A-Level English Literature Exam Questions

8 SECTION B: Comparing Voices Read Text B on pages 6–7 and Text C on page 8 of the source booklet before answering Question 2 in the space below. 2 Compare how the writer in Text B and the speakers in Text C shape their language to create a sense of voice. You must consider: • the use of linguistic and literary features • the influence of audience and purpose • the contexts of the texts. 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TOTAL FOR SECTION B = 30 MARKS TOTAL FOR PAPER = 50 MARKS 16 BLANK PAGE Paper Reference Turn over Pearson Edexcel Level 3 GCE Do not return this source booklet with the question paper. *P49839A* P49839A ©2016 Pearson Education Ltd. 1/1/1/1 8EL0/01 Monday 23 May 2016 – Morning Source Booklet English Language and Literature Advanced Subsidiary Paper 1: Voices in Speech and Writing 2 P49839A BLANK PAGE 3 P49839A Turn over CONTENTS Page SECTION A: Creation of Voice Text A – Reportage: Tsunami Eyewitness Account by National Geographic 4–5 photographer, Chris Rainier (Voices Anthology) SECTION B: Comparing Voices Text B – Newspaper article: Roswell Daily Record, July 8, 1947 (Unseen text) 6–7 Text C – Digital text: Past Masters Podcast: The Truth is in Here: UFOs at the National 8 Archives (Voices Anthology) 4 P49839A SECTION A: Creation of Voice Text A This is a first-person account, published in The National Geographic News, of the photographer Chris Rainier’s experiences of a tsunami in Indonesia in 2005. 5 P49839A Turn over 6 P49839A SECTION B: Comparing Voices Text B This is an extract from an article published in the Roswell Daily Record on Tuesday, July 8, 1947. It is based on the report issued by the RAAF (Roswell Army Air Field) after a UFO allegedly crashed at the site in New Mexico, USA. RAAF Captures Flying Saucer on Ranch in Roswell Region No Details of Flying Disk Are Revealed The intelligence office of the 509th Bombardment group at Roswell Army Air Field announced at noon today, that the Field has come into possession of a flying saucer. According to information released by the department, over authority of Maj. J. A. Marcel, intelligence officer, the disk was recovered on a ranch in the Roswell vicinity, after an unidentified rancher had notified Sheriff Geo. Wilcox here, that he had found the instrument on his premises. Major Marcel and a detail from his department went to the ranch and recovered the disk, it was stated. After the intelligence officer here had inspected the instrument it was flown to higher headquarters. The intelligence office stated that no details of the saucer’s construction or its appearance had been revealed. Mr. and Mrs. Dan Wilmot apparently were the only persons in Roswell who saw what they thought was a flying disk. They were sitting on their porch at 105 South Penn. last Wednesday night at about ten o’clock when a large glowing object zoomed out of the sky from the southeast, going in a northwesterly direction at a high rate of speed. Wilmot called Mrs. Wilmot’s attention to it and both ran down into the yard to watch. It was in sight less than a minute, perhaps 40 or 50 seconds, Wilmot estimated. Wilmot said that it appeared to him to be about 1,500 feet high and going fast. He estimated between 400 and 500 miles per hour. In appearance it looked oval in shape like two inverted saucers, faced mouth to mouth, or like two old type washbowls placed together in the same fashion. The entire body glowed as though light were showing through from inside, though not like it would be if a light were underneath. From where he stood Wilmot said that the object looked to be about 5 feet in size, and making allowance for the distance it was from town he figured that it must have been 15 to 20 feet in diameter, though this was just a guess. Wilmot said that he heard no sound but that Mrs. Wilmot said she heard a swishing sound for a very short time. The object came into view from the southeast and disappeared over the treetops in the general vicinity of six mile hill. 7 P49839A Turn over Wilmot, who is one of the most respected and reliable citizens in town, kept the story to himself hoping that someone else would come out and tell about having seen one, but finally today decided that he would go ahead and tell about it. The announcement that the RAAF was in possession of one came only a few minutes after he decided to release the details of what he had seen. 8 P49839A Text C This is a transcript of a podcast discussing the transfer of files on UFO sightings from the Ministry of Defence to the National Archives. 9 P49839A BLANK PAGE 10 P49839A BLANK PAGE 11 P49839A BLANK PAGE 12 P49839A BLANK PAGE Source information Text A: taken from Voices in Speech and Writing: An Anthology, Pearson Education Limited 2014 Text B: taken from www.roswellfiles.com/Articles/RoswellNews.htm Text C: taken from Voices in Speech and Writing: An Anthology, Pearson Education Limited 2014 Every effort has been made to contact copyright holders to obtain their permission for the use of copyright material. Pearson Education Ltd. will, if notified, be happy to rectify any errors or omissions and include any such rectifications in future editions.

8 SECTION B: Comparing Voices Read Text B on page 6 and Text C on page 7 of the source booklet before answering Question 2 in the space below. 2 Compare how the writers of Text B and Text C use language to convey their opinions in their reviews. You must consider: • the use of linguistic and literary features • the influence of audience and purpose • the contexts of the texts. 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(Total for Question 2 = 30 marks) TOTAL FOR SECTION B = 30 MARKS TOTAL FOR PAPER = 50 MARKS 16 BLANK PAGE *P49864A* Paper Reference Pearson Edexcel Level 3 GCE Turn over Do not return this source booklet with the question paper. Monday 22 May 2017 – Morning Source Booklet 8EL0/01 English Language and Literature Advanced Subsidiary Paper 1: Voices in Speech and Writing P49864A ©2017 Pearson Education Ltd. 1/1/1/1/1/1/1/1/1/1 Turn over 2 P49864A BLANK PAGE 3 P49864A Turn over CONTENTS Page SECTION A: Creation of Voice Text A – The King’s Speech by David Seidler 4–5 (Voices Anthology) SECTION B: Comparing Voices Text B – Mail Online television review 6 (Unseen text) Text C – Martin Hoyle on television drama The Bridge 8 (Voices Anthology) 4 P49864A SECTION A: Creation of Voice Text A This is an extract from the screenplay The King’s Speech written by David Seidler, the British playwright, film and television writer. Lionel: Know any jokes? Bertie: Timing isn’t my strong suit. Silence. They stare at each other. Lionel: Cuppa tea? Bertie: No thank you. Lionel: I think I’ll have one. Turns on the hot plate. Bertie: Aren’t you going to start treating me Dr Logue? Lionel: Only if you’re interested in being treated. Please, call me Lionel. Bertie: I prefer Doctor. Lionel: I prefer Lionel. What’ll I call you? Bertie: Your Royal Highness, then Sir after that. Lionel: A bit formal for here. What about your name? Bertie: Prince Albert Frederick Arthur George? Lionel: How about Bertie? Bertie: (flushes) Only my family uses that. Lionel: Perfect. In here, it’s better if we’re equals. Bertie: If we were equal I wouldn’t be here. I’d be at home with my wife and no-one would give a damn. Bertie starts to light a cigarette from a silver case. Lionel: Don’t do that. Bertie gives him an astonished look. Bertie: I’m sorry? Lionel: Sucking smoke into your lungs will kill you. Bertie: My physicians say it relaxes the throat. Lionel: They’re idiots. 5 P49864A Bertie: They’ve all been knighted. Lionel: Makes it official then. My ‘castle’, my rules. Turn over 6 P49864A SECTION B: Comparing Voices Text B This text is an edited review from the TV and Showbiz section of the Mail Online. It was written in February 2016 by Christopher Stevens. Hooray for drama you can follow...even if you do need subtitles: Christopher Stevens reviews this weekend’s TV. Either this nation needs its ears cleaned out, or its actors have to stop mumbling. The most common complaint about television dramas is that dialogue is so often inaudible. The brilliant War and Peace was marred by muffled sound, not least the crucial scene when Pierre (Paul Dano) announced to a startled Natasha that he was going to ‘mmfmf somethingmmfmf’. Turned out he wanted to ‘kill Napoleon’. But he might as well have been saying that he intended to ‘cook ratatouille’. The trouble is that, if you turn up the sound to hear the mutters and whispers, you get blown six feet off the sofa when a gun goes off in the next scene. We don’t have that problem with foreign dramas. It’s nothing to do with the sound quality, just that they are subtitled. Slabs of type at the bottom of the screen might detract from the visuals, but at least we don’t miss a word of the script. It’s all spelled out, literally. Trapped Rating:  Fans of Euro-thrillers got a double treat this weekend, starting with Trapped (BBC4). If you like crime stories set in tightknit communities you won’t want to miss this. A fishing village on Iceland’s remote east coast is thrown into panic when a headless torso is pulled from the harbour. Police suspect it was dumped from a Danish passenger ferry but, before the inquiry can progress, the weather closes in. The Icelanders are an understated lot: when it’s minus 30C and their beards have frostbite, they might concede ‘there’s a nip in the air today’. So when they say the weather is closing in, they mean howling blizzards are shovelling tsunamis of snow up the High Street. Reinforcements from Reykjavik can’t get through. The local police chief’s ex-wife and her gormless boyfriend can’t leave. Neither can the ferry passengers, including a Lithuanian mafia weasel who was trafficking immigrants in a camper van. They’re all trapped. For a ten-part series, the first two episodes – shown back to back – were a little pell-mell. Scandinavian mysteries usually unfold gradually, but within an hour we’d had a fatal arson, political corruption, marital misery and, from a fatherless little boy who insisted he was receiving messages from his dad, a hint of the supernatural. The show seemed determined to prove it could match everything other Scandi-noirs could do, so when the camper van was involved in a police chase that ended in a 7 P49864A snowdrift, it was almost predictable. After the full-tilt opener, you can expect it to settle down into an ominous and complex tale. Olafur Darri Olafson is especially good, as the bear-like detective with an awkward streak. When he examined the torso by sniffing the stab-wounds, it was clear we were in the presence of a genuine Nordic oddball. The language is a pleasure to hear, too. Little changed in a thousand years from its Viking origins, Icelandic sounds like a mixture of Danish and someone blowing bubbles underwater. Thank goodness for subtitles. In another double episode, the most successful foreign language drama ever shown on British TV, with audiences well above two million, stormed to its finale. Deutschland 83 Rating:  Deutschland 83 (C4) has been simultaneously gripping and daft, as the fate of the world on both sides of the Iron Curtain was thrust into the hands of novice spy Martin, played by Jonas Nay. East German spymasters must have trained their agents according to the works of Ian Fleming, because Martin was like a junior James Bond – stealing military secrets, seducing secretaries and generals’ daughters, and even fighting to the death with a terrorist in an underground railway tunnel. Thanks to meticulous costumes and props, and a glorious Eighties pop soundtrack – and despite occasional silliness – Deutschland 83 never felt improbable. If you can’t get enough foreign drama, take a look at C4’s website, where online boxsets under their new ‘Walter Presents’ logo include a dark vampire romance from Denmark, and a Czech police thriller called Lens. All with subtitles. 8 P49864A Text C This is a review published in the FT Weekend magazine of the television drama The Bridge by the TV, radio and film critic Martin Hoyle. Pick of the Weekend: The Bridge By Martin Hoyle Saturday is complete again: Scandinavian noir is back. After the civilised machinations of Danish politics in Borgen, we plunge into the dark world of terrorism, mass killing and poisonous grudges underlying humane, orderly Nordic society. The second season of The Bridge (BBC4 9pm) resumes thirteen months after the story of the first ended, with an opening less gruesome but just as eerie when an apparently unmanned coaster crashes into the Øresund Bridge. The five drugged youngsters found chained on board trigger more joint Danish-Swedish police cooperation. Hoorah for the chalk and cheese combination of frowsy, easy-going Martin (Kim Bodnia) and the unsmiling, briskly robotic Aspergerish Saga (Sofia Helin). Things have changed, of course. Martin is still recovering from the murder of his son by the last season’s mass killer who, though safely imprisoned, haunts him to the point of obsession. Saga’s antiseptic, angular, pre-eminently logical psyche is disturbed by her efforts at normal relationships. She has learnt to detect when people are making jokes and laughs heartily if unconvincingly, hurt when Martin gently points out that this is unnecessary. ‘I acknowledge their attempts to be amusing,’ she explains earnestly… Saturday’s brace of episodes is rich with subplots, vivid subsidiary characters and a reminder that even mass terrorism can be rooted in the skewed world picture of one unbalanced human. There emerges a common theme: connection, the failure to connect, the fear of abandonment and isolation, and the Nordic thriller’s paradoxical juxtaposition of high principles and violent action, efficiency and murderousness. The dark is all-pervasive. 9 P49864A BLANK PAGE 10 P49864A BLANK PAGE 11 P49864A BLANK PAGE 12 P49864A BLANK PAGE Source information Text A: taken from Voices in Speech and Writing: An Anthology, Pearson Education Ltd 2014 Text B: taken from www.dailymail.co.uk/tvshowbiz February 2016 Text C: taken from Voices in Speech and Writing: An Anthology, Pearson Education Ltd 2014 Every effort has been made to contact copyright holders to obtain their permission for the use of copyright material. Pearson Education Ltd. will, if notified, be happy to rectify any errors or omissions and include any such rectifications in future editions.

Turn over 3 Love and Loss 3 A Single Man, Christopher Isherwood Read the extract on page 6 of the source booklet. In this extract, George focuses on his physical appearance. With reference to the extract above, discuss: • Isherwood’s use of linguistic and literary features • how George’s obsession with youth is significant in the novel as a whole • relevant contextual factors. (Total for Question 3 = 25 marks) OR 4 Tess of the D’Urbervilles, Thomas Hardy Read the extract on page 7 of the source booklet. In this extract, Tess reveals to Angel that she has murdered Alec. With reference to the extract above, discuss: • Hardy’s use of linguistic and literary features • how truth and deception affect Tess in the novel as a whole • relevant contextual factors. (Total for Question 4 = 25 marks) OR

4 Encounters 5 A Room with a View, E M Forster Read the extract on page 8 of the source booklet. In this extract, the narrator introduces the character of Cecil to the reader. With reference to the extract above, discuss: • Forster’s use of linguistic and literary features • how awkward encounters between characters are important in the novel as a whole • relevant contextual factors. (Total for Question 5 = 25 marks) OR 6 Wuthering Heights, Emily Brontë Read the extract on page 9 of the source booklet. In this extract, Heathcliff surprises Nelly with his return. With reference to the extract above, discuss: • Brontë’s use of linguistic and literary features • how Heathcliff’s absences and reappearances are important in the novel as a whole • relevant contextual factors. (Total for Question 6 = 25 marks) OR

