1. gcse english literature ms summer 2008 · c answers will reveal a more secure knowledge of the...

MS3£3.00

GENERAL CERTIFICATE OF SECONDARY EDUCATION TYSTYSGRIF GYFFREDINOL ADDYSG UWCHRADD

MARKING SCHEME

English Literature Summer 2008

INTRODUCTION The marking schemes which follow were those used by WJEC for the 2008 examination in GCSE English Literature. They were finalised after detailed discussion at examiners' conferences by all the examiners involved in the assessment. The conferences were held shortly after the papers were taken so that reference could be made to the full range of candidates' responses, with photocopied scripts forming the basis of discussion. The aim of the conferences was to ensure that the marking schemes were interpreted and applied in the same way by all examiners. It is hoped that this information will be of assistance to centres but it is recognised at the same time that, without the benefit of participation in the examiners' conferences, teachers may have different views on certain matters of detail or interpretation. WJEC regrets that it cannot enter into any discussion or correspondence about these marking schemes.

1

Mark/Grade Scale - HIGHER TIER - Specification A

For the Higher Tier we aim to establish the following relationship between marks and grades. N.B. This tier will lead to awards for grades C-G; this scale allows for performances which exceed this on occasion.

GRADE BAND

SECTIONS A & B Part (a) and SECTION C

SECTIONS A & B Parts (b) and (c) (/20)

GRADE PAPER (/70)

(/10) U-F

0 - 1 0 - 4 U-F 0 - 16

E 17 - 25

E/D

2 - 4 5 - 9 D 26 - 34

C 35 - 43

C/B

5 - 7 10 - 14 B 44 - 52

A 53 - 62

A/A* 8 - 10 15 - 20 A* 63 - 70 Within each of the two-grade bands for part (b) and (c) questions there are effectively two marks for each grade and one mark which falls between: e.g. C = 10-11; C/B = 12; B = 13-14. You are asked to decide on a "band" first, and then "fine-tune" within this. It is important to remember that a candidate's overall grade will be the result of several aggregated marks: unless positive achievement is rewarded where it is shown, as indicated in the mark scheme, our overall expectations in terms of grade boundaries will prove to be unrealistic. The overall mark must be reviewed to check that it places the candidate in the appropriate grade. GRADE CRITERIA The following descriptions have been provided to indicate the way in which progression within the three criteria is likely to occur. Each successive description assumes demonstration of achievements in lower grades. You are asked to place work initially within a grade or grade 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. There will always be an element of "trade-off" : it will be particularly important to give credit to grade A* qualities when they occur.

2

Knowledge and Interpretation

of Text Exploring Language, Structure and Forms

Conveying Response

U Narrative with frequent misreadings.

Not to be expected in this range.

Brief and often irrelevant.

G Narrative with some misreading. Not to be expected in this mark range.

Simple expression of opinion with little textual support.

F

Some understanding of main features, including characters and themes. Generalised reference to relevant aspects.

May make generalised comments about stylistic effects.

Response conveyed in appropriate ways. Simple opinion about text, character, situation. Empathy simply expressed.

E

Narration with varying degrees of clarity and economy. Selection of relevant material.

Recognition of, and simple commenting on, particular features of style.

Addresses task and uses text to support views.

D

More detailed reference to text-quoting, 'echoing' or paraphrasing as necessary. Awareness of sub-text. Some discussion of characters/relationships. Still reliant on narrative mode.

Beginning to see how different aspects of style combine to create effects; e.g. changes in mood and atmosphere.

Opinions related to question and conveyed with some clarity.

C

Detailed reference to text. Some probing of sub-text. Extended discussion of characters/relationships. Awareness of some of the cultural and social contexts of texts.

Some understanding of how meanings and ideas are conveyed through language, structure and form.

Points aptly supported by reference to text. Clear and structured response. Able to sustain character's view/voice with some consistency.

B

Increasingly assured selection and incorporation of relevant material. Understanding of sub-text.

Appreciation of a variety of ways in which effects are achieved.

Focused and sustained response.

A

Assured selection of key areas of text. Able to speculate/offer tentative judgements in exploring text, taking into account alternative approaches. Evaluation of characters/ relationships/situations/attitudes/motives. Able to identify and comment on social, historical and cultural contexts. Awareness of literary tradition shown.

Exploration and evaluation of the ways meaning, ideas and feelings are conveyed through language, structure and form.

Ideas conveyed coherently. Opinions confidently expressed and insights clearly articulated.

A*

Text consistently handled with confidence. Overview and ability to move from specific to general.

Assured analysis of stylistic features.

Cogent and sustained development of literary arguments.

3

SECTION A 1. I Know Why The Caged Bird Sings

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

With close reference to the extract, show how Maya Angelou creates

mood and atmosphere here. [10]

E/D Answers will be general, and dependent on relatively simple narrative/reorganisation. Empathy/awareness at D.

C Answers will still be reliant on narrative, but will include highlighting of specific detail.

B Answers will be thoughtful and thorough, with some appreciation of the creation of mood and atmosphere.

A/A* Answers will be assured, analytical, with clear appreciation of Angelou’s techniques.

(b) Write about the relationship between Maya and her brother, Bailey, and

how it is presented to the reader. [20]

E/D Answers will be dependent on simple judgements and some discussion of the relationship between Maya and Bailey.

C Answers will reveal a more secure knowledge of the text, supporting judgements with apt detail.

B Answers will be detailed and thoughtful. A/A* Selection of apt detail will support an evaluative, assured response,

with, perhaps, originality at A*

(c) I Know Why The Caged Bird Sings tells the story of important stages in Maya Angelou’s early life: childhood, adolescence and young adulthood. Choose one of these stages and show how it was important to Maya’s development.

Think about:

• what happened to Maya during the stage you have chosen; • Maya’s relationship with others during this stage in her life; • how this stage of her life was important to her development. [20]

N.B. The bullet points are not in any way prescriptive, so be flexible in judging

what is offered by candidates.

E/D Answers will be narrative driven and probably underdeveloped. C Answers will be more focused, with better coverage of relevant areas

of the text. B Answers will be thoughtful and thorough. A/A* Answers will be assured, with clear overview and insight.

4

2. Pride and Prejudice (a) Read the extract on the opposite page. Then answer the following

question:

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

E/D Answers will probably operate on the level of simple paraphrase, with

some empathy/awareness at D. C Candidates will select and highlight detail in order to support their

judgements. B Answers will be detailed and thoughtful. A/A* Answers will be closely read and analytical.

(b) Imagine you are Jane Bennet. At the end of the novel, you think back over how you met and married Mr. Bingley. Write down your thoughts and feelings. Remember how Jane would speak when you write your answer. [20]

E/D Answers will be narrative driven, with an awareness of Jane’s possible

views of characters and events at D. C Answers will reveal clear empathy with Jane, supported by apt detail

from the text. B Answers will be sustained and reveal and understanding of characters

and relationships. A/A* Answers will be convincing in terms of chosen detail, standpoint, and

voice.

(c) How is the relationship between Lydia and Mr. Wickham important to the novel as a whole? [20]

As with all open questions, be flexible in judging what is offered - there’s no ‘right answer’! E/D Answers will be based on narrative, at a relatively simple level, with

some discussion and/or empathy and awareness at D. C Answers will still be dependent on narrative, but will use it more

selectively to support judgements. B Answers will be thoughtful and thorough. A/A* Answers will be evaluative and assured, with, perhaps, originality at

A*, at which level the issue of ‘importance’ will be addressed with some success.

5

3. Paddy Clarke Ha Ha Ha (a) Read the extract on the opposite page. Then answer the following

question:

Look closely at the way Paddy speaks and behaves here. How does it suggest his feelings? [10]

E/D Answers will tend towards reorganisation, with some discussion and

empathy at D. C Answers will be more focused in their discussion of Paddy’s feelings. B Discussion of the extract will be thoughtful and thorough. A/A* Answers will be assured and analytical.

(b) Write about Paddy’s Da and the way he is presented in the novel. [20]

E/D Answers will be narrative driven, with some discussion of Paddy’s Da

at D. C Answers will be more focused in their discussion of Paddy’s Da, and

supported by apt detail. B Answers will be detailed and thoughtful in their discussion of Paddy’s

Da. A/A* Answers will use their detailed knowledge of the text with assurance,

and will be astute and evaluative.

(c) Show how Roddy Doyle presents Paddy’s growing up. [20]

E/D Answers will be based on simple narrative, with some discussion at D. C Answers will be more selective and focused, with apt use of the text. B Answers will be thorough and thoughtful. A Answers will be astute and evaluative, and, at A*, may be original.

6

4. Silas Marner (a) Read the extract on the opposite page then answer the following

question:

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

E/D Answers will be dependent on reorganisation, with awareness of

mood and atmosphere at D. C Discussion will be more focused, and supported by apt detail. B Discussion of the extract will be thorough and thoughtful. A/A* Answers will be closely read, assured and analytical.

(b) What do you think of Eppie and the way she is presented in the novel? [20]

E/D Answers will be dependent on simple narrative, with some discussion

and simple judgements at D. C Answers will be more focused, supported by apt detail. B Answers will be thorough and thoughtful. A/A* Answers will be assured and well considered, revealing evaluation,

and, perhaps, originality at A*.

(c) How does George Eliot present the village of Raveloe and the people who live there? [20]

E/D Answers will be dependent on narrative, with some discussion,

probably character based, at D. C Answers will still be narrative driven, but more focused, with

judgements aptly supported. B Answers will be sustained and thoughtful. A/A* Answers will be evaluative and assured, with, perhaps, originality at

A*.

