ELLA1 / Unit 1: Integrated Analysis and Text Production Mark scheme

AQA Qualifications A-LEVEL ENGLISH LANGUAGE AND LITERATURE A ELLA1 / Unit 1: Integrated Analysis and Text Production Mark scheme 2720 June 2014 Version 1.0: Final

Mark schemes are prepared by the Lead Assessment Writer and considered, together with the relevant questions, by a panel of subject teachers. This mark scheme includes any amendments made at the standardisation events which all associates participate in and is the scheme which was used by them in this examination. The standardisation process ensures that the mark scheme covers the students responses to questions and that every associate understands and applies it in the same correct way. As preparation for standardisation each associate analyses a number of students scripts: alternative answers not already covered by the mark scheme are discussed and legislated for. If, after the standardisation process, associates encounter unusual answers which have not been raised they are required to refer these to the Lead Assessment Writer. It must be stressed that a mark scheme is a working document, in many cases further developed and expanded on the basis of students reactions to a particular paper. Assumptions about future mark schemes on the basis of one year s document should be avoided; whilst the guiding principles of assessment remain constant, details will change, depending on the content of a particular examination paper. Further copies of this Mark Scheme are available from aqa.org.uk Copyright 2014 AQA and its licensors. All rights reserved. AQA retains the copyright on all its publications. However, registered schools/colleges for AQA are permitted to copy material from this booklet for their own internal use, with the following important exception: AQA cannot give permission to schools/colleges to photocopy any material that is acknowledged to a third party even for internal use within the school/college.

DISTRIBUTION OF ASSESSMENT OBJECTIVES AND WEIGHTINGS The table below is a reminder of which Assessment Objectives will be tested by the questions and the marks available to them. Assessment Objective AO1 AO2 AO4 Section A 15 15 Section B 15 30 Marking Procedure 1. Assess each AO separately; use the grid to ascertain the relevant band, sub-band and then mark. 2. Additional points and ideas will be added to the question-specific mark scheme during standardisation 3. Award mark for each AO, record at the end of the script and add together to arrive at a mark out of 30 for Section A and 45 for Section B. Ring mark and transfer to front of script. Notes to examiners re: question-specific mark schemes Please note that the ideas and points given in each of the question-specific mark schemes are not exhaustive and are only printed to give an idea of some of the points you might see when marking scripts. Do not treat them as a checklist. Use them as a referral point with the opportunity to add to them as you continue to mark. 3 of 30

Marking notations for English Language and Literature ELLA1 Use the guidelines in the Assistant Examiner s Handbook as the basis of your marking, but supplement with these specific notations used across all units of the specification. Points that are correct: (tick): E: to indicate a positive point (but not rhythmical ticks) engages with meaning Errors: mistakes: spelling/punctuation error: sp/p ringed in body of text marked with X for scripts marked on-line for scripts marked conventionally Marginal annotation? query I for a point made about imagery P for a point made about phonology D a point made about dramatic technique V a point made about narrative viewpoint sf point made about feature of speech mud muddled eg example irrel irrelevant c error where a capital letter is used where a lower case should be, or vice versa ^ idea needs developing/omission For A questions gr lang For B questions gr lang exp for a grammatical point for a vocabulary point for a grammatical error for a vocabulary error for a flaw in expression These points in no way supersede other marginal comments made by examiners. You should seek to make meaningful but economic comments in the margins and, particularly, at the end of the essay to show how your marks have been arrived at. 4 of 30

MARKING GRID F AS ENGLISH LANGUAGE AND LITERATURE SECTION A ANALYSIS Select and apply relevant concepts and approaches from integrated linguistic and literary study, using appropriate terminology and accurate, coherent written expression Demonstrate detailed critical understanding in analysing the ways in which structure, form and language shape meanings in a range of spoken and written texts 13 15 AO1 (Marks out of 15) Use of framework(s) enhances and illuminates textual interpretation possibly conceptual. Sophisticated analysis of language. Engages closely with the meaning of the text; patterns fully appreciated. Fluent, cohesive writing. AO2 (Marks out of 15) Illuminating analysis of text. Thorough overview in response to question. Possibly conceptualised or individualistic in approach. Entirely relevant response. (Conceptual comment on form/structure/literary techniques. Cogent comments on stylistic features.) 4 11 12 Coherent use of framework(s). Some thoughtful probing of features and, possibly, patterns. Thoughtful engagement with texts through frameworks and details. Bases interpretation on evident use of frameworks engages with meaning. Fluent writing. Secure and coherent analysis underpinned by good textual evidence; textual grasp very evident. Clear overview in response to question. Relevant response. Close focus on details with a range of examples discussed. (Coherent comment on form/structure/literary techniques; thoughtful points made on stylistic features.) 5 of 30