Turn over 5 Crossing Boundaries 7 Wide Sargasso Sea, Jean Rhys Read the extract on page 10 of the source booklet. In this extract, Rhys presents an environment that is hostile to Antoinette. With reference to the extract above, discuss: • Rhys’ use of linguistic and literary features • how different environments affect Antoinette in the novel as a whole • relevant contextual factors. (Total for Question 7 = 25 marks) OR 8 Dracula, Bram Stoker Read the extract on page 11 of the source booklet. In this extract, the battle to subdue the vampiric threat of Lucy reaches a climax. With reference to the extract above, discuss: • Stoker’s use of linguistic and literary features • the significance of boundaries to Lucy in the novel as a whole • relevant contextual factors. (Total for Question 8 = 25 marks) 6 Indicate which question you are answering by marking a cross in the box . If you change your mind, put a line through the box and then indicate your new question with a cross . 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TOTAL FOR SECTION A = 25 MARKS 14 SECTION B: Exploring Text and Theme Answer ONE question on the second text you have studied. You must not write about the same text you chose in SECTION A. Begin your answer on page 18. Society and the Individual Anchor texts The Great Gatsby, F Scott Fitzgerald Great Expectations, Charles Dickens Other texts The Bone People, Keri Hulme Othello, William Shakespeare A Raisin in the Sun, Lorraine Hansberry The Wife of Bath’s Prologue and Tale, Geoffrey Chaucer The Whitsun Weddings, Philip Larkin EITHER 9 Discuss how the writer of your other studied text presents the way in which society influences romantic relationships. In your answer you must consider: • the writer’s use of linguistic and literary features • relevant contextual factors. (Total for Question 9 = 25 marks) OR Turn over 15 Love and Loss Anchor texts A Single Man, Christopher Isherwood Tess of the D’Urbervilles, Thomas Hardy Other texts Enduring Love, Ian McEwan Much Ado About Nothing, William Shakespeare Betrayal, Harold Pinter Metaphysical Poetry, editor Colin Burrow Sylvia Plath Selected Poems, Sylvia Plath 10 Discuss how the writer of your other studied text presents characters who are struggling to accept difficulties in their relationships. In your answer you must consider: • the writer’s use of linguistic and literary features • relevant contextual factors. (Total for Question 10 = 25 marks) OR 16 Encounters Anchor texts A Room with a View, E M Forster Wuthering Heights, Emily Brontë Other texts The Bloody Chamber, Angela Carter Hamlet, William Shakespeare Rock ‘N’ Roll, Tom Stoppard The Waste Land and Other Poems, T S Eliot The New Penguin Book of Romantic Poetry, editor J Wordsworth 11 Discuss how the writer of your other studied text presents encounters that involve feelings of insecurity. In your answer you must consider: • the writer’s use of linguistic and literary features • relevant contextual factors. (Total for Question 11 = 25 marks) OR Turn over 17 Crossing Boundaries Anchor texts Wide Sargasso Sea, Jean Rhys Dracula, Bram Stoker Other texts The Lowland, Jhumpa Lahiri Twelfth Night, William Shakespeare Oleanna, David Mamet Goblin Market, The Prince’s Progress, and Other Poems, Christina Rossetti North, Seamus Heaney 12 Discuss how the writer of your other studied text presents the way knowledge affects the ability of characters to cross boundaries. In your answer you must consider: • the writer’s use of linguistic and literary features • relevant contextual factors. (Total for Question 12 = 25 marks) 18 Indicate which question you are answering by marking a cross in the box . If you change your mind, put a line through the box and then indicate your new question with a cross . 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TOTAL FOR SECTION B = 25 MARKS TOTAL FOR PAPER = 50 MARKS 27 BLANK PAGE 28 BLANK PAGE Paper Reference Turn over Pearson Edexcel Level 3 GCE Do not return this source booklet with the question paper. *P49862A* P49862A ©2017 Pearson Education Ltd. 1/1/1/1/1 8EL0/02 Friday 26 May 2017 – Morning Source Booklet English Language and Literature Advanced Subsidiary Paper 2: Varieties in Language and Literature Turn over 2 P49862A BLANK PAGE 3 P49862A Turn over CONTENTS SECTION A: Prose Fiction Extracts Page Society and the Individual The Great Gatsby 4 Great Expectations 5 Love and Loss A Single Man 6 Tess of the D’Urbervilles 7 Encounters A Room with a View 8 Wuthering Heights 9 Crossing Boundaries Wide Sargasso Sea 10 Dracula 11 4 P49862A SECTION A: Prose Fiction Extracts Society and the Individual The Great Gatsby, F Scott Fitzgerald This is a valley of ashes – a fantastic farm where ashes grow like wheat into ridges and hills and grotesque gardens; where ashes take the forms of houses and chimneys and rising smoke and, finally, with a transcendent effort, of ash-grey men, who move dimly and already crumbling through the powdery air. Occasionally a line of grey cars crawls along an invisible track, gives out a ghastly creak, and comes to rest, and immediately the ash-grey men swarm up with leaden spades and stir up an impenetrable cloud, which screens their obscure operations from your sight. But above the grey land and the spasms of bleak dust which drift endlessly over it, you perceive, after a moment, the eyes of Doctor T.J. Eckleburg. The eyes of Doctor T.J. Eckleburg are blue and gigantic – their retinas are one yard high. They look out of no face, but, instead, from a pair of enormous yellow spectacles which pass over a non- existent nose. Evidently some wild wag of an oculist set them there to fatten his practice in the borough of Queens, and then sank down himself into eternal blindness, or forgot them and moved away. But his eyes, dimmed a little by many paintless days, under sun and rain, brood on over the solemn dumping ground. The valley of ashes is bounded on one side by a small foul river, and, when the drawbridge is up to let barges through, the passengers on waiting trains can stare at the dismal scene for as long as half an hour. There is always a halt there of at least a minute, and it was because of this that I first met Tom Buchanan’s mistress. The fact that he had one was insisted upon wherever he was known. His acquaintances resented the fact that he turned up in popular cafés with her and, leaving her at a table, sauntered about, chatting with whomsoever he knew. Though I was curious to see her, I had no desire to meet her – but I did. I went up to New York with Tom on the train one afternoon, and when we stopped by the ashheaps he jumped to his feet and, taking hold of my elbow, literally forced me from the car. ‘We’re getting off,’ he insisted. ‘I want you to meet my girl.’ I think he’d tanked up a good deal at luncheon, and his determination to have my company bordered on violence. The supercilious assumption was that on Sunday afternoon I had nothing better to do. I followed him over a low whitewashed railroad fence, and we walked back a hundred yards along the road under Doctor Eckleburg’s persistent stare. The only building in sight was a small block of yellow brick sitting on the edge of the waste land, a sort of compact Main Street ministering to it, and contiguous to absolutely nothing. One of the three shops it contained was for rent and another was an all-night restaurant, approached by a trail of ashes; the third was a garage – Repairs. GEORGE B. WILSON. Cars bought and sold. – and I followed Tom inside. From pp. 26–27 5 P49862A Turn over Society and the Individual Great Expectations, Charles Dickens He watched me as I laid my purse upon the table and opened it, and he watched me as I separated two one-pound notes from its contents. They were clean and new, and I spread them out and handed them over to him. Still watching me, he laid them one upon the other, folded them longwise, gave them a twist, set fire to them at the lamp, and dropped the ashes into the tray. ‘May I make so bold,’ he said then, with a smile that was like a frown, and with a frown that was like a smile, ‘as ask you how you have done well, since you and me was out on them lone shivering marshes?’ ‘How?’ ‘Ah!’ He emptied his glass, got up, and stood at the side of the fire, with his heavy brown hand on the mantelshelf. He put a foot up to the bars, to dry and warm it, and the wet boot began to steam; but, he neither looked at it, nor at the fire, but steadily looked at me. It was only now that I began to tremble. When my lips had parted, and had shaped some words that were without sound, I forced myself to tell him (though I could not do it distinctly), that I had been chosen to succeed to some property. ‘Might a mere warmint ask what property?’ said he. I faltered, ‘I don’t know.’ ‘Might a mere warmint ask whose property?’ said he. I faltered again. ‘I don’t know.’ ‘Could I make a guess, I wonder,’ said the Convict, ‘at your income since you come of age! As to the first figure, now. Five?’ With my heart beating like a heavy hammer of disordered action, I rose out of my chair, and stood with my hand upon the back of it, looking wildly at him. ‘Concerning a guardian,’ he went on. ‘There ought to have been some guardian or such- like, whiles you was a minor. Some lawyer, maybe. As to the first letter of that lawyer’s name, now. Would it be J?’ All the truth of my position came flashing on me; and its disappointments, dangers, disgraces, consequences of all kinds, rushed in in such a multitude that I was borne down by them and had to struggle for every breath I drew. ‘Put it,’ he resumed, ‘as the employer of that lawyer whose name begun with a J, and might be Jaggers – put it as he had come over sea to Portsmouth, and had landed there, and had wanted to come on to you. “However, you have found me out,” you says just now. Well! however did I find you out? Why, I wrote from Portsmouth to a person in London, for particulars of your address. That person’s name? Why, Wemmick.’ I could not have spoken one word, though it had been to save my life. I stood, with a hand on the chair-back and a hand on my breast, where I seemed to be suffocating – I stood so, looking wildly at him, until I grasped at the chair, when the room begun to surge and turn. He caught me, drew me to the sofa, put me up against the cushions, and bent on one knee before me: bringing the face that I now well remembered, and that I shuddered at, very near to mine. ‘Yes, Pip, dear boy, I’ve made a gentleman on you! It’s me wot has done it!’ From pp. 303–304 6 P49862A Love and Loss A Single Man, Christopher Isherwood I am alive, he says to himself, I am alive! And life-energy surges hotly through him, and delight, and appetite. How good to be in a body – even this old beat-up carcase – that still has warm blood and live semen and rich marrow and wholesome flesh! The scowling youths on the corners see him as a dodderer, no doubt, or at best as a potential score. Yet he still claims a distant kinship with the strength of their young arms and shoulders and loins. For a few bucks, he could get any one of them to climb into the car, ride back with him to his house, strip off butch leather jacket, skin-tight Levis, shirt and cowboy boots and take part, a naked sullen young athlete, in the wrestling-bout of his pleasure. But George doesn’t want the bought unwilling bodies of these boys. He wants to rejoice in his own body; the tough triumphant old body of a survivor. The body that has outlived Jim and is going to outlive Doris. He decides to stop by the gym – although this isn’t one of his regular days – on his way home. In the locker-room, George takes off his clothes, gets into his sweat-socks, jockstrap and shorts. Shall he put on a tee shirt? He looks at himself in the long mirror. Not too bad. The bulges of flesh over the belt of the shorts are not so noticeable today. The legs are quite good. The chest-muscles, when properly flexed, don’t sag. And, as long as he doesn’t have his spectacles on, he can’t see the little wrinkles inside the elbows, above the kneecaps and around the hollow of the sucked-in belly. The neck is loose and scraggy under all circumstances, in all lights, and would look gruesome even if he were half-blind. He has abandoned the neck altogether, like an untenable military position. Yet he looks – and doesn’t he know it! – better than nearly all of his age-mates at this gym. Not because they’re in such bad shape; they are healthy enough specimens. What’s wrong with them is their fatalistic acceptance of middle age, their ignoble resignation to grandfatherhood, impending retirement and golf. George is different from them because, in some sense which can’t quite be defined but which is immediately apparent when you see him naked, he hasn’t given up. He is still a contender; and they aren’t. Maybe it’s nothing more mysterious than vanity which gives him this air of a withered boy? Yes, despite his wrinkles, his slipped flesh, his greying hair, his grim-lipped strutting spryness, you catch occasional glimpses of a ghostly someone else, soft-faced, boyish, pretty. The combination is bizarre, it is older than middle-age itself, but it is there. Looking grimly into the mirror, with distaste and humour, George says to himself, you old ass, who are you trying to seduce? And he puts on his tee shirt. From pp. 82–84 7 P49862A Turn over Love and Loss Tess of the D’Urbervilles, Thomas Hardy The highway that he followed was open, and at a little distance dipped into a valley, across which it could be seen running from edge to edge. He had traversed the greater part of this depression, and was climbing the western acclivity, when, pausing for breath, he unconsciously looked back. Why he did so he could not say, but something seemed to impel him to the act. The tape-like surface of the road diminished in his rear as far as he could see, and as he gazed a moving spot intruded on the white vacuity of its perspective. It was a human figure running. Clare waited, with a dim sense that somebody was trying to overtake him. The form descending the incline was a woman’s, yet so entirely was his mind blinded to the idea of his wife’s following him that even when she came nearer he did not recognize her under the totally changed attire in which he now beheld her. It was not till she was quite close that he could believe her to be Tess. ‘I saw you – turn away from the station – just before I got there – and I have been following you all this way!’ She was so pale, so breathless, so quivering in every muscle, that he did not ask her a single question, but seizing her hand, and pulling it within his arm, he led her along. To avoid meeting any possible wayfarers he left the high road, and took a footpath under some fir-trees. When they were deep among the moaning boughs he stopped and looked at her inquiringly. ‘Angel,’ she said, as if waiting for this, ‘do you know what I have been running after you for? To tell you that I have killed him!’ A pitiful white smile lit her face as she spoke. ‘What!’ said he, thinking from the strangeness of her manner that she was in some delirium. ‘I have done it – I don’t know how,’ she continued. ‘Still, I owed it to you, and to myself, Angel. I feared long ago, when I struck him on the mouth with my glove, that I might do it some day for the trap he set for me in my simple youth, and his wrong to you through me. He has come between us and ruined us, and now he can never do it any more. I never loved him at all, Angel, as I loved you. You know it, don’t you? You believe it? You didn’t come back to me, and I was obliged to go back to him. Why did you go away – why did you – when I loved you so? I can’t think why you did it. But I don’t blame you; only, Angel, will you forgive me my sin against you, now I have killed him? I thought as I ran along that you would be sure to forgive me now I have done that. It came to me as a shining light that I should get you back that way. I could not bear the loss of you any longer – you don’t know how entirely I was unable to bear you not loving me! Say you do now, dear, dear husband; say you do, now I have killed him!’ From pp. 447–448 8 P49862A Encounters A Room with a View, E M Forster Cecil’s first movement was one of irritation. He couldn’t bear the Honeychurch habit of sitting in the dark to save the furniture. Instinctively he gave the curtains a twitch, and sent them swinging down their poles. Light entered. There was revealed a terrace, such as is owned by many villas, with trees each side of it, and on it a little rustic seat, and two flower-beds. But it was transfigured by the view beyond, for Windy Corner was built on the range that overlooks the Sussex Weald. Lucy, who was in the little seat, seemed on the edge of a green magic carpet which hovered in the air above a tremulous world. Cecil entered. Appearing thus late in the story, Cecil must be at once described. He was medieval. Like a Gothic statue. Tall and refined, with shoulders that seemed braced square by an effort of the will, and a head that was tilted a little higher than the usual level of vision, he resembled those fastidious saints who guard the portals of a French cathedral. Well educated, well endowed, and not deficient physically, he remained in the grip of a certain devil whom the modern world knows as self-consciousness, and whom the medieval, with dimmer vision, worshipped as asceticism. A Gothic statue implies celibacy, just as a Greek statue implies fruition, and perhaps this was what Mr Beebe meant. And Freddy, who ignored history and art, perhaps meant the same when he failed to imagine Cecil wearing another fellow’s cap. Mrs Honeychurch left her letter on the writing-table and moved towards her young acquaintance. ‘Oh, Cecil!’ she exclaimed – ‘oh, Cecil, do tell me!’ ‘I promessi sposi,’ said he. They stared at him anxiously. ‘She has accepted me,’ he said, and the sound of the thing in English made him flush and smile with pleasure, and look more human. ‘I am so glad,’ said Mrs Honeychurch, while Freddy proffered a hand that was yellow with chemicals. They wished that they also knew Italian, for our phrases of approval and of amazement are so connected with little occasions that we fear to use them on great ones. We are obliged to become vaguely poetic, or to take refuge in Scriptural reminiscence. ‘Welcome as one of the family!’ said Mrs Honeychurch, waving her hand at the furniture. ‘This is indeed a joyous day! I feel sure that you will make dear Lucy happy.’ ‘I hope so,’ replied the young man, shifting his eyes to the ceiling. ‘We mothers –’ simpered Mrs Honeychurch, and then realized that she was affected, sentimental, bombastic – all the things she hated most. Why could she not be as Freddy, who stood stiff in the middle of the room, looking very cross and almost handsome? ‘I say, Lucy!’ called Cecil, for conversation seemed to flag. Lucy rose from the seat. She moved across the lawn and smiled in at them, just as if she was going to ask them to play tennis. Then she saw her brother’s face. Her lips parted, and she took him in her arms. He said, ‘Steady on!’ From pp. 89–91 9 P49862A Turn over Encounters Wuthering Heights, Emily Brontë It had got dusk, and the moon looked over the high wall of the court, causing undefined shadows to lurk in the corners of the numerous projecting portions of the building. I set my burden on the house steps by the kitchen door, and lingered to rest, and draw in a few more breaths of the soft, sweet air; my eyes were on the moon, and my back to the entrance, when I heard a voice behind me say – ‘Nelly, is that you?’ It was a deep voice, and foreign in tone; yet, there was something in the manner of pronouncing my name which made it sound familiar. I turned about to discover who spoke, fearfully, for the doors were shut, and I had seen nobody on approaching the steps. Something stirred in the porch; and moving nearer, I distinguished a tall man dressed in dark clothes, with dark face and hair. He leant against the side, and held his fingers on the latch, as if intending to open for himself. ‘Who can it be?’ I thought. ‘Mr Earnshaw? Oh, no! The voice had no resemblance to his.’ ‘I have waited here an hour,’ he resumed, while I continued staring; ‘and the whole of that time all round has been as still as death. I dared not enter. You do not know me? Look, I’m not a stranger!’ A ray fell on his features; the cheeks were sallow, and half covered with black whiskers; the brows lowering, the eyes deep set and singular. I remembered the eyes. ‘What!’ I cried, uncertain whether to regard him as a worldly visiter, and I raised my hands in amazement. ‘What! you come back? Is it really you? Is it?’ ‘Yes, Heathcliff,’ he replied, glancing from me up to the windows which reflected a score of glittering moons, but showed no lights from within. ‘Are they at home – where is she? Nelly you are not glad – you needn’t be so disturbed. Is she here? Speak! I want to have one word with her – your mistress. Go, and say some person from Gimmerton desires to see her.’ ‘How will she take it?’ I exclaimed, ‘what will she do? The surprise bewilders me – it will put her out of her head! And you are Heathcliff? But altered! Nay, there’s no comprehending it. Have you been for a soldier?’ ‘Go, and carry my message,’ he interrupted impatiently; ‘I’m in hell till you do!’ He lifted the latch, and I entered; but when I got to the parlour where Mr and Mrs Linton were, I could not persuade myself to proceed. At length, I resolved on making an excuse to ask if they would have the candles lighted, and I opened the door. They sat together in a window whose lattice lay back against the wall, and displayed beyond the garden trees and the wild green park, the valley of Gimmerton, with a long line of mist winding nearly to its top (for very soon after you pass the chapel, as you may have noticed, the sough that runs from the marshes joins a beck which follows the bend of the glen). Wuthering Heights rose above this silvery vapour; but our old house was invisible – it rather dips down on the other side. From pp. 93–94 10 P49862A Crossing Boundaries Wide Sargasso Sea, Jean Rhys The first day I had to go to the convent, I clung to Aunt Cora as you would cling to life if you loved it. At last she got impatient, so I forced myself away from her and through the passage, down the steps into the street and, as I knew they would be, they were waiting for me under the sandbox tree. There were two of them, a boy and a girl. The boy was about fourteen and tall and big for his age, he had a white skin, a dull ugly white covered with freckles, his mouth was a negro’s mouth and he had small eyes, like bits of green glass. He had the eyes of a dead fish. Worst, most horrible of all, his hair was crinkled, a negro’s hair, but bright red, and his eyebrows and eyelashes were red. The girl was very black and wore no head handkerchief. Her hair had been plaited and I could smell the sickening oil she had daubed on it, from where I stood on the steps of Aunt Cora’s dark, clean, friendly house, staring at them. They looked so harmless and quiet, no one would have noticed the glint in the boy’s eyes. Then the girl grinned and began to crack the knuckles of her fingers. At each crack I jumped and my hands began to sweat. I was holding some school books in my right hand and I shifted them to under my arm, but it was too late, there was a mark on the palm of my hand and a stain on the cover of the book. The girl began to laugh, very quietly, and it was then that hate came to me and courage with the hate so that I was able to walk past without looking at them. I knew they were following, I knew too that as long as I was in sight of Aunt Cora’s house they would do nothing but stroll along some distance after me. But I knew when they would draw close. It would be when I was going up the hill. There were walls and gardens on each side of the hill and no one would be there at this hour of the morning. Half-way up they closed in on me and started talking. The girl said, ‘Look the crazy girl, you crazy like your mother. Your aunt frightened to have you in the house. She send you for the nuns to lock up. Your mother walk about with no shoes and stockings on her feet, she sans culottes. She try to kill her husband and she try to kill you too that day you go to see her. She have eyes like zombi and you have eyes like zombi too. Why you won’t look at me.’ The boy only said, ‘One day I catch you alone, you wait, one day I catch you alone.’ When I got to the top of the hill they were jostling me, I could smell the girl’s hair. A long empty street stretched away to the convent, the convent wall and a wooden gate. I would have to ring before I could get in. From pp. 26–27 11 P49862A Crossing Boundaries Dracula, Bram Stoker When Lucy – I call the thing that was before us Lucy because it bore her shape – saw us she drew back with an angry snarl, such as a cat gives when taken unawares; then her eyes ranged over us. Lucy’s eyes in form and colour; but Lucy’s eyes unclean and full of hell-fire, instead of the pure, gentle orbs we knew. At that moment the remnant of my love passed into hate and loathing; had she then to be killed, I could have done it with savage delight. As she looked, her eyes blazed with unholy light, and the face became wreathed with a voluptuous smile. Oh, God, how it made me shudder to see it! With a careless motion, she flung to the ground, callous as a devil, the child that up to now she had clutched strenuously to her breast, growling over it as a dog growls over a bone. The child gave a sharp cry, and lay there moaning. There was a cold-bloodedness in the act which wrung a groan from Arthur; when she advanced to him with outstretched arms and a wanton smile, he fell back and hid his face in his hands. She still advanced, however, and with a languorous, voluptuous grace, said: – ‘Come to me, Arthur. Leave these others and come to me. My arms are hungry for you. Come, and we can rest together. Come, my husband, come!’ There was something diabolically sweet in her tones – something of the tingling of glass when struck – which rang through the brains even of us who heard the words addressed to another. As for Arthur, he seemed under a spell; moving his hands from his face, he opened wide his arms. She was leaping for them, when Van Helsing sprang forward and held between them his little golden crucifix. She recoiled from it, and, with a suddenly distorted face, full of rage, dashed past him as if to enter the tomb. When within a foot or two of the door, however, she stopped as if arrested by some irresistible force. Then she turned, and her face was shown in the clear burst of moonlight and by the lamp, which had now no quiver from Van Helsing’s iron nerves. Never did I see such baffled malice on a face; and never, I trust, shall such ever be seen again by mortal eyes. The beautiful colour became livid, the eyes seemed to throw out sparks of hell- fire, the brows were wrinkled as though the folds of the flesh were the coils of Medusa’s snakes, and the lovely, blood-stained mouth grew to an open square, as in the passion masks of the Greeks and Japanese. If ever a face meant death – if looks could kill – we saw it at that moment. And so for full half a minute, which seemed an eternity, she remained between the lifted crucifix and the sacred closing of her means of entry. Van Helsing broke the silence by asking Arthur: – ‘Answer me, oh my friend! Am I to proceed in my work?’ Arthur threw himself on his knees, and hid his face in his hands, as he answered: – ‘Do as you will, friend; do as you will. There can be no horror like this ever any more!’ and he groaned in spirit. From pp. 225–227 12 P49862A BLANK PAGE Source information Extracts taken from the following prescribed editions: The Great Gatsby F Scott Fitzgerald (Public Domain Work), Penguin Classics, 2000 Great Expectations Charles Dickens (Public Domain Work), Vintage Classics (Random House), 2008 A Single Man Christopher Isherwood, Vintage (Random House), 2010 Tess of the D’Urbervilles Thomas Hardy (Public Domain Work), Vintage Classics (Random House), 2011 Wuthering Heights Emily Brontë (Public Domain Work), Penguin Classics, 2003 A Room with a View E M Forster, Penguin (English Library), 2012 Wide Sargasso Sea Jean Rhys, Penguin Modern Classics, 2000 Dracula Bram Stoker (Public Domain Work), Penguin Classics, 2003 Every effort has been made to contact copyright holders to obtain their permission for the use of copyright material. Pearson Education Ltd. will, if notified, be happy to rectify any errors or omissions and include any such rectifications in future editions.