7

5. To Kill a Mockingbird (a) Read the extract on the opposite page. Then answer the following

question:

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

E/D At this level, expect paraphrase, with some discussion and awareness

at D. C Answers typified by systematic selecting and highlighting of detail. B Discussion of the extract will be thorough and thoughtful. A/A* Answers will be assured and analytical.

(b) Imagine you are Dill, now grown up. You think back over the events of the novel. Write down your thoughts and feelings. Remember how Dill would speak when you write your answer. [20]

E/D Answers will be narrative driven, with an awareness of Dill’s possible

views of characters and events at D. C Answers will reveal clear empathy with Dill, and be supported by aptly

selected detail. B Answers will be sustained, and reveal an understanding of characters

and relationships. A/A* Answers will be convincing in terms of chosen detail, standpoint, and

voice.

(c) How does Harper Lee present relationships between parents and children in To Kill a Mockingbird? [20]

E/D Answers will be narrative driven, with awareness and empathy at D. C Answers will still be narrative driven, but more selective in choice of

detail. B Answers will be sustained and reveal an understanding of characters

and relationships. A/A* Answers will be astute and evaluative, and, at A*, may be original.

8

6. Of Mice and Men (a) Read the extract on the opposite page. Then answer the following

question: With close reference to the extract, show how John Steinbeck creates

mood and atmosphere here. [10]

E/D Answers will be dependent on paraphrase to a certain extent, with awareness/empathy at D.

C Candidates will select and highlight detail in order to support their

judgements. B Discussion of the extract will be thorough and thoughtful. A/A* Answers will be assured, analytical, and show real appreciation of

Steinbeck’s creation of mood and atmosphere.

(b) What do you think of Curley and the way he is presented in the novel? [20]

E/D Answers will be dependent on narrative, with some discussion of

Curley at D. C Answers will be more focused in their discussion of Curley, and

supported by apt detail. B Discussion of Curley will be thoughtful and detailed. A/A* Answers will be astute, evaluative and assured.

(c) ‘‘The world of Of Mice and Men is a world of harshness and violence.’’ To what extent do you agree with this statement? [20]

E/D Answers will be narrative driven, with awareness and some discussion

at D. C Answers will be more selective and focused, with apt use of the text. B Answers will be thorough and thoughtful. A/A* Answers will be evaluative and appreciative, with, perhaps, originality

at A*.

9

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

How does Robert Swindells suggest Link’s feelings in this extract? [10]

E/D Answers will tend to be underdeveloped, with some awareness and empathy at D.

C Discussion will be more focused and supported by apt detail. B Discussion of the extract will be thorough and thoughtful. A/A* Answers will be closely read, assured, evaluative and analytical.

(b) How does Robert Swindells make the reader aware of Shelter’s

increasing insanity? [20]

E/D Answers will be based on narrative, with some discussion of Shelter at D.

C Answers will reveal a secure knowledge of the text, with apt selection

to support judgements. B Answers will be detailed and thoughtful. A/A* Answers will use their detailed knowledge of the text with assurance,

and will be astute and evaluative.

(c) ‘‘Stone Cold focuses on the grim reality of life on the street.’’ To what extent do you agree with this statement? Support your answer with detailed reference to the text. [20]

As with all open questions, be receptive to a range of ideas here. judge

according to the matrix.

E/D Answers will be narrative dependent, with discussion emerging at D. C Answers will still be narrative driven, but use of the text will be more

selective. B Answers will be more sustained in their discussion and more assured

in their use of selected detail. A/A* Answers will be astute, evaluative and well considered, with originality,

perhaps, at A*.

10

8. Anita and Me (a) Read the extract on the opposite page. Then answer the following question:

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

E/D Answers will tend towards reorganisation, with some discussion and

awareness at D. C Discussion will be more focused and supported by relevant detail. B Discussion of the extract will be thorough and thoughtful. A/A* Answers will be closely read, assured and analytical, revealing clear

appreciation of Syal’s techniques.

(b) How does Meera Syal present the relationship between Meena’s parents? [20]

E/D Answers will be dependent on relatively simple narrative, with some

discussion and awareness at D. C Answers will still be narrative driven, but use of knowledge of the text

will be more focused and selective. B Answers will be more sustained, with thorough discussion of the

relationship between Meena’s parents. The issue of presentation will probably be addressed only implicitly, however.

A/A* Answers will be cogent and astute, with assured use of relevant detail

and the ‘how’ part of the question addressed with assurance at A*.

(c) Anita and Me describes Meena’s growing up. Who or what do you think had the greatest influence on her as she grew up? [20]

As with all open questions, approach with an open mind, be receptive to a range of responses, and use the matrix as a guide.

E/D Answers will be narrative driven, with some discussion/awareness at

D. C Answers will still be narrative dependent, but with apt focus on key

areas of the text. B Answers will be thorough and thoughtful. A/A* Answers will be evaluative, assured, and, perhaps, at A*, original.

11

SECTION B 9. Under Milk Wood (a) Read the extract on the opposite page. Then answer the following question:

With close reference to the extract, show how Dylan Thomas presents the relationship between Mr. Mog Edwards and Miss Myfanwy Price. [10]

E/D Answers will be dependent on re-telling, with some discussion/awareness at D.

C Judgements will be supported by apt detail. B Candidates will discuss the detail of the extract, in order to support

their judgements of the relationship. A/A* Answers will be closely read and analytical.

(b) Give advice to the actor taking the part of Captain Cat on how you think

he should present the character to an audience. [20] Candidates will approach this type of task in different ways. Judge according

to the knowledge and understanding shown, the bottom line being to what extent the answer would be useful to an actor in that role. The criteria relating to detailed knowledge of the text and so on still apply.

E/D Answers will be dependent on simple discussion, with reference to

some relevant parts of the text. C Candidates will use a sound knowledge of the text to support their

interpretation of Captain Cat. B Interpretation of Captain Cat’s character will be rooted in a detailed

discussion of relevant detail. A/A* Interpretation of the character of Captain Cat will be assured and

evaluative, and, at A*, may be original.

(c) A critic once said, ‘‘The entire play is about religion, death, and sex.’’ To what extent do you agree with this description of Under Milk Wood? [20]

As this is a very open question, be receptive to a range of ideas, and judge according to the matrix.

E/D Answers will be based on narrative, with some discussion at D. C Answers will be more focused, with solid knowledge of the text used to

support judgements. B Answers will be thoughtful and sustained.

A/A* Answers will be carefully considered and evaluative, with, perhaps,

originality at A*.

12

10. A View From The Bridge

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

Look closely at how Alfieri and Eddie speak and behave here. How does it create mood and atmosphere for an audience? [10]


of mood and atmosphere (probably at the level of some discussion of Alfieri and Eddie) at D.

C Discussion will be more focused, and supported by relevant detail. B Discussion of the extract will be thorough and thoughtful. A/A* Answers will be closely read, assured and analytical.

(b) For which character in A View From The Bridge do you have the most

sympathy? Explain how Arthur Miller’s presentation of your chosen character creates sympathy for him or her. [20]

As with all open questions, be receptive in judging what is offered.

Candidates may, for example, write exclusively on their chosen character, or consider others, before arriving at a final conclusion.

E/D Answers will be narrative driven, with personal responses to

character(s), and empathy emerging at D. C Answers will reveal a secure knowledge of the play to support their

discussion of the character(s).

B Answers will be detailed and thoughtful, with a sound case developed for the chosen character.

A/A* Answers will be cogent, well argued, and with confident and apposite use of supporting detail.

(c) Give advice to an actor playing Marco on how he should present the

character to an audience. [20]

Candidates will approach this type of task in different ways. Judge according to the knowledge and understanding shown, the bottom line being to what extent the answer would be useful to an actor in that role. The criteria relating to detailed knowledge of the text and so on still apply.

E/D Answers will be dependent on fairly simple narrative, with an awareness of a valid approach to the character of Marco.

C Candidates will use a sound knowledge of the text to support their interpretation of Marco.

B Interpretation of Marco’s character will be rooted in a detailed discussion of characters and relationships, supported by apt detail.

A/A* Interpretation of Marco’s character will be assured and evaluative, and, at the top, perhaps original.

13

11. An Inspector Calls (a) Read the extract on the opposite page. Then answer the following question:

How does this extract create mood and atmosphere for an audience? [10]


of mood and atmosphere (probably at the level of some discussion of characters) at D.

C Discussion will be more focused, and supported by relevant detail. B Discussion of the extract will be thorough and thoughtful. A/A* Answers will be closely read, assured, evaluative and analytical.

(b) Imagine you are Gerald. At the end of the play you think back over its

events. Write down your thoughts and feelings. Remember how Gerald would speak when you write your answer. [20]

E/D Answers will be narrative driven, with an awareness of Gerald’s

possible views of characters and events at D. C Answers will reveal some understanding of Gerald’s possible view of

characters and events, and will be confident in use of text. B Answers will be sustained, revealing an understanding of characters

and relationships, through Gerald’s viewpoint. A/A* Answers will be convincing in terms of chosen detail, standpoint, and

voice.

(c) Inspector Goole says ‘‘We are responsible for each other.’’ How does J.B. Priestley present this theme in An Inspector Calls? [20]

As with all open questions, there is no ‘right answer’. Judge according to the matrix, and to knowledge and understanding shown.

E/D Answers will tend to be general, probably dependent on simple

narrative, but with some awareness and emerging discussion at D. C Answers will probably be narrative driven, but with apt focus on key

areas of the text. B Answers will be thoughtful and thorough. A/A* Answers will be evaluative, assured, and, perhaps, at the top, original.