3 9 10 7 8 5 6 Uses framework(s) to highlight reading. Describes significant features/patterns. Awareness of stylistic and linguistic features. Engages with texts through explanation of features; possibly under-developed in places. Competent writing. Evidence of some range. Partial use of suitable framework(s). Sense of patterns may emerge in places; likely to be underdeveloped. Able to distinguish between different features fairly accurately but may be unable to comment on effect of all features. Expression clear and generally controlled. Shows awareness of some of writer s choices within the text. Makes some illustrated points but lacks precise comments on lit/ling features. List-like but largely accurate ideas. Broad comments on effects of features. Possibly feature spots. Approach may be fairly simplistic. Expression communicates ideas but lacks flexibility/sophistication. Possibly a limited number of ideas explored. Some close analysis becomes obvious; some exploration. Growing confidence of interpretation. Careful use of illustrated points. Sustains clear line of argument. Provides overview in response to question. Relevant response. (Explains form/structure/literary techniques accurately with significant points about stylistic features and how they work in texts.) Analysis emerging; May concentrate on one area at expense of others. Some sense of overview in response to question. Generally accurate and relevant. (Appreciation of style/structure/form becoming apparent. Some distinguishing features interpreted; stylistic features are commented upon but may lack contextual understanding.) At least two illustrated points are made. Possibly lacks evidence in places; broader, list-like comments may feature. Ideas mostly simple/unsophisticated but accurate. Possibly very little contextual comment made. Limited overview in response to question. Possibly patchy relevance. (Some simple analysis and recognition of implied meaning.) 2 4 Simplistic. Identifies some points but limited analysis occurs. Generalised and imprecise ideas. Lacks details or engagement and considers very few stylistic features. Some awareness of the focus of a text; common sense approach but does not discuss how language works. Writing contains flaws in expression. Basic and generalised analysis. At least one illustrated point made. May take a narrative approach with occasional simplistic comments. Some flaws in understanding may be evident. Possibly not related to the context at all. No real sense of overview in response to question. Possibly only occasional relevance. (Responds to surface features in a broad fashion.) 6 of 30

3 Lack of coherence in selection of ideas; little apparent planning with probably no use of framework. Implicit views of language use; superficial ideas. Possibly very few relevant ideas. Makes a number of errors. Ideas and expression likely to be naïve and vocabulary limited. Very limited analysis/very superficial understanding. Flaws in understanding likely to be evident. No overview in response to question. Possibly largely irrelevant. (Sometimes responds to surface features/odd textual references but main focus is on textual narrative or general points. Comments on style are totally general.) 1 1 2 Little awareness of how language shapes meaning. Probably framework misconceptions. No apparent direction at bottom of band. Very wayward. Persistent misuse of terms; inaccuracies abound. Major weaknesses in expression. Likely to reveal misunderstanding or serious misinterpretation throughout. Possibly almost entirely irrelevant. (A little awareness of text but form/structure/literary techniques are ignored. Skimpy reading at bottom of band with no analysis or engagement with meaning of text.) 7 of 30

