yourself, 'I think I know what s/he means', and awarding credit. Signal this in the margin by a remark like 'getting somewhere' or 'not quite there'.

2. Remarks An ongoing series of remarks in the margin throughout the script is vital. These

remarks will be mainly your identifications of skills as they appear. Remember that your mark at the end of the exercise must tally with the skills which you have identified. New examiners have been provided with marked scripts to illustrate this procedure.

There must always be a comment at the end of each section. This should not simply

echo the mark but indicate the salient features of the candidate's performance established by the C.E. for this examination.

3. Marking positively Please approach the marking of scripts with an open mind and mark positively. All the

questions provide opportunities for candidates to make informed, independent responses, and such opportunities need to be upheld in your marking. You must evaluate what is offered by the candidate, using the criteria, but without looking for what might have been presented or for what you might have written in the candidate's place.

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4. Assessment Objectives

AO1 Respond to texts critically and imaginatively; select and evaluate relevant textual detail to illustrate and support interpretations.

AO2 Explain how language, structure and form contribute to writers' presentation of ideas, themes and settings.

AO3 Explain links between texts, evaluating writers' different ways of expressing meaning and achieving effects.

AO4 Relate texts to their social, cultural and historical contexts; explain how texts have been influential and significant to self and other readers in different contexts and at different times.

5. Assessment objective coverage in Paper 1

Assessment objective

Section A (a)

Section A (b) and (c)

Section B (a)

Section B (b) and (c)

AO1

AO2

AO3 AO4

In determining the appropriate mark band and fine-tuning to a specific mark for

responses to (a), you should give equal weighting to AO1 and AO2.

In determining the appropriate mark band and fine-tuning to a specific mark for responses to (b) and (c), you should give equal weighting to AO1 and AO2, and slightly higher weighting to AO4.

6. 'Best-fit' marking The work for each question should be marked according to the marking criteria using

a 'best-fit' approach. For each of the assessment objectives and quality of written communication descriptors, select one of the band descriptors that most closely describes the quality of the work being marked.

• where the candidate's work convincingly meets the statement, the highest mark

should be awarded; • where the candidate's work adequately meets the statement, the most

appropriate mark in the middle-range should be awarded; • where the candidate's work just meets the statement, the lowest mark should be

awarded. Examiners should use the full range of marks available to them and award full marks in any band for work which fully meets that descriptor. The marks on either side of the middle mark(s) for 'adequately met' should be used where the standard is lower or higher than 'adequate' but not the highest or lowest mark in the band. Marking should be positive, rewarding achievement rather than penalising failure or omissions. The award of marks must be directly related to the marking criteria.

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BAND CRITERIA The following descriptions have been provided to indicate the way in which progression within the criteria is likely to occur. Each successive description assumes demonstration of achievements in lower bands. You are asked to place work initially within a band and then to fine-tune using the marks within the band. It is recognised that work will not always fit neatly into one of the descriptions. Question (a) 10 marks

(a) Critical response to texts (AO1) Language, structure and form (AO2)

0 Nothing written, or what is written is totally irrelevant to the text or not worthy of credit

1-3 Candidates rely on a narrative approach with some misreadings: make a personal response to the text.

Candidates may make generalised comments about stylistic effects.

Errors in grammar, punctuation and spelling and lack of structure are likely to impede communication on occasions. There will be little evidence of specialist vocabulary.

4-5 Candidates display some understanding of main features: make generalised reference to relevant aspects of the text, echoing and paraphrasing; begin to select relevant detail.

Candidates are able to recognise and make simple comments on particular features of style and structure.

Expression will be reasonably clear and the answer will have a basic structure. Grammar, punctuation and spelling will contain errors but these will not be intrusive; use of specialist vocabulary will be limited and/or not always appropriate.

6-7 Candidates make more detailed reference to text; discuss thoroughly, and increasingly thoughtfully, characters and relationships; probe the sub-text with increasing confidence; select and evaluate relevant textual details; understand and demonstrate how writers use ideas, themes and settings to affect the reader; convey ideas clearly and appropriately.

Candidates see how different aspects of style and structure combine to create effects; show increasingly clear appreciation of how meanings and ideas are conveyed through language, structure and form.

Expression will be mainly clear and fluent and the answer will be quite well structured. There will be some errors in spelling or punctuation; specialist vocabulary will be used mainly appropriately.

8-10 Candidates make increasingly assured selection and incorporation of relevant detail; are able to speculate/offer tentative judgements; are able to evaluate characters/relationships and attitudes/motives; at the highest level, consistently handle texts with confidence, have an overview and ability to move from the specific to the general; convey ideas persuasively and cogently with apt textual support.

Candidates show appreciation of how writers use language to achieve specific effects; make assured exploration and evaluation of the ways meaning, ideas and feeling are conveyed through language, structure and form; at the highest level, make assured analysis of stylistic features.

Expression will be clear and fluent and the answer will be well structured. There will be few errors in grammar, punctuation and spelling; specialist vocabulary will be used appropriately.

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Questions (b) and (c) 20 marks

(b) (c)

Critical response to texts (AO1)

Language, structure and form (AO2)

Social, cultural and historical contexts (AO4)

0 Nothing written, or what is written is totally irrelevant to the text or not worthy of credit

1-7 Candidates rely on a narrative approach with some misreadings: make a personal response to the text.

Candidates may make generalised comments about stylistic effects.

Candidates make simple comments on textual background.

Errors in grammar, punctuation and spelling and lack of structure are likely to impede communication on occasions. There will be little evidence of specialist vocabulary.

8-11 Candidates display some understanding of main features: make generalised reference to relevant aspects of the text, echoing and paraphrasing; begin to select relevant detail.

Candidates are able to recognise and make simple comments on particular features of style and structure.

Candidates show a limited awareness of social, cultural and historical contexts; begin to be aware how social, cultural and historical context is relevant to understanding the text(s).

Expression will be reasonably clear and the answer will have a basic structure. Grammar, punctuation and spelling will contain errors but these will not be intrusive; use of specialist vocabulary will be limited

and/or not always appropriate.

12-15 Candidates make more detailed reference to text; discuss thoroughly, and increasingly thoughtfully, characters and relationships; probe the sub-text with increasing confidence; select and evaluate relevant textual details; understand and demonstrate how writers use ideas, themes and settings to affect the reader; convey ideas clearly and appropriately.

Candidates see how different aspects of style and structure combine to create effects; show increasingly clear appreciation of how meanings and ideas are conveyed through language, structure and form.

Candidates are able to set texts in contexts more securely; begin to see how texts have been influential; have a clear grasp of social, cultural and historical context; begin to be able to relate texts to own and other's experience.

Expression will be mainly clear and fluent and the answer will be quite well structured. There will be some errors in spelling or punctuation; specialist vocabulary will be used mainly appropriately.