14

12. The Merchant of Venice

Please bear in mind that the characters in this play can be interpreted very differently, and allow for this in your judgements of candidates’ responses.

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

question:

Look closely at how Shylock and Antonio speak and behave here. What does it reveal about them at this point in the play? [10]

E/D Candidates will re-tell the extract and make simple comments on the

characters. C Answers will be more detailed and focused, with selection of relevant

detail to support judgements. B Discussion of the characters will be detailed and thoughtful. A/A* Answers will be assured and evaluative, showing an astute

assessment of the characters of Shylock and Antonio as they appear in the extract.

(b) How is the character of Jessica important to the play as a whole? [20]




areas of the text. B Answers will be thoughtful and thorough, with an emerging

understanding of Jessica’s importance. A/A* Answers will be evaluative, assured, and, perhaps, at the top, original,

with Jessica’s importance addressed with some success.

(c) Write about the theme of prejudice in The Merchant of Venice and how it is presented. [20]

E/D Answers will be dependent on fairly simple narrative, with some

discussion of relevant parts of the play at D. C Answers will still be narrative driven, but will be more focused, with a

secure use of text. B Answers will be thorough and thoughtful. A/A* Answers will be typified by a clear overview, with astute discussion of

the theme. At A*, there may be some originality in the response.

15

13. Romeo and Juliet (a) Read the extract on the opposite page. Then answer the following

question:

Look closely at how Juliet and the Nurse speak and behave here. How does it create mood and atmosphere for an audience? [10]

E/D Answers will be based on simple reorganisation/paraphrase, with

empathy/some discussion at D. C Answers will be more focused and supported by apt detail. B Answers will be thorough and thoughtful. A/A* Answers will be closely read, assured, and analytical.

(b) Although the play takes place over only a few days, Juliet’s character

undergoes a huge change during this time. Show how Shakespeare presents this change to an audience. [20]


discussion/empathy at D. C Although still based on narrative, answers will be more focused, and

supported by apt detail. B Discussion of Juliet and her changing character will be detailed and

thoughtful. A/A* Answers will be evaluative, assured, and supported by confident use

of detail. The ‘how’ in the question will be clearly addressed.

(c) Give advice to the actor playing Lord Capulet, Juliet’s father, on how you think he should present the character to an audience. [20]

Candidates will approach this type of task in different ways. Judge according


E/D Answers will be dependent on fairly simple narrative, with an awareness of a valid approach to the character of Lord Capulet.

C Candidates will support their interpretation of Lord Capulet with

relevant detail from the text. B Interpretation of Lord Capulet’s character will be rooted in a detailed

discussion of characters and relationships, supported by apt references to the text.

A/A* Interpretation of Lord Capulet’s character will be assured and

evaluative, and, at the top, may be original.

16

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

Look closely at how Iago speaks and behaves here. What does it reveal

to an audience about his character? [10]

E/D Answers will be dependent on simple re-telling, with basic discussion of Iago at D.

C Answers will be more focused and detailed, with apt discussion of

Iago ‘s character. B Answers will be more focused and detailed, with apt discussion of

Iago and his behaviour, A/A* Discussion of Iago will be closely read, assured and evaluative.

(b) For which of Iago’s victims do you have the most sympathy, and why?

[20] As with all open questions, be flexible in judging what is offered by

candidates, and judge according to the matrix. Candidates may write on one character only, or may choose to consider others before arriving at a conclusion.

E/D Answers will be based on simple narrative, with personal responses to

character(s), and empathy emerging at D. C Answers will reveal a secure knowledge of the play to support

discussion of the character(s). B Answers will be detailed and thoughtful, with a sound case developed

for the chosen character. A/A* Answers will be cogent, well argued, with confident and apposite use

of supporting references to the text.

(c) Write about jealousy in Othello and how it is presented. [20]

E/D Answers will be reliant on (perhaps rather patchy!) narrative, with some discussion of jealousy emerging at D.

C Discussion will be more focused, and knowledge of the text more

secure. B Answers will be thorough and thoughtful, supported by solid

knowledge of the text. A/A* Answers will be carefully considered and evaluative, with, perhaps,

originality at A*.

17

15. Hobson’s Choice (a) Read the extract on the opposite page then answer the following

question: Look closely at how Willie speaks and behaves here. What does it reveal

to an audience about him? [10]

E/D Expect paraphrase with simple discussion of character at this level. C Answers will be more focused, with aptly selected references to

support judgements. B Answers will be detailed and thoughtful. A/A* Answers will be assured and evaluative, with close focus on the detail

of the extract.

(b) Give advice to an actor playing Hobson on how you think he should present the character to an audience. [20]


to the knowledge and understanding shown, the bottom line being to what extent the answer would be useful to an actor in that role. The criteria relating to detailed knowledge of the text and so on still apply. E/D Answers will be dependent on fairly simple narrative, with an

awareness of a valid approach to the character of Hobson. C Candidates will use a sound knowledge of the text to support their

interpretation of Hobson. B Interpretation of Hobson’s character will be rooted in a detailed

discussion of characters and relationships, supported by apt detail. A/A* Interpretation of Hobson’s character will be assured and evaluative,

and, at A*, may be original.

(c) How is the relationship between Maggie and her sisters, Vicky and Alice, important to the play as a whole? [20]

E/D Answers will be narrative driven, with some discussion of characters

and relationships at D. C Answers will still be narrative driven, but use of knowledge of the text

will be more selective, and discussion of the relationship between Maggie and her sisters more focused.

B Discussion of the relationship will be detailed and thoughtful. A/A* Answers will be astute and evaluative, and at A*, may be original.

18

16. Blood Brothers

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

Look closely at how Edward and Mickey speak and behave here. What does it reveal about them at this point in the play? [10]

E/D Answers will be dependent on re-telling the events of the extract, with empathy and some discussion at D.

C Discussion of Edward and Mickey will be more focused, with relevant

detail from the extract to support judgements. B Answers will contain sustained and thoughtful discussion of Edward

and Mickey as revealed in the extract. A/A* Answers will be assured, evaluative and closely read.

(b) Give advice to the actor playing Mickey on how you think he should

present the character to an audience. [20] Candidates will approach this type of task in different ways. Judge according


E/D Answers will be narrative driven, and may well be limited in scope.

Awareness of a valid approach to the presentation of Mickey’s character will be evident at D.

C Candidates will use a sound knowledge of the text to support their

interpretation of Mickey. B Interpretation of Mickey’s character will be rooted in a detailed

discussion of characters and relationships, supported by apt detail. A/A* Interpretation of Mickey’s character will be assured and evaluative,


(c) At the end of the play the Narrator says, ‘‘And do we blame superstition for what came to pass?’’ How important do you think superstition is in affecting the outcome of the play? [20]

As with all open questions, be flexible in judging what is offered by candidates, and judge according to the matrix. There is no ‘right answer’

E/D Answers will be dependent on narrative, with some relevant

discussion of prejudice, albeit underdeveloped, at D. C Answers will still be narrative driven, but will be more focused, with a

secure use of text. B Answers will be thorough and thoughtful. A/A* Answers will be cogent and well argued, with confident use of the text.

Originality may be apparent at A*.

19

SECTION C 17. 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 or atmosphere 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 grade criteria will also apply to this section. In the light of responses to the poem, further guidance will be given on the points that candidates are likely to make. Additionally, by the end of the conference you will have a wide range of exemplar material which will provide the main touchstone for the marking of the unseen poem.

E/D Answers will be dependent on paraphrase, with awareness of mood and atmosphere, and some awareness of subtext, perhaps, at D.

C Candidates will select and highlight detail in order to probe the text. There will

be appreciation of some stylistic features and a clear personal response. B Candidates will discuss the poem thoroughly and with some confidence.

Some stylistic features will be addressed with some insight. A Answers at this level will be typified by overview, sensitivity of response, and

appreciation of a range of features and their contribution to the overall meaning.

A* All the above, in a cogent and confident response, with analysis and

appreciation of stylistic features.

20

Mark/Grade Scale - FOUNDATION TIER - Specification A

For the Foundation Tier we aim to establish the following relationship between marks and grades. N.B. This tier will lead to awards for grades C-G; this scale allows for performances which exceed this on occasion.

GRADE BAND

SECTIONS A & B Part (a) and SECTION C

SECTIONS A & B Parts (b) and (c) (/20)

GRADE PAPER (/70)

(/10) U

0 - 1 0 - 4 U 0 - 16

G 17 - 25

G/F

2 - 4 5 - 9 F 26 - 34

E 35 - 43

E/D

5 - 7 10 - 14 D 44 - 52

C 53 - 70

C/B 8 - 10 15 - 20 Within each of the two-grade bands for part (b) and (c) questions there are effectively two marks for each grade and one mark which falls between: e.g. E = 10-11; E/D = 12; D = 13-14. You are asked to decide on a "band" first, and then "fine-tune" within this. It is important to remember that a candidate's overall grade will be the result of several aggregated marks: unless positive achievement is rewarded where it is shown, as indicated in the mark scheme, our overall expectations in terms of grade boundaries will prove to be unrealistic. The overall mark must be reviewed to check that it places the candidate in the appropriate grade. GRADE CRITERIA The following descriptions have been provided to indicate the way in which progression within the three criteria is likely to occur. Each successive description assumes demonstration of achievements in lower grades. You are asked to place work initially within a grade or grade 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. There will always be an element of "trade-off" : it will be particularly important to remember that, while grade B cannot be awarded overall on this tier, potential B qualities must be recognised.