10 SECTION B: Comparing Voices Read Text B on page 5 and Text C on pages 6–7 of the source booklet before answering Question 2 in the space below. 2 Compare how the writer and speakers in Text B and Text C shape their language to create a sense of voice. You must consider: • the use of linguistic and literary features • the influence of audience and purpose • the contexts of the texts. 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(Total for Question 2 = 30 marks) TOTAL FOR SECTION B = 30 MARKS TOTAL FOR PAPER = 50 MARKS 20 BLANK PAGE Paper Reference Do not return this Source Booklet with the question paper. 8EL0/01 Monday 14 May 2018 – Morning Source Booklet English Language and Literature Advanced Subsidiary Paper 1: Voices in Speech and Writing P51796A ©2018 Pearson Education Ltd. 1/1/1/1 *P51796A* Turn over Pearson Edexcel Level 3 GCE 2 P51796A BLANK PAGE 3 Turn over P51796A CONTENTS Page SECTION A: Creation of Voice Text A – Reportage: Experience: I survived an earthquake while scuba diving, by Jessica Read (Voices Anthology) 4 SECTION B: Comparing Voices Text B – Interview: How Spielberg and Hanks warmed up the Cold War, by Robbie Collin, The Telegraph (online edition) November 2015 (Unseen text) 5 Text C – Speech: John F. Kennedy’s Inaugural Address in Washington on January 20, 1961 (Voices Anthology) 6-7 4 P51796A SECTION A: Creation of Voice Text A This is a first-hand account, published in The Guardian Weekend Magazine, of an earthquake that Jessica Read encountered while scuba diving in the Philippines in 2013. Experience: I survived an earthquake while scuba diving I’ve been scuba diving for 15 years. I love the calmness of being submerged, the hypnotic sound of my breath and the quiet clicks of fish eating coral. Last October, I was on a diving holiday in the Philippines with a friend. It was a sunny morning, and after breakfast we boarded the boat with seven other advanced divers. This was my 40th dive, so I knew the drill. I put on the gear and dived off the boat, slowly sinking to about 20m. I saw luminous corals, languorous turtles silhouetted in the deep blue of the ocean and hundreds of tropical fish. After nearly 45 minutes, the sound of my breathing was drowned out by a low rumble like an engine, and I felt deep, powerful vibrations, as if a big boat with a propeller was passing overhead. I looked up but couldn’t see anything. The dive instructor’s eyes were wide with confusion: he didn’t know what was going on either, even though he’d done thousands of dives. We swam next to each other, staying close to the side of the reef. I couldn’t see my friend and the other divers. The situation felt sinister and dangerous. Then we were enveloped by clouds of white sand that mushroomed up around us, and I thought, could it be an underwater bomb? A giant turtle raced past us and into the deep; they are normally slow movers, so this was very weird behaviour. The vibration became so intense, I could feel it in my bones, and the sound turned into a deafening roar. I could see waterfalls of sand pouring over the coral, and on the sea floor, a few metres below us, cracks began forming and the sand was sucked down. That’s when I realised it was an earthquake. The noise was the sound of the Earth splintering open and grinding against itself. … The sound and vibrations lasted only two or three minutes, though it felt a lot longer, and when they stopped I heard the swoosh of the sand falling over the seabed. Uneasily, I followed the dive master through the plumes of sand, searching for the others. It took enormous willpower to resist the urge to swim to the surface as fast as I could, but after five minutes we saw them about 20m away and swam over. We all held hands and stopped for three minutes to avoid decompression sickness, which can be fatal. It was a huge relief to see my friend, and we all shared incredulous looks, before finally surfacing, pulling out our breathing apparatus and shouting, “What was that?” Back on the boat, we rushed to check the news and discovered we had witnessed a huge earthquake, measuring 7.2 on the Richter scale. It released more energy than 30 Hiroshima bombs, and we had been pretty much at the epicentre. I was high on adrenaline and felt lucky not just to have survived, but also to have experienced nature at its most stunning, and most ferocious. On the news, we were horrified to see that more than 200 people had died, with 1,000 injured. I spent the night on the boat with the rest of the group, drinking lots of very strong Philippine rum. Nearly all those who died were on the island of Bohol, 30 minutes away. That morning, I had been due to take a boat to hospital there, because I had bad earache, but at the last minute I decided to dive. Had I gone, I would have arrived as the earthquake hit. 5 Turn over P51796A SECTION B: Comparing Voices Text B This text is an extract from an interview in the online edition of The Telegraph newspaper from November 2015. The director Steven Spielberg and actor Tom Hanks are being interviewed about their forthcoming film Bridge of Spies. How Spielberg and Hanks warmed up the Cold War Arnold Spielberg will be 99 years old in February. In the Sixties, he worked as a radio engineer for General Electric and, in June 1960, at the height of the Cold War, went as part of an American delegation to Soviet Russia, to ease tensions and share knowledge. When Arnold came home, his son Steven was enthralled by the photographic slides he had taken during his trip – another world, glowing and strange, projected as large as life on the Spielbergs’ living room wall in suburban Phoenix, Arizona. Some of the slides showed the wreckage of the American U-2 spy plane flown by Francis Gary Powers, which had been shot down over Soviet airspace the previous month. While Powers was being grilled by the KGB, the wreckage of his plane had been set out in public for Soviet citizens – as well as American visitors such as Spielberg’s father – to see. The world was unsteady on its axis, and here was the smouldering proof. More than half a century on, Spielberg Jr is sitting in Claridge’s in central London, now 68 years old and reflecting on this not-so-distant past. “I was right smack-dab a teenager, in the most formative years of my life, and I could really conceive of the world coming to an end through nuclear holocaust,” he says. “Whereas my dad was part of the ‘Greatest Generation’ ” – Americans who had grown up during the Great Depression and then fought in the Second World War – “he taught me about the Cold War when I never even knew those words, and held my hand through the whole thing. “So when I was making my new film, it was with my father in mind.” He pauses. “It’s a personal story for me on many levels, but most of all because I knew it would hit the spot with my dad.” Hanks also recalls the tensions of the Cold War era, and remembers gloomily considering, during his childhood in California, “that World War Three was a given – it was just going to happen, no question”. He remembers the odd sense of relief he felt when Reagan sold the Soviets wheat in April 1981, ending a year-long trade embargo put in place by the Carter administration and signalling the Cold War’s eventual thaw. “Russia was starving and we sold them a bunch of wheat?” he says, pulling a surprised face. “That was the first moment in my life I felt secure in thinking, ‘OK, there’s not going to be a nuclear war.’ ” He was 25 years old. 6 P51796A Text C This is an extract from the speech by John F. Kennedy at his inauguration, a formal ceremony to mark the beginning of his term of office as President of the United States of America. To those new states whom we welcome to the ranks of the free, we pledge our word that one form of colonial control shall not have passed away merely to be replaced by a far more iron tyranny. We shall not always expect to find them supporting our view. But we shall always hope to find them strongly supporting their own freedom - and to remember that, in the past, those who foolishly sought power by riding the back of the tiger ended up inside. To those people in the huts and villages of half the globe struggling to break the bonds of mass misery, we pledge our best efforts to help them help themselves, for whatever period is required – not because the Communists may be doing it, not because we seek their votes, but because it is right. If a free society cannot help the many who are poor, it cannot save the few who are rich. To our sister republics south of our border, we offer a special pledge: to convert our good words into good deeds, in a new alliance for progress, to assist free men and free governments in casting off the chains of poverty. But this peaceful revolution of hope cannot become the prey of hostile powers. Let all our neighbours know that we shall join with them to oppose aggression or subversion anywhere in the Americas. And let every other power know that this hemisphere intends to remain the master of its own house. To that world assembly of sovereign states, the United Nations, our last best hope in an age where the instruments of war have far outpaced the instruments of peace, we renew our pledge of support – to prevent it from becoming merely a forum for invective, to strengthen its shield of the new and the weak, and to enlarge the area in which its writ may run. Finally, to those nations who would make themselves our adversary, we offer not a pledge but a request: that both sides begin anew the quest for peace, before the dark powers of destruction unleashed by science engulf all humanity in planned or accidental self-destruction. We dare not tempt them with weakness. For only when our arms are sufficient beyond doubt can we be certain beyond doubt that they will never be employed. But neither can two great and powerful groups of nations take comfort from our present course – both sides overburdened by the cost of modern weapons, both rightly alarmed by the steady spread of the deadly atom, yet both racing to alter that uncertain balance of terror that stays the hand of mankind’s final war. So let us begin anew – remembering on both sides that civility is not a sign of weakness, and sincerity is always subject to proof. Let us never negotiate out of fear, but let us never fear to negotiate. Let both sides explore what problems unite us instead of belaboring those problems which divide us. Let both sides, for the first time, formulate serious and precise proposals for the inspection and control of arms, and bring the absolute power to destroy other nations under the absolute control of all nations. 7 P51796A Let both sides seek to invoke the wonders of science instead of its terrors. Together let us explore the stars, conquer the deserts, eradicate disease, tap the ocean depths, and encourage the arts and commerce. Let both sides unite to heed, in all corners of the earth, the command of Isaiah – to “undo the heavy burdens, and [to] let the oppressed go free.” And, if a beachhead of cooperation may push back the jungle of suspicion, let both sides join in creating a new endeavor – not a new balance of power, but a new world of law – where the strong are just, and the weak secure, and the peace preserved. All this will not be finished in the first one hundred days. Nor will it be finished in the first one thousand days; nor in the life of this administration; nor even perhaps in our lifetime on this planet. But let us begin. 8 P51796A BLANK PAGE Source information Text A: taken from Voices in Speech and Writing: An Anthology, Pearson Education Ltd 2014 Text B: taken from http://www.telegraph.co.uk/film/bridge-of-spies/steven-spielberg-tom-hanks-interview/ Text C: taken from Voices in Speech and Writing: An Anthology, Pearson Education Ltd 2014 Every effort has been made to contact copyright holders to obtain their permission for the use of copyright material. Pearson Education Ltd. will, if notified, be happy to rectify any errors or omissions and include any such rectifications in future editions.

8 (1720U40-1) Henry IV Part 1 Either, 12. “In Henry IV Part 1 we witness on all levels the careless pursuit of personal honour.” Examine this view of the play. [75] Or, 13. “Instead of a history play relieved by comedy, we have a comedy with a sprinkling of history.” How far would you agree with this view of Henry IV Part 1? [75] The Tempest Either, 14. How far would you agree that “above all, The Tempest makes us question how best to rule and be ruled”? [75] Or, 15. “Although the island may appear to be a ‘brave new world’, the audience is under no illusion that there is anything brave or indeed anything new about it.” Discuss this view of The Tempest. [75] END OF PAPER © WJEC CBAC Ltd.

(A700U20-1) 2 Section A: Language Change Over Time Answer Question 1 and Question 2. Question 1 is divided into four parts: (a), (b), (c) and (d). Answer all parts. The three texts which follow on pages 4-6 are all examples of advertisements promoting products which are believed to have health benefits. Text A is a handbill published in 1652 when the first coffeehouse in London was opened by Pasqua Rosee. Handbills were a popular form of advertising in the seventeenth and eighteenth centuries. The only remaining copy of this handbill is damaged so some of the text is missing. Text B is an extract from The General Advertiser published in 1751. This was a daily newspaper that consisted almost entirely of advertisements, many of which made dramatic claims about the healing powers of products. Text C is a flyer published in 1910. This is a cheap form of advertising which can be distributed to a wide target audience. The product continued to be made until the 1980s, when the licence for production was withdrawn because of concern about the side effects. © WJEC CBAC Ltd. Turn over. A70 0 U201 03 (A700U20-1) 3 1. (a) Identify the word class and archaic spelling patterns of the following words using appropriate terminology. [6] Dyet (Text A, line 9) ouer (Text A, line 17) Busines (Text A, line 26) (b) What do the examples below tell us about language change? Make two points and refer to the examples using appropriate terminology. [4] exceedingly (Text A, line 18) exceeding (Text A, line 30) Dropsy (Text A, line 21) Dropsie (Text A, line 30) (c) Describe the form and the archaic grammatical features of the following examples using appropriate terminology. [4] a Clock (Text A, line 14) supresseth (Text A, line 18) (d) Analyse features of the grammatical structure and punctuation that are typical of Early Modern English in the extract from Text A below. Make three points and select a relevant example to support each point. You must use appropriate terminology to describe your example. [6] THE Grain or Berry called Coffee, groweth upon little Trees, only in the Deserts of Arabia. It is brought from thence, and drunk generally throughout all the Grand Seigniors Dominions. It is a simple innocent thing, composed into a Drink, by being dryed in an Oven, and ground to Powder, and boiled up with Spring water, and about half a pint of it to be drunk, fasting an hour before, and not Eating an hour after, and to be taken as hot as possibly can be endured; the which will neuer fetch the skin off the mouth, or raise any Blisters, by reason of that Heat. The Turks drink at meals and other times, is usually Water, and their Dyet consists much of Fruit, the Crudities whereof are very much corrected by this Drink. The quality of this Drink is cold and Dry; and though it be a Dryer, yet it neither heats, nor inflames more than hot Posset. [ll.3-12] © WJEC CBAC Ltd. 2. In your response, you must • explore connections across the texts • consider relevant contextual factors and language features associated with the construction of meaning • demonstrate understanding of relevant language concepts and issues. Analyse and evaluate Texts A, B and C as examples of advertisements written at different times. [60] (A700U20-1) 4 TEXT A: ‘The Vertue of the COFFEE Drink’, a handbill (1652) The Vertue of the COFFEE DRINK First publiquely made and sold in England, by Pasqua Rosee THE Grain or Berry called Coffee, groweth upon little Trees, only in the Deserts of Arabia. It is brought from thence, and drunk generally throughout all the Grand Seigniors Dominions1. It is a simple innocent thing, composed into a Drink, by being dryed in an Oven, and ground to Powder, and boiled up with Spring water, and about half a pint of it to be drunk, fasting an hour before, and not Eating an hour after, and to be taken as hot as possibly can be endured; the which will neuer fetch the skin off the mouth, or raise any Blisters, by reason of that Heat. The Turks drink at meals and other times, is usually Water, and their Dyet consists much of Fruit, the Crudities2 whereof are very much corrected by this Drink. The quality of this Drink is cold and Dry;3 and though it be a Dryer, yet it neither heats, nor inflames more than hot Posset.4 It forcloseth5 the Orifice of the Stomack, and fortifies the heat with- [missing text] it’s very good to help digestion, and therefore of great use to be drunk about 3 or 4 a Clock in th’afternoon, as well as in the morning. It quickens the Spirits, and makes the Heart Lightsome. It is good against sore Eys, and the better if you hold your Head ouer it, and take in the Steem that way. It supresseth Fumes exceedingly, and therefore good against the Head-ach, and will very much stop any Defluxion6 of Rheums, that distil from the Head upon the Stomack, and so preuent and help Consumptions and the Cough of the Lungs. It is excellent to prevent and cure the Dropsy, Gout, and Scurvy. It is known by experience to be better than any other Drying Drink for People in years, or Children that have any running humors upon them, as the Kings Evil. &c. It is very good to preuent Mis-carryings in Child-bearing Women. It is a most excellent Remedy against the Spleen, Hypocondriack Winds, or the like. It will preuent Drowsiness, and make one fit for Busines, if one haue occasion to Watch; and therefore you are not to drink of it after Supper, unless you intend to be watchful, for it will hinder sleep for 3 or 4 hours. It is observed that in Turkey, where this is generally drunk, that they are not troubled with the Stone, Gout, Dropsie, or Scurvy, and that their Skins are exceeding cleer and white. It is neither Laxative nor Restringent.7 Made and Sold in St. Michaels-Alley in Cornhill, by Pasqua Rosee, at the Signe of his own Head. 1the Grand Seigniors Dominions: the Grand Seignior was the ruler of Turkey 2Crudities: the indigestible remains of the fruit in the stomach (obsolete) 3cold and Dry: qualities associated with being unsociable and bad-tempered (‘melancholic’); linked to the ‘humours’, a medical system for classifying health and mood (obsolete) 4Posset: a drink taken for medicinal purposes (historical) 5forcloseth: to block up an opening (obsolete) 6Defluxion: running nose or eyes—symptoms of a cold (obsolete) 7Restringent: causing binding or drying of bodily fluids (medical term, rare) © WJEC CBAC Ltd. 5 10 15 20 25 30 Turn over. (A700U20-1) 5 TEXT B: ‘Viper-Drops’, extract from The General Advertiser (1751) VIPER1-DROPS SO Prepared as to contain all the fantastic Qualities of that Creature, heightened : And, tho’ given in a very small Quantity, excel in Power and Efficacy almost all other Medicines given in any Quantities, for the Relief and Cure of those afflicted with the following, and many other Disorders, vis. Natural Weakness ; Weakness from casual Injuries ; Inability, Sterility ; from whatever Cause ; Wastings of Flesh ; Lowness of Spirit ; Immoderate Fluxes, &c. Hysterical or Hypocondriacal Disorders ; Pains in the Back, Kidneys ; Injuries of the Ureters, or Urethra from Stone of Gravel2 ; Cramps ; convulsive Tremblings ; with a Multitude of other Disorders. They chear, enliven, restore, strengthen, and invigorate to a Miracle ; create Appetite, and help Digestion. They are pleasant to take, even to the weakest and nicest Persons. This Medicine is likewise highly serviceable in many Complaints, outwardly applyed ; to Wounds, Bruises, Aches, Pains, Burns, &c. The VIPER-DROPS are sold by the Proprietor, at the Golden-head and Key, a Chemist’s Shop, the Corner of the Bell-Savage-Inn Gateway, Ludgate-Hill, London, In Phials, at 3s, and 1s. 6d with Directions. The CASE of Mr. DOWNS of Cold-Bath Fields Mr. Downs says he has been long afflicted with the Gravel in a very severe Degree, and all the grievous Symptoms attending that terrible Disorder : That he has been for Eight and Forty Hours together in the greatest Torture possible with a Suppression of urine : That he has had, and followed, the Advice of several Apothecaries : That he never has found the like Benefit from them, which he has happily experienced from Dr Rock’s Balsamick VIPER-DROPS : And that these Viper-Drops deserve to have their Praises wrote in Characters of Gold. Summer-Street, opposite the Crown and Sugar Loaf near the Cold-Bath, Clerkenwell JONATHAN DOWNS 1VIPER: a poisonous snake 2Gravel: a kidney infection which affects the urinary tract © WJEC CBAC Ltd. 5 10 15 20 (A700U20-1) 6 TEXT C: ‘Potter’s Asthma Cure’, a flyer (1910) Why Suffer from Asthma? YOU know how exhausting asthma is. You know how prostrated you are by an attack. Year after year you have suffered in this way. The slightest thing brings on the dreaded paroxysms of coughing, and the perpetual fear of an attack coming on, makes life a misery. Not only is the attack painful and prostrating, but the loss of time during your absence from business is another serious item in the account, and that is why you would give anything for a remedy that would afford you prompt and certain relief and freedom from attacks. That is why you ought to know about “Potter’s Asthma Cure,” because it gives Relief—Instant Relief in asthma. The use of “Potter’s Asthma Cure” will enable you to breathe freely. The paroxysms of coughing will stop, and ease, comfort, and sweet, soothing relief will be yours. In every trouble of the breathing apparatus “Potter’s Asthma Cure” is marvellously successful. In asthma, hay fever, bronchitis, and whooping-cough the relief it affords is truly delightful. It enables those who are racked and tortured by incessant coughing to gain restful and refreshing sleep. And the point is that It’s so easy to use “Potter’s Asthma Cure.” You can either put a little of “Potter’s Asthma Cure” on a plate and ignite it and inhale the fumes, or you can use “Potter’s Patent Inhaler,” which is far more convenient, and costs but one shilling. In either case the virtues are brought directly into contact with the breathing organs, and immediately “Potter’s Asthma Cure” is used you are conscious of a feeling of soothing, calming relief, which is most grateful. Until you have tried “Potter’s Asthma Cure” you cannot realise what it will do for you. Possibly you have tried some other so-called cure and been disappointed. “Potter’s Asthma Cure” never disappoints, but gives ease, comfort, and relief. “Potter’s Asthma Cure” is Almost Magical in the results it produces, whilst it is at the same time quite safe. It is entirely free from opium, and does not cause headache, as is the case with other so-called remedies. Furthermore, “Potter’s Asthma Cure” has no injurious effects on the general health, so that there is no room for hesitation about using it. Why be tortured and prostrated by asthma and its agonies when you can gain sweet and immediate relief by using “Potter’s Asthma Cure”? Potter’s Asthma Cure Cigarettes are in every way as convenient and efficacious as our Asthma Cure. They enable those whose business calls them out of doors to carry the remedy for their trouble in their pockets with them. At the first symptoms of an attack “Potter’s Asthma Cigarettes” should be smoked, and in that way pain, discomfort, and suffering will be avoided. “Potter’s Asthma Cigarettes” are specially valuable in foggy weather and on going into the open air, and their use is a wonderful protection. The same thing is true of “Potter’s Smoking Mixture.” A cigarette smoked by the asthmatic the last thing at night will ensure a good night’s rest and pleasant refreshing sleep. © WJEC CBAC Ltd. 5 10 15 20 25 30 35 (A700U20-1) 7 Section B: English in the Twenty-First Century Read the following set of data which gives examples of email subject lines (the title that appears in an inbox list of messages), and answer the compulsory question below. © WJEC CBAC Ltd. TEXT 1: (Halloween promotion, online store) Spooktacular Savings Event! Save up to 50% + 10% discount code TEXT 2: (Google Calendar) Notification: Booking @ Hotel Mercure London Heathrow Mon Nov 21–Tue Nov 22 TEXT 3: (family) Just setting off …at last … TEXT 4: (campaign group) Kicking ass—sorry for the crude language—sign our petition TEXT 5: (pre-Christmas sales at the end of November, online store) JULIE HURRY UP YOU ARE LATE! 48 hours left to enjoy BLACK FRIDAY TEXT 6: (marketing company) Would you like to unsubscribe? TEXT 7: (friends) Pff this is kinda sooo not cool Guys TEXT 8: (Facebook notification) Jack Gray commented on your photo TEXT 9: (employer) [URGENT] Data Correction Project – Update TEXT 10: (fraud spam, unsolicited email sent in large quantities with the intention of conning the recipient) Greeting! Im Mrs Tayla Mohid, I NEED UR HELP with $10,000,000 fund help humanity END OF PAPER 3. In your response, you must refer to the set of data (Texts 1-10), but, in addition, you may wish to draw on your own examples. You must also: • consider relevant contextual factors and language features associated with the construction of meaning • apply appropriate methods of language analysis, using associated terminology and coherent expression • demonstrate understanding of relevant language concepts and issues. Using your knowledge of twenty-first century English, analyse and evaluate the ways in which contextual factors affect the lexical and grammatical choices in email subject lines. [40]