16-20 Candidates make increasingly assured selection and incorporation of relevant detail; are able to speculate/offer tentative judgements; are able to evaluate characters/relationships and attitudes/motives; at the highest level, consistently handle texts with confidence, have an overview and ability to move from the specific to the general; convey ideas persuasively and cogently with apt textual support.

Candidates show appreciation of how writers use language to achieve specific effects; make assured exploration and evaluation of the ways meaning, ideas and feeling are conveyed through language, structure and form; at the highest level, make assured analysis of stylistic features.

Candidates show a clear understanding of social, cultural and historical contexts; are able to relate texts to own and others' experience; are able to identify and comment on importance of social, cultural and historical contexts; awareness of literary tradition shown; at the highest level, show a clear understanding of social, cultural and historical contexts; able to relate details of text to literary background and explain how texts have been / are influential at different times.

Expression will be clear and fluent and the answer will be well structured. There will be few errors in grammar, punctuation and spelling; specialist vocabulary will be used appropriately.

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MARK SCHEME - PAPER 1

SECTION A

1. Jane Eyre

(a) Read the extract on the opposite page. Then answer the following question:

With close reference to the extract, show how Charlotte Bronte creates mood and atmosphere here. [10]

0 marks Nothing written, or nothing worthy of credit. 1-3

marks Narrative approach with some misreading; a personal response to what is happening in the extract. Limited comments about stylistic effects, such as suspense.

4-5 marks

Understanding of main events. Generalised references and comments about stylistic effects. Selection of relevant detail, such as the laughter, fire and the mystery. Awareness of mood and atmosphere for 5.

6-7 marks

Detailed references to the extract with thorough, and for 7, thoughtful, discussion of language, e.g. about tension and suspense in the extract. Explanation of how Bronte uses different aspects of style and structure to create effects. For 7, candidates will explore the detail of the extract, showing an understanding of mood and atmosphere.

8-10 marks

Assured selection of relevant detail. Offers speculative interpretations. Evaluation of how Bronte uses language and structure to achieve specific effects and convey mood and atmosphere. For 9-10, assured analysis of stylistic features e.g. gothic tension.

(b) Choose one or two female characters and discuss how Bronte presents

women. [20]

0 marks Nothing written, or nothing worthy of credit. 1-7

marks Narrative approach with some misreading of selected characters; a personal response to what happens to women in the novel. Makes simple comments on female characters.

8-11 marks

Recognising and understanding of main characterising features of selected women in the novel. Awareness of social, cultural and historical contexts and how these contexts are relevant to understanding the character(s). Answers will be focused on events, with an awareness and understanding of their impact on the women’s lives for 10-11.

12-15 marks

Detailed references to the novel with thorough, and for 14-15, thoughtful, discussion of selected female characters e.g. Jane’s education. Explanation of how different aspects of the novel portray different representations of women, e.g. in Victorian society. Candidates have a clear grasp of how social, cultural and historical contexts influence understanding of characters and their relationship with their society.

16-20 marks

Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation of how Bronte uses language and structure to portray women. For 18-20, assured analysis of characterisation. Candidates show a clear understanding of social, cultural and historical contexts and comment on the importance of these contexts.

(c) Rochester describes himself to Jane as "a poor blind man ... a crippled man

... whom you will have to wait on". How is Rochester presented in the novel ? [20]

0 marks Nothing written, or nothing worthy of credit.

1-7 marks

Narrative approach with some misreading of Rochester’s character; a personal response to what happens to Rochester in the novel. Makes simple comments on events in Rochester’s life.

8-11 marks

Recognising and understanding of main characterising features of Rochester. Awareness of social, cultural and historical contexts and how these contexts are relevant to understanding the character of Rochester. Answers will be focused on events, with an awareness and understanding of their impact Rochester for 10-11.

12-15 marks

Detailed references to the novel with thorough, and for 14-15, thoughtful, discussion of Rochester’s character e.g. his past. Explanation of how different aspects of Rochester’s character are portrayed e.g. his attitudes to Bertha/Jane. Candidates have a clear grasp of how social, cultural and historical contexts influence understanding of Rochester’s character.

16-20 marks

Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation of how Bronte uses language and structure to portray Rochester. For 18-20, assured analysis of characterisation. Candidates show a clear understanding of social, cultural and historical contexts and comment on the importance of these contexts in evaluating Rochester’s character.

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2. Brick Lane

(a) Read the extract on the opposite page. Then answer the following question:

With close reference to the extract, show how Monica Ali creates mood and atmosphere here. [10]

(b) How does the presentation of Chanu create sympathy for him and his

situation? [20]

0 marks Nothing written, or nothing worthy of credit. 1-7

marks Narrative approach with some misreading of Chanu’s character; a personal response to what happens to Chanu in the novel. Makes simple comments on Chanu.

8-11 marks

Recognising and understanding of main characterising features of Chanu’s character, such as his relationship with his wife. Awareness of social, cultural and historical contexts and how these contexts are relevant to understanding the character(s). Answers will be focused on events, with an awareness and understanding of their impact on Chanu for 10-11.

12-15 marks

Detailed references to the novel with thorough, and for 14-15, thoughtful, discussion of Chanu’s character, such as his aspirations in Britain. Explanation of how different aspects of the novel portray different aspects of his character, such as his attitude to his daughter/Dr Azad. Candidates have a clear grasp of how social, cultural and historical contexts influence understanding of Chanu’s character, such as his cultural heritage.

16-20 marks

Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation of how Ali uses language and structure to portray Chanu. For 18-20, assured analysis of characterisation. Candidates show a clear understanding of social, cultural and historical contexts and comment on the importance of these contexts.

(c) How does Monica Ali present the Bangladeshi community of East London? [20]

0 marks Nothing written, or nothing worthy of credit. 1-7

marks Narrative approach with some misreading of the presentation of the Bangladeshi community; a personal response to what happens to members of the Bangladeshi community in the novel. Makes simple comments on events in the community.

8-11 marks

Recognising and understanding of main characterising features of the Bangladeshi community. Awareness of social, cultural and historical contexts and how these contexts are relevant to understanding the Bangladeshi community. Answers will be focused on events, with an awareness and understanding of their impact on the Bangladeshi community for 10-11.

12-15 marks

Detailed references to the novel with thorough, and for 14-15, thoughtful, discussion of the Bangladeshi community, such as the roles of men and women. Explanation of how different members of the community are portrayed e.g. Mrs Islam/Karim. Candidates have a clear grasp of how social, cultural and historical contexts influence understanding of the Bangladeshi community.

16-20 marks

Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation of how Ali uses language and structure to portray the Bangladeshi community. For 18-20, assured analysis of the experience of the Bangladeshi community. Candidates show a clear understanding of social, cultural and historical contexts and comment on the importance of these contexts in evaluating the Bangladeshi community.