21



Conveying Response






F




E




D




C




B




A




A*




22

SECTION A

N.B. The two marks for the extract questions are there to help the candidates and answers should be marked out of 10, rather than 5 + 5. It will therefore be necessary to balance the relative merits of (i) and (ii), as it is important not to penalise unduly those candidates who achieve more highly in one section. Some candidates may not split their responses; they should not be penalised for so doing. 1. I Know Why The Caged Bird Sings

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

(i) What do you think of the way Maya speaks and behaves here?

Give reasons for what you say.[5]

(ii) What do you think of the way Mother Dear speaks and behaves here? Give reasons for what you say. [5]

G/F Answers will be brief, with simple comments on the characters. E/D Emerging selection, and, at D, some discussion and empathy. C Clear and detailed discussion of the characters as revealed in the extract.

(b) Write about the relationship between Maya and her brother, Bailey.

Think about: • their childhood in Stamps; • the time they spent in St. Louis; • living in California, when they were older; • anything else you think important. [20]

G/F Answers will be brief and patchy in knowledge of Bailey.

E/D Answers will be more focused, with some discussion and empathy at D.

C Answers will reveal a secure knowledge of the text, used to back judgements.

(c) I Know Why The Caged Bird Sings tells the story of important stages in

Maya Angelou’s early life: childhood, adolescence and young adulthood. Choose the stage you found most interesting and write about it.

Think about: •what happened to Maya during the stage you have chosen; •Maya’s relationships with others during the stage you have chosen; •why you chose that stage as the most interesting. [20]

G/F Answers will be limited and general.

E/D Answers will be more focused, with awareness, empathy and some discussion at D.

C Answers will reveal a secure knowledge of the text, through aptly selected detail.

23

2. Pride and Prejudice


(i) What do you think of Mr. Darcy here? Give reasons for what you

say. [5]

(ii) What do you think of Elizabeth here? Give reasons for what you say. [5]

G/F Brief comments and simple responses. E/D More selection and emerging discussion of, and, perhaps, empathy

with, Elizabeth and Darcy. C Clear and detailed discussion of Elizabeth, and Darcy.

(b) Imagine you are Jane Bennet. At the end of the novel you think back

over how you met and married Mr. Bingley. Write down your thoughts and feelings.

You may wish to think about:

• how you first met; • your stay at Netherfield; • your feelings when Mr. Bingley returned to London; • how you met Mr. Bingley again, and got engaged to him. [20]

G/F Answers will be narrative driven and brief, with little, if any, sense of

Jane. E/D Answers will be more focused, with an awareness of Jane emerging,

although do not expect coverage of all the bullet points at this level. C Answers will show a clear sense of Jane and her story, and reveal a

sound knowledge of the text.

(c) What do you think of Lydia? Think about:

• her relationship with her family; • her elopement with Mr. Wickham; • the way she speaks and behaves; • anything else you think important. [20]

G/F Patchy, simple narrative. E/D Emerging discussion and more selection, with some

discussion/empathy at D. C Secure discussion, rooted in the text.

24

3. Paddy Clarke Ha Ha Ha


(i) What do you think of the way Paddy speaks and behaves here? Give reasons for what you say. [5]

(ii) What do you think of the way Ma speaks and behaves here? Give

reasons for what you say. [5]

G/F Brief responses and simple comments on the characters. E/D More focus and selection, with some discussion and empathy at D. C Clear and detailed discussion of the characters as revealed in the

extract.

(b) What do you think of Paddy’s Da? Think about:

• his relationships with his children; • his relationship with his wife; • the way he speaks and behaves; • anything else you think important. [20]

G/F Answers will based on patchy, simple, narrative. E/D Simple discussion, with clearer focus and some apt selection. C Thoughtful discussion, rooted in the text.

(c) Write about the way Paddy Clarke grows up during the novel. Think about:

• what happens to Paddy during the novel; • Paddy’s relationships with his parents; • Paddy’s relationships with his brother, Sinbad; • Paddy’s relationships with other characters; • the way Paddy speaks and behaves. [ 20 ]

G/F Answers will be based on simple, general narrative. E/D Answers will be more focused, with some discussion of characters

and relationships at D. C Answers will reveal a sound knowledge of the text, and select sensibly

in order to support judgements.

25

4. Silas Marner


(i) What are your thoughts and feelings as you read this extract? [5]

(ii) Choose parts of this extract that you find particularly effective. Write about them, explaining why you find them effective. [5]

G/F Brief responses, with simple comments on what is happening in the

extract. E/D More focus and selection, with some discussion and empathy at D. C Clear and detailed discussion of the extract, perhaps focused on

character, or perhaps mood and atmosphere.

(b) What do you think of Eppie?

Think about: • Eppie’s relationship with Silas; • Eppie’s relationship with Aaron Winthrop; • Eppie’s relationship with Godfrey and Nancy Cass; • the way Eppie speaks and behaves. [20]

G/F Patchy, simple narrative E/D More focus, with some discussion and, some empathy, at D, but do

not expect coverage of all the bullet points at this level. C Thoughtful discussion, with sound coverage of the bullet points, based

on sound knowledge of the text.

(c) What impressions do you have of the village of Raveloe?

Think about:

• some of the people who live there and how they speak and behave; • some of the events that happen there; • the way Raveloe is described; • anything else you think important. [20]

G/F simple brief answers, based on a general retelling of parts of the story. E/D Simple discussion, with clearer focus and some apt selection . C Thoughtful discussion, rooted in the text.

26

5. To Kill A Mockingbird


(i) What are your thoughts and feelings as you read this extract?

[5]

(ii) Choose parts of the extract that you find particularly effective and write about them, explaining why you find them effective. [5]

G/F Brief responses, and simple comments on what is happening. E/D More focus and selection, with some discussion at D. C Clear and detailed discussion of the extract.

(b) Imagine you are Dill, now grown up. You think back over the events of the novel. Write down your thoughts and feelings.


• your friendship with Scout and Jem; • the time you ran away from home; • the trial of Tom Robertson ; • anything else you think important. [20]

G/F Answers will be narrative driven and brief, with little, if any, sense of

Dill. E/D Answers will be more focused, with some awareness of Dill’s possible

view of events, although do not expect coverage of all the bullet points at this level.

C Answers will have a clear sense of Dill and his attitudes, and show a

detailed knowledge of the text.

(c) One of the themes in To Kill A Mockingbird is the relationship between parents and children. Write about one or two of these relationships, and explain why they are important to the novel as a whole. [20]

G/F Answers will be typified by simple , patchy narrative. E/D Answers will still be based on relatively simple narrative, but with

some discussion and, perhaps, empathy at D. C Answers will be detailed, revealing a sound knowledge of the text, and

clear focus on the question.

27

6. Of Mice and Men


(i) What do you think of the way Lennie speaks and behaves here?

Give reasons for what you say. [5]

(ii) What do you think of the way George speaks and behaves here? Give reasons for what you say. [5]

G/F Responses will be simple and general. E/D Answers will be more selective, with some discussion and empathy at

D. C Discussion of the characters will be clear and detailed.

(b) What do you think of Curley?

Think about:

• his relationship with his wife; • his relationships with others on the ranch; • his behaviour at the end of the novel; • the way he speaks and behaves. [20]

G/F Simple comments based on probably patchy narrative. E/D Answers will be more focused, with some discussion of Curley,

particularly at D. C Answers will reveal a sound knowledge of the text in an aptly

supported discussion of Curley.

(c) ‘Violence and violent events are never far away in Of Mice and Men.’ Write about two or three examples of violence in Of Mice and Men and explain why they are important to the novel as a whole. [20]

G/F Answers will be simple and general; E/D Answers will be more focused, with some selection of apt detail and

discussion of its importance emerging at D. C Answers here will be typified by detailed and relevant reference to the

text.

28

7. Stone Cold


(i) What do you think of the way Link speaks and behaves here?


(ii) What do you think of the way Gail speaks and behaves here? Give reasons for what you say. [5]

G/F Brief responses, and simple comments. E/D More focus and selection, with some discussion of Link and Gail at D. C Clear and detailed discussions of Link and Gail, with apt references to

the text. (b) What do you think of Shelter? Think about:

• what he reveals about himself in his ‘‘Daily Entries’’; • how Link describes him; • how he speaks and behaves at the end of the novel; • anything else you think important. [20]

G/F Answers will be based on simple, general narrative. E/D Answers will be more focused, with some discussion of Shelter,

particularly at D. C Answers will be based on a sound knowledge of the text, with apt

selection of detail to support judgements.

(c) Link faces many challenges during the time described in Stone Cold.Write about some of the challenges Link faces and explain how he copes with them. [20]

G/F Answers will be dependent on simple, general, patchy narrative. E/D Answers will be more focused, with some discussion of, and empathy

for, Link and the challenges he faces at D. C Answers will still be dependent on narrative, but knowledge of the text

will be more secure and there will be clear focus on the question.

29

8. Anita and Me


(i) How do you think Meena is feeling in this extract? Give reasons

for what you say. [5]

(ii) What do you think of the way Nanima speaks and behaves here? Give reasons for what you say. [5]

G/F Brief responses, with simple comments on Meena and Nanima. E/D More focus and selection, with some discussion of, and empathy for

the characters at D. C Clear and detailed discussion of Meena and Nanima as revealed in

the extract.

(b) What do you think of Meena’s parents? Think about:

• how they met and married; • their life in England; • their relationships with their children, Meena and Sunil; • problems they faced and how they overcame them; • anything else you think important. [20]

G/F General responses, with scant reference to the text. E/D More focus, with some discussion and, perhaps, empathy at D. Do

not anticipate coverage of all the bullet points at this level! C Sensible discussion, supported by relevant references to the text.