(B710U10-1) 3 © WJEC CBAC Ltd. 1. Compare and contrast how political figures are presented in Text A ‘A Satirical Elegy on the Death of a Late Famous General’ and either Text B or Text C. In your response, you are required to: • apply concepts and methods from integrated linguistic and literary study • analyse ways in which meanings are shaped • explore connections between Text A and your chosen text. [40] Section A: Comparative analysis of poetry and unseen text Answer Question 1. Your response must include: • detailed analysis of Text A, a poem taken from the WJEC Eduqas AS/A Level English Language and Literature Poetry Pre-1914 Anthology • close comparative reference to one of the two unseen extracts which appear on the following pages. Text A: The poem ‘A Satirical Elegy on the Death of a Late Famous General’ by Jonathan Swift (1667-1745). Text B: An extract from a eulogy, a funeral speech, for politician Ted Kennedy by the then President of the United States, Barack Obama. It was delivered at Kennedy’s funeral service in Boston, USA in 2009. Text C: An extract from an obituary of ex-President of the United States, Richard Nixon, entitled ‘He Was A Crook’ by Hunter S. Thompson. It was published in Rolling Stone magazine in 1994. B710 U101 03 Turn over. (B710U10-1) 4 © WJEC CBAC Ltd. Text A: the poem ‘A Satirical Elegy on the Death of a Late Famous General’ by Jonathan Swift (1667-1745) His Grace! impossible! what, dead! Of old age too, and in his bed! And could that mighty warrior fall, And so inglorious, after all? Well, since he’s gone, no matter how, The last loud trump must wake him now; And, trust me, as the noise grows stronger, He’d wish to sleep a little longer. And could he be indeed so old As by the newspapers we’re told? Threescore, I think, is pretty high; ’Twas time in conscience he should die! This world he cumber’d long enough; He burnt his candle to the snuff; And that’s the reason, some folks think, He left behind so great a stink. Behold his funeral appears, Nor widows’ sighs, nor orphans’ tears, Wont at such times each heart to pierce, Attend the progress of his hearse. But what of that? his friends may say, He had those honours in his day. True to his profit and his pride, He made them weep before he died. Come hither, all ye empty things! Ye bubbles rais’d by breath of kings! Who float upon the tide of state; Come hither, and behold your fate! Let pride be taught by this rebuke, How very mean a thing’s a duke; From all his ill-got honours flung, Turn’d to that dirt from whence he sprung. Text B: an extract from a eulogy for Ted Kennedy by Barack Obama in 2009 Through his own suffering, Ted Kennedy became more alive to the plight and suffering of others – the sick child who could not see a doctor; the young soldier sent to battle without armor; the citizen denied her rights because of what she looks like or who she loves or where she comes from. The landmark laws that he championed – the Civil Rights Act, the Americans with Disabilities Act, immigration reform, children’s health care, the Family and Medical Leave Act – all have a running thread. Ted Kennedy’s life’s work was not to champion those with wealth or power or special connections. It was to give a voice to those who were not heard; to add a rung to the ladder of opportunity; to make real the dream of our founding. He was given the gift of time that his brothers were not, and he used that gift to touch as many lives and right as many wrongs as the years would allow. We can still hear his voice bellowing through the Senate chamber, face reddened, fist pounding the podium, a veritable force of nature, in support of health care or workers’ rights or civil rights. And yet, while his causes became deeply personal, his disagreements never did. While he was seen by his fiercest critics as a partisan lightning rod, that is not the prism through which Ted Kennedy saw the world, nor was it the prism through which his colleagues saw him. He was a product of an age when the joy and nobility of politics prevented differences of party and philosophy from becoming barriers to cooperation and mutual respect – a time when adversaries still saw each other as patriots. Turn over. 5 © WJEC CBAC Ltd. (B710U10-1) Text C: an extract from an obituary of Richard Nixon, entitled ‘He Was A Crook’ by Hunter S. Thompson published in 1994 Richard Nixon is gone now, and I am poorer for it. He was the real thing – a political monster straight out of Grendel1 and a very dangerous enemy. He could shake your hand and stab you in the back at the same time. He lied to his friends and betrayed the trust of his family. If the right people had been in charge of Nixon’s funeral, his casket would have been launched into one of those open-sewage canals that empty into the ocean just south of Los Angeles. He was a swine of a man and a jabbering dupe of a president. Nixon was so crooked that he needed servants to help him screw his pants on every morning. Even his funeral was illegal. His body should have been burned in a trash bin. These are harsh words for a man only recently canonized by President Clinton and my old friend George McGovern – but I have written worse things about Nixon, many times, and the record will show that I kicked him repeatedly long before he went down. I beat him like a mad dog with mange every time I got a chance, and I am proud of it. He was scum. Let there be no mistake in the history books about that. Richard Nixon was an evil man – evil in a way that only those who believe in the physical reality of the Devil can understand it. He was utterly without ethics or morals or any bedrock sense of decency. 1Grendel: A novel by John Gardner (1971) based on the man-eating monster Grendel in the Old English poem Beowulf (B710U10-1) 6 © WJEC CBAC Ltd. Section B: Creative writing and commentary Answer Question 2. It is divided into three parts, (a), (b) and (c). You may draw inspiration from Texts A-C in Section A to help you answer all parts of the question. You may introduce material of your own to help you in your responses. In part (a) and part (b), you are required to: • demonstrate expertise and creativity in the use of English to communicate in different ways. In part (c), you are required to: • apply concepts and methods from integrated linguistic and literary study • analyse how meanings are shaped • explore connections across texts. 2. (a) Write a blog entry entitled ‘The World Needs Inspirational Leaders’. In your blog you may consider the qualities of a good or bad leader as well as offering practical advice for future leaders. Aim to write approximately 200 words. [10] In the blog entry you should: • consider whether the tone should be serious or light-hearted • show awareness of audience and purpose • make appropriate language choices • use an appropriate tone and style. (b) Imagine that you are a tour guide, leading a walking tour entitled ‘Heroes and Villains: A Walking Tour!’ Write an extract from your talk. Aim to write approximately 200 words. [10] While this is a text written to be spoken, it should not be presented as a transcription. For your talk you should: • choose a real or imaginary character as the focus of your talk • consider how to engage the listeners’ attention • demonstrate clear awareness of audience and purpose • use an appropriate tone and style. (c) Write an analytical commentary that compares and contrasts your choices of style, form and content in both the blog entry and the talk. Aim to write approximately 400 words. [20] END OF PAPER BLANK PAGE (B710U10-1) 7 © WJEC CBAC Ltd.

(B710U20-1) 6 Dave Eggers: A Heartbreaking Work of Staggering Genius (Picador) Or, 15. “Responsibilities weigh heaviest on those who are young.” Using integrated linguistic and literary approaches, consider how Eggers presents his struggles with responsibility as a young adult in A Heartbreaking Work of Staggering Genius. [60] Or, 16. Using integrated linguistic and literary approaches, discuss Eggers’ presentation of his and society’s attitudes towards loss in A Heartbreaking Work of Staggering Genius. [60] Truman Capote: In Cold Blood (Penguin Classics) Or, 17. Using integrated linguistic and literary approaches, explore Capote’s presentation of mothers and motherhood in 1950s/60s America in In Cold Blood. [60] Or, 18. “For many, the American Dream has become a nightmare.” Using integrated linguistic and literary approaches, consider Capote’s presentation of how Perry can be seen as a failure of the American Dream in In Cold Blood. [60] George Orwell: Homage to Catalonia (Penguin Classics) Or, 19. Using integrated linguistic and literary approaches, discuss how Orwell presents injustice in Spain in Homage to Catalonia. [60] Or, 20. Using integrated linguistic and literary approaches, discuss how Orwell presents men and masculinity in Spain during the 1930s in Homage to Catalonia. [60] END OF PAPER © WJEC CBAC Ltd. 7 © WJEC CBAC Ltd. BLANK PAGE (B710U20-1)

(A710U20-1) 13 Diane Samuels: Kindertransport (Nick Hern Books) Either, 12. “At its core, the play is about the pain and passion of mother/daughter relationships.” How far do you agree with this interpretation of Kindertransport? [48] Or, 13. “The play explores the crippling effects fear can have on individuals.” Explore Samuels’ presentation of fear in Kindertransport in the light of this statement. [48] Tennessee Williams: Cat on a Hot Tin Roof (Penguin Modern Classics) Either, 14. “The constrictions within 1950s American society do not allow people to be openly honest with each other.” Explore Williams’ presentation of the theme of communication in Cat on a Hot Tin Roof in the light of this statement. [48] Or, 15. “A dysfunctional relationship which struggles to survive in 1950s America.” Examine Williams’ presentation of the relationship between Brick and Maggie in Cat on a Hot Tin Roof in the light of this statement. [48] END OF PAPER © WJEC CBAC Ltd. BLANK PAGE (A710U20-1) 14 © WJEC CBAC Ltd. BLANK PAGE (A710U20-1) 15 © WJEC CBAC Ltd.

8 SECTION B: Comparing Voices Read Text B on pages 6-7 and Text C on page 8 of the source booklet before answering Question 2 in the space below. 2 Compare how the writers in Text B and Text C shape their language to create a sense of voice. You must consider: • the use of linguistic and literary features • the influence of audience and purpose • the contexts of the texts. 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TOTAL FOR SECTION B = 30 MARKS TOTAL FOR PAPER = 50 MARKS 16 BLANK PAGE Pearson Edexcel Level 3 GCE *P56592A* Turn over P56592A ©2019 Pearson Education Ltd. 1/1/1/1 Source Booklet Do not return this source booklet with the question paper. English Language and Literature Advanced Subsidiary Paper 1: Voices in Speech and Writing Paper Reference 8EL0/01 Morning (Time: 1 hour 30 minutes) Monday 13 May 2019 2 P56592A BLANK PAGE 3 Turn over P56592A CONTENTS Page Section A: Creation of Voice Text A – Speech: Colonel Tim Collins to 1st Battalion, 4-5 Royal Irish Regiment, in Iraq in 2003 (Voices Anthology) Section B: Comparing Voices Text B – Memoir: The Good Girl’s Guide to Getting Lost, 6-7 A Memoir of Three Continents, Two Friends, and One Unexpected Adventure by Rachel Friedman (Unseen text) Text C – Travelogue: Sea and Sardinia by D.H. Lawrence 8 (Voices Anthology) 4 P56592A SECTION A: Creation of Voice Text A This is the eve-of-battle speech made by Colonel Tim Collins to the 1st Battalion of the Royal Irish Regiment in 2003, prior to British troops entering Iraq. “We go to liberate, not to conquer. We will not fly our flags in their country. We are entering Iraq to free a people and the only flag which will be flown in that ancient land is their own. Show respect for them. There are some who are alive at this moment who will not be alive shortly. Those who do not wish to go on that journey, we will not send. As for the others, I expect you to rock their world. Wipe them out if that is what they choose. But if you are ferocious in battle remember to be magnanimous in victory. Iraq is steeped in history. It is the site of the Garden of Eden, of the Great Flood and the birthplace of Abraham. Tread lightly there. You will see things that no man could pay to see – and you will have to go a long way to find a more decent, generous and upright people than the Iraqis. You will be embarrassed by their hospitality even though they have nothing. Don’t treat them as refugees for they are in their own country. Their children will be poor, in years to come they will know that the light of liberation in their lives was brought by you. If there are casualties of war then remember that when they woke up and got dressed in the morning they did not plan to die this day. Allow them dignity in death. Bury them properly and mark their graves. It is my foremost intention to bring every single one of you out alive. But there may be people among us who will not see the end of this campaign. We will put them in their sleeping bags and send them back. There will be no time for sorrow. The enemy should be in no doubt that we are his nemesis and that we are bringing about his rightful destruction. There are many regional commanders who have stains on their souls and they are stoking the fires of hell for Saddam. 5 Turn over P56592A He and his forces will be destroyed by this coalition for what they have done. As they die they will know their deeds have brought them to this place. Show them no pity. It is a big step to take another human life. It is not to be done lightly. I know of men who have taken life needlessly in other conflicts. I can assure you they live with the mark of Cain upon them. If someone surrenders to you then remember they have that right in international law and ensure that one day they go home to their family. The ones who wish to fight, well, we aim to please. If you harm the regiment or its history by over-enthusiasm in killing or in cowardice, know it is your family who will suffer. You will be shunned unless your conduct is of the highest – for your deeds will follow you down through history. We will bring shame on neither our uniform or our nation. It is not a question of if, it’s a question of when. We know he has already devolved the decision to lower commanders, and that means he has already taken the decision himself. If we survive the first strike we will survive the attack. As for ourselves, let’s bring everyone home and leave Iraq a better place for us having been there. Our business now is North.” 6 P56592A SECTION B: Comparing Voices Text B This is an extract from the 2011 memoir by the American writer Rachel Friedman who, when a recent college graduate, booked a short trip to Ireland and ended up on a year-long journey across three continents. Why Ireland? Well, for starters, four hundred dollars (my parents’ generous, hesitant contribution) is enough to purchase a student work visa, something available in only a handful of countries, two of them—Australia and New Zealand—instantly ruled out because they are too far to find cheap airfare. Also, the rainy Irish weather appeals to me. If I am going to be miserable, I want the skies to match my mood. Last fall I took a course on Joyce, and I’ve been conjuring up long, dreary days wandering like Ulysses, rainy nights in cafés punishing myself with Finnegans Wake. This portrait appeals to my romanticized notion of melancholy, the kind I plan to undertake in Ireland, not at all like my current depressive state of pondering my postgraduate future, which consists of numbly attending lectures, sleeping twelve hours a day, and when I’m feeling really ambitious, staring blankly at the wall. Most of all, I just want to be somewhere else. When it comes to Ireland, it’s not so much a matter of Why here? as Will it be far enough? Oh, the possibilities are endless. They weigh me down, tramp around my brain in their muddy boots. I was happy along my determined, orderly path. I don’t want options. I don’t want to explore. My future used to be a straight, sturdy line, but now it’s all blurry, as if I’m under anesthesia. *** On the plane, I diligently studied my guidebook’s entry on the hostel where I’m staying, but I have no clue how to actually get there. A new surge of confident travelers envelops me, and when the wave subsides, I have been spat out on the other side, face- to-face with two angular women behind an information kiosk. “Hi? I’m trying to get to my hostel?” The one not texting whips open a map and expertly traces my route. “Right, you’re after the Airlink bus, which is outside now. Take it to the civic offices. Walk up Fishamble Street onto Lord Edward Street. Your hostel is on the corner.” She circles the spot twice with her pen, then pushes the map toward me and flashes an obligatory smile. “Thanks,” I mumble. Forward motion, I think. Just keep moving. I will myself through a revolving door and out into Ireland, where my bus is sunning itself. Three massive steps lead up into it, though there might as well be one hundred. “You’re grand,” says the driver encouragingly, but I cannot see any graceful way to get myself plus Big Red inside. I briefly consider splurging on a taxi, but it seems like an unnecessary indulgence when the bus is right here. It’s cheap—and it’s waiting. Okay, I tell myself. You may very well be about to make a complete ass of yourself, but no one knows you. Come on. Get on the bus. Get. On. The. Bus. I put two feet on the first step and then turn back around to face my engorged red opponent. Twisting the suitcase sideways, I drag it awkwardly up onto the step with me. Only half of its girth makes it; for a moment we are in a perfect precarious balance of bag and girl. Just as I am about to lose the battle to the overhanging weight, two steroidal angels reach down, and my suitcase floats the rest of 7 Turn over P56592A the way in. We shove it into the space designated for luggage, leaving enough room for someone else’s small purse or perhaps a wallet. I did it. I’m on a bus alone in a foreign country. For a fleeting second, I feel something surprising alongside the familiar emotions of confusion, doubt, and apprehension. Later, I’ll look back and recognize this rush of excitement as my first glimpse of what exactly it means to travel alone in a faraway land: I can go anywhere. I can do anything. And the all-important: I can be anyone. Soon enough I’ll come to crave this feeling, seek it out and cultivate it, but right now it’s an indecipherable sensation, quite possibly, I consider, indigestion. Glossary Joyce – James Joyce, Irish novelist, author of Ulysses and Finnegans Wake Big Red – the writer’s massive red suitcase 8 P56592A Text C This is an extract from Sea and Sardinia by the English writer D.H. Lawrence, who travelled from his home in Sicily to Sardinia in 1921. I slept not so badly through the stifled, rolling night—in fact later on slept soundly. And the day was growing bright when I peered through the porthole, the sea was much smoother. It was a brilliant clear morning. I made haste and washed myself cursorily in the saucer that dribbled into a pail in a corner: there was not space even for one chair, this saucer was by my bunk-head. And I went on deck. Ah the lovely morning! Away behind us the sun was just coming above the sea’s horizon, and the sky all golden, all a joyous, fire-heated gold, and the sea was glassy bright, the wind gone still, the waves sunk into long, low undulations, the foam of the wake was pale ice-blue in the yellow air. Sweet, sweet wide morning on the sea, with the sun coming, swimming up, and a tall sailing bark, with her flat fore-ladder of sails delicately across the light, and a far-far steamer on the electric vivid morning horizon. The lovely dawn: the lovely pure, wide morning in the mid-sea, so golden-aired and delighted, with the sea like sequins shaking, and the sky far, far, far above, unfathomably clear. How glad to be on a ship! What a golden hour for the heart of man! Ah if one could sail for ever, on a small quiet, lonely ship, from land to land and isle to isle, and saunter through the spaces of this lovely world, always through the spaces of this lovely world. Sweet it would be sometimes to come to the opaque earth, to block oneself against the stiff land, to annul the vibration of one’s flight against the inertia of our terra firma! but life itself would be in the flight, the tremble of space. Ah the trembling of never-ended space, as one moves in flight! Space, and the frail vibration of space, the glad lonely wringing of the heart. Not to be clogged to the land any more. Not to be any more like a donkey with a log on its leg, fastened to weary earth that has no answer now. But to be off. To find three masculine, world-lost souls, and world-lost saunter, and saunter on along with them, across the dithering space, as long as life lasts! Why come to anchor? There is nothing to anchor for. Land has no answer to the soul any more. It has gone inert. Give me a little ship, kind gods, and three world-lost comrades. Hear me! And let me wander aimless across this vivid outer world, the world empty of man, where space flies happily. 9 P56592A BLANK PAGE 10 P56592A BLANK PAGE 11 P56592A BLANK PAGE 12 P56592A BLANK PAGE Source information Text A: taken from Voices in Speech and Writing: An Anthology, Pearson Education Limited 2014 Text B: taken from The Good Girl’s Guide to Getting Lost, A Memoir of Three Continents, Two Friends, and One Unexpected Adventure by Rachel Friedman, Bantam Books 2011 Text C: taken from Voices in Speech and Writing: An Anthology, Pearson Education Limited 2014 Every effort has been made to contact copyright holders to obtain their permission for the use of copyright material. Pearson Education Ltd. will, if notified, be happy to rectify any errors or omissions and include any such rectifications in future editions.