0 marks Nothing written, or nothing worthy of credit. 1-3

marks Narrative approach with some misreading; a personal response to what is happening in the extract. Limited comments about stylistic effects.

4-5 marks

Understanding of main events. Generalised references and comments about stylistic effects. Selection of relevant detail, such as the buildings and people. Awareness of mood and atmosphere for 5.

6-7 marks

Detailed references to the extract with thorough, and for 7, thoughtful, discussion of language, e.g. about Nazneen’s sense of wonder. Explanation of how Ali uses different aspects of style and structure to create effects. For 7, candidates will explore the detail of the extract, showing an understanding of mood and atmosphere.

8-10 marks

Assured selection of relevant detail. Offers speculative interpretations. Evaluation of how Ali uses language and structure to achieve specific effects and convey mood and atmosphere. For 9-10, assured analysis of stylistic features e.g. Nazneen’s delight in the unfamiliar.

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3. Tess of the D'Urbervilles (a) Read the extract on the opposite page. Then answer the following question: Look closely at how Tess speaks and behaves here. What does it reveal about her character at this point in the novel? [10]

(b) How does Hardy present men in Victorian society in the novel? [20]

0 marks Nothing written, or nothing worthy of credit. 1-7

marks Narrative approach with some misreading of male characters; a personal response to what happens to men in the novel. Makes simple comments on Victorian society.

8-11 marks

Recognising and understanding of main characterising features of selected men in the novel. Awareness of social, cultural and historical contexts and how these contexts are relevant to understanding the character(s). Answers will be focused on events, with an awareness and understanding of their impact on the men’s lives for 10-11.

12-15 marks

Detailed references to the novel with thorough, and for 14-15, thoughtful, discussion of selected male characters e.g. Alec D’Urberville’s exploitation of Tess. Explanation of how different male characters in the novel portray different representations of men in Victorian society, such as Angel Clare/Alec D’Urberville. Candidates have a clear grasp of how social, cultural and historical contexts influence understanding of characters and their relationship with their society.

16-20 marks

Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation of how Hardy uses language and structure to portray men in Victorian society. For 18-20, assured analysis of characterisation. Candidates show a clear understanding of social, cultural and historical contexts and comment on the importance of these contexts.

(c) 'Tess is a victim of circumstances.' How is Tess presented as a victim? [20]

0 marks Nothing written, or nothing worthy of credit. 1-7

marks Narrative approach with some misreading of Tess’s character; a personal response to what happens to Tess in the novel. Makes simple comments on events in Tess’s life.

8-11 marks

Recognising and understanding of main characterising features of Tess. Awareness of social, cultural and historical contexts and how these contexts are relevant to understanding the character of Tess. Answers will be focused on events, with an awareness and understanding of their impact on Tess for 10-11.

12-15 marks

Detailed references to the novel with thorough, and for 14-15, thoughtful, discussion of Tess’s character. Explanation of how different aspects of Tess’s character are portrayed e.g. her attitude to Alec D’Urberville/Angel Clare. Candidates have a clear grasp of how social, cultural and historical contexts influence understanding of Tess’s character e.g. her humble origins.

16-20 marks

Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation of how Hardy uses language and structure to portray Tess. For 18-20, assured analysis of characterisation. Candidates show a clear understanding of social, cultural and historical contexts and comment on the importance of these contexts in evaluating Tess’s character.

0 marks Nothing written, or nothing worthy of credit. 1-3

marks Narrative approach with some misreading; a personal response to what is happening in the extract. Limited comments about stylistic effects.

4-5 marks

Understanding of main events. Generalised references and comments about stylistic effects. Selection of relevant detail, such as Tess’s concern for her sister. Awareness of Tess’s speech and behaviour and what it reveals about her character for 5.

6-7 marks

Detailed references to the extract with thorough, and for 7, thoughtful, discussion of language, e.g. about Tess’s lack of fear of death. Explanation of how Hardy uses different aspects of style and structure to create effects. For 7, candidates will explore the detail of the extract, showing an understanding of Tess’s speech and behaviour and what it reveals about her character.

8-10 marks

Assured selection of relevant detail. Offers speculative interpretations. Evaluation of how Hardy uses language and structure to achieve specific effects. For 9-10, assured analysis of stylistic features e.g. Tess’s melancholy.

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4. Brighton Rock

(a) Read the extract on the opposite page. Then answer the following question: With close reference to the extract, show how Graham Greene creates mood and atmosphere here. [10]

(b) How does Graham Greene present the relationship between Pinkie and Rose

in the novel? [20]

0 marks Nothing written, or nothing worthy of credit. 1-7

marks Narrative approach with some misreading of the relationship between Pinkie and Rose; a personal response to what happens to Pinkie and Rose in the novel. Makes simple comments on the society of the time.

8-11 marks

Recognising and understanding of main characterising features of the relationship between Pinkie and Rose. Awareness of social, cultural and historical contexts and how these contexts are relevant to understanding the relationship. Answers will be focused on events, with an awareness and understanding of their impact on the relationship between Pinkie and Rose for 10-11.

12-15 marks

Detailed references to the novel with thorough, and for 14-15, thoughtful, discussion of the relationship between Pinkie and Rose, such as their different attitudes to love. Candidates have a clear grasp of how social, cultural and historical contexts influence understanding of characters and their relationship with their society, such as Pinkie’s leadership of the gang.

16-20 marks

Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation of how Greene uses language and structure to portray the relationship between Pinkie and Rose and the society they live in. For 18-20, assured analysis of characterisation. Candidates show a clear understanding of social, cultural and historical contexts and comment on the importance of these contexts.

(c) How is the character of Ida presented in the novel? [20]

0 marks Nothing written, or nothing worthy of credit. 1-7

marks Narrative approach with some misreading of Ida’s character; a personal response to what happens to Ida in the novel. Makes simple comments on events in Ida’s life.

8-11 marks

Recognising and understanding of main characterising features of Ida. Awareness of social, cultural and historical contexts and how these contexts are relevant to understanding the character of Ida. Answers will be focused on events, such as the murder of Hale, with an awareness and understanding of their impact on Ida for 10-11.

12-15 marks

Detailed references to the novel with thorough, and for 14-15, thoughtful, discussion of Ida’s character. Explanation of how different aspects of Ida’s character are portrayed e.g. her concern for Rose/pursuit of Pinkie. Candidates have a clear grasp of how social, cultural and historical contexts influence understanding of Ida’s character.

16-20 marks

Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation of how Greene uses language and structure to portray Ida. For 18-20, assured analysis of characterisation. Candidates show a clear understanding of social, cultural and historical contexts and comment on the importance of these contexts in evaluating Ida’s character.

0 marks Nothing written, or nothing worthy of credit. 1-3

marks Narrative approach with some misreading; a personal response to what is happening in the extract. Limited comments about stylistic effects, such as suspense.

4-5 marks

Understanding of main events. Generalised references and comments about stylistic effects. Selection of relevant detail, such as the holiday crowd. Awareness of mood and atmosphere for 5.