(c) Write about two or three people, apart from members of her family, who

you think had an important effect on Meena as she grew up. For each person, explain why he or she had an important effect on Meena. [20]

G/F Answers will be simple and general. E/D Answers will still be based on relatively simple narrative, but with

some discussion and awareness at D. C Answers will be detailed, revealing a sound knowledge of the text, and

with clear focus on the question.

30

SECTION B N.B. The two marks for the extract questions are there to help the candidates and answers should be marked out of 10, rather than 5 + 5. It will therefore be necessary to balance the relative merits of (i) and (ii), as it is important not to penalise unduly those candidates who achieve more highly in one section. Some candidates may not split their responses; they should not be penalised for so doing. 9. Under Milk Wood


(i) What are your thoughts and feelings about Miss Price here? Give

reasons for what you say. [5]

(ii) What are your thoughts and feelings about Mr. Edwards here? Give reasons for what you say. [5]

G/F Simple, general comments on the characters. E/D More focused, with some discussion of the characters at D. C Discussion supported by aptly selected details from the text.

(b) What do you think of Captain Cat? Think about: • the part he plays as a narrator; • his relationships with others; • the way he speaks and behaves; • anything else you think important. [20]

G/F Simple, general responses. E/D More focus, with some relevant discussion at D, and more heed taken

of bullet points. C Answers will be detailed and thoughtful, revealing a sound knowledge

of the text.

(c) Under Milk Wood includes both sad and funny episodes. Choose one sad and one funny episode that made an impression on you. Write about each of these episodes, explaining why they made that impression on you. [20]

G/F Answers will probably be simple and general. E/D Answers will be more focused, with emerging discussion and

awareness at D. C Answers will be considered, supported by a sound knowledge of the

text.

31



(i) What do you think of the way Alfieri speaks and behaves here?

Give reasons for what you say. [5] (ii) What do you think of the way Eddie speaks and behaves here?


G/F Answers will be simple and general. E/D More focus, with some discussion of characters at D. C Judgements will be well considered and supported by detail from the

text.

(b) For which character in A View From The Bridge do you have the most sympathy?

Think about:

• what happens to your chosen character in the play • your chosen character’s relationships with other characters; • the way your chosen character speaks and behaves at different

points in the play; • why you feel the most sympathy for your chosen character. [20]

G/F Answers will be brief and general. E/D More focus, with empathy/discussion at D. Better, though probably not

complete, coverage of the bullet points. C Answers will be detailed and engaged.

(c) Give advice to the actor playing Marco on how he should speak and behave at two or three different points in the play. [20]

When judging responses to this question, mark according to the matrix, and consider to what extent the response would be useful to an actor unfamiliar with the character and play - candidates will approach the question in different ways.

G/F Answers will be dependent on simple, general story telling. E/D Answers will be more focused, with some discussion and, perhaps,

empathy at D. C Answers will be thoughtful and considered, rooted in a sound

knowledge of the text, and provide a valid reading of Marco’s character.

32

11. An Inspector Calls


(i) What do you think of the way Mr. Birling speaks and behaves

here? Give reasons for what you say. [5]

(ii ) What do you think of the way Sheila speaks and behaves here? Give reasons for what you say. [5]

G/F Answers will be brief, general, and underdeveloped. E/D More focus, with some awareness and discussion at D. C Answers will be closely read and thoughtful.

(b) Imagine you are Gerald. At the end of the play you think back over its events. Write down your thoughts and feelings.


• what happened during the evening of the Inspector’s visit; • your relationship with Sheila; • your relationship with Eva Smith/Daisy Renton; • the effect the evenings events had on you. [20]

G/F Answers will be underdeveloped, based on simple narrative, with only

a vague sense of Gerald. E/D More focus, with empathy at D, and more heed paid to bullet points. C Answers will be convincing in tone and selection of detail, and reveal


(c) Which character do you think is the most to blame for Eva Smith’s death? Give reasons for what you say. [20]

As with all such open questions, be receptive to any suggestions, and judge


G/F Simple and general comments. E/D More focus, with simple discussion and awareness at D. C Detailed, thoughtful responses, well rooted in the text.

33


When marking answers on this text, please remember that its characters can be interpreted in very different ways!

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

questions: (i) What do you think of the way Shylock speaks and behaves here?


(ii) What do you think of the way Antonio speaks and behaves here? Give reasons for what you say. [5]

G/F Simple, general, discussion of characters (not necessarily equally

distributed). E/D Emerging discussion of characters, with more focus. Again, perhaps

more on one than the other. C Clear and sensible discussion, supported with apt reference to the text

- though still, perhaps, not equal amounts on each.

(b) What do you think of Jessica? Think about:

• her relationship with her father, Shylock; • when she elopes with Lorenzo;

• the way she speaks and behaves at different points in the play. [20]

G/F Answers will be general and underdeveloped. E/D Answers will still be dependent on relatively simple narrative, but with

some discussion of Jessica and her relationships at D. C Answers will be based on a sound knowledge of the play, and provide

a valid reading of Jessica’s character.

(c) Write about prejudice in The Merchant of Venice. Think about:

• characters who behave in a prejudiced way; • how characters’ prejudices affect what happens in the play;

• anything else you think important. [20]

G/F Answers will be simple and general. E/D Answers will be more focused, with some discussion/awareness at D. C Answers will be detailed and engaged, with clearer focus on the last

part of the question.

34

13. Romeo and Juliet


(i) What do you think of the way Juliet speaks and behaves here? Give reasons for what you say.[5]

(ii) What do you think of the way the Nurse speaks and behaves here? Give reasons for what you say. [5]

G/F Simple, general comments. E/D More focus, with some discussion/empathy at D. C Judgements will be supported by apt detail.

(b) Write about how Juliet’s character changes throughout the play. Explain the reasons for these changes.

Think about:

• the way Juliet speaks an behaves before she meets Romeo ; • the way Juliet speaks and behaves once she has met Romeo; • the way Juliet speaks and behaves with her Nurse and with the

Friar; • the way Juliet speaks and behaves with her parents; • anything else you think important . [20]

G/F Answers will be underdeveloped and based on simple, patchy

narrative.

E/D Answers will still be based on fairly simple narrative, but will have more focus, and some discussion of Juliet and her relationships at D.

C Answers will be based on a sound knowledge of the text, and will present a sensible discussion of Juliet’s changing character.

(c) Give advice to the actor playing Lord Capulet, Juliet’s father, on how he

should present the character to an audience at the following points in the play:

• the fight at the beginning; • during the party at his home; • when Juliet refuses to marry Paris; • the end of the play.


G/F Answers will be underdeveloped and based on simple, partial

narrative.

E/D Answers will still be based on fairly simple narrative, but with more focus, and some discussion at D.

C Answers will be based on a sound knowledge of the text, and represent a valid reading of Capulet’s character.

35

14. Othello


(i) What do you think of the way Iago speaks and behaves here?


(ii) What do you think of the way Cassio speaks and behaves here? Give reasons for what you say. [5]

G/F Simple, general comments on characters. E/D More focus, with some discussion/empathy ( for Cassio? ) at D. C Answers will be closely read and thoughtful.

(b) For which of Iago’s victims do you have the most sympathy? Think about: • what happens to your chosen character in the play; • your chosen character’s relationship with Iago; • your chosen character’s relationship with other characters; • the way your chosen character speaks and behaves; • why you have the most sympathy for this character. [20]

G/F Answers will be based on simple, general judgements. E/D Answers will be more focused, with some reference to some of the

bullet points, and empathy at D. C Answers will be detailed and build a sensible case for the chosen

character.

(d) Write about jealousy in Othello.

Think about: • characters who are jealous; • the reasons for their jealousy; • the results of their jealousy; • anything else you think important. [20]

G/F Answers will be based on a simple, partial, retelling of all, or parts of,

the play. E/D Answers will be dependent on fairly simple narrative, with emerging

discussion/empathy at D. C Answers will be considered, rooted in a solid knowledge of the text,


36

15. Hobson’s Choice


(i) What do you think of the way Willie speaks and behaves here?


(ii) How do you think an audience would respond to this part of the play? [5]

G/F Simple, general comments. E/D More focus and selection, with some discussion/empathy at D. C Judgements supported by apt detail selected from the text.

(b) Give advice to the actor playing Hobson on how he should speak and behave at important points in the play. [20]


G/F Answers will be brief and general, based on simple narrative. E/D Answers will be more focused, with some discussion of characters

and relationships at D. C Answers will be detailed and engaged, representing a valid reading of

Hobson’s character.

(c) Write about the relationship between Maggie and her sisters, Vicky and Alice. Explain how and why the relationship changes at different points in the play. [20]

G/F Answers will be dependent on simple, patchy narrative. E/D Answers will be more focused, with some discussion at D. C Answers will be rooted in a sound knowledge of the text, and reveal

some understanding of the dynamics between the characters.

37

16. Blood Brothers


(i) What do you think of the way Edward speaks and behaves here?


(ii) What do you think of the way Mickey speaks and behaves here? Give reasons for what you say. [5]

G/F Simple, general comments, not necessarily equally on both

characters. E/D More focus and discussion, not necessarily equally on both

characters. C Focused discussion on both characters, supported by apt reference to

the text. There still may be more on one than on the other, however.

(b) Give advice to an actor playing Mickey on how he should speak and behave at two or three important points in the play. 20]


G/F Answers will be underdeveloped, based on simple narrative. E/D Answers, although still based on simple narrative, will be more

focused, and include some discussion of characters and relationships, particularly at D.