8 (1720U40-1) Henry IV Part 1 Either, 12. “Falstaff may entertain an audience but his character is portrayed as fundamentally irrelevant to the development of a future king.” How far would you agree with this view of the play Henry IV Part 1? [75] Or, 13. Examine the view that “in Henry IV Part 1 Shakespeare presents rebels in a more sympathetic light than the systems they oppose.” [75] The Tempest Either, 14. “Although the island is apparently far removed from the world of Milan, there is no escaping the influence of the past.” Discuss this view of The Tempest. [75] Or, 15. How far would you agree that “in The Tempest, magic is presented as a distraction from the main concerns of the play”? [75] END OF PAPER © WJEC CBAC Ltd.

(A700U20-1) 2 Section A: Language Change Over Time Answer Question 1 and Question 2. Question 1 is divided into four parts: (a), (b), (c) and (d). Answer all parts. The three texts which follow on pages 4-6 are all examples of fiction. Text A is an extract from The Pleasante Historie of John Winchcomb, a novel by Thomas Deloney published in 1597. It is the story of John Winchcomb (known as Jack), a weaver who becomes wealthy through hard work, commitment and honesty. Jack inherits his master’s cloth-making business and becomes a successful merchant – in the sixteenth century, woollen cloth was the main export industry in England. In this extract, Jack meets the father of his bride-to-be. Text B is an extract from Great Expectations, a novel by Charles Dickens published in 1861. It is the story of Pip, who has been brought up by his sister and her husband, a poor blacksmith called Joe. When he is a teenager, Pip is given a fortune by a mysterious benefactor so that he can go to London and become a gentleman. Throughout the novel, Pip describes and reflects on key moments in his life. In this extract, Joe is visiting Pip and his friend Herbert in London. Text C is an extract from Pigeon English, a novel by Stephen Kelman published in 2011. It is the story of Harri Opoku, an eleven-year-old boy who has recently moved to a housing estate in South London from Ghana in Africa. The language he uses blends Ghanaian English with London youth speak. In this extract, Harri describes some of the new experiences he has in London. © WJEC CBAC Ltd. Turn over. A70 0 U201 03 (A700U20-1) 3 1. (a) Identify the word class and archaic spelling patterns of the following words using appropriate terminology. [6] haue (Text A, line 5) poore (Text A, line 8) wooll (Text A, line 12) (b) What do the examples below tell us about language change? Make two points and refer to the examples using appropriate terminology. [4] shee/she (Text A, lines 6/7) nobles (Text A, line 18) (c) Describe the form and the archaic grammatical features of the following examples using appropriate terminology. [4] kind (Text A, line 6) writ (Text A, line 7) (d) Analyse features of the grammatical structure and punctuation that are typical of Early Modern English in the extract from Text A below. Make three points and select a relevant example to support each point. You must use appropriate terminology to describe your examples. [6] Now Jacke of Newberrie being a widower, had the choice of many wiues, mens daughters of good credit and widowes of great wealth. Notwithstanding, he bent his onely like to one of his owne seruants, whom he had tried in the guiding of his house a yeere or two; and knowing her to be carefull in her business, faithful in her dealings, and an Excellent huswife, thought it better to haue her with nothing, than some other with much treasure. [text omitted] Whereupon a Letter was writ to her father, being a poore man dwelling at Alisburie in Buckinghamshire: who being joyfull of his daughters good Fortune speedily came to Newberie, where of her master he was friendly entertained: who shewed him all his seruants at worke, and euery office in his house. [ll.1-10] But, father (quoth Jacke Of Newberie), what will you bestow with her? [l.16] When Jacke heard his Offer, he was straight content, making more reckoning of the womans Modestie than her fathers money; so the marriage day being appointed, all thyngs was prepared for the Wedding … [ll.20-22] © WJEC CBAC Ltd. 2. In your response to the question that follows, you must • explore connections across the texts • consider relevant contextual factors and language features associated with the construction of meaning • demonstrate understanding of relevant language concepts and issues. Analyse and evaluate Texts A, B and C as examples of fiction written to engage and entertain readers of the time. [60] (A700U20-1) 4 TEXT A: from The Pleasante Historie of John Winchcomb, a novel by Thomas Deloney (1597) Now Jacke of Newberrie being a widower, had the choice of many wiues, mens daughters of good credit and widowes of great wealth. Notwithstanding, he bent his onely like to one of his owne seruants, whom he had tried in the guiding of his house a yeere or two; and knowing her to be carefull in her business, faithful in her dealings, and an Excellent huswife, thought it better to haue her with nothing, than some other with much treasure. In the end, he opened his minde vnto her, and craued her good will. The maid (though shee tooke this motion kind) said she would do nothing without consent of her parents. Whereupon a Letter was writ to her father, being a poore man dwelling at Alisburie in Buckinghamshire: who being joyfull of his daughters good Fortune speedily came to Newberie, where of her master he was friendly entertained: who shewed him all his seruants at worke, and euery office in his house. When the old man had seene this great houshold and familie, then he was brought into the Warehouses, some being filled with wooll, some with flockes,1 some with woad and madder,1 and some with kersies1 readie dyed and drest,2 beside a great number of others. Sir (quoth the old man), I wis3 che zee4 you be bominable5 rich, and cham6 content you shall haue my daughter, and Gods blessing and mine light on you both. But, father (quoth Jacke Of Newberie), what will you bestow with her? Marry, heare you (quoth the old man), I cham but a poore man, but I thank God, because che heare very good condemnation7 of you in euery place, therefore chil8 giue you Twentie nobles9 and a weaning calfe, and when I die and my wife, you shall haue all my goods. When Jacke heard his Offer, he was straight content, making more reckoning of the womans Modestie than her fathers money; so the marriage day being appointed, all thyngs was prepared for the Wedding; most of the lords, knights, and gentlemen thereabout were inuited thereunto: the bride being attyred in a gowne of sheepes russet,10 and her head attyred with a Billiment11 of gold, and her haire as yellow as gold hanging downe behinde her. Shee was led to church betweene two sweete boyes with bride laces and rosemary tied about their silken sleeues. 1flockes, woad and madder, kersies: terms related to the woollen industry 2drest: prepared for use 3I wis: indeed (obsolete adverb) 4che zee: phonetic spelling to reflect pronunciation - I see 5bominable: clipping of ‘abominable’ 6cham: phonetic spelling to reflect pronunciation - I am 7condemnation: mistaken use of a similar sounding word - commendation (praise) 8chil: phonetic spelling to reflect pronunciation - I will 9nobles: gold coins 10sheepes russet: plain woollen cloth 11Billiment: decorative edging sewn onto headdresses © WJEC CBAC Ltd. 5 10 15 20 25 Turn over. (A700U20-1) 5 TEXT B: from Great Expectations, a novel by Charles Dickens (1861) “Joe, how are you, Joe?” “Pip, how AIR you, Pip?” With his good honest face all glowing and shining, and his hat put down on the floor between us, he caught both my hands and worked them straight up and down, as if I had been the last- patented Pump. “I am glad to see you, Joe. Give me your hat.” But Joe, taking it up carefully with both hands, like a bird’s-nest with eggs in it, wouldn’t hear of parting with that piece of property, and persisted in standing talking over it in a most uncomfortable way. “Which you have that growed,” said Joe, “and that swelled, and that gentle-folked;” Joe considered a little before he discovered this word; “as to be sure you are a honour to your king and country.” “And you, Joe, look wonderfully well.” “Thank God,” said Joe, “I’m ekerval1 to most. And your sister, she’s no worse than she were. And all friends is no backerder, if not no forarder.2 ‘Ceptin3 Wopsle; he’s had a drop.” 4 All this time (still with both hands taking great care of the bird’s-nest), Joe was rolling his eyes round and round the room, and round and round the flowered pattern of my dressing-gown. “Had a drop, Joe?” “Why yes,” said Joe, lowering his voice, “he’s left the Church and went into the playacting.” A ghost-seeing effect in Joe’s own countenance informed me that Herbert had entered the room. So I presented Joe to Herbert, who held out his hand; but Joe backed from it. “Your servant, Sir,” said Joe, “which I hope as you and Pip—I meantersay, you two gentlemen— which I hope as you get your elths in this close5 spot? For the present may be a werry good inn, according to London opinions,” said Joe, confidentially, “and I believe its character do stand it; but I wouldn’t keep a pig in it myself.” “Do you take tea, or coffee, Mr. Gargery?” asked Herbert. “Thankee, Sir,” said Joe, stiff from head to foot, “I’ll take whichever is most agreeable to yourself.” 1ekerval: equal 2no backerder … no forarder: no more backward … no more forward (no worse off or better off) 3‘Ceptin: Except for 4a drop: a fall in social status 5close: airless and humid; unhealthy © WJEC CBAC Ltd. 5 10 15 20 25 (A700U20-1) 6 TEXT C: from Pigeon English, a novel by Stephen Kelman (2011) We always go to the market on Saturday. It’s all outside so you get proper cold waiting for Mamma to pay, you have to keep your mouth closed to stop your teeth escaping. It’s only even worth it for all the dope-fine1 things you can look at like a remote-control car, or a samurai sword (it’s only made from wood but it’s proper hutious.2 If I had the means I’d buy it like that, I’d use it to chase the invaders away). My favourite shop is the sweets shop. It sells every kind of Haribo you can think of. It’s my ambition to try every style there is. So far I’ve tried about half. Haribo comes in a million different shapes. Whatever there is in the world, there’s a chewy Haribo version of it. Asweh,3 it’s true. They make cola bottles, worms, milkshakes, teddy bears, crocodiles, fried eggs, dummies, fangs, cherries, frogs, and millions more. Cola bottles are the best. [text omitted] The launderette is a shop just for washing machines. It’s at the bottom of Luxembourg House. The washing machines don’t belong to any one person, they’re for everybody who lives in the flats. You have to pay them money to make them work. Every machine is big enough to fit a person inside. One day I’m going to try it. I’m going to sleep inside it, it’s one of my alltime ambitions. [text omitted] I swear by God, I thought I was dreaming at first. It didn’t even feel real. I thought under the ground was just mud and bones and the creatures who live there, when I saw the tunnels and all the lights and people, I just had to pinch myself. There was even a man playing a violin. He had long hair in a ponytail even if he was a man. Asweh, the whole thing just felt brutal.4 Have you ever been on the tube? There’s a million people everywhere all going too fast. They don’t talk to you, they just chook5 you out of the way with their elbows. The stairs you go down are moving, they’re the same as the ones at the airport. You can pretend like it’s asasabonsam’s teeth6 trying to eat you. I wanted to run through the tunnel but there were too many people in the way. I just made an echo instead. I made the loudest echo I could and made it last for donkey hours: Me: ‘We are in the tuuuuuuuuuuuube!’ It felt brutal. Everybody jumped. 1dope-fine: awesome, cool 2hutious: scary, frightening 3Asweh: I swear 4brutal: exciting, fun 5chook: jab 6asasabonsam’s teeth: a vampire-like monster in West African folklore © WJEC CBAC Ltd. 5 10 15 20 25 (A700U20-1) 7 Section B: English in the Twenty-First Century Read the following set of data which gives examples of posts on a BBC Sport Online comment thread, and answer the compulsory question below. The contributors were discussing a football match in which Crystal Palace (The Eagles) heavily defeated Hull City. © WJEC CBAC Ltd. TEXT 1: (POSTED BY girldancing, CRYSTAL PALACE SUPPORTER) You’ve kinda gotta feel a bit sorry for Hull. At least they tried. TEXT 2: (POSTED BY GetALife, CRITIC OF CRYSTAL PALACE FANS) How Fickle can you get, all the Palace fans wanted HIPPO HEAD out after the drubbing they got off sunderland, now you think hes the best manager going, he is a boring gum chewing greedy cheat. its people like him what give football a bad name should never of been allowed back in football TEXT 3: (POSTED BY Eagle77, CRYSTAL PALACE SUPPORTER) EEEEAAAAAAGGGGGLLLLLEEESSSSS!!!! We are PALACE super PALACE the eagles r flying high at the mo looking forward to Brighton next season now. COYP TEXT 4: (POSTED BY ithasnthappenedyet, CRITIC OF AN INDIVIDUAL CONTRIBUTOR) @theLegEndLad Always first on every posting (does he work at BBC???? lol) You really are pathetic. Sure HYS, but no need to be sooo arrogant. C’mon BBC, shoulda removed the comments for being off-topic. TEXT 5: (POSTED BY sports_mad, SPORTS TEACHER) I’m a Palace fan, but hope to see Hull fighting back before long. Hull suffered from two consecutive matches where they simply imploded within their play. V. careless errors in defence. Palace soaked up any pressure and capitalised on the break. Palace, though, still need to raise their game and evaluate the toils of this season. TEXT 6: (POSTED BY bostyle55, HULL CITY SUPPORTER) Gutted, no passion, no fight, went down with a whimper ☹☹☹☹ END OF PAPER 3. In your response, you must refer to the set of data (Texts 1-6), but, in addition, you may wish to draw on your own examples. You must: • consider relevant contextual factors and language features associated with the construction of meaning • apply appropriate methods of language analysis, using associated terminology and coherent expression • demonstrate understanding of relevant language concepts and issues. Using your knowledge of twenty-first century English, analyse and evaluate the ways in which contextual factors affect the lexical and grammatical choices in posts on comment threads. [40]

(B710U10-1) 3 © WJEC CBAC Ltd. 1. Compare and contrast how cities are presented in Text A ‘Composed Upon Westminster Bridge’ and either Text B or Text C. [40] In your response, you are required to: • apply concepts and methods from integrated linguistic and literary study • analyse ways in which meanings are shaped • explore connections between Text A and your chosen text. Section A: Comparative analysis of poetry and unseen text Answer Question 1. Your response must include: • detailed analysis of Text A, a poem taken from the WJEC Eduqas AS/A Level English Language and Literature Poetry Pre-1914 Anthology • close reference to one of the two unseen extracts which appear on the following pages. Text A: the poem ‘Composed Upon Westminster Bridge (September 3 1802)’ by William Wordsworth (1770-1850). Text B: an extract from the novel If Nobody Speaks of Remarkable Things by Jon McGregor (2002). Text C: an extract from a television news report entitled ‘London. Best city in the world?’ by reporter Phil Black for CNN news channel (2016). B710 U101 03 Turn over. (B710U10-1) 4 © WJEC CBAC Ltd. Text A: ‘Composed Upon Westminster Bridge (September 3, 1802)’ by William Wordsworth (1770-1850) Earth has not anything to show more fair: Dull would he be of soul who could pass by A sight so touching in its majesty: This City now doth, like a garment, wear The beauty of the morning; silent, bare, Ships, towers, domes, theatres, and temples lie Open unto the fields, and to the sky; All bright and glittering in the smokeless air. Never did sun more beautifully steep In his first splendour, valley, rock, or hill; Ne’er saw I, never felt, a calm so deep! The river glideth at his own sweet will: Dear God! the very houses seem asleep; And all that mighty heart is lying still! Text B: an extract from the novel If Nobody Speaks of Remarkable Things by Jon McGregor (2002) If you listen, you can hear it. The city, it sings. If you stand quietly, at the foot of a garden, in the middle of a street, on the roof of a house. It’s clearest at night, when the sound cuts more sharply across the surface of things, when the song reaches out to a place inside you. It’s a wordless song, for the most, but it’s a song all the same, and nobody hearing it could doubt what it sings. And the song sings the loudest when you pick out each note. The low soothing hum of air-conditioners, fanning out the heat and the smells of shops and cafés and offices across the city, winding up and winding down, long breaths layered upon each other, a lullaby hum for tired streets. The rush of traffic still cutting across flyovers, even in the dark house a constant crush of sound, tyres rolling across tarmac and engines rumbling, loose drains and manhole covers clack-clacking like cast-iron castanets. And all the alarms, calling for help, each district and quarter, each street and estate, each every way you turn has alarms going off, coming on, going off, coming on, a hammered ring like a lightning drum-roll, like a mesmeric bell-toll, the false and the real as loud as each other, crying their needs to the night like an understaffed orphanage, babies waawaa-ing in darkened wards. Sung sirens, sliding though the streets, streaking blue light from distress to distress, the slow wail weaving urgency through the darkest of the dark hours, a lament lifted high, held above the rooftops and fading away, lifted high, flashing past, fading away. And all these things sing constant, the machines and the sirens, the cars blurting and rumbling all headlong, the hoots and the shouts and the hums and the crackles, all come together and rouse like a choir, sinking and rising with the turn of the wind, the counter and solo1, the harmony humming expecting more voices. So listen. Listen, and there is more to hear. 1counter and solo: musical terms Turn over. 5 © WJEC CBAC Ltd. (B710U10-1) Text C: an extract from a television news report entitled ‘London. Best city in the world?’ by reporter Phil Black (2016) For about ten years now, on and off, I’ve lived in London – where life takes place under an endlessly grey sky, or at least that’s what it feels like. But when I think of my home town of Sydney, I think of the colour blue – that’s the sky and the ocean there, for most of the year. In London, in the daily crush for the Tube, getting growled at or sneezed on is all generously included in the ticket price. Whereas in Sydney I could commute by ferry across one of the most beautiful harbours in the world. And in London? There are people. So many people. Everywhere. In Sydney, everyone gets their own beach. Not quite, but you get the idea. Now, kicking London brings no pleasure; I love this place, truly, it’s my adopted home. But I was surprised recently, so were many of my colleagues, mostly Brits, when we learned that this challenging – often infuriating – city had topped a list of the world’s best cities. When you think about the competition, we wanted to know, how is that possible? Accounting giant, PricewaterhouseCoopers, released two studies: one, a survey of around nine thousand people measuring the perceptions of international cities; the other, an analysis of the facts. London is number one in both rankings. London scored very highly for international connections, well-developed infrastructure and legal frameworks, political influence and being a leader. That could be because most of those surveyed are described as “informed elites” and “business decision makers”, a demographic also known as ‘those who regularly wear suits’. For affordability, London ranked close to the bottom of the list; that’s not news to those who live across town, far from the suits. But most still agree, this is the best city in the world. Phil Black, CNN, reporting from – arguably – the best city in the world. (B710U10-1) 6 © WJEC CBAC Ltd. Section B: Creative writing and commentary Answer Question 2. It is divided into three parts, (a), (b) and (c). You may draw inspiration from Texts A-C in Section A to help you answer all parts of the question. You may introduce material of your own to help you in your responses. In part (a) and part (b), you are required to: • demonstrate expertise and creativity in the use of English to communicate in different ways. In part (c), you are required to: • apply concepts and methods from integrated linguistic and literary study • analyse how meanings are shaped • explore connections across texts. 2. (a) Write an extract from a novel describing a city in winter. Aim to write approximately 200 words. [10] In the extract you should: • consider what aspect of city life in winter you will describe • show awareness of audience and purpose • make appropriate language choices • use an appropriate tone and style. (b) Write an extract from a travel vlog for an episode entitled ‘This is the best city in the world!’ Aim to write approximately 200 words. [10] While this is a text written to be spoken, it should not be presented as a transcript. For your travel vlog you should: • consider which details of the location you will talk about • engage the audience’s attention • show awareness of audience and purpose • use an appropriate tone and style. (c) Write an analytical commentary that compares and contrasts your choices of style, form and content in both the novel extract and the travel vlog. Aim to write approximately 400 words. [20] END OF PAPER BLANK PAGE (B710U10-1) 7 © WJEC CBAC Ltd.