6-7 marks

Detailed references to the extract with thorough, and for 7, thoughtful, discussion of language, e.g. about Hale’s bitten nails or drinking. Explanation of how Greene uses different aspects of style and structure to create effects. For 7, candidates will explore the detail of the extract, showing an understanding of mood and atmosphere.

8-10 marks

Assured selection of relevant detail. Offers speculative interpretations. Evaluation of how Greene uses language and structure to achieve specific effects and convey mood and atmosphere. For 9-10, assured analysis of stylistic features e.g. tension.

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5. Brave New World (a) Read the extract on the opposite page. Then answer the following question:

With close reference to the extract, show how Aldous Huxley creates mood and atmosphere here. [10]

(b) "The inhabitants of the brave new world are happy consumers." How are the

characters presented as “happy consumers” in the novel? [20]

0 marks Nothing written, or nothing worthy of credit. 1-7

marks Narrative approach with some misreading of characters; a personal response to what happens to the characters in the novel. Makes simple comments on the brave new world society.

8-11 marks

Recognising and understanding of main characterising features of the ‘happy consumers’ portrayed in the novel. Awareness of social, cultural and historical contexts and how these contexts are relevant to understanding the character(s). Answers will be focused on events, with an awareness and understanding of their impact on the characters as ‘happy consumers’ for 10-11.

12-15 marks

Detailed references to the novel with thorough, and for 14-15, thoughtful, discussion of the way the characters are portrayed as ‘happy consumers’, such as how drugs and sex are used to create happiness. Explanation of how different aspects of the novel portray different ways in which the ‘happy consumers’ are portrayed such as Bernard Marx/the Director. Candidates have a clear grasp of how social, cultural and historical contexts influence understanding of characters and their relationship with their society.

16-20 marks

Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation of how Huxley uses language and structure to portray characters as ‘happy consumers’. For 18-20, assured analysis of characterisation. Candidates show a clear understanding of social, cultural and historical contexts and comment on the importance of these contexts.

(c) How does the presentation of John the Savage create sympathy for him and

his situation in the novel? [20]

0 marks Nothing written, or nothing worthy of credit. 1-7

marks Narrative approach with some misreading of John the Savage’s character; a personal response to what happens to John the Savage in the novel. Makes simple comments on events in John the Savage’s life.

8-11 marks

Recognising and understanding of main characterising features of John the Savage. Awareness of social, cultural and historical contexts and how these contexts are relevant to understanding the character of John the Savage. Answers will be focused on events, with an awareness and understanding of their impact on John the Savage for 10-11.

12-15 marks

Detailed references to the novel with thorough, and for 14-15, thoughtful, discussion of John the Savage’s character e.g. his past. Explanation of how different aspects of John the Savage’s character are portrayed e.g. his relationship with his father/mother. Candidates have a clear grasp of how social, cultural and historical contexts influence understanding of John the Savage’s character.

16-20 marks

Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation of how Huxley uses language and structure to portray John the Savage. For 18-20, assured analysis of characterisation. Candidates show a clear understanding of social, cultural and historical contexts and comment on the importance of these contexts in evaluating John the Savage’s character.

0 marks Nothing written, or nothing worthy of credit. 1-3

marks Narrative approach with some misreading; a personal response to what is happening in the extract. Limited comments about stylistic effects.

4-5 marks

Understanding of main events. Generalised references and comments about stylistic effects. Selection of relevant detail, such as the students’ avid attention. Awareness of mood and atmosphere for 5.

6-7 marks

Detailed references to the extract with thorough, and for 7, thoughtful, discussion of language, e.g. about the Director’s views. Explanation of how Huxley uses different aspects of style and structure to create effects. For 7, candidates will explore the detail of the extract, showing an understanding of mood and atmosphere.

8-10 marks

Assured selection of relevant detail. Offers speculative interpretations. Evaluation of how Huxley uses language and structure to achieve specific effects and convey mood and atmosphere. For 9-10, assured analysis of stylistic features.

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6. Hamlet (a) Read the extract on the opposite page. Then answer the following question:

With close reference to the extract, show how Shakespeare creates mood and atmosphere for an audience here. [10]

0 marks Nothing written, or nothing worthy of credit.

1-3 marks

Narrative approach with some misreading; a personal response to what is happening in the extract. Limited comments about stylistic effects, such as nervousness.

4-5 marks

Understanding of main events. Generalised references and comments about stylistic effects, such as the nervous atmosphere. Selection of relevant detail, such as the expectation of the ghost’s appearance. Awareness of mood and atmosphere for 5.

6-7 marks

Detailed references to the extract with thorough, and for 7, thoughtful, discussion of language, e.g. about tension and suspense in the extract. Explanation of how Shakespeare uses different aspects of style and structure to create effects. For 7, candidates will explore the detail of the extract, showing an understanding of mood and atmosphere.

8-10 marks

Assured selection of relevant detail. Offers speculative interpretations. Evaluation of how Shakespeare uses language and structure to achieve specific effects and convey mood and atmosphere. For 9-10, assured analysis of stylistic features e.g. use of questioning.

(b) How does the presentation of Claudius create sympathy for him and his

situation in the play? [20]

0 marks Nothing written, or nothing worthy of credit. 1-7

marks Narrative approach with some misreading of Claudius’ character; a personal response to what happens to Claudius in the play. Makes simple comments on Claudius’ situation .

8-11 marks

Recognising and understanding of main characterising features of Claudius in the play. Awareness of social, cultural and historical contexts and how these contexts are relevant to understanding of Claudius’ situation. Answers will be focused on events, with an awareness and understanding of Claudius for 10-11.

12-15 marks

Detailed references to the play with thorough, and for 14-15, thoughtful, discussion of Claudius’ character e.g. his relationship with Hamlet. Explanation of how different aspects of Claudius’ character are portrayed e.g. his relationship with Gertrude. Candidates have a clear grasp of how social, cultural and historical contexts influence understanding of Claudius’ character.

16-20 marks

Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation of how Shakespeare uses language and structure to Claudius and his situation. For 18-20, assured analysis of characterisation. Candidates show a clear understanding of social, cultural and historical contexts and comment on the importance of these contexts in evaluating Claudius’ character.

(c) How are relationships between parents and their children presented in the

play? [20]

0 marks Nothing written, or nothing worthy of credit. 1-7

marks Narrative approach with some misreading of parent/child relationships; a personal response to what happens parents and their children in the play. Makes simple comments on the relationships.

8-11 marks

Recognising and understanding of main features of parent/child relationships. Awareness of social, cultural and historical contexts and how these contexts are relevant to understanding parent/child relationships. Answers will be focused on events, with an awareness and understanding of their impact on these relationships for 10-11.