C Detailed and considered responses, revealing secure knowledge of

the text, and representing a valid reading of Mickey’s character.

(c) At the end of the play the Narrator says, ‘‘And do we blame superstition

for what came to pass?’’ Write about the importance of superstition in Blood Brothers. [20]

G/F Answers will probably be based on a simple, partial, retelling of the

play. E/D Answers will be dependent on simple narrative, with discussion and

awareness emerging at D. C Answers will be considered, rooted in a solid knowledge of the text.

38

SECTION C

17. 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 or atmosphere 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 grade criteria will also apply to this section. In the light of responses to the poem, further guidance will be given on the points that candidates are likely to make. Additionally, by the end of the conference you will have a wide range of exemplar material which will provide the main touchstone for the marking of the unseen poem.

G Simple, inaccurate and incomplete paraphrase, or copying out, probably very

brief.

F Simple, general comments.

E Simple selection, with simple comments, and a more focused personal response.

D Awareness of mood and atmosphere, with an emerging awareness of subtext. Empathy in personal response. There may be general comments on some stylistic features.

C At this level, candidates will work at the detail of the poem, discussing its

content, creation of mood and atmosphere and subtext. Focused discussion of some of the effects of the imagery will be an indicator of grade C. If this is sustained and successful, think of 9 or 10.

39

Mark/Grade Scale - HIGHER TIER - Specification B For the Higher Tier we aim to establish the following relationship between marks and

grades. (N.B. This tier will lead to awards from grades A* - D; the scale allows for

performances which fall below this on occasion.) GRADE BAND

SECTIONS A & B Part (a) (/10)

SECTIONS A & B Parts (b) and (c) and SECTION C (/20)

GRADE PAPER (/80)

U-F

0 - 1 0 - 4 U - F 0 - 19

E 20-29

E/D

2-4 5-9 D 30-39

C 40-49

C/B

5-7 10-14 B 50-59

A 60-69

A/A* 8-10 15-20 A* 70-80 Within each of the two-grade bands for part (b) and (c) questions there are effectively two marks for each grade and one mark which falls between: e.g. C = 10-11; C/B = 12; B = 13/14. You are asked to decide on a "band" first, and then "fine-tune" within this. It is important to remember that a candidate's overall grade will be the result of several aggregated marks: unless positive achievement is rewarded where it is shown, as indicated in the mark scheme, our overall expectations in terms of grade boundaries will prove to be unrealistic. The overall mark must be reviewed to check that it places the candidate in the appropriate grade. GRADE CRITERIA The following descriptions have been provided to indicate the way in which progression within the three criteria is likely to occur. Each successive description assumes demonstration of achievements in lower grades. You are asked to place work initially within a grade or grade 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. There will always be an element of "trade-off”: it will be particularly important to give credit to grade A* qualities where they occur.

40



Conveying Response






F




E




D




C




B




A




A*




41

SECTION A

PROSE ANTHOLOGY (30 marks) 1. (a) Read the extract on the opposite page and then answer the following

question:

How does Kitty Aldridge present Maggie’s excitement and wonder at the football match? Make sure that you refer to words and phrases used. [10]

E Answers will be dependent on narrative and may well be limited in

scope. D There will be some awareness of the words “excitement and wonder”,

perhaps with some textual support. C Answers will be more secure in their knowledge of the text and

selecting apt details to support judgements about the aspects of “wonder and excitement”.

B Answers will be thorough and thoughtful seeking to demonstrate

where “wonder and excitement” are located and presented. A/A* Answers will be assured and contain insight, as well as, perhaps,

some originality into how the aspects of wonder and excitement are presented.

(b) Characters in stories are often influenced by the places where they live.

Choose one character from each of two different short stories. Explain how the places where they live influence each of your chosen characters. [20]

E Answers will be dependent on narrative of both stories and may be

limited in scope regarding place. Beginning to identify simple points of comparison. D There will be some discussion of how the writers locate their

characters in particular places but answers will still rely on narrative. There will be some comparison and some simple evaluation of the

comparisons.

42

C Answers will be more secure in their knowledge of the places/effects

where characters are located and selecting apt details to support judgements.

Connections and comparisons will be explored. B Answers will be thorough and thoughtful demonstrating how place

affects each chosen character. Some connections and comparisons explored in a sustained manner. A/A* Answers will be assured and contain insight, as well as, perhaps some

originality regarding the effects of particular places on characters.

A Some confident exploration of comparisons with apt selection of details.

A* Subtle points of comparison explored/probed.

(c) Some stories contain moments where characters realise what is really

important

Choose one character from each of two different stories in the anthology who come to such a realisation. Explain how the realisation is presented in each story. Remember to refer to words and phrases from each story to support your answer. [20]

E Answers will be dependent on narrative of both texts and will be limited in scope.

Beginning to identify simple points of comparison. D There will be some discussion of moments where there are

realisations but answers will still rely on narrative. There will be some comparison and some simple evaluation of the

characters' realisations. C Answers will be more secure in their knowledge of the texts and

selecting apt details to support judgements about moments of realisation.

Connections and comparisons will be explored.

43

B Answers will be thorough and thoughtful examinations of moments of

realisation with closer textual reference. Some connections and comparisons explored in a sustained manner. A/A* Answers will be assured and contain insight, as well as, perhaps some

originality, in their discussion of moments of realisation.

A Some confident exploration of comparisons, perhaps even considering stylistic differences, with apt selection and evaluation of details.


44

SECTION B

POETRY ANTHOLOGY (30 marks) 2. (a) Read the poem on the opposite page and then answer the following

question:

How does Sheenagh Pugh, in her poem, transform a day on the beach into something menacing? Make sure that you refer to words and phrases used. [10]

E/D There will be some selection but answers will be dependent on paraphrase.

D Answers may still depend on paraphrase, but with some awareness of

the idea of menace or some stylistic features. C Candidates will select and highlight detail in order to probe the text in

order to demonstrate what is menacing. There will be some appreciation of some stylistic features.

B Candidates will discuss the poem and its menacing aspects with some

insight. Some stylistic features will be addressed. A/A* Answers here will be typified by overview, and appreciation of a range

of features and their contribution to the overall meaning.

(b) Some of the poems in the anthology are about childhood.

Look at “The Beautiful Lie” by Sheenagh Pugh and one other poem. What are the poets’ thoughts and feelings about childhood and how are they presented? [20]

E/D Answers will use paraphrase but there may be some discussion of childhood as presented in the chosen poems or stylistic features.

D Begin to discuss points of comparison. E Begin to identify points of comparison.

45

C Candidates will select and highlight in order to probe what the poems

have to say about childhood. There will be some appreciation of stylistic features.


B Candidates will discuss the poems’ presentation of childhood with

some confidence. Some stylistic features will be addressed with insight.

Some sustained connections and comparisons explored.

A/A* Answers here will be typified by overview, and an appreciation of a

range of features and their contribution to overall meaning.

A Confident exploration of comparisons with apt selection of details for comparison.


(c) Explore how Tony Harrison presents his relationship with his family in two poems in the anthology. [20]

E/D Answers will use paraphrase but there may be some discussion of

relationships with his family or stylistic features.

E Begin to identify points of comparison. D Begin to discuss points of comparison.

C Candidates will select and highlight in order to probe the texts for relationships/differences. There will be some appreciation of stylistic features.


B Candidates will discuss the poems, relationships/differences, with

some confidence. Some stylistic features will be addressed with insight.

Some sustained connections and comparisons explored.

A/A* Answers here will be typified by overview, and an appreciation of a

range of features and their contribution to overall meaning.

A Confident exploration of comparisons with apt selection of details for comparison.


46

SECTION C (20 marks) 3. Under Milk Wood

(a) Give advice to the actor taking the part of Captain Cat on how you think he should present the character to an audience. [20]



E/D Answers will be dependent on simple discussion, with reference to

some relevant parts of the text. C Candidates will use a sound knowledge of the text to support their

interpretation of Captain Cat. B Interpretation of Captain Cat’s character will be rooted in a detailed

discussion of relevant detail. A/A* Interpretation of the character of Captain Cat will be assured and

evaluative, and, at A*, may be original.

(b) A critic once said, ‘‘The entire play is about religion, death, and sex.’’ To what extent do you agree with this description of Under Milk Wood? [20]

As this is a very open question, be receptive to a range of ideas, and judge


E/D Answers will be based on narrative, with some discussion at D. C Answers will be more focused, with solid knowledge of the text used to

support judgements. B Answers will be thoughtful and sustained.

A/A* Answers will be carefully considered and evaluative, with, perhaps,

originality at A*.

47


(a) For which character in A View From The Bridge do you have the most sympathy? Explain how Arthur Miller’s presentation of your chosen character creates sympathy for him or her. [20]

As with all open questions, be receptive in judging what is offered.

Candidates may, for example, write exclusively on their chosen character, or consider others, before arriving at a final conclusion.

E/D Answers will be narrative driven, with personal responses to

character(s), and empathy emerging at D.

C Answers will reveal a secure knowledge of the play to support their discussion of the character(s).

B Answers will be detailed and thoughtful, with a sound case developed

for the chosen character. A/A* Answers will be cogent, well argued, and with confident and apposite

use of supporting detail.

(b) Give advice to an actor playing Marco on how he should present the character to an audience. [20]



E/D Answers will be dependent on fairly simple narrative, with an

awareness of a valid approach to the character of Marco. C Candidates will use a sound knowledge of the text to support their

interpretation of Marco. B Interpretation of Marco’s character will be rooted in a detailed

discussion of characters and relationships, supported by apt detail. A/A* Interpretation of Marco’s character will be assured and evaluative,

and, at the top, perhaps original.