EITHER Purple Hibiscus Chimamanda Ngozi Adichie 0 1 How does Adichie portray the contrast between life in Nsukka and in Enugu? Choose two or three extracts to explore in detail. In your answer you should consider: Adichie s language choices narrative viewpoint. [30 marks] Assessment Objectives tested on this question: AO1 and AO2 (15 marks for each) Some possible (but not exclusive) content/stylistic points students may refer to: Enugu associated with oppressive atmosphere created by Papa description of stifling atmosphere: eg all that cream blended and made the room seem wider, as if it never ended, as if you could not run even if you wanted to. Nsukka associated with freer atmosphere of Aunty Ifeoma s house: I sat on the verandah, with a book on my lap, watching one of the children chase a butterfly in the front yard foreshadowing Kambili s recognition in the first chapter that: Nsukka started it all contrast between Kambili s smart house in Enugu and the more humble house in Nsukka eg Kambili s description of the Nsukka house toilet: no soft rugs, no furry cover for the toilet seat and lid like we had back home cramped space at Nsukka compared to spaciousness at Enugu eg. Enugu s: wide dining table quiet mealtimes in Enugu compared to lively conversations in Nsukka Kambili s critical attitude towards her home after her stay at Nsukka. Eg repetition of too much : our living room had too much empty space, too much wasted marble floor. 8 of 30

Jane Eyre Charlotte Brontë 0 2 Explore how Brontë presents Mr Rochester in Chapters 12 14 (inclusive). In your answer you should consider: Brontë s language choices narrative viewpoint. [30 marks] Assessment Objectives tested on this question: AO1 and AO2 (15 marks for each) Some possible (but not exclusive) content/stylistic points students may refer to: 1st person narrative viewpoint first introduction to Mr Rochester the fall from his horse Jane s first impressions: dark face stern features heavy brow his direct speech swearing: what the deuce. Jane s observation: I think he was swearing his abrupt manner direct speech with Jane direct, confident, inquisitive. Use of interrogatives and exclamatives plain speaking to the point of rudeness refers to Adele as a brat, implies that Mrs Fairfax is a simple-minded old lady Jane s physical descriptions of him adjectives used to describe his eyes: dark, irate, piercing Jane s recognition that he is not a conventionally attractive man: most people would have thought him an ugly man presents himself as hard and tough figurative language used in his description of how experiences have hardened him: fortune has knocked me about she has kneaded me with her knuckles.i am hard and tough as an India-rubber ball the frank conversation he has with Jane in Chapter 14. 9 of 30

The Kite Runner Khaled Hosseini 0 3 How does Hosseini convey a sense of tension and violence in Chapter 22? In your answer you should consider: Hosseini s language choices narrative viewpoint. [30 marks] Assessment Objectives tested on this question: AO1 and AO2 (15 marks for each) Some possible (but not exclusive) content/stylistic points students may refer to: events presented through the actions and feelings of the 1st person narrator, Amir description of the armed men: a pair of men toting Kalashnikovs opened the door Amir describes his nervousness use of simple sentences and sentence fragments: I crossed my legs. Uncrossed them. Sat with my sweaty hands on my knees use of italics for the doubting voice in Amir s head: You re gutless. It s how you were made Amir s reporting clause describes his shock as he realises the Taliban leader is Assef: I said, rubbing my cheeks, hoping my voice didn t betray the explosion of terror I felt inside Assef s professed love of violence foreshadows what we expect will happen to Amir: I d sweep the barrel of the machine gun around the room and fire and fire gradual build up to the fight Sohrab s entry the guards dismissed Amir s description of his fear: My lips had gone dry. I licked them and found my tongue had dried too section in italics as flash forward to after the fight followed by the description of the fight graphic description of Amir s injuries during the fight: The knuckles shattering my jaw. Choking on my own teeth semantic field of violence in the verbs used: hurled, slamming, screaming, grasping, biting description of the loss of Assef s eye: Blood oozed between his fingers 10 of 30

Property Valerie Martin 0 4 Explore how Martin presents Walter and his role in the novel. Choose two or three extracts to explore in detail. In your answer you should consider: Martin s language choices narrative viewpoint. [30 marks] Assessment Objectives tested on this question: AO1 and AO2 (15 marks for each) Some possible (but not exclusive) content/stylistic points students may refer to: 1st person narrative viewpoint conveys Manon s dislike of Walter and resentment towards him Walter symbolises Mr Gaudet s infidelity and is a constant reminder of this for Manon Manon s unattractive description of Walter when he is first introduced: we had the little bastard running up and down the dining room, putting his greasy fingers in the serving plates The child is a mad creature physical description of Walter: He has his father s curly red hair and green eyes, his mother s golden skin, her full pouting lips Walter s disability creates sympathy from the reader Manon s attitude towards Walter is a factor in distancing her from the reader Manon s derogatory references for Walter: horrid creature, monster towards the end of the novel, Manon has come to some kind of acceptance of Walter s presence: Walter turned the morning nap by the fire into a ritual. To the amazement of Rose and Delphine I allowed it. 11 of 30