12-15 marks

Detailed references to the play with thorough, and for 14-15, thoughtful, discussion of parent/child relationships e.g. Hamlet’s troubled relationship with Gertrude. Explanation of how different aspects of parent/child relationships are portrayed e.g. Polonius’ attitude to Laertes and Ophelia. Candidates have a clear grasp of how social, cultural and historical contexts influence understanding of these relationships.

16-20 marks

Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation of how Shakespeare uses language and structure to portray parent/child relationships. For 18-20, assured analysis of the relationships. Candidates show a clear understanding of social, cultural and historical contexts and comment on the importance of these contexts in evaluating the relationships presented.

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7. The Browning Version (a) Read the extract on the opposite page. Then answer the following question:

Look closely at how the characters speak and behave here. How does it create mood and atmosphere? [10]

(b) How does Rattigan present the relationship between Andrew Crocker-Harris

and Frank Hunter in the play? [20]

0 marks Nothing written, or nothing worthy of credit. 1-7

marks Narrative approach with some misreading of the relationship between Andrew Crocker-Harris and Frank Hunter; a personal response to what happens to Andrew Crocker-Harris and Frank Hunter in the play. Makes simple comments on the relationship.

8-11 marks

Recognising and understanding of main characterising features of the relationship between Andrew Crocker-Harris and Frank Hunter in the play, such as Hunter’s affair with Crocker-Harris' wife. Awareness of social, cultural and historical contexts and how these contexts are relevant to understanding of the relationship. Answers will be focused on events, with an awareness and understanding of the relationship for 10-11.

12-15 marks

Detailed references to the play with thorough, and for 14-15, thoughtful, discussion of the relationship between Andrew Crocker-Harris and Frank Hunter. Explanation of how different aspects of the relationship are portrayed e.g. their different attitudes to teaching/love. Candidates have a clear grasp of how social, cultural and historical contexts influence understanding of the relationship between Andrew Crocker-Harris and Frank Hunter.

16-20 marks

Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation of how Rattigan uses language and structure to portray the relationship between Andrew Crocker-Harris and Frank Hunter. For 18-20, assured analysis of characterisation. Candidates show a clear understanding of social, cultural and historical contexts and comment on the importance of these contexts in evaluating the relationship between Andrew Crocker-Harris and Frank Hunter.

(c) How is life in a public school presented in the play? [20]

0 marks Nothing written, or nothing worthy of credit. 1-7

marks Narrative approach with some misreading of life in public schools; a personal response to what happens in the school in the play. Makes simple comments on life in a public school.

8-11 marks

Recognising and understanding of main features of school life. Awareness of social, cultural and historical contexts and how these contexts are relevant to understanding life in a public school. Answers will be focused on events, with an awareness and understanding of their impact on life in a public school for 10-11.

12-15 marks

Detailed references to the play with thorough, and for 14-15, thoughtful, discussion of life in a public school, such as teacher/pupil relationships. Explanation of how different aspects of school life are portrayed e.g. Crocker-Harris’ sense of betrayal by the school/the Head’s attitude. Candidates have a clear grasp of how social, cultural and historical contexts influence understanding of life in a public school.

16-20 marks

Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation of how Rattigan uses language and structure to present life in a public school. For 18-20, assured analysis of way school life is portrayed. Candidates show a clear understanding of social, cultural and historical contexts and comment on the importance of these contexts in evaluating life in a public school.

0 marks Nothing written, or nothing worthy of credit. 1-3

marks Narrative approach with some misreading; a personal response to what is happening in the extract. Limited comments about stylistic effects, such as Millie’s cruelty.

4-5 marks

Understanding of main events. Generalised references and comments about stylistic effects, such as the tense atmosphere. Selection of relevant detail, such as the secrecy between Millie and Frank. Awareness of mood and atmosphere for 5.

6-7 marks

Detailed references to the extract with thorough, and for 7, thoughtful, discussion of language, e.g. about tension in the extract. Explanation of how Rattigan uses different aspects of style and structure to create effects. For 7, candidates will explore the detail of the extract, showing an understanding of mood and atmosphere.

8-10 marks

Assured selection of relevant detail. Offers speculative interpretations. Evaluation of how Rattigan uses language and structure to achieve specific effects and convey mood and atmosphere. For 9-10, assured analysis of stylistic features e.g. use of stage directions for Millie and Frank.

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8. The Crucible (a) Read the extract on the opposite page. Then answer the following question:

Look closely at how Elizabeth and John Proctor speak and behave here. What does it reveal about their relationship at this point in the play? [10]

0 marks Nothing written, or nothing worthy of credit. 1-3

marks Narrative approach with some misreading; a personal response to what is happening in the extract. Limited comments about stylistic effects, such as John’s contentment.

4-5 marks

Understanding of main events. Generalised references and comments about stylistic effects, such as the restrained atmosphere. Selection of relevant detail, such as Elizabeth’s attentiveness. Awareness of mood and atmosphere for 5.

6-7 marks

Detailed references to the extract with thorough, and for 7, thoughtful, discussion of language, e.g. about the underlying tension. Explanation of how Miller uses different aspects of style and structure to create effects. For 7, candidates will explore the detail of the extract, showing an understanding of mood and atmosphere.

8-10 marks

Assured selection of relevant detail. Offers speculative interpretations. Evaluation of how Miller uses language and structure to achieve specific effects and convey mood and atmosphere. For 9-10, assured analysis of stylistic features e.g. use of stage directions.

(b) How is John Proctor presented in the play? [20]

0 marks Nothing written, or nothing worthy of credit. 1-7

marks Narrative approach with some misreading of John Proctor’s character; a personal response to what happens to John Proctor in the play. Makes simple comments on John Proctor’s attitude to his society.

8-11 marks

Recognising and understanding of main characterising features of John Proctor in the play. Awareness of social, cultural and historical contexts and how these contexts are relevant to understanding of John Proctor’s character. Answers will be focused on events, with an awareness and understanding of John Proctor’s character for 10-11.

12-15 marks

Detailed references to the play with thorough, and for 14-15, thoughtful, discussion of John Proctor’s character, such as his relationship with his wife. Explanation of how different aspects of John Proctor’s character are portrayed e.g. his relationship with Abigail. Candidates have a clear grasp of how social, cultural and historical contexts influence understanding of John Proctor’s character.

16-20 marks

Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation of how Miller uses language and structure to portray John Proctor’s character. For 18-20, assured analysis of characterisation. Candidates show a clear understanding of social, cultural and historical contexts and comment on the importance of these contexts in evaluating John Proctor’s character, such as his attitude to religious hypocrisy.

(c) With reference to two or three characters, write about how religion is

presented in the play? [20]

0 marks Nothing written, or nothing worthy of credit. 1-7

marks Narrative approach with some misreading of how religion affects selected characters; a personal response to religion and characters in the play. Makes simple comments on religion and its effect on selected characters.