48


(a) Imagine you are Gerald. At the end of the play you think back over its events. Write down your thoughts and feelings. Remember how Gerald would speak when you write your answer. [20]

E/D Answers will be narrative driven, with an awareness of Gerald’s

possible views of characters and events at D. C Answers will reveal some understanding of Gerald’s possible view of

characters and events, and will be confident in use of text. B Answers will be sustained, revealing an understanding of characters

and relationships, through Gerald’s viewpoint. A/A* Answers will be convincing in terms of chosen detail, standpoint, and

voice

(b) Inspector Goole says ‘‘We are responsible for each other.’’ How does J.B. Priestley present this theme in An Inspector Calls? [20]

As with all open questions, there is no ‘right answer’. Judge according to the

matrix, and to knowledge and understanding shown.

E/D Answers will tend to be general, probably dependent on simple narrative, but with some awareness and emerging discussion at D.

C Answers will probably be narrative driven, but with apt focus on key

areas of the text. B Answers will be thoughtful and thorough. A/A* Answers will be evaluative, assured, and, perhaps, at the top, original.

49

6. The Merchant of Venice Please bear in mind that the characters in this play can be interpreted very differently, and allow for this in your judgements of candidates' responses.

(a) How is the character of Jessica important to the play as a whole? [20]




areas of the text. B Answers will be thoughtful and thorough, with an emerging

understanding of Jessica’s importance. A/A* Answers will be evaluative, assured, and, perhaps, at the top, original,

with Jessica’s importance addressed with some success.

(b) Write about the theme of prejudice in The Merchant of Venice and how it is presented. [20]


discussion of relevant parts of the play at D. C Answers will still be narrative driven, but will be more focused, with a

secure use of text. B Answers will be thorough and thoughtful. A/A* Answers will be typified by a clear overview, with astute discussion of

the theme. At A*, there may be some originality in the response.

50

7. Romeo and Juliet

(a) Although the play takes place over only a few days, Juliet’s character undergoes a huge change during this time. Show how Shakespeare presents this change to an audience. [20]


discussion/empathy at D. C Although still based on narrative, answers will be more focused, and

supported by apt detail. B Discussion of Juliet and her changing character will be detailed and

thoughtful. A/A* Answers will be evaluative, assured, and supported by confident use

of detail. The ‘how’ in the question will be clearly addressed.

(b) Give advice to the actor playing Lord Capulet, Juliet’s father, on how you think he should present the character to an audience. [20]



E/D Answers will be dependent on fairly simple narrative, with an awareness of a valid approach to the character of Lord Capulet.

C Candidates will support their interpretation of Lord Capulet with

relevant detail from the text. B Interpretation of Lord Capulet’s character will be rooted in a detailed

discussion of characters and relationships, supported by apt references to the text.

A/A* Interpretation of Lord Capulet’s character will be assured and

evaluative, and, at the top, may be original.

51

8. Othello

(a) For which of Iago’s victims do you have the most sympathy, and why? [20]

As with all open questions, be flexible in judging what is offered by

candidates, and judge according to the matrix. Candidates may write on one character only, or may choose to consider others before arriving at a conclusion.

E/D Answers will be based on simple narrative, with personal responses to

character(s), and empathy emerging at D. C Answers will reveal a secure knowledge of the play to support

discussion of the character(s). B Answers will be detailed and thoughtful, with a sound case developed

for the chosen character. A/A* Answers will be cogent, well argued, with confident and apposite use

of supporting references to the text.

(b) Write about jealousy in Othello and how it is presented. [20]

E/D Answers will be reliant on (perhaps rather patchy!) narrative, with

some discussion of jealousy emerging at D. C Discussion will be more focused, and knowledge of the text more

secure. B Answers will be thorough and thoughtful, supported by solid

knowledge of the text. A/A* Answers will be carefully considered and evaluative, with, perhaps,

originality at A*.

52

9. Hobson's Choice

(a) Give advice to an actor playing Hobson on how you think he should present the character to an audience. [20]



E/D Answers will be dependent on fairly simple narrative, with an awareness of a valid approach to the character of Hobson.


interpretation of Hobson. B Interpretation of Hobson’s character will be rooted in a detailed

discussion of characters and relationships, supported by apt detail. A/A* Interpretation of Hobson’s character will be assured and evaluative,


(b) How is the relationship between Maggie and her sisters, Vicky and

Alice, important to the play as a whole? [20]

E/D Answers will be narrative driven, with some discussion of characters and relationships at D.

C Answers will still be narrative driven, but use of knowledge of the text

will be more selective, and discussion of the relationship between Maggie and her sisters more focused.

B Discussion of the relationship will be detailed and thoughtful. A/A* Answers will be astute and evaluative, and at A*, may be original.

53

10. Blood Brothers

(a) Give advice to the actor playing Mickey on how you think he should present the character to an audience. [20]



E/D Answers will be narrative driven, and may well be limited in scope.

Awareness of a valid approach to the presentation of Mickey’s character will be evident at D.


interpretation of Mickey. B Interpretation of Mickey’s character will be rooted in a detailed

discussion of characters and relationships, supported by apt detail. A/A* Interpretation of Mickey’s character will be assured and evaluative,


(b) At the end of the play the Narrator says, ‘‘And do we blame superstition

for what came to pass?’’ How important do you think superstition is in affecting the outcome of the play? [20]

As with all open questions, be flexible in judging what is offered by

candidates, and judge according to the matrix. There is no ‘right answer’

E/D Answers will be dependent on narrative, with some relevant discussion of prejudice, albeit underdeveloped, at D.

C Answers will still be narrative driven, but will be more focused, with a

secure use of text. B Answers will be thorough and thoughtful. A/A* Answers will be cogent and well argued, with confident use of the text.

Originality may be apparent at A*.

54

Mark/Grade Scale - FOUNDATION TIER - Specification B

For the Foundation Tier we aim to establish the following relationship between marks and grades. N.B. This tier will lead to awards for grades C-G; this scale allows for performances which exceed this on occasion.

GRADE BAND

SECTIONS A & B Part (a) (/10)

SECTIONS A & B Parts (b) and (c) and SECTION C

GRADE PAPER (/80)

(/20) U 0 - 1 0-4 U

0-19

G 20-29

G/F 2-4 5-9 F

30-39

E 40-49

E/D 5-7 10-14 D

50-59

C 60-80

C/B 8-10 15-20 (B) Within each of the two-grade bands for part (b) and (c) questions there are effectively two marks for each grade and one mark which falls between: e.g. E = 10-11; E/D = 12; D = 13-14. You are asked to decide on a "band" first, and then "fine-tune" within this. It is important to remember that a candidate's overall grade will be the result of several aggregated marks: unless positive achievement is rewarded where it is shown, as indicated in the mark scheme, our overall expectations in terms of grade boundaries will prove to be unrealistic. The overall mark must be received to check that it places the candidate in the appropriate grade. GRADE CRITERIA The following descriptions have been provided to indicate the way in which progression within the three criteria is likely to occur. Each successive description assumes demonstration of achievements in lower grades. You are asked to place work initially within a grade or grade 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. There will always be an element of "trade-off" : it will be particularly important to remember that, while grade B cannot be awarded overall on this tier, potential B qualities must be recognised in individual questions.

55



Conveying Response






F




E




D




C




B




A




A*




56

SECTION A

PROSE ANTHOLOGY (30 marks) 1. (a) Read the extract on the opposite page and then answer the following

question:

What impressions do you get of the atmosphere at Villa Park when Maggie goes to the match?

In your answer write about:

• the sights and sounds at the match; • words and phrases you find interesting; • anything else you think is important. [10] G Answers will be short, simple, and limited in scope. F Answers may be more developed, but still limited in scope. E Answers will be narrative but closer focus on the atmosphere. D Answers will be dependent on narrative but with some discussion of

the atmosphere. C Apt selection and discussion from the extract to examine how the

atmosphere is presented. (b) Many of the characters in the stories in the anthology are affected by

the places they live. Choose one character from “The Lesson” and one character from

another story in the anthology. Show how your chosen characters are affected by the places where they live.


• what each place is like; • what each character feels about the place; • anything else you think is important.

Remember to refer to words and phrases from each story to support your answer. [20]

57

G/F General responses, with little reference, if any, to the texts. G Simple unfocussed expression of preferences. F Selection of obvious features of similarity and differences.

E Answers will be dependent on narrative of both texts. Beginning to identify simple points of comparison.

D There will be some discussion of place/effects but answers will still be

reliant on narrative.

Some comparison and simple evaluation of place.. C Detailed and thoughtful answers, revealing a sound knowledge of the

texts and the effect of places on the chosen characters.

Connections and comparisons of places/effects explored.

(c) In some stories in the anthology there are moments when a character realises what is really important.

Write about one character from “Bella Makes Life” and one character from another story in the anthology who realises what is really important.


• what each character is like to start with; • what each character realises is really important; • what happens to make them realise this.

Remember to refer to words and phrases from each story to support your answer. [20] G/F General responses, with little reference, if any, to the texts.

G Simple unfocussed expression of preferences.

F Selection of obvious features of similarity and differences. E Some discussion of what it is that characters realise is important Beginning to develop simple points of comparison.

D More focus on what the characters realise is really important and

reasons for preferences, although reliant on narrative. Some comparison and simple evaluation of the important realisations

and what happens in them. C Detailed and thoughtful answers, revealing a sound knowledge of the

important realisations and starting to think about their effects on the characters.