(B710U20-1) 6 Dave Eggers: A Heartbreaking Work of Staggering Genius (Picador) Or, 15. Using integrated linguistic and literary approaches, discuss to what extent you believe Eggers to be a reliable narrator in A Heartbreaking Work of Staggering Genius. [60] Or, 16. Using integrated linguistic and literary approaches, discuss Eggers’ presentation of late twentieth century American society in A Heartbreaking Work of Staggering Genius. [60] Truman Capote: In Cold Blood (Penguin Classics) Or, 17. Using integrated linguistic and literary approaches, discuss the presentation of patriarchal society in 1950s/1960s America in In Cold Blood. [60] Or, 18. “In a wicked world, it’s possible to have sympathy for the Devil.” Using integrated linguistic and literary approaches, discuss to what extent you agree that readers feel sympathy for Perry in In Cold Blood. [60] George Orwell: Homage to Catalonia (Penguin Classics) Or, 19. Using integrated linguistic and literary approaches, discuss how Orwell responds to different places in Homage to Catalonia. [60] Or, 20. Using integrated linguistic and literary approaches, discuss the presentation of suffering and hardship in Homage to Catalonia. [60] END OF PAPER © WJEC CBAC Ltd. 7 © WJEC CBAC Ltd. BLANK PAGE (B710U20-1)

(A710U20-1) 13 Diane Samuels: Kindertransport (Nick Hern Books) Either, 12. “The older I get, the less of myself I become.” Consider the presentation of identity in Kindertransport. [48] Or, 13. Samuels said that the second generation of survivors or refugees often experience a nagging inner insecurity. Explore the presentation and role of the character Faith in Kindertransport. [48] Tennessee Williams: Cat on a Hot Tin Roof (Penguin Modern Classics) Either, 14. “I’m going to pick me a choice one, I don’t care how much she costs, I’ll smother her in – minks!” Consider the presentation of women in Cat on a Hot Tin Roof. [48] Or, 15. Williams said that his characters were restless, with a passion for breaking out from the restrictions of 1950s American society. Discuss the play in the light of this statement. [48] END OF PAPER © WJEC CBAC Ltd. BLANK PAGE (A710U20-1) 14 © WJEC CBAC Ltd. BLANK PAGE (A710U20-1) 15 © WJEC CBAC Ltd.

2 SECTION A: Voices in 20th and 21st century texts Read Text A on pages 3–4 and Text B on pages 5–6 of the source booklet before answering Question 1 in the space provided. 1 Compare the ways in which the writers create a sense of voice as they present the problems faced by people living with disability. In your answer, you must consider linguistic and literary features, drawing on your knowledge of genre conventions and context. 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(Total for Question 1 = 25 marks) TOTAL FOR SECTION A = 25 MARKS 10 SECTION B: Drama Texts Answer ONE question on your chosen text. Questions relate to the play you have studied and to the relevant extract from that play in the source booklet. Begin your answer on page 13. EITHER All My Sons, Arthur Miller Read the extract on pages 7–8 of the source booklet. 2 Using this extract as a starting point, and with reference to other parts of the play, discuss how Miller uses the relationship between Chris and Ann to expose the guilt of Joe and Kate Keller. In your answer, you must consider Miller’s use of linguistic and literary features and relevant contextual factors. (Total for Question 2 = 25 marks) OR A Streetcar Named Desire, Tennessee Williams Read the extract on pages 9–10 of the source booklet. 3 Using this extract as a starting point, and with reference to other parts of the play, discuss Williams’ use of the relationship between Blanche and Mitch to explore how Blanche responds to her changed circumstances. In your answer, you must consider Williams’ use of linguistic and literary features and relevant contextual factors. (Total for Question 3 = 25 marks) OR Elmina’s Kitchen, Kwame Kwei-Armah Read the extract on pages 11–12 of the source booklet. 4 Using this extract as a starting point, and with reference to other parts of the play, discuss how Kwei-Armah presents different attitudes to gangs. In your answer, you must consider Kwei-Armah’s use of linguistic and literary features and relevant contextual factors. (Total for Question 4 = 25 marks) Turn over 11 OR Equus, Peter Shaffer Read the extract on pages 13–14 of the source booklet. 5 Using this extract as a starting point, and with reference to other parts of the play, discuss how Shaffer uses the relationship between Dysart and Hesther to present different attitudes towards the role of the psychiatrist. In your answer, you must consider Shaffer’s use of linguistic and literary features and relevant contextual factors. (Total for Question 5 = 25 marks) OR The History Boys, Alan Bennett Read the extract on pages 15–16 of the source booklet. 6 Using this extract as a starting point, and with reference to other parts of the play, discuss how Bennett develops the character of Rudge to present attitudes to social class within the education system. In your answer, you must consider Bennett’s use of linguistic and literary features and relevant contextual factors. (Total for Question 6 = 25 marks) OR Top Girls, Caryl Churchill Read the extract on pages 17–18 of the source booklet. 7 Using this extract as a starting point, and with reference to other parts of the play, discuss how Churchill presents the attitudes of women to their shared struggle in a world largely controlled by men. In your answer, you must consider Churchill’s use of linguistic and literary features and relevant contextual factors. (Total for Question 7 = 25 marks) 12 OR Translations, Brian Friel Read the extract on pages 19–20 of the source booklet. 8 Using this extract as a starting point, and with reference to other parts of the play, discuss how Friel presents resistance to British colonisation. In your answer, you must consider Friel’s use of linguistic and literary features and relevant contextual factors. (Total for Question 8 = 25 marks) Turn over 13 Indicate which question you are answering by marking a cross in the box. If you change your mind, put a line through the box and then indicate your new question with a cross. 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TOTAL FOR SECTION B = 25 MARKS TOTAL FOR PAPER = 50 MARKS *P62125A* Turn over Monday 18 May 2020 Morning (Time: 2 hours 30 minutes) Source Booklet Do not return this Source Booklet with the question paper. Paper Reference 9EL0/01 English Language and Literature Advanced Paper 1: Voices in Speech and Writing Pearson Edexcel Level 3 GCE P62125A ©2020 Pearson Education Ltd. 1/1/1/1/1/1 2 P62125A CONTENTS SECTION A: Voices in 20th and 21st century texts Pages Text A – Diary Entry Nina Grant: Life with a disability 3–4 (Unseen text) Text B – Newspaper Article Ian Birrell: ‘Nothing to Celebrate for the Disabled’ (Edexcel Anthology) 5–6 SECTION B: Drama Texts All My Sons 7–8 A Streetcar Named Desire 9–10 Elmina’s Kitchen 11–12 Equus 13–14 The History Boys 15–16 Top Girls 17–18 Translations 19–20 3 Turn over P62125A SECTION A: Voices in 20th and 21st century texts Text A This is the diary entry of Nina Grant, one of seven readers of The Guardian newspaper who documented their day-to-day experiences of living with disability in the UK. These entries were then published in the online version of the newspaper in November 2017. Stares, glares and internet dating: the harsh realities of life with a disability Nina Grant, 31 Nina lives in London. She has Ehlers-Danlos syndromes and is a wheelchair user. 28 August I went to join some friends in King’s Cross for coffee. The tube station I have to use isn’t actually my nearest station but my nearest accessible one. This means first taking a bus (assuming I can access the bus at all), then going back on myself once on the tube, passing through my actual nearest station five minutes later. It takes me on average half an hour longer to reach a destination than it would someone who isn’t a wheelchair user – and that’s assuming the station lift isn’t broken. Only “around a quarter” (according to Transport for London) of London underground stations are wheelchair accessible. 3 September My partner surprised me yesterday with a book I’d pointed out earlier in the week in the window of a charity shop. A lovely gesture, but he wouldn’t have had to buy the book for me at all if the shop did not have a large step into its entrance, which blocks wheelchair users from entering. This seems to be a frequent problem in my local area with independent shops and businesses. When a new coffee shop opened in town I asked them if they had a ramp – and if not, would they consider getting one? The answer was no, but I would be welcome to enjoy my coffee in the enclosed yard at the front. In November. (Not to mention next to a busy road, with no access to a toilet.) I find it galling that businesses don’t consider that wheelchair users might want to use their services, or consider our patronage worth less than the cost of a cheap folding ramp. The scarcity of access also makes social occasions a bit of a minefield. Every invitation tends to require calling or emailing the venue to find out about accessibility, then usually having to explain to the host why I can’t come. 8 September Today a woman with a buggy moved off the bus for me (“I’m the next stop anyway”) so I could board in my powerchair. When I had settled into position, I found myself facing an accusing set of faces who had just seen what looked like a young person with their own motorised vehicle force a mother and her child off the bus. It’s hard to describe the feeling of being scrutinised by multiple strangers at once, but I can hazard a guess as to what they were thinking: “She’s too young to be in that contraption”; “… sense of entitlement …”; “I just saw her leg move! She’s obviously faking!” As a wheelchair user, I feel like bus journeys are often a lesson in learning to ignore others’ facial expressions. Everyone else gets to sit in rows, seeing only the backs of their fellow passengers’ heads. But wheelchair users, who sit facing backwards, have to studiously avoid the stares, glares and outright gawps (and the occasional comments about “good parking”). 4 P62125A 22 September Today I noticed that the automatic door button at my local bank branch was not working, just as it hadn’t been some months before. I had to time my entrance and exit so other customers could hold the door. This got me thinking about how the wider population views things like that access button, needed by disabled people to manage independently and with dignity. Most of these objects or services are frequently neglected, derided or misappropriated in a manner that wouldn’t happen if they were needed by everyone. Glossary Ehlers–Danlos syndromes (EDS): a group of genetic connective tissue disorders characterised primarily by joint hypermobility affecting both large and small joints, which may lead to recurrent joint dislocations. 5 Turn over P62125A Text B This is an article from the ‘i’ newspaper by Ian Birrell, the former deputy editor of The Independent newspaper. He is a columnist, foreign correspondent, campaigner and co-founder of Africa Express. Nothing to Celebrate for the Disabled They were clearing up the confetti, nursing hangovers and disappearing on honeymoons yesterday after the first batch of gay marriages in Britain. It was a remarkable moment as the contented couples celebrated their unions with the traditional kiss. Within my lifetime, homosexuality has been first legalised, then embraced into everyday normality. The ceremonies mark a milestone in the bumpy march towards tolerance and equality. We should rejoice at the speed with which people who were once jailed, mocked and used as a political football have taken their correct place at the heart of society. Politicians of all hues deserve praise for displaying courage in confronting the misanthropes who sought to stop lesbian and gay people from enjoying rights that the rest take for granted. Problems remain with homophobic bullying in schools and bigotry abroad. But the reforms show how quickly attitudes can change. We have seen a similar rapid shift in attitudes on gender and race, for all the hurdles that still exist for both women and ethnic minorities. Yet, amid all the discussion of diversity and self-congratulatory talk of tolerance, one minority remains stuck in the shadows of society. Indeed, many members would argue that their life is getting worse, with hostility growing. These are people with disabilities, a group growing fast in our ageing society. Not only are people with disabilities far less likely to be in work despite being the most loyal employees, but almost two-thirds of those who develop a disability have lost their job within two years. Reported hate crime is rising, with stories of awful abuse commonplace. You can multiply all these damning statistics – the terrible stories of routine harassment – for people with learning difficulties. Just imagine the rightful outcry if this was happening to people because of their gender, sexuality or skin colour. So why is this happening in the wake of the Paralympics, with all that optimistic talk of transforming attitudes? One reason is the lack of social and workplace interaction, such a crucial motor in changing attitudes. So instead of invitations to drinks after work and weekend dinner parties, there is befuddled British embarrassment at best, coldness at worst, towards people with disabilities. As a consequence comes a failure to understand their hopes, fears and desires. Then there is the lack of political power – one more legacy of the poverty and woeful support endured by many disabled people. Digital technology has helped, but the idea of seeking a seat in Parliament is a joke for people who struggle to obtain a seat on the bus. At the last general election, more than two-thirds of polling stations had significant barriers to accessibility. 6 P62125A It is great to see Britain become more tolerant. But, with more spending cuts looming, are we content to leave one minority locked out of society as second-class citizens? Just as with gay and lesbian people, disabled people want only the same rights as everyone else. And remember that only one in six people with disabilities was born with them; one day this minority might include you, whatever your colour, gender or sexuality. 7 Turn over P62125A SECTION B: Drama Texts All My Sons, Arthur Miller Chris (turns to his mother): What do you mean, you packed her bag? How dare you pack her bag? Mother Chris… Chris How dare you pack her bag? Mother She doesn’t belong here. Chris Then I don’t belong here. Mother She’s Larry’s girl. Chris And I’m his brother and he’s dead, and I’m marrying his girl. Mother Never, never in this world! Keller You lost your mind? Mother You have nothing to say! Keller (cruelly): I got plenty to say. Three and a half years you been talking like a maniac- Mother (She smashes him across the face): Nothing. You have nothing to say. Now I say. He’s coming back, and everybody has got to wait. Chris Mother, Mother… Mother Wait, wait… Chris How long? How long? Mother (rolling out of her): Till he comes; forever and ever till he comes! Chris (as an ultimatum): Mother, I’m going ahead with it. Mother Chris, I’ve never said no to you in my life, now I say no! Chris You’ll never let him go till I do it. Mother I’ll never let him go and you’ll never let him go…! Chris I’ve let him go. I’ve let him go a long… Mother (with no less force, but turning from him): Then let your father go. (Pause. Chris stands transfixed.) Keller She’s out of her mind. Mother Altogether! (To Chris, but not facing them) Your brother’s alive, darling, because if he’s dead, your father killed him. Do you understand me now? As long as you live, that boy is alive. God does not let a son be killed by his father. Now you see, don’t you? Now you see. (Beyond control, she hurries up and into the house.) 8 P62125A Keller (Chris has not moved. He speaks insinuatingly, questioningly): She’s out of her mind. Chris (a broken whisper): Then…you did it? Keller (the beginning of plea in his voice): He never flew a P-40- Chris (struck. Deadly): But the others. Keller (insistently): She’s out of her mind. (He takes a step towards Chris, pleadingly.) Chris (unyieldingly): Dad…you did it? Keller He never flew a P-40, what’s the matter with you? Chris (still asking, and saying): Then you did it. To the others. (Both hold their voices down.) Keller (afraid of him, his deadly insistence.): What’s the matter with you? What the hell is the matter with you? Chris (quietly, incredibly): How could you do that? How? Keller What’s the matter with you! Chris Dad … Dad, you killed twenty-one men! Keller What, killed? Chris You killed them, you murdered them. From Act Two pp.67–69 9 Turn over P62125A A Streetcar Named Desire, Tennessee Williams Blanche We are French by extraction. Our first American ancestors were French Huguenots. Mitch You are Stella’s sister, are you not? Blanche Yes, Stella is my precious little sister. I call her little in spite of the fact she’s somewhat older than I. Just slightly. Less than a year. Will you do something for me? Mitch Sure. What? Blanche I bought this adorable little coloured paper lantern at a Chinese shop on Bourbon. Put it over the light bulb! Will you, please? Mitch Be glad to. Blanche I can’t stand a naked light-bulb, any more than I can a rude remark or a vulgar action. Mitch (adjusting the lantern): I guess we strike you as being a pretty rough bunch. Blanche I’m very adaptable – to circumstances. Mitch Well, that’s a good thing to be. You are visiting Stanley and Stella? Blanche Stella hasn’t been so well lately, and I came down to help her for a while. She’s very run down. Mitch You’re not – ? Blanche Married? No, no. I’m an old maid school-teacher! Mitch You may teach school but you’re certainly not an old maid. Blanche Thank you, sir! I appreciate your gallantry! Mitch So you are in the teaching profession? Blanche Yes. Ah, yes … Mitch Grade school or high school or – Stanley (bellowing) Mitch! Mitch Coming! Blanche Gracious, what lung-power! … I teach high school. In Laurel. Mitch What do you teach? What subject? Blanche Guess! Mitch I bet you teach art or music. (Blanche laughs delicately.) Of course I could be wrong. You might teach arithmetic. 10 P62125A Blanche Never arithmetic, sir; never arithmetic! (With a laugh) I don’t even know my multiplication tables! No, I have the misfortune of being an English instructor. I attempt to instil a bunch of bobby-soxers and drug-store Romeos with reverence for Hawthorne and Whitman and Poe! Mitch I guess that some of them are more interested in other things. Blanche How very right you are! Their literary heritage is not what most of them treasure above all else! But they’re sweet things! And in the spring, it’s touching to notice them making their first discovery of love! As if nobody had ever known it before! (The bathroom door opens and Stella comes out. Blanche continues to talk to Mitch.) Oh! Have you finished? Wait – I’ll turn on the radio. (She turns the knobs on the radio and it begins to play ‘Wien, Wien nur du allein’. Blanche waltzes to the music with romantic gestures. Mitch is delighted and moves in awkward imitation like a dancing bear.) From Scene III pp. 34–35 11 Turn over P62125A Elmina’s Kitchen, Kwame Kwei-Armah (… There’s a kicking garage video playing. Ashley starts ‘chatting’ with the tune. He’s looking at the reflection of himself while he dances and chats.) Ashley Hold the mic while I flex, I’m a lyrical architect with the number-one set. Player haters get bang so what if dey get a back han’ or else man will get jiggy, hear what! Man a pack him nine milli. Digger (finishes his food and gets up to leave.) Ashley Digger! Digger Yow! Ashley Could I speak to you about som’um? Digger I’m busy. Ashley You don’t look busy! Digger Looks can be deceiving. Ashley I know you don’t like me … Digger (doesn’t answer) Ashley But that’s all good, cos you don’t have to like people to do business wid dem, right? Digger I don’t buy stolen phones. Ashley Very funny, but I ain’t no pussy street punk. Digger Ah so? Ashley Ah so. No disrespect, this shit (the restaurant) is all good for my dad, but me, I wanna do big tings with my life, bredrin. But mans needs a little leg- up. Digger Really? Ashley (Looks around to check that Anastasia is not about to enter. She is not.) I was kinda wondering if mans could run wid you? Give you little back-up and dat? Digger Wha appen’ you ears dem beat up? I don’t deal wid boys. Ashley (flash of temper) I ain’t no fucking boy. Digger (moves like the wind towards Ashley and punches him full in the face. Ashley hits the deck, blood flowing from his mouth.) What did you say to me? Beat. Ashley (whispers) I ain’t no boy. Digger No! Did you use a Viking expletive when talking to me? 12 P62125A Ashley (is confused.) (staying on the ground) No … Yes…What’s dat? Digger (cool) And you wanna be a bad man? Go back to school, youth, and learn. You can’t just walk into dis bad man t’ing, you gotta learn the whole science of it. You step into that arena and you better be able to dance wid death til it mek you dizzy. You need to have thought about, have played wid and have learnt all of the possible terrible and torturous ways that death could arrive. And then ask yourself are you ready to do that and more to someone that you know. Have you done that, youth? Ashley (wiping the blood away from his mouth and finding his balls) I stepped to you, haven’t I? Digger Seen. From Act One, Scene Two, pp. 29–30 13 Turn over P62125A Equus, Peter Shaffer Dysart …Because he’s ready to abreact. Hesther Abreact? Dysart Live it all again. He won’t be able to deny it after that, because he’ll have shown me. Not just told me – but acted it out in front of me. Hesther Can you get him to do that? Dysart I think so. He’s nearly done it already. Under all that glowering, he trusts me. Do you realise that? Hesther (warmly) I’m sure he does. Dysart Poor bloody fool. Hesther Don’t start that again. Pause. Dysart (quietly) Can you think of anything worse one can do to anybody than take away their worship? Hesther Worship? Dysart Yes, that word again! Hesther Aren’t you being a little extreme? Dysart Extremity’s the point. Hesther Worship isn’t destructive, Martin. I know that. Dysart I don’t. I only know it’s the core of his life. What else has he got? Think about him. He can hardly read. He knows no physics or engineering to make the world real for him. No paintings to show how others have enjoyed it. No music except television jingles. No history except tales from a desperate mother. No friends. Not one kid to give him a joke, or make him know himself more moderately. He’s a modern citizen for whom society doesn’t exist. He lives one hour every three weeks – howling in a mist. And after the service kneels to a slave who stands over him obviously and unthrowably his master. With my body I thee worship!… Many men have less vital relationships with their wives. Pause. Hesther All the same, they don’t usually blind their wives, do they? Dysart Oh, come on! Hesther Well, do they? Dysart (sarcastically) You mean he’s dangerous? A violent, dangerous madman who’s going to run round the country doing it again and again? Hesther I mean he’s in pain, Martin. He’s been in pain for most of his life. That much, at least, you know. 14 P62125A Dysart Possibly. Hesther Possibly?! … That cut-off little figure you just described must have been in pain for years. Dysart (doggedly) Possibly. Hesther And you can take it away. Dysart Still – possibly. Hesther Then that’s enough. That simply has to be enough for you, surely? Dysart No! Hesther Why not? Dysart Because it’s his. Hesther I don’t understand. Dysart His pain. His own. He made it. From Act Two, Scene twenty-five pp. 65–66 15 Turn over P62125A The History Boys, Alan Bennett Posner I sat in the room most of the time or trailed around the streets. I can see why they make a fuss about it. Every college is like a stately home; my parents would love it. There was a question on the Holocaust. And I did play it down. They asked me about it at the interview. Praised what they called my sense of detachment. Said it was the foundation of writing history. I think I did well. (The boys erupt onto the stage.) Headmaster Splendid news! Posner a scholarship, Dakin an exhibition and places for everyone else. It’s more than one could ever have hoped for. Irwin, you are to be congratulated, a remarkable achievement. And you too, Dorothy, of course, who laid the foundations. Mrs Lintott Not Rudge, Headmaster. Headmaster Not Rudge? Oh dear. Irwin He has said nothing. The others have all had letters. Headmaster It was always an outside chance. I felt we were indulging him by allowing him to enter at all. That college must think we’re fools. A pity. It would have been good to have a clean sweep. Ah, Rudge. You … you haven’t heard from Oxford? Rudge No, sir. Mrs Lintott Perhaps you’ll hear tomorrow. Rudge Why should I? They told me when I was there. Irwin I’m sorry. Rudge What for? I got in. Irwin How come? Rudge How come they told me or how come they took a thick sod like me? I had family connections. Headmaster Somebody in your family went to Christ Church? Rudge In a manner of speaking. 16 P62125A My dad. Before he got married he was a college servant there. This old parson guy was just sitting there for most of the interview, suddenly said was I related to Bill Rudge who’d been a scout on staircase 7 in the 1950s. So I said he was my dad and they said I was just the kind of candidate they were looking for, college servant’s son, now an undergraduate, evidence of how far they had come, wheel come full circle and that. Mind you, I did all the other stuff like Stalin was a sweetie and Wilfred Owen was a wuss. They said I was plainly someone who thought for himself and just what the college rugger team needed. From Act Two pp. 96–98 17 Turn over P62125A Top Girls, Caryl Churchill Griselda I do think – I do wonder – it would have been nicer if Walter hadn’t had to. Isabella Why should I? Why should I? Marlene Of course not. Nijo I hit him with a stick. Joan certare ingenio, contendere nobilitate, noctes atque dies niti praestante labore ad summas emergere opes retumque potiri. O miseras / hominum mentis, I pectora caeca!* Isabella Oh miseras! Nijo *Pectora caeca. Joan qualibus in tenebris vitae quantisque periclis degitur hoc aevi quodcumquest! / nonne videre nil aliud sibi naturam latrare, nisi utqui corpore seiunctus dolor absit, mente fruatur. Joan subsides. Gret We come into hell through a big mouth. Hell’s black and red. / It’s like the village where I come from. There’s a river and Marlene (to Joan) Shut up, pet. Isabella Listen, she’s been to hell. Gret a bridge and houses. There’s places on fire like when the soldiers come. There’s a big devil sat on a roof with a big hole in his arse and he’s scooping stuff out of it with a big ladle and it’s falling down on us, and it’s money, so a lot of the women stop and get some. But most of us is fighting the devils. There’s lots of little devils, our size, and we get them down all right and give them a beating. There’s lots of funny creatures round your feet, you don’t like to look, like rats and lizards, and nasty things, a bum with a face, and fish with legs, and faces on things that don’t have faces on. But they don’t hurt, you just keep going. Well we’d had the worst, you see, we’d had the Spanish. We’d all had family killed. My big son die on a wheel. Birds eat him. My baby, a soldier run her through with a sword. I’d had enough, I was mad, I hate the bastards. I come out my front door that morning and shout till my neighbours come out and I said, ‘Come on, we’re going where the evil come from and pay the bastards out.’ And they all come out just as they was / from baking or washing in their Nijo All the ladies come. Gret aprons, and we push down the street and the ground opens up and we go through a big mouth into a street just like ours but in hell. I’ve got a sword in my hand from somewhere and I fill a basket with gold cups they drink out of down there. You just keep running on and fighting / you didn’t stop for nothing. Oh we give them devils such a beating. 18 P62125A Nijo Take that, take that. Joan Something something something mortisque timores tum vacuum pectus – damn. Quod si ridicula – Something something on and on and on and something splendorem pupureai. From Act One, pp. 30–31 19 Turn over P62125A Translations, Brian Friel Bridget … Is Manus about? Owen Manus is gone. Bridget Gone where? Owen He’s left - gone away. Doalty Where to? Owen He doesn’t know. Mayo, maybe. Doalty What’s on in Mayo? Owen (to Bridget): Did you see George and Maire Chatach leave the dance last night? Bridget We did. Didn’t we, Doalty? Owen Did you see Manus following them out? Bridget I didn’t see him going out but I saw him coming in by himself later. Owen Did George and Maire come back to the dance? Bridget No. Owen Did you see them again? Bridget He left her home. We passed them going up the back road – didn’t we, Doalty? Owen And Manus stayed till the end of the dance? Doalty We know nothing. What are you asking us for? Owen Because Lancey’ll question me when he hears Manus’s gone. (back to Bridget) That’s the way George went home? By the back road? That’s where you saw him? Bridget Leave me alone, Owen. I know nothing about Yolland. If you want to know about Yolland, ask the Donnelly twins. (Silence. Doalty moves over to the window.) (to Sarah): He’s a powerful fiddler, O’Shea, isn’t he? He told our Seamus he’ll come back for a night at Hallowe’en. (Owen goes to Doalty who looks resolutely out the window.) Owen What’s this about the Donnellys? (Pause.) Were they about last night? Doalty Didn’t see them if they were. (Begins whistling through his teeth.) Owen George is a friend of mine. Doalty So. Owen I want to know what’s happened to him. 20 P62125A Doalty Couldn’t tell you. Owen What have the Donnelly twins to do with it? (Pause.) Doalty! Doalty I know nothing, Owen – nothing at all – I swear to God. All I know is this: on my way to the dance I saw their boat beached at Port. It wasn’t there on my way home, after I left Bridget. And that’s all I know. As God’s my judge. The half-dozen times I met him I didn’t know a word he said to me; but he seemed a right enough sort… (with sudden excessive interest in the scene outside) Cripes, they’re crawling all over the place! Cripes, there’s millions of them! Cripes, they’re levelling the whole land! From Act 3, pp. 74–76 Source information SECTION A Text A: taken from https://www.theguardian.com/inequality/2017/nov/15/stares-glares-internet-dating- the-harsh-realities-of-life-with-a-disability-diaries Text B: taken from Edexcel Anthology SECTION B: extracts from prescribed editions All My Sons Arthur Miller, Penguin Classics, 2000 A Streetcar Named Desire Tennessee Williams, Penguin Classics, 2009 Elmina’s Kitchen Kwame Kwei-Armah, Methuen Drama, 2003 Equus Peter Shaffer, Longman, 1993 The History Boys Alan Bennett, Faber & Faber, 2004 Top Girls Caryl Churchill, Methuen Drama, 2008 Translations Brian Friel, Faber & Faber, 1981 Every effort has been made to contact copyright holders to obtain their permission for the use of copyright material. Pearson Education Ltd. will, if notified, be happy to rectify any errors or omissions and include any such rectifications in future editions.