8-11 marks

Recognising and understanding of main effects of religion on selected characters. Awareness of social, cultural and historical contexts and how these contexts are relevant to understanding the way religion affects selected characters. Answers will be focused on events, with an awareness and understanding of religion and its effects on selected characters for 10-11.

12-15 marks

Detailed references to the play with thorough, and for 14-15, thoughtful, discussion of how religion affected selected characters, such as Abigail’s exploitation of religion for her own ends. Explanation of how different aspects of religion and its effects on selected characters are portrayed such as Reverend Hale/John Proctor. Candidates have a clear grasp of how social, cultural and historical contexts influence understanding of how religion affects selected characters.

16-20 marks

Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation of how Miller uses language and structure to portray the effect of religion on selected characters. For 18-20, assured analysis of the effect of religion on selected characters. Candidates show a clear understanding of social, cultural and historical contexts and comment on the importance of these contexts in evaluating the effect of religion on selected characters.

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9. A Raisin in the Sun

(a) Read the extract on the opposite page. Then answer the following question:

With close reference to the extract, show how Lorraine Hansberry creates mood and atmosphere for an audience here. [10]

(b) How does the presentation of Beneatha create sympathy for her and her

situation? [20]

(c) How is the theme of dreams presented in the play? [20]

0 marks Nothing written, or nothing worthy of credit. 1-7

marks Narrative approach with some misreading of dreams in the play; a personal response to the dreams shown in the play. Makes simple comments on dreams.

8-11 marks

Recognising and understanding of the main dreams shown in the play. Awareness of social, cultural and historical contexts and how these contexts are relevant to understanding characters’ dreams. Answers will be focused on events, with an awareness and understanding of what they show about dreams for 10-11.

12-15 marks

Detailed references to the play with thorough, and for 14-15, thoughtful, discussion of dreams in the play, such as Walter Lee’s hopes for a future in business. Explanation of how different aspects of dreams are portrayed, such as Beneatha’s rejection of George Murchison/Walter’s failure in business. Candidates have a clear grasp of how social, cultural and historical contexts influence understanding of dreams.

16-20 marks

Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation of how Hansberry uses language and structure to portray dreams. For 18-20, assured analysis of the theme of dreams. Candidates show a clear understanding of social, cultural and historical contexts and comment on the importance of these contexts in evaluating how dreams are presented.

0 marks Nothing written, or nothing worthy of credit. 1-3

marks Narrative approach with some misreading; a personal response to what is happening in the extract. Limited comments about stylistic effects.

4-5 marks

Understanding of main events. Generalised references and comments about stylistic effects, such as the disappointed atmosphere. Selection of relevant detail, such as Beneatha’s anecdote. Awareness of mood and atmosphere for 5.

6-7 marks

Detailed references to the extract with thorough, and for 7, thoughtful, discussion of language, e.g. about tension in the extract. Explanation of how Hansberry uses different aspects of style and structure to create effects. For 7, candidates will explore the detail of the extract, showing an understanding of mood and atmosphere.

8-10 marks

Assured selection of relevant detail. Offers speculative interpretations. Evaluation of how Hansberry uses language and structure to achieve specific effects and convey mood and atmosphere. For 9-10, assured analysis of stylistic features e.g. use of stage directions about Walter.

0 marks Nothing written, or nothing worthy of credit. 1-7

marks Narrative approach with some misreading of Beneatha’s character; a personal response to what happens to Beneatha in the play. Makes simple comments on Beneatha.

8-11 marks

Recognising and understanding of main characterising features of Beneatha in the play. Awareness of social, cultural and historical contexts and how these contexts are relevant to understanding how sympathy is created for Beneatha. Answers will be focused on events, with an awareness and understanding of Beneatha as a sympathetic character for 10-11.

12-15 marks

Detailed references to the play with thorough, and for 14-15, thoughtful, discussion of Beneatha’s character, such as her relationship with her son. Explanation of how different aspects of Beneatha’s character are portrayed and create sympathy for her e.g. her search for identity in her African heritage/her relationship with George Murchison. Candidates have a clear grasp of how social, cultural and historical contexts influence understanding of Beneatha’s character.

16-20 marks

Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation of how Hansberry uses language and structure to create sympathy for Beneatha. For 18-20, assured analysis of characterisation. Candidates show a clear understanding of social, cultural and historical contexts and comment on the importance of these contexts in evaluating Beneatha’s character.

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10. The Lost Prince

(a) Read the extract on the opposite page. Then answer the following question:

With close reference to the extract, show how Stephen Poliakoff creates mood and atmosphere for the viewer here. [10]

(b) How is Prince George presented in the play? [20]

0 marks Nothing written, or nothing worthy of credit. 1-7

marks Narrative approach with some misreading of Prince George’s character; a personal response to what happens to Prince George in the play. Makes simple comments on Prince George.

8-11 marks

Recognising and understanding of main characterising features of Prince George in the play. Awareness of social, cultural and historical contexts and how these contexts are relevant to understanding of Prince George. Answers will be focused on events, with an awareness and understanding of Prince George for 10-11.

12-15 marks

Detailed references to the play with thorough, and for 14-15, thoughtful, discussion of Prince George, such as his relationship with Prince John. Explanation of how different aspects of Prince George’s character are portrayed e.g. his relationships with his parents. Candidates have a clear grasp of how social, cultural and historical contexts influence understanding of Prince George’s character.

16-20 marks

Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation of how Poliakoff uses language and structure to portray Prince George. For 18-20, assured analysis of characterisation. Candidates show a clear understanding of social, cultural and historical contexts and comment on the importance of these contexts in evaluating Prince George’s character.

(c) How does Stephen Poliakoff present the relationships between Prince John

and his parents in the play? [20]

0 marks Nothing written, or nothing worthy of credit. 1-7

marks Narrative approach with some misreading of the relationships between Prince John and his parents; a personal response to what happens to Prince John and his parents in the play. Makes simple comments on the relationships.

8-11 marks

Recognising and understanding of main features of Prince John’s relationships with his parents. Awareness of social, cultural and historical contexts and how these contexts are relevant to understanding Prince John’s relationship with his parents, such as his illness. Answers will be focused on events, with an awareness and understanding of their impact on these relationships for 10-11.

12-15 marks

Detailed references to the play with thorough, and for 14-15, thoughtful, discussion of Prince John’s relationships with his parents. Explanation of how different aspects of Prince John’s relationships with his parents are portrayed, e.g. his father/mother. Candidates have a clear grasp of how social, cultural and historical contexts influence understanding of these relationships.

16-20 marks

Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation of how Poliakoff uses language and structure to portray Prince John’s relationships with his parents. For 18-20, assured analysis of the relationships. Candidates show a clear understanding of social, cultural and historical contexts and comment on the importance of these contexts in evaluating the relationships presented.

0 marks Nothing written, or nothing worthy of credit. 1-3

marks Narrative approach with some misreading; a personal response to what is happening in the extract. Limited comments about stylistic effects.