Spies Michael Frayn 0 5 How does Frayn present the relationship between Stephen and Keith in Chapters 2 and 3 of the novel? In your answer you should consider: Frayn s language choices narrative viewpoint. [30 marks] Assessment Objectives tested on this question: AO1 and AO2 (15 marks for each) Some possible (but not exclusive) content/stylistic points students may refer to: through Stephen's 1st person narrative viewpoint use of tenses past to establish situation, then present tense gives sense of immediacy to the relationship a boyhood friendship Stephen sees Keith as: my best friend and repeats: my friend Keith the friendship is not an equal one Keith s family is more well-to-do Stephen always goes to Keith s house, Keith never visits his Stephen senses that he is inferior to Keith: I was acutely aware, even then, of my incomprehensible good fortune in being Keith s friend figurative language used to reveal the contrasts in Stephen and Keith s social standing: He was the officer corps in our two-man army. I was the Other Ranks and grateful to be so Stephen s accepts Keith s authority: Or rather Stephen s waiting for Keith to decide/ I humbly wait for Keith to announce what we re to think and what we re to do Stephen is easily cowed by Keith: I remember how often I ve been humiliated by him in the past Keith s use of imperatives to Stephen: Put it in the log book/make a note of it the oath of allegiance Keith s leading role. 12 of 30

The Turn of the Screw and Other Stories Henry James ( Sir Edmund Orme, Owen Wingrave, The Friends of the Friends ) 0 6 How does James present Owen Wingrave in the short story Owen Wingrave? In your answer you should consider: James s language choices narrative viewpoint. [30 marks] Assessment Objectives tested on this question: AO1 and AO2 (15 marks for each) Some possible (but not exclusive) content/stylistic points students may refer to: 3rd person narrative viewpoint focused on Spencer Coyle s sympathetic perspective 3rd person narrator also sympathetic reporting clause: poor Owen said story begins with Owen s assertiveness and resolve: Really, I m quite decided his polite direct speech: I m very sorry/i m awfully obliged to you modifiers used to describe his actions: waiting mechanically, almost humbly his attractive physical appearance: tall athletic young man/troubled gentleness in his handsome face/beautiful young man his views seem very reasonable to the reader his integrity and moral stance even though it takes its toll on him use of adverbials: dropped nervously into a chair Coyle recognises his bravery and his intelligence ironic that he is seen by his family as being weak in rejecting an army career when his resistance to them is brave and costs him his life. Final sentence of the story metaphor: He was all the young soldier on the gained field. 13 of 30

The History Boys Alan Bennett 0 7 Explore how Bennett presents Rudge. Use two or three extracts to explore in detail In your answer you should consider: Bennett s language choices dramatic techniques. [30 marks] Assessment Objectives tested on this question: AO1 and AO2 (15 marks for each) Some possible (but not exclusive) content/stylistic points students may refer to: Rudge is not as intellectual as the other boys - he is out of his depth in some classroom discussions with Irwin. His use of questions: What if you don't know about him either? although he is witty and able to use metaphors: You've force-fed us the facts; now we're in the process of running around acquiring flavour he likes the more straightforward lessons of Mrs Lintott: Point A. Point B. Point C. Mr Irwin is more...free range. his mock interview - comic failure to say the right thing (and his swearing): How do I define history? It's just one fucking thing after another. his self-awareness - his blunt declaratives and adjectives to describe himself: If they like me and they want to take me they'll take me because I'm dull and ordinary. his love of sport his comments on why he was accepted at Oxford: a thick sod like me? I had family connections his pragmatism and success in business: Like them or not, Rudge Homes are at least affordable homes for first-time buyers. 14 of 30