8 (1720U40-1) King Henry IV Part 1 Either, 12. Examine the view that “King Henry IV Part 1 is a play which shows the struggle to move on in a world overshadowed by the past”. Your response must include close reference to relevant contexts. [75] Or, 13. “This history play has little to teach us other than how we measure fitness for kingship.” How far would you agree with this view of King Henry IV Part 1? Your response must include close reference to relevant contexts. [75] The Tempest Either, 14. “Although the end of the play promises reconciliation, it is the play’s focus on punishment which leaves the most lasting impression.” Consider how far you would agree with this view of The Tempest, making close reference to relevant contexts. [75] Or, 15. Discuss the view that “The Tempest celebrates the unreal to such an extent that we cannot take the play seriously”. Your response must include close reference to relevant contexts. [75] END OF PAPER © WJEC CBAC Ltd.

8 (1720U40-1) King Henry IV Part 1 Either, 12. How far would you agree that “Shakespeare’s main concern in the play King Henry IV Part 1 is to show the struggle for political authority”? Your response must include close reference to relevant contexts. [75] Or, 13. “King Henry IV Part 1 is quite simply a play about personal reputation.” Discuss this view of the play. Your response must include close reference to relevant contexts. [75] The Tempest Either, 14. How far would you agree that “in The Tempest, Shakespeare draws a fine line between authority and tyranny”? Your response must include close reference to relevant contexts. [75] Or, 15. “Despite its dramatic focus on art and music, the play exposes humankind’s most uncivilised qualities.” Examine this view of The Tempest. Your response must include close reference to relevant contexts. [75] END OF PAPER © WJEC CBAC Ltd.