4-5 marks

Understanding of main events. Generalised references and comments about stylistic effects, such as the sad atmosphere. Selection of relevant detail, such as the two courses and the improvised menu. Awareness of mood and atmosphere for 5.

6-7 marks

Detailed references to the extract with thorough, and for 7, thoughtful, discussion of language, e.g. about tension in the extract. Explanation of how Poliakoff uses different aspects of style and structure to create effects. For 7, candidates will explore the detail of the extract, showing an understanding of mood and atmosphere.

8-10 marks

Assured selection of relevant detail. Offers speculative interpretations. Evaluation of how Poliakoff uses language and structure to achieve specific effects and convey mood and atmosphere. For 9-10, assured analysis of stylistic features e.g. George’s memories.

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LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen assessment materials First teaching September 2011 First examination Summer 2013 PAPER 2 MARKING GUIDELINES GENERAL 1. Expression Where problems with presentation seriously impede communication, assessment can

be problematic. In such cases the candidate should, after discussion with your team leader, be referred to me for a second opinion: write Refer to C.E. boldly at the top of the script. Confused or vague expression is often a result of faulty understanding or appreciation of a point a candidate is trying to make. Avoid the temptation of saying to yourself, 'I think I know what s/he means', and awarding credit. Signal this in the margin by a remark like 'getting somewhere' or 'not quite there'.

2. Remarks An ongoing series of remarks in the margin throughout the script is vital. These

remarks will be mainly your identifications of skills as they appear. Remember that your mark at the end of the exercise must tally with the skills which you have identified. New examiners have been provided with marked scripts to illustrate this procedure.

There must always be a comment at the end of each question. This should not simply

echo the mark but indicate the salient features of the candidate's performance established by the C.E. for this examination.

3. Marking positively Please approach the marking of scripts with an open mind and mark positively. All the

questions provide opportunities for candidates to make informed, independent responses, and such opportunities need to be upheld in your marking. You must evaluate what is offered by the candidate, using the criteria, but without looking for what might have been presented or for what you might have written in the candidate's place.

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4. Assessment Objectives

AO1 Respond to texts critically and imaginatively; select and evaluate relevant textual detail to illustrate and support interpretations.

AO2 Explain how language, structure and form contribute to writers' presentation of ideas, themes and settings.

AO3 Explain links between texts, evaluating writers' different ways of expressing meaning and achieving effects.

AO4 Relate texts to their social, cultural and historical contexts; explain how texts have been influential and significant to self and other readers in different contexts and at different times.

5. Assessment objective coverage in Paper 2

Assessment objective

Section A

Section B

Section C

AO1

AO2

AO3 AO4

In determining the appropriate mark band and fine-tuning to a specific mark for

responses to (a), you should give equal weighting to AO1 and AO2.

In determining the appropriate mark band and fine-tuning to a specific mark for responses to (b) and (c), you should give equal weighting to AO1 and AO2, and slightly higher weighting to AO4.

6. 'Best-fit' marking The work for each question should be marked according to the marking criteria using

a 'best-fit' approach. For each of the assessment objectives and quality of written communication descriptors, select one of the band descriptors that most closely describes the quality of the work being marked.

• where the candidate's work convincingly meets the statement, the highest mark

should be awarded; • where the candidate's work adequately meets the statement, the most

appropriate mark in the middle-range should be awarded; • where the candidate's work just meets the statement, the lowest mark should be

awarded. Examiners should use the full range of marks available to them and award full marks in any band for work which fully meets that descriptor. The marks on either side of the middle mark(s) for 'adequately met' should be used where the standard is lower or higher than 'adequate' but not the highest or lowest mark in the band. Marking should be positive, rewarding achievement rather than penalising failure or omissions. The award of marks must be directly related to the marking criteria.

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BAND CRITERIA

The following descriptions have been provided to indicate the way in which progression within the criteria is likely to occur. Each successive description assumes demonstration of achievements in lower bands. You are asked to place work initially within a band and then to fine-tune using the marks within the band. It is recognised that work will not always fit neatly into one of the descriptions.

A Critical response to texts (AO1)

Language, structure and form (AO2)

Making links (AO3) Social, cultural and historical contexts (AO4)

0 Nothing written, or what is written is totally irrelevant to the text or not worthy of credit

1-7 Candidates rely on a narrative approach with some misreadings: make a personal response to the text.

Candidates may make generalised comments about stylistic effects.

Candidates begin to make simple links when required; give simple unfocused expression of preference.

Candidates make simple comments on textual background.

Errors in grammar, punctuation and spelling and lack of structure are likely to impede communication on occasions. There will be little evidence of specialist vocabulary.

8-11 Candidates display some understanding of main features: make generalised reference to relevant aspects of the text, echoing and paraphrasing; begin to select relevant detail.

Candidates are able to recognise and make simple comments on particular features of style and structure.

Candidates make straightforward links and connections between texts; select some obvious features of similarity and difference.

Candidates show a limited awareness of social/cultural and historical contexts; begin to be aware how social/cultural and historical context is relevant to understanding the text(s).

Expression will be reasonably clear and the answer will have a basic structure. Grammar, punctuation and spelling will contain errors but these will not be intrusive; use of specialist vocabulary will be limited and/or not

always appropriate.

12-15 Candidates make more detailed reference to text; discuss thoroughly, and increasingly thoughtfully, characters and relationships; probe the sub-text with increasing confidence; select and evaluate relevant textual details; understand and demonstrate how writers use ideas, themes and settings to affect the reader; convey ideas clearly and appropriately.

Candidates see how different aspects of style and structure combine to create effects; show increasingly clear appreciation of how meanings and ideas are conveyed through language, structure and form.

Candidates compare and make some evaluation of subject, theme, character and the impact of texts; begin to explore links of theme and style; are able to explain the relevance and impact of connections and comparisons between texts.

Candidates are able to set texts in contexts more securely; begin to see how texts have been influential; have a clear grasp of social/cultural and historical context; begin to be able to relate texts to own and other's experience.

Expression will be mainly clear and fluent and the answer will be quite well structured. There will be some errors in spelling or punctuation; specialist vocabulary will be used mainly appropriately.

16-20 Candidates make increasingly assured selection and incorporation of relevant detail; are able to speculate/offer tentative judgements; are able to evaluate characters/relationships and attitudes/motives; at the highest level, consistently handle texts with confidence, have an overview and ability to move from the specific to the general; convey ideas persuasively and cogently with apt textual support.

Candidates show appreciation of how writers use language to achieve specific effects; make assured exploration and evaluation of the ways meaning, ideas and feeling are conveyed through language, structure and form; at the highest level, make assured analysis of stylistic features.

Candidates make a sustained discussion of links between texts; make apt selection of details for cross reference; at the highest level, make subtle points of comparison and probe links confidently.