Top Girls Caryl Churchill 0 8 How does Churchill present Marlene? Choose two or three extracts to explore in detail. In your answer you should consider: Churchill s language choices dramatic techniques. [30 marks] Assessment Objectives tested on this question: AO1 and AO2 (15 marks for each) Some possible (but not exclusive) content/stylistic points students may refer to: Marlene a complex character the central character in the play in Act 1 we see Marlene as host she is keen to encourage her guests to speak, but we learn very little about her own life Act 1 Marlene sympathises with the experiences of her guests her sympathetic utterances: Joan, how horrible Act 1 contrast between Marlene s modern woman ideas and language and those of her guests: I can t stand this. I m going for a pee Marlene a successful businesswoman she is capable of being ruthless Marlene also capable of being kind and easy to get on with eg her relationship with Win and Nell in Act 2 Marlene s exchanges with Angie in Act 2 some awkwardness Marlene s comments on Angie at end of Act 2 harsh declaratives: She s a bit thick. She s a bit funny..she s not going to make it Act 3 more detail on Marlene revealed Angie is her daughter exchanges with Joyce reveal Marlene s attitudes to her family/motherhood/marriage/politics disagrees with Joyce but is keen to repair the relationship her appeasing utterances: I didn t really mean all that.but we re friends anyway. 15 of 30

The School for Scandal Richard Brinsley Sheridan 0 9 How does Sheridan present Lady Sneerwell? Choose two or three extracts to explore in detail. In your answer you should consider: Sheridan s language choices dramatic techniques. [30 marks] Assessment Objectives tested on this question: AO1 and AO2 (15 marks for each) Some possible (but not exclusive) content/stylistic points students may refer to: her name implies her role she is the leader of the scandal mongers and sneers at others the play opens with her conversation with Snake in which she openly admits her motives: wounded myself in the early part of my life, by the envenomed tongue of slander her lack of compassion for others: I have since known no pleasure equal to reducing others to the level of my own injured reputation rude to those around her: How dull you are! not interested in pretence of being moral her comment to Joseph Surface: Oh lud, you are going to be moral and forget you are among friends enjoys being spiteful her choice of metaphors: the malice of a good thing is the barb and makes it stick enjoys plotting: I ll go and plot mischief ultimately ineffective she is exposed in the end and resorts to curses: The torments of shame and disappointment on you all/may your husband live these fifty years Lady Teazle s description of her: A malicious creature indeed! 16 of 30

A Streetcar Named Desire Tennessee Williams 1 0 How does Williams present Stanley s relationships with his male friends? Choose two or three extracts to explore in detail. In your answer you should consider: Williams language choices dramatic techniques. [30 marks] Assessment Objectives tested on this question: AO1 and AO2 (15 marks for each) Some possible (but not exclusive) content/stylistic points students may refer to: from the outset, Stanley is shown to be very sociable with his male friends he is seen with Mitch and is about to go bowling stage directions: his heartiness with men scene 3 the poker game Stanley takes a leading role with his friends his imperatives: Deal! his insensitivity towards Mitch: Hurry back and we ll fix you a sugar tit his friends are tolerant of his bad behaviour and are eager to help when he drunkenly strikes Stella stage directions: They speak quietly and lovingly to him and he leans his face on one of their shoulders Steve s affectionate expression use of personal pronoun: Sure, my boy s ok Steve and Pablo become critical of Stanley s actions in Scene 11 but it seems unlikely that their friendship will falter his relationship with Mitch suffers when Blanche is sent away: I ll kill you! [He lunges and strikes at Stanley]. 17 of 30