Connections and comparisons of the realisations and the effect on

characters.

58

SECTION B

POETRY ANTHOLOGY (30 marks) 2. (a) Read the poem on the opposite page then answer the following

question:

Show how the visit to the beach becomes such a disturbing experience. In your answer write about:

• what the children do on the beach; • the mother’s thoughts as she watches her family; • the ending of the poem from “Wind shivers over him” to “on

him” (lines 29/32); • words and phrases you find interesting. [10]

G Simple inaccurate paraphrase, or copying out. F Simple general comments. E Some selection, with simple comments with some awareness of ideas/

techniques. D Awareness of tone and an emerging awareness of the menace. Some

general comment on some stylistic features. C Detailed and thoughtful answers, revealing a sound knowledge of the

text. (b) Some of the poems in the anthology are about childhood. Look at “The Beautiful Lie” by Sheenagh Pugh and one other poem. Compare and contrast what the poems say about childhood.


• what each poem says about being a child; • words and phrases you find interesting; • which poem you prefer and why. [20]

59

G Simple inaccurate paraphrase, or copying out. Simple, unfocussed expression of preferences. F Simple general comments. Selection of obvious features of similarity and difference. E Some selection, with simple comments about what each poem says

about childhood. Beginning to develop simple points of comparison. D Awareness of tone and an emerging awareness of subtext. Some

general comment on stylistic features. Some comparison and evaluation of the poems and what they say

about childhood. C At this level, the candidates will work at details of the poems, content,

mood and atmosphere, or discussing subtextual messages about childhood. Discussion of these details, with apt references, will be indicators of C grade,

Connections and comparisons of the poems explored.

(c) In the anthology Tony Harrison writes about the relationship between

himself and his family.

Compare and contrast two poems from the anthology in which Tony Harrison writes about his relationship with his family.


• Tony Harrison’s thoughts and feeling about his family in each

poem ; • how Tony Harrison is different from his family in each poem; • words and phrases you find interesting. • which poem you prefer and why. [20]

60

G Simple inaccurate paraphrase or copying out. Simple, unfocussed expression of preferences.

F Simple, general comments about his family/differences. Selection of obvious features of similarity and difference. E Some selection, with simple comments about his relationship with his

family and the differences between them. Beginning to develop simple points of comparison. D Awareness of tone and an emerging awareness of subtext. Some

general comment on stylistic features. Some comparison of the relationships/differences and, or their

presentation. C At this level, the candidates will work at details of the poems, content,

mood and atmosphere, or discussing subtextual messages about his relationship with his family and their differences. Discussion of these details, with apt references, will be indicators of C grade.

Connections and comparisons of the relationships/differences .

61

SECTION C (20 marks) 3. Under Milk Wood

(a) What do you think of Captain Cat? Think about:

• the part he plays as a narrator; • his relationships with others; • the way he speaks and behaves; • anything else you think important. [20]

G/F Simple, general responses. E/D More focus, with some relevant discussion at D, and more heed taken

of bullet points. C Answers will be detailed and thoughtful, revealing a sound knowledge

of the text. (b) Under Milk Wood includes both sad and funny episodes. Choose one

sad and one funny episode that made an impression on you. Write about each of these episodes, explaining why they made that impression on you. [20]

G/F Answers will probably be simple and general. E/D Answers will be more focused, with emerging discussion and

awareness at D. C Answers will be considered, supported by a sound knowledge of the

text. 4. A View From The Bridge

(a) For which character in A View From The Bridge do you have the most sympathy?

Think about:

• what happens to your chosen character in the play • your chosen character’s relationships with other characters; • the way your chosen character speaks and behaves at different

points in the play; • why you feel the most sympathy for your chosen character. [20]

G/F Answers will be brief and general. E/D More focus, with empathy/discussion at D. Better, though probably not

complete, coverage of the bullet points. C Answers will be detailed and engaged.

62

(b) Give advice to the actor playing Marco on how he should speak and behave at two or three different points in the play. [20]


G/F Answers will be dependent on simple, general story telling. E/D Answers will be more focused, with some discussion and, perhaps,

empathy at D. C Answers will be thoughtful and considered, rooted in a sound

knowledge of the text, and provide a valid reading of Marco’s character.

63


(a) Imagine you are Gerald. At the end of the play you think back over its events. Write down your thoughts and feelings.


• what happened during the evening of the Inspector’s visit; • your relationship with Sheila; • your relationship with Eva Smith/Daisy Renton; • the effect the evenings events had on you. [20]

G/F Answers will be underdeveloped, based on simple narrative, with only

a vague sense of Gerald. E/D More focus, with empathy at D, and more heed paid to bullet points. C Answers will be convincing in tone and selection of detail, and reveal


(b) Which character do you think is the most to blame for Eva Smith’s

death? Give reasons for what you say. [20] As with all such open questions, be receptive to any suggestions, and judge


G/F Simple and general comments. E/D More focus, with simple discussion and awareness at D.

C Detailed, thoughtful responses, well rooted in the text...

64


When marking answers on this text, please remember that its characters can be interpreted in very different ways!

(a) What do you think of Jessica? Think about:

• her relationship with her father, Shylock; • when she elopes with Lorenzo; • the way she speaks and behaves at different points in the play. [20]

G/F Answers will be general and underdeveloped. E/D Answers will still be dependent on relatively simple narrative, but with

some discussion of Jessica and her relationships at D. C Answers will be based on a sound knowledge of the play, and provide

a valid reading of Jessica’s character.

(e) Write about prejudice in The Merchant of Venice. Think about:

• characters who behave in a prejudiced way; • how characters’ prejudices affect what happens in the play;

• anything else you think important. [20]

G/F Answers will be simple and general. E/D Answers will be more focused, with some discussion/awareness at D. C Answers will be detailed and engaged, with clearer focus on the last

part of the question.

65

7. Romeo and Juliet

(a) Write about how Juliet’s character changes throughout the play. Explain the reasons for these changes.

Think about:

• the way Juliet speaks an behaves before she meets Romeo; • the way Juliet speaks and behaves once she has met Romeo; • the way Juliet speaks and behaves with her Nurse and with the

Friar; • the way Juliet speaks and behaves with her parents; • anything else you think important. [20]

G/F Answers will be underdeveloped and based on simple, patchy narrative.

E/D Answers will still be based on fairly simple narrative, but will have

more focus, and some discussion of Juliet and her relationships at D. C Answers will be based on a sound knowledge of the text, and will

present a sensible discussion of Juliet’s changing character.

(b) Give advice to the actor playing Lord Capulet, Juliet’s father, on how he

should present the character to an audience at the following points in the play:

• the fight at the beginning; • during the party at his home; • when Juliet refuses to marry Paris; • the end of the play.


G/F Answers will be underdeveloped and based on simple, partial

narrative.

E/D Answers will still be based on fairly simple narrative, but with more focus, and some discussion at D.

C Answers will be based on a sound knowledge of the text, and

represent a valid reading of Capulet’s character.

66

8. Othello

(a) For which of Iago’s victims do you have the most sympathy? Think about: • what happens to your chosen character in the play; • your chosen character’s relationship with Iago; • your chosen character’s relationship with other characters; • the way your chosen character speaks and behaves; • why you have the most sympathy for this character. [20]

G/F Answers will be based on simple, general judgements. E/D Answers will be more focused, with some reference to some of the

bullet points, and empathy at D. C Answers will be detailed and build a sensible case for the chosen

character.

(b) Write about jealousy in Othello.

Think about:

• characters who are jealous; • the reasons for their jealousy; • the results of their jealousy; • anything else you think important. [20]

G/F Answers will be based on a simple, partial, retelling of all, or parts of,

the play. E/D Answers will be dependent on fairly simple narrative, with emerging

discussion/empathy at D. C Answers will be considered, rooted in a solid knowledge of the text,


67

9. Hobson's Choice

(a) Give advice to the actor playing Hobson on how he should speak and behave at important points in the play. [20]


G/F Answers will be brief and general, based on simple narrative. E/D Answers will be more focused, with some discussion of characters

and relationships at D. C Answers will be detailed and engaged, representing a valid reading of

Hobson’s character

(b) Write about the relationship between Maggie and her sisters, Vicky and Alice. Explain how and why the relationship changes at different points in the play. [20]

G/F Answers will be dependent on simple, patchy narrative. E/D Answers will be more focused, with some discussion at D. C Answers will be rooted in a sound knowledge of the text, and reveal

some understanding of the dynamics between the characters.

68

10. Blood Brothers (a) Give advice to an actor playing Mickey on how he should speak and

behave at two or three important points in the play. 20]


G/F Answers will be underdeveloped, based on simple narrative. E/D Answers, although still based on simple narrative, will be more

focused, and include some discussion of characters and relationships, particularly at D.

C Detailed and considered responses, revealing secure knowledge of

the text, and representing a valid reading of Mickey’s character.

(b) At the end of the play the Narrator says, ‘‘And do we blame superstition

for what came to pass?’’ Write about the importance of superstition in Blood Brothers. [20]

G/F Answers will probably be based on a simple, partial, retelling of the

play. E/D Answers will be dependent on simple narrative, with discussion and

awareness emerging at D. C Answers will be considered, rooted in a solid knowledge of the text.

1. GCSE English Literature MS (Summer 2008)/LG 23 July 2008

WJEC 245 Western Avenue Cardiff CF5 2YX Tel No 029 2026 5000 Fax 029 2057 5994 E-mail: [email protected] website: www.wjec.co.uk/exams.html

1. gcse english literature ms summer 2008 · c answers will reveal a more secure knowledge of the...

Documents