Candidates show a clear understanding of social/cultural and historical contexts; are able to relate texts to own and others' experience; are able to identify and comment on importance of social/cultural and historical contexts; awareness of literary tradition shown; at the highest level, show a clear understanding of social/cultural and historical contexts; able to relate details of text to literary background and explain how texts have been / are influential at different times.

Expression will be clear and fluent and the answer will be well structured. There will be few errors in grammar, punctuation and spelling; specialist vocabulary will be used appropriately.

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BAND CRITERIA

The following descriptions have been provided to indicate the way in which progression within the criteria is likely to occur. Each successive description assumes demonstration of achievements in lower bands. You are asked to place work initially within a band and then to fine-tune using the marks within the band. It is recognised that work will not always fit neatly into one of the descriptions.

B C

Critical response to texts (AO1) Language, structure and form (AO2)

0 Nothing written, or what is written is totally irrelevant to the text or not worthy of credit

1-3 Candidates rely on a narrative approach with some misreadings: make a personal response to the text.

Candidates may make generalised comments about stylistic effects.

Errors in grammar, punctuation and spelling and lack of structure are likely to impede communication on occasions. There will be little evidence of specialist vocabulary.

4-5 Candidates display some understanding of main features: make generalised reference to relevant aspects of the text, echoing and paraphrasing; begin to select relevant detail.

Candidates are able to recognise and make simple comments on particular features of style and structure.

Expression will be reasonably clear and the answer will have a basic structure. Grammar, punctuation and spelling will contain errors but these will not be intrusive; use of specialist vocabulary will be limited and/or not

always appropriate.

6-7 Candidates make more detailed reference to text; discuss thoroughly, and increasingly thoughtfully, characters and relationships; probe the sub-text with increasing confidence; select and evaluate relevant textual details; understand and demonstrate how writers use ideas, themes and settings to affect the reader; convey ideas clearly and appropriately.

Candidates see how different aspects of style and structure combine to create effects; show increasingly clear appreciation of how meanings and ideas are conveyed through language, structure and form.

Expression will be mainly clear and fluent and the answer will be quite well structured. There will be some errors in spelling or punctuation; specialist vocabulary will be used mainly appropriately.

8-10 Candidates make increasingly assured selection and incorporation of relevant detail; are able to speculate/offer tentative judgements; are able to evaluate characters/relationships and attitudes/motives; at the highest level, consistently handle texts with confidence, have an overview and ability to move from the specific to the general; convey ideas persuasively and cogently with apt textual support.

Candidates show appreciation of how writers use language to achieve specific effects; make assured exploration and evaluation of the ways meaning, ideas and feeling are conveyed through language, structure and form; at the highest level, make assured analysis of stylistic features.

Expression will be clear and fluent and the answer will be well structured. There will be few errors in grammar, punctuation and spelling; specialist vocabulary will be used appropriately.

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SECTION A

1. Poems from Other Centuries Experiences of Nature Choose two poems from the booklet which create the atmosphere of a particular time of year. Write about how the poet(s) create(s) this atmosphere, the links between the poems, and the effect each poem has on you.

0 marks Nothing written, or nothing worthy of credit.

1-7 marks Simple comments on and links between the poems, possibly with some misreadings. General comments on language and style.

8-11 marks Understanding of main features, echoing and paraphrasing relevant aspects. Candidates recognise and comment on main features of style and structure, and make straightforward links between the poems. Awareness of the mood, atmosphere, and themes of the poems.

12-15 marks

Detailed references to the poems with thorough, and for 14-15, thoughtful, discussion of language. Explanation of how different aspects of style and structure create effects. Exploration of links in theme and style, probing the sub-text.

16-20 marks Assured selection of detail, offers speculative interpretations. Evaluation of how the poets’ use of language, structure and form achieve specific effects. For 18-20, assured analysis of stylistic features. Confident analysis of links and points of comparison between the poems.

SECTION B

2. Poetry

0 marks Nothing written, or nothing worthy of credit.

1-3 marks Simple comments on the poem, possibly with some misreadings. General comments on language and style.

4-5 marks

Understanding of main features, echoing and paraphrasing relevant aspects. Candidates recognise and comment on main features of style and structure in the poem. Awareness of the mood, atmosphere, and themes of the poem.

6-7 marks Detailed references to the poem with thorough, and for 7, thoughtful, discussion of language. Explanation of how different aspects of style and structure create effects. Exploration of theme and style, probing the sub-text.

8-10 marks Assured selection of detail, offers speculative interpretations. Evaluation of how the poet’s use of language, structure and form achieve specific effects. For 9-10, assured analysis of stylistic features. Confident analysis the poet’s technique.

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SECTION C

3. Prose

0 marks Nothing written, or nothing worthy of credit.

1-3 marks Simple comments on the extract, possibly with some misreadings. General comments on language, mood and atmosphere.

4-5 marks

Understanding of main features, echoing and paraphrasing relevant aspects. Candidates recognise and comment on main features of style and characterisation in the extract. Awareness of the mood and atmosphere in the extract.

6-7 marks Detailed references to the extract with thorough, and for 7, thoughtful, discussion of language. Explanation of how different aspects of style and characterisation create effects. Exploration of mood and atmosphere, probing the sub-text.

8-10 marks Assured selection of detail, offers speculative interpretations. Evaluation of how the writer’s use of language achieves specific effects. For 9-10, assured analysis of stylistic features that create mood and atmosphere. Confident analysis the writer’s technique.

4. Drama

0 marks Nothing written, or nothing worthy of credit.

1-3 marks Simple comments on the extract, possibly with some misreadings. General comments on the characters and their relationship.

4-5 marks Understanding of main features, echoing and paraphrasing relevant aspects. Candidates recognise and comment on main features of style and characterisation in the extract. Awareness of the nature of the relationship.

6-7 marks

Detailed references to the extract with thorough, and for 7, thoughtful, discussion of language. Explanation of how different aspects of style and characterisation create effects. Exploration of the relationship, probing the sub-text.

8-10 marks Assured selection of detail, offers speculative interpretations. Evaluation of how the writer’s use of language and characterisation achieves specific effects. For 9-10, assured analysis of the relationship. Confident analysis the writer’s technique.

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ASSESSMENT GRID

Level 1 / Level 2 Certificate in English Literature

Assessment Objectives Raw Marks (Actual) Total

Mark

AO1 AO2 AO3 AO4 QWC Paper 1

Section A (a) 5 5 10

Section A (b) (c) 6 6 8 20

Section B (a) 5 5 10

Section B (b) (c) 6 6 8 20

Total Marks 22 22 16 60

AO1 AO2 A03 AO4

Paper 2

Section A 3 3 11 3 20

Section B 5 5 10

Section C 5 5 10

Total Marks 13 13 11 3 40

WJEC Level 1 / Level 2 Certificate in English Literature SAMs - 2011 JF 06 04 11