MARKING GRID F AS ENGLISH LANGUAGE AND LITERATURE: SECTION B - PRODUCTION Demonstrate expertise and creativity in using language appropriately for a variety of purposes and audiences, drawing on insights from linguistic and literary studies Select and apply relevant concepts and approaches from integrated linguistic and literary study, using appropriate terminology and accurate, coherent written expression 4 26 30 AO4 (Marks out of 30) At the top end, responds with originality and flair. Skilfully handled writing/interpretation which is completely fit for purpose. Sophisticated use of language. Audience/reader completely engaged. Entirely appropriate content. At the lower end, confident and cohesive writing that works. Engaging style with very clear and convincing ideas for audience and purpose. Content skilfully chosen. Wholly convincing sense of character s voice. 13 15 AO1 (Marks out of 15) Fluent, cohesive writing. Expression precise and wholly appropriate. Stylish with rare errors. 23-25 Confident interpretation. Sustained use of appropriate style. Approaching fulfilment of aims. Content confidently selected for audience/task. Convincing sense of form with sustained evidence of audience and purpose being addressed. Convincing sense of character s voice. 11 12 Fluent writing Mostly technically accurate. Expression well controlled and sustained. 18 of 30

3 20 22 16 19 Clear grasp of task with sound stylistic shaping evident. Successful language use for audience and purpose. Effective register. Sound structure. Sound choice of content. Occasional stylistic lapses at bottom end. Sound sense of character s voice. Possibly inconsistent register. Mostly suitable style adopted for genre/task - some stylistic lapses occur. Awareness of audience and purpose but may be flawed in places. Some gaps in content. Partial sense of character s voice. 9 10 7 8 Competent writing with underlying technical control some slips. Clear expression, although lacking the more assured sense of style of the top band. Some technical flaws likely to be repetition of similar type. Expression clear and generally controlled, possibly with some minor flaws. 2 12 15 Some uncertainty about appropriate style. Some obvious shaping with a tendency towards the simplistic at times. Audience and purpose not always wholly evident. Content and approach broadly but not entirely appropriate for task and/or form. Possibly very brief/under-developed. Sense of character s voice not wholly apt but acceptable. 5 6 A number of technical flaws and some basic errors. Expression communicates ideas but may lack flexibility or sophistication. 9 11 Style and approach not entirely convincing but there may be broad shaping for audience and genre at a basic level. Rather pedestrian in places. May opt for over general approach which is not necessarily appropriate. Possibly some noticeable flaws in content or inappropriate content. Possibly some misunderstanding about genre or task. Probably insecure sense of character s voice. 4 Likely to be a number of flaws in expression. Probably frequent technical errors. 19 of 30

1 6 8 Superficial/limited/naïve ideas. Details are not thought through at all. Vocabulary may well be limited. Some, limited, sense of genre and task but weak focus on audience and purpose. Possibly significant misunderstanding about genre or task. Possibly significant limitations/flaws in content. Possibly significant lifting from text. 3 Expression likely to be naïve. Frequent flaws in expression. Intrusive technical errors. 1 5 Possibly very occasional glimpses of appropriate ideas and/or style at the top end; likely to be entirely inappropriate style/approach at the bottom. Likely to be a short and unsuitable answer. Probably no apparent direction. 1 2 Intrusive basic errors. Major and persistent flaws in expression. 20 of 30

EITHER Purple Hibiscus Chimamanda Ngozi Adichie 1 1 Imagine that Kambili s mother secretly keeps a diary in which she records her thoughts and feelings about events. Write an entry for this diary shortly after Papa s discovery of the painting of Papa-Nnukwu and his beating of Kambili and Jaja. You should give careful consideration to your language choices and style, which should achieve a sense of Kambili s mother s voice. [45 marks] Assessment Objectives tested on this question: AO1 (15 marks) and AO4 (30 marks) The student s response should: achieve a sustained first person diary form create a sense of Kambili s mother s voice serious tone/standard English. The following may be present in the student s response: possibly describes an invented scene when she discovers how Kambili has been beaten/the trip to the hospital reflects on Eugene s violence and her fears for his future behaviour. Possibly repeats: he has never punished her like this before describes the scene in the hospital when Kambili wakes up describes Eugene s remorse possibly resolves to make sure that he never does this again. 21 of 30

Jane Eyre Charlotte Brontë 1 2 Imagine that Mr Mason keeps a diary in which he records his thoughts and feelings about events. Write an entry for this diary after he is attacked by Bertha at Thornfield Hall. In this entry, he reflects on what happens and conveys his feelings about Bertha and Mr Rochester. You should give careful consideration to your language choices and style, which should achieve a sense of Mr Mason s voice. [45 marks] Assessment Objectives tested on this question: AO1 (15 marks) and AO4 (30 marks) The student s response should: achieve a sustained first person diary form create a sense of Mr Mason's voice anxious, shocked. The following may be present in the student s response: comments on his reasons for visiting Thornfield comments on what he thinks of Mr Rochester describes how he climbed to Bertha s room on the third floor Bertha s attack his calls for help Rochester s arrival how the governess helped to dress his wounds the arrival of the doctor how he stayed with the doctor while recovering possibly includes some phrases from the text eg: she worried me like a tigress it was frightful.i did not expect it admits that Rochester had warned him not to go near her reflects on the situation with Bertha and his concern for her possibly writes the entry while he is recovering at the doctor s house. 22 of 30

The Kite Runner Khaled Hosseini 1 3 Write a first person narrative from Soraya s point of view during the time of her early meetings with Amir. In this narrative, Soraya expresses her thoughts about Amir and conveys her feelings about the difficult situation with her father. You should give careful consideration to your language choices and style, which should achieve a sense of Soraya s voice. [45 marks] Assessment Objectives tested on this question: AO1 (15 marks) and AO4 (30 marks) The student s response should: achieve a sustained first person narrative create a sense of Soraya s voice - standard English, possibly some Afghan words included. The following may be present in the student s response: gives an account of her first meeting with Amir includes a physical description of him and her first impressions of his character describes the market describes Baba describes subsequent meetings and her awareness of her father s watchful eye reveals her feelings about her father gives account of Amir s attempt to give her one of his stories and her father s reaction. 23 of 30

Property Valerie Martin 1 4 Imagine that Mr Roget keeps a journal in which he records his thoughts and feelings about important events. Write an entry for this journal shortly after Sarah s return at the end of the novel. In this entry, Mr Roget reflects on Sarah s situation with Manon and on the position of slaves in general. You should give careful consideration to your language choices and style which should achieve a sense of Mr Roget s voice. [45 marks] Assessment Objectives tested on this question: AO1 (15 marks) and AO4 (30 marks) The student s response should: achieve a sense of journal form create a sense of Mr Roget's voice - mostly standard English, possibly some colloquial expressions appropriate for the era, serious tone, a sense of his frustration and anger conveyed. The following may be present in the student s response: possibly describes how Mr Palmer told him about the details of Sarah s capture describes what he knows of Sarah s state of health on her return comments on how he is aware that Mr Leggett and Manon s uncle are determined to have him arrested for helping Sarah escape comments on the difficulties in tracing Midge, who is now staying in the North in spite of his employing a slave-catcher to return her reflects on the injustices of slavery. 24 of 30

Spies Michael Frayn 1 5 Imagine that Keith writes his autobiography when he is an adult. Write a section for this autobiography which focuses on the time he and Stephen begin to spy on Keith s mother. You should give careful consideration to your language choices and style, which should achieve a sense of Keith's voice. [45 marks] Assessment Objectives tested on this question: AO1 (15 marks) and AO4 (30 marks) The student s response should: achieve a sense of autobiography form create a sense of Keith's voice - standard English, middle class, educated. The following may be present in the student s response: describes his parents house and the close where they lived comments on his relationship with his parents describes his friend, Stephen comments on his friendship with Stephen how Stephen followed Keith s initiatives explains why he had begun to think that his mother was a spy describes the kinds of things he and Stephen did when they were watching his mother describes his mother s activities. 25 of 30

The Turn of the Screw and Other Stories Henry James ( Sir Edmund Orme, Owen Wingrave, The Friends of the Friends ) 1 6 Imagine that the governess (in The Turn of the Screw ) is interviewed by a police inspector after the events at the end of the story. Write the interview and what the governess says as part of a third person narrative. You should give careful consideration to your language choices and style, which should achieve a sense of the governess s voice. [45 marks] Assessment Objectives tested on this question: AO1 (15 marks) and AO4 (30 marks) The student s response should: achieve a sustained third person narrative create a sense of the governess s voice. The following may be present in the student s response: 3rd person narrator sets the scene description of the house/room description of the governess and the interviewing officer direct speech question/answer exchanges police inspector probes the governess searching for reasons for Miles s death governess explains the series of uncanny events governess describes how she tried to save Miles possibly ends with the inspector deciding what to do next. 26 of 30

The History Boys Alan Bennett 1 7 Imagine that Mrs Lintott keeps a diary in which she records her thoughts and feelings about events. Write an entry for this diary a few weeks after the arrival of Irwin, in which she conveys her impressions of Irwin and reflects on the differences between him and Hector. You should give careful consideration to your language choices and style, which should achieve a sense of Mrs Lintott s voice. [45 marks] Assessment Objectives tested on this question: AO1 (15 marks) and AO4 (30 marks) The student s response should: achieve a sense of sustained first person diary form create a sense of Mrs Lintott's voice - assertive, mostly standard English - some colloquial expressions. The following may be present in the student s response: possibly comments on the Headmaster s reasons for employing Irwin recognises that Irwin is clever comments on what the boys have told her about Irwin s lessons eg Rudge and the lessons being cutting edge comments on some of the conversations she has had with Irwin she thinks Irwin is young and the boys probably find him approachable (eg Posner s revelations to Irwin re. Dakin) she thinks the boys are testing Irwin eg Posner s swearing recognises that Hector has a rival in Irwin. 27 of 30

Top Girls Caryl Churchill 1 8 Imagine that Nell keeps a diary in which she records her reactions to people and events. Write an entry for this diary which focuses on the main events of the day in Act 2 Scene 3. In this entry she reflects on Howard s reaction to not getting the job, the interview with Shona, and her own attitudes towards her job. You should give careful consideration to your language choices and style, which should achieve a sense of Nell s voice. [45 marks] Assessment Objectives tested on this question: AO1 (15 marks) and AO4 (30 marks) The student s response should: achieve a sustained first person diary form create a sense of Nell's voice lively, informal. The following may be present in the student s response: shows little sympathy for Howard thinks Marlene deserved to get the job on merit reflects on how women are usually regarded in terms of promotions reflects on how she would like a change of job pastures new shows some sympathy for the man (the poor little nerd) she is helping to get a job reflects on her relationship with Derek his proposal of marriage and her reluctance describes the interview with Shona and reflects on how Shona lied. : 28 of 30

The School for Scandal Richard Brinsley Sheridan 1 9 Imagine that Lady Teazle keeps a diary in which she records her thoughts and feelings. Write an entry for her diary at the end of Act IV Scene 3 in which she comments on her encounters with Joseph and reflects on the state of her marriage to Sir Peter. You should give careful consideration to your language choices and style, which should achieve a sense of Lady Teazle s voice. [45 marks] Assessment Objectives tested on this question: AO1 (15 marks) and AO4 (30 marks) The student s response should: achieve a sense of sustained first person diary form create a sense of Lady Teazle's voice - standard English, quite formal register, lively style. The following may be present in the student s response: describes what has happened her visit to Joseph Surface how she hid behind a screen when Sir Peter unexpectedly arrived the arrival of Charles how she was discovered in her hiding place her response to Sir Peter s idea that she is in love with Charles Surface her response to Sir Peter s generosity in proposing to make a settlement on her feels ashamed that Sir Peter discovered her behaviour with Joseph reflects on Joseph s untrustworthy character reflects on Sir Peter s good qualities. 29 of 30

A Streetcar Named Desire Tennessee Williams 2 0 Imagine that Stella writes to a friend shortly after events at the end of the play. Write this letter, in which Stella explains what has happened with Blanche and reveals her feelings about sending Blanche away. You should give careful consideration to your language choices and style, which should achieve a sense of Stella s voice. [45 marks] Assessment Objectives tested on this question: AO1 (15 marks) and AO4 (30 marks) The student s response should: achieve a sense of letter form create a sense of Stella's voice - worried tone, standard English or standard American English. The following may be present in the student s response: explains why she feels she had no choice but to send Blanche away - Blanche's delusions becoming too hard to cope with describes some of the more difficult aspects of Blanche s behaviour comments on how Blanche accused Stanley of assaulting her reveals how upset she is about what has happened describes what happened on the day Blanche was taken away comments on the situation with Stanley now that Blanche has gone. 30 of 30