H474/03 Mark Scheme October 2021 2 1. Annotations Annotation Meaning Blank Page – this annotation must be used on all blank pages within an answer booklet (structured or unstructured) and on each page of an additional object where there is no candidate response. Positive Recognition Assessment Objective 1 Assessment Objective 2 Assessment Objective 3 Assessment Objective 4 Assessment Objective 5 Attempted or insecure Analysis Detailed Effect Expression Link Answering the question View Relevant but broad, general or implicit H474/03 Mark Scheme October 2021 4 Subject-specific marking instructions Candidates answer one question from Section A and two question parts from Section B. Assessment objectives AO1, AO2 and AO3 are assessed in Section A. Assessment objectives AO1, AO2 and AO5 are assessed in Section B. For each section the level descriptors are organised with the dominant assessment objective first. The question-specific guidance on the tasks provide an indication of what candidates are likely to cover in terms of AOs 1, 2, 3 and 5. The guidance and indicative content are neither prescriptive nor exhaustive: candidates should be rewarded for any relevant response which appropriately addresses the Assessment Objectives. INTRODUCTION Your first task as an Examiner is to become thoroughly familiar with the material on which the examination depends. This material includes: • the specification, especially the assessment objectives • the question paper and its rubrics • the texts which candidates have studied • the mark scheme. You should ensure that you have copies of these materials. You should ensure also that you are familiar with the administrative procedures related to the marking process. These are set out in the OCR booklet Instructions for Examiners. Please ask for help or guidance whenever you need it. Your first point of contact is your Team Leader. Awarding Marks (i) Each section is worth 32 marks. (ii) Section A has one question worth 32 marks. Section B has two questions which added together are worth a maximum of 32 marks. (iii) In Section B question 3 is worth 18 marks and question 4 is worth 14 marks. Mark each question and then add the marks together for a total mark out of 32. For each answer, award a single overall mark out of 32, following this procedure: • refer to the question-specific Guidance for Higher and Lower response and indicative content • using ‘best fit’, make a holistic judgement to locate the answer in the appropriate level descriptor • place the answer precisely within the level and determine the appropriate mark out of 32 considering the relevant AOs • bear in mind the weighting of the AOs, and place the answer within the level and award the appropriate mark out of 32 • if a candidate does not address one of the assessment objectives targeted they cannot achieve all of the marks in the given level. H474/03 Mark Scheme October 2021 5 Mark positively. Use the lowest mark in the level only if the answer is borderline /doubtful. Use the full range of marks, particularly at the top and bottom ends of the mark range. When the complete script has been marked: • if necessary, follow the instructions concerning rubric infringements; • add together the two marks out of 32, to arrive at the total mark for the script out of 64. Rubric Infringement Candidates might infringe the rubric in one of the following ways: • only answering one question • answering two questions from Section A or one from Section B • answering more than two questions. If a candidate has written three or more answers, mark all answers and award the highest mark achieved in each Section of the paper. These are the Assessment Objectives for the English Language and Literature specification as a whole. AO1 Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology and coherent written expression. AO2 Analyse ways in which meanings are shaped in texts. AO3 Demonstrate understanding of the significance and influence of contexts in which texts are produced and received. AO4 Explore connections across texts informed by linguistic and literary concepts and methods. AO5 Demonstrate expertise and creativity in the use of English to communicate in different ways. H474/03 Mark Scheme October 2021 8 WEIGHTING OF ASSESSMENT OBJECTIVES The relationship between the units and the assessment objectives of the scheme of assessment is shown in the following table: Component % of A Level AO1 AO2 AO3 AO4 AO5 Total Exploring non-fiction and spoken texts (01) 4% 3% 4% 5% 0% 16% The language of poetry and plays (02) 9% 12% 8.5% 2.5% 0% 32% Reading as a writer, writing as a reader (03) 9% 11% 5% 0% 7% 32% Independent study: analysing and producing texts (04) 3% 4% 2.5% 4.5% 6% 20% Total: 25% 30% 20% 12% 13% 100% USING THE MARK SCHEME Study this Mark Scheme carefully. The Mark Scheme is an integral part of the process that begins with the setting of the question paper and ends with the awarding of grades. Question Papers and Mark Schemes are developed in association with each other so that issues of differentiation and positive achievement can be addressed from the very start. This Mark Scheme is a working document; it is not exhaustive; it does not provide ‘correct’ answers. The Mark Scheme can only provide ‘best guesses’ about how the question will work out, and it is subject to revision after we have looked at a wide range of scripts. The Examiners’ Standardisation Meeting will ensure that the Mark Scheme covers the range of candidates’ responses to the questions, and that all Examiners understand and apply the Mark Scheme in the same way. The Mark Scheme will be discussed and amended at the meeting, and administrative procedures will be confirmed. Co-ordination scripts will be issued at the meeting to exemplify aspects of candidates’ responses and achievements; the co-ordination scripts then become part of this Mark Scheme. Before the Standardisation Meeting, you should read and mark in pencil a number of scripts, in order to gain an impression of the range of responses and achievement that may be expected. In your marking, you will encounter valid responses which are not covered by the Mark Scheme: these responses must be credited. You will encounter answers which fall outside the ‘target range’ of Bands for the paper which you are marking. Please mark these answers according to the marking criteria. Please read carefully all the scripts in your allocation and make every effort to look positively for achievement throughout the ability range. Always be prepared to use the full range of marks. H474/03 Mark Scheme October 2021 9 Section A - Reading as a writer The weightings for the assessment objectives are: AO2 6% AO1 5% AO3 5% Total 16% In Section A the dominant assessment objective is AO2 Analyse ways in which meanings are shaped in texts. Answers will also be assessed for AO1 and AO3. Answers should explore how meanings are shaped by analysing the author’s use of narrative techniques (AO2). They should develop a coherent argument, using relevant concepts and methods from linguistic and literary study and associated terminology (AO1). Answers should be developed with reference to literary and generic contexts (AO3). The criteria below are organised to reflect the order of the dominant assessment objectives. A response that does not address any one of the three assessment objectives targeted cannot achieve all of the marks in the given level. Level 6: 27-32 marks AO2 Excellent, fully developed and detailed critical analysis of ways in which meanings are shaped in texts. AO1 Excellent application of relevant concepts and methods from integrated linguistic and literary study as appropriate. Consistently coherent and fluent written expression and apt and consistent use of terminology relevant to the task and texts. AO3 Perceptive understanding of the significance and influence of the contexts in which texts are produced and received. H474/03 Mark Scheme October 2021 10 Level 5: 22 - 26 marks AO2 Clear and well developed critical analysis of ways in which meanings are shaped in texts. AO1 Secure application of relevant concepts and methods from integrated linguistic and literary study as appropriate. Consistently clear written expression and appropriate use of terminology relevant to the task and texts. AO3 Clear and relevant understanding of the significance and influence of the contexts in which texts are produced and received. Level 4: 17 - 21 marks AO2 Competent analysis of ways in which meanings are shaped in texts. AO1 Competent application of relevant concepts and methods from integrated linguistic and literary study as appropriate. Generally clear written expression and mainly appropriate use of terminology relevant to the task and texts. AO3 Some understanding of the significance and influence of the contexts in which texts are produced and received. Level 3: 12 - 16 marks AO2 Some analysis of ways in which meanings are shaped in texts. AO1 Some application of relevant concepts and methods selected appropriately from integrated linguistic and literary study. Generally clear written expression with occasional inconsistencies and some appropriate use of terminology relevant to the task and texts. AO3 Some awareness of the significance and influence of the contexts in which texts are produced and received. H474/03 Mark Scheme October 2021 11 Level 2: 7 - 11 marks AO2 Limited analysis of ways in which meanings are shaped in texts. AO1 Limited attempt to apply relevant concepts and methods from integrated linguistic and literary study appropriately. Some inconsistent written expression and limited use of terminology relevant to the task and texts. AO3 Limited awareness of the significance and influence of the context in which texts are produced and received. Level 1: 1 - 6 marks AO2 Very little analysis of ways in which meanings are shaped in texts. AO1 Very little attempt to apply relevant concepts and methods from integrated linguistic and literary study appropriately. Inconsistent written expression and little use of terminology relevant to the task and texts. AO3 Very little awareness of the significance and influence of the contexts in which texts are produced and received. 0 marks: no response or response not worthy of credit. H474/03 Mark Scheme October 2021 12 Question Response Marks Guidance 1 How does the writer of your text make use of any one important character in shaping the narrative? You should range across the text to explore how your chosen character is used to shape the narrative, the function they play in the novel as a whole, and the broader generic context. A higher level response (levels 4 – 6) will: AO2 Explore the ways the writer uses an important character, going beyond the most obvious features, and giving a strong sense of the role played within the novel as a whole. AO1 Use vocabulary, terminology and narrative concepts appropriately, to analyse the ways in which an important character is used in the novel. Express ideas coherently and fluently, with a wide vocabulary. AO3 Show an understanding of the literary and generic context, using this knowledge to illuminate 32 The indicative content shows an integrated approach to AO2 and AO1 with additional guidance for AO3. Depending on the text studied, candidates may discuss: Jane Eyre AO2 and AO1 Most will choose Jane, as the character who arranges the narrative and settles our view of all the other characters. Answers are likely to show the importance of such a character, operating with the key quality of hindsight, in a Bildungsroman presented from the autobiographical standpoint. Some may select Mr Rochester, as the Byronic hero/villain with a slowly emerging past, the character whose dilemma and moral decisions shape his life, and Jane’s, and force her out onto the moor and into her great dilemmas in the novel’s final section. St John and Helen would be brave choices, but an answer could be sustained by suggesting each offers a higher – or at least a more unworldly – lifestyle than is available to Jane. A colonial reading, or second-wave feminist reading of the novel (or both), might be sustained by explaining the structural importance of Bertha. All of these characters except the last offer usual individuating effects in their speech which might be picked up and analysed by candidates. AO3 The plot is shaped by Mr Rochester’s half-hidden delinquency, not so much by Jane’s candour. This and the semi-repressed nature of other female voices may suggest Charlotte Brontë is driven by pre-feminist concerns. Some will show that the book has many qualities of folklore and even fairy-tale, attractive to an early Victorian audience, darkly shadowing those ‘leading characters’ of literary fairy-tale Bluebeard and, more positively, Cinderella. The Great Gatsby AO2 and AO1 Most will choose Gatsby, that walking contradiction, the Platonic idea of success who is also a cheap bootlegger. Nick’s admiration of him, which grows as his understanding of the character deepens, reveals a Gatsby backstory (which largely shapes the novel) in which he has been soldier, anglophile, Romantic obsessive, pioneer and compiler of his own ‘poor Richard’ conduct books. The novel seamlessly integrates these significant paradoxes in its H474/03 Mark Scheme October 2021 13 their discussion of the role of the important character in the novel. mixture of celebration and satire. Nick, the shrewd but generous disciple, provides the book’s viewpoint and may be another interesting choice as ‘leading character’. Some are likely to choose Daisy: look for interest in her structural importance, not simply focus on ‘women’s issues’. AO3 Gatsby represents the Mid-Westerner made good through communing with nature and the Protestant virtues, especially in the sequence where he works for Dan Cody; he also represents what Gertrude Stein famously called the ‘lost generation’, whose ideals were shaped by their bit-part in World War One. He is also a generous but not always effectual host, facilitating the dash and gluttony of the ‘roaring twenties’. Daisy is the pre-war fairy- tale heiress who lacks vim to move forward completely into the novel’s contemporary time of flappers. Nick may be seen as a voice of the Modernist novel, a ‘limited’ narrator who makes a virtue of his limitations, and especially of what he does not securely know. Things Fall Apart AO2 and AO1 Okonkwo, a great if violent man in traditional Igbo society, cannot adapt to the profound changes brought about by the coming of the European missionaries to Nigeria and later to British colonial rule. Candidates are likely to choose him as the ‘important character’ as Achebe conceives him as a tribal equivalent to the protagonist in Greek Tragedy. The nemesis of the novel is brought about by a combination of changing situation and his inflexible personality. There are powerful linguistic contrasts throughout the novel between Okonkwo’s tumultuous feelings and the simple language, often following Igbo rather than English syntax, with which Achebe describes them. AO3 Achebe’s depiction of Okonkwo sees him return to his native community after a seven year exile. Throughout the novel the reader is forced to slot his calculated savagery (particularly the slaughter of Ikefuma) into a wider context of tribal culture and clan need. Essentially a tragic victim of the ‘noble and harmful’ machismo of the tribe, Okonkwo is unable to judge the significance of the coming of the white missionaries, or their impact on his society. Essentially an heroic, unreflecting man, he is prepared to live and die by a superseded creed of violence. Look for reasonable security in discussing theories of tragedy, should H474/03 Mark Scheme October 2021 14 candidates introduce them. The God of Small Things AO1 and AO2 It seems reasonable to allow candidates to argue that the male and female twins are of equal structural importance: Esta experiencing the darkness behind bland surface appearances (the orangedrink lemondrink man) and shielding his sister from the dangerous edge of things until quite late in the novel, when their rather perfunctory incestuous lovemaking provides all the novel can offer by way of closure. Some candidates will feel that Rahul’s female role is increasingly and pointedly as a viewpoint character in a novel where viewpoint is famously serendipitous, and she gives it what coherence it may have as a Bildungsroman. Many feel she also provides the novel with a narrative coherence it may not otherwise possess. Some may feel the novel’s refusal to appoint a ‘viewpoint’ is part of its post-colonial intention. AO3 The convent-educated ‘Baby’ Kochamma (a very calculating adult) symbolizes the mischievous and manipulative side of Indian domestic life; the same is partly true of the Eurasian Sophie Mol, who lives in quietly discontented stillness at the heart of the novel, half-Indian, half-English, effortlessly impressive yet widely resented (like memories of the Raj) and reaching out to most of the novel’s characters without ever making satisfactory contact with them. Velutha, the lower-caste dalit who captivates the twins and makes love to their mother, and who is beaten to death for it, focuses Roy’s exploration of the resilience and cruelty of the caste system in modern India. Atonement AO1 and AO2 It is likely candidates will choose Briony Tallis as the most significant character: her lively imagination generates the novel’s dark plot. She even invents a post-Dunkirk meeting with Robbie and Cecilia which serves to consolidate rather than expunge her guilt. This suggests both the power and limitations of the novelist and novel. Briony’s career as an accomplished writer, drawing the attention of luminaries like Cyril Connolly, forms the book’s picture frame. Her structural importance is to explore the painful border between art and life, between the things we can shape or change and those we can’t. Some may feel Robbie, victim of the H474/03 Mark Scheme October 2021 15 class system and one of the unsung heroes of Dunkirk, makes the sacrifices Briony only guiltily wishes for. Cecilia, a more generous, less self-contained figure than Briony, spends most of the novel straying from one marginal role to another, before she chooses nursing as a profession and is killed in an air raid. Candidates may feel she expresses the plight of women more sharply than the successful novelist Briony, and she stands by Robbie when Briony and class prejudice bring him down. The graphic account of his retreat from Dunkirk features a panicked scramble and strafing by Stukas rather than the more familiar orderly wait on the beach. Candidates who select Robbie as their important character may claim he attracts most of the tragic, gory writing. These bullet-torn sequences at the heart of the book suggest the glamour of Tallis House was never more than a knowing illusion. AO3 It is possible to see in the juxtaposition of the 1935 and 1940 settings an allegory of Britain’s already failing Empire. Tallis House sustains the class system by letting the molester get off scot-free. On the road to Dunkirk officers fall victim to their own hysterical soldiers in an apparently un-English way. There is also a tendency for Briony to write more brutally, and more directly, about the unpleasant outcomes of her error, while continuing to drape the swimming pool and terrace in the glamour (and symbolism) of memory. The Namesake AO1 and AO2 Lahiri’s prose unfolds in the present tense, is unambitious, ‘arms-length’ and non- judgmental, but insists on the importance of Ashoke’s experience of the train-wreck, and the way this becomes a critical determinant in the life of his son. Most will choose the focaliser, Gogol, as their ‘important character’, but there may well be reference to the way his unlikely bond with Ashoke straddles the two cultures as the son seeks to groom his own cultural ‘overcoat’, partly handed on by his father. Lahiri is writing something like a modern picaresque novel, the narrator’s explanations serving as a guide to his part-embracement part-rejection of Bengali culture. Gogol is a particularly interesting viewpoint character because he is not always sure of the ground himself. Some may pick Gogol’s mother, Ashima, as their ‘important character’, as she is more absorbed with the need for Bengali family, friends and cultural reassurance than the males. AO3 H474/03 Mark Scheme October 2021 16 Gogol defines himself (more than his family does) against the liberal cultural shift in America in the 60s and 70s. When he changes his name, he compares himself to ‘revolutionaries and transvestites’. Eventually he embraces the Bengali cult of arranged marriage, only to find he’s linked with a Francophile wife engaged in serial adulterous relationships. Indeed, she is so thoroughly ‘westernised’ she comes to detest him as a link to a Bengali world ‘that is slowly dying.’ Gogol chooses to study architecture as a change from favoured immigrant subjects like Medicine Law or Science, turning out to show some aesthetic flair. Question Response Marks Guidance 2 In what ways does the writer of your text make lexical choices? You should range across the text to explore how lexical choices contribute to narrative effect, the function that different registers play in the novel as a whole, and the broader generic context. A higher level response (levels 4 – 6) will: AO2 Explore the ways the writer makes lexical choices, going beyond the most obvious features, and giving a strong sense of the role played within the novel as a whole. 32 The indicative content shows an integrated approach to AO2 and AO1 with additional guidance for AO3. Depending on the text studied, candidates may discuss: Jane Eyre 2. Lexical Choice AO2 and AO1 Brontë’s choice of language suits the form in which she is writing: an early Victorian bildungsroman focusing the views and feelings of her first person protagonist. By modern standards the language seems quite literary, reflecting that Brontë is a first time novelist who has read very widely. This is especially prominent in the phrasing of Rochester’s speeches: ‘Ladies, keep off! or I’ll wax dangerous!’ Some of the language is notably Gothic, such as ‘swift darting beam’ or ‘preternatural voice’, and reference is made to ‘a North-of-England spirit’ called the ‘Gytrash’; some wording anticipates modern feminism, ‘women feel just as men feel’; and some is unashamedly hyperbolic, as when Jane describes her feelings for Rochester as ‘pure gold, with a steely point of agony’. For a strong performance, candidates will need to show how the various linguistic registers contribute to the novel’s constantly changing and developing structure and explore the wider structure of Jane’s life. AO3 H474/03 Mark Scheme October 2021 17 AO1 Use vocabulary, terminology and narrative concepts appropriately, to analyse the ways in which lexical choice is made in the novel. Express ideas coherently and fluently, with a wide vocabulary. AO3 Show an understanding of the literary and generic context, using this knowledge to illuminate their discussion of lexical choice in the novel. A lower level response (levels 1 to 3) will: AO2 Identify and list some ways in which the writer uses lexical choice. AO1 Use some appropriate vocabulary and narrative concepts to analyse the ways in which lexical choice is made in the novel. Expression is clear but may lack precision. AO3 Show limited understanding of the literary and generic context in relation to lexical choice. Changes in register often reflect the novel’s changing contexts: Romantic diction to convey the escapism of Jane’s paintings, comfortless descriptors for Gateshead, portentous Gothic wording to suggest the secrets of Thornfield, bleak language to convey the ‘Canadian’ temperatures at Lowood’, imagery of fire and smouldering furze to express the intensity of Jane’s passion, and also the irregular energies of Bertha. The evangelical movement figures bleakly in the book’s language: Mr Brocklehurst is a ‘black pillar’, St John ‘not flesh, but marble’. Some will show that Jane’s choice of words reflects her character: a mixture of Puritan restraint and the intensity of strong Puritan feeling. The Great Gatsby 2. Lexical Choice AO2 and AO1 Nick Carraway’s narrative undercuts the consumerist pretensions of New York and its environs, ‘the huge wet barnyard of Long Island Sound’, and is almost always inventive in its use of language. He tells us he was ‘rather literary’ in College. One of his most striking descriptive sequences is listing the confused ethnicities of the guests at Gatsby’s party, with their evocatively imprecise European names. Another is the powdery symbolism that invokes the Valley of Ashes, which candidates often point out recalls T.S. Eliot’s The Waste Land. But Nick’s choice of vocabulary also reflects the dreams of this place and these people: the trembling green light on Daisy’s dock, for instance, or the novel’s evocation of the first vision of New York, with ‘all the mystery and the beauty in the world’. The choice of language in this novel is so rich and varied that any engaged and well-illustrated response will be appropriate, as long as concentration is on words rather than themes and symbols, and there is an attempt to show how choice of lexis develops narrative. AO3 The novel’s contexts fall during the Jazz Age after World War One, with a new York drinking set making the prohibition laws look ridiculous: the atmosphere is thus a mixture of enchantment and brazenness, and the language reflects this, with Gatsby, H474/03 Mark Scheme October 2021 18 both hero and victim, sucking ‘on the pap of life, [gulping] down the incomparable milk of wonder.’ Look for some sensitivity to the satirical tone of the writing (smiles full of money) but also how language is used to celebrate the charm of New York culture at a uniquely charismatic moment. Good answers will pick up both tendencies, much as the spare language of Gatsby’s 1906 ‘Schedule’ leads into the magnificently lyrical and lugubrious final pages. Things Fall Apart 2. Lexical Choice AO2 and AO1 Achebe seems to confine the language of the novel to what can be brought back into his native Igbo, so the words used are often simple and familiar, suiting an oral culture with basic husbandry. Candidates will need to demonstrate how this deliberate limitation of effect operates, both to seal the limits of parochial pre-colonial culture in Nigeria, and to point up gaps in the range of thought and feeling, especially when it comes to bringing its past to life. There is also a tendency to underwrite moments of disaster: ‘One man tied his cloth to a tree branch and hanged himself.’ Similar understatement haunts the book’s most tragic moment, when Okonkwo cuts down Ikemefuna with a matchet: ‘He was afraid of being thought weak.’ AO3 In some ways the novel’s choice of lexis anticipates the predicament of an emerging literature in a world increasingly dominated by the major European languages. Achebe uses very few words of his native Igbo, though a few are used to designate the Gods early in the book. Thereafter the European words of the missionaries and colonists hold sway. Some will point out that many of the words given to the Europeans are instructions or orders. Many will be intrigued by the fact that Okonkwo is a tragic hero without big tragic speeches, in a novel that respects the tribal Gods by greeting them in the book’s few words of untranslated Igbo. The H474/03 Mark Scheme October 2021 19 words don’t change very much when the missionaries come, followed by the British, except there are snatches European dialogue (mainly orders, barked in an imperative mood) and finally the journalistic impulses of the British District Commissioner in the book’s closing paragraphs. The God of Small Things 2. Lexical Choice AO1 and AO2 The freedom and variety of the novel’s various prose registers are sometimes argued to express the complex problems of communication problems of the multi- lingual India (or Indias) that have emerged since the Raj, reflecting the author’s own linguistic experience. ‘Malayalam’ dialect words (often insulating the twins in their own private linguistic world) alternate with the still-current lingua franca of India, English, which is often used with administrative impersonality, ‘for practical purposes’ and sometimes unfortunately for purposes of snobbery and one- upmanship. As in many post-colonial novels written in English the majority languages of India are largely silent, building up the sense of a hidden wall of sound, never fully comprehensible to the reader, for in this book: ‘They were all Anglophiles.’ AO3 Roy’s novel uses many linguistic registers, of which the child’s talk, the fluent and officious language left over from the Raj, and the lush, repetitive rather belle-lettrist descriptions, with their overpowering contrasts of scent, sound and colour, are some of the most obvious. Many will suggest the cornucopia of language directly suggests the largeness and strangeness of India as a setting. Some of this writing is very lavish, and may be deliberately over-written for effect. Many will feel there is a pervasive sense of cultural instability when the dominant language, English, is used, H474/03 Mark Scheme October 2021 20 not least in wisdom drawn from the dictionary (‘Place suitably in particular order’) or in unusual insults (on the Subcontinent) such as ‘Soviet Stooge’. Atonement 2. Lexical Choice AO1 and AO2 The early scenes at the Tallis family home in the 30s are full of a rich stylized language that suggests other novelists of the time – explicitly Virginia Woolf and Elizabeth Bowen. Some of the vocabulary is deliberately chosen to evoke the clumsy experiments of an early adolescent writer, such as the extract from Briony’s play: ‘This is a tale of spontaneous Arabella/Who ran off with an extrinsic fellow’. Description dwells on the home’s lavish theme-park qualities, ‘the hovering stillness of nothing much seeming to happen’. Word-choice in the retreat to Dunkirk sequence is much more abrupt and purposeful (‘his wound, thirst, the blister, tiredness, the heat, the aching in his feet and legs, the Stukas, the distance, the Channel’) except when it is faintly surreal: you trudge in ‘tired iambic rhythm’ and pass a disembodied leg up a tree. Wording of the London sequence in the hospital is antiseptic: ‘Vacated lockers were scrubbed, mattresses fumigated, brass coat- hooks, door-knobs and keyholes were buffed.’ None of this competes, however, with the unsparing directness of bloody bandages and ‘missing portions of skull’. AO3 It is tempting to think the novel’s settings, and therefore the words used to describe them, provide an allegory of Britain’s decline in this period, especially the lushly written sequence of the broken vase and the way that setting is described with a subtle ache of nostalgia, as though the House had already been turned into a kind of H474/03 Mark Scheme October 2021 21 theme-park. Candidates are likely to suggest that choice of words in the wartime scenes is much more functional. The last section, set in 1999, finds Briony a grand literary dame in a ‘comfortable chair’. The language of this section is arguably a little fatigued, marked by unassuaged guilt at the story she has been telling. The Namesake 2. Lexical Choice AO1 and AO2 As befits a bestseller serialised in The New Yorker, Lahiri’s prose is modern and functional, rarely drawing attention to itself. It belongs with the lifestyle of professional expatriates who live in an enclave of ultra-modern privilege. The language reflects an elite educated in a global literary culture, the prose-style losing distinctive ethnic colour as it comes to fit all tastes and needs. Lahiri’s point seems to be that what her characters hanker after is the lost colour of a half-remembered Bengal, but the language they use and that surrounds them is that of cosmopolitan America, flavoursome but ubiquitous. Gogol’s parents are unsettled that their children speak ‘perfect American’, but cannot read or write Bengali. The one moment Ashok speaks Bengali a symbolic hospital curtain is drawn between man and wife. One particular choice of language bulks large in the novel: Gogol’s choice of name. As a critic puts it: ‘Bengali nomenclature grants, to every single person, two names. In Bengali the word for pet name is daknam, meaning, literally, the name by which one is called, by friends, family, and other intimates.’ As a child, he associates his new name with a new identity, though he is not quite sure what it is. AO3 Lahiri uses the functional vocabulary of modern America to show how hard it is for immigrants to hold on to an ever fainter ethnic identity. Lahiri signals the inevitability of globalisation by describing the commitment of second generation Bengalis, like Gogol and Moushumi, to the mores of the sexual revolution, while showing a hunger for Bengali rituals and a more conservative lifestyle that can never be satisfied H474/03 Mark Scheme October 2021 22 without basic cultural building-blocks such as language and cuisine. Barely a word of Bengali features in the book from end to end, but the glib multi-culturalism of modern America (e.g. ‘Happy Holidays’) features throughout. The canny underwriting of this novel is often singled out by critics for particular praise. H474/03 Mark Scheme October 2021 23 Section B – Writing as a reader The weightings for the assessment objectives are: Narrative writing: AO5 7% AO2 2% 9% Commentary: AO1 4% AO2 3% 7% Total: 16% In Section B Question 3 (a) Narrative writing the dominant assessment objective is AO5 Demonstrate expertise and creativity in the use of English to communicate in different ways. Answers should also demonstrate understanding of how meanings are shaped in their original writing (AO2). A response that does not address one of the two assessment objectives targeted cannot achieve all of the marks in the given level. In Section B Question 3 (b) Commentary the dominant assessment objective is AO1 Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology and coherent written expression. Answers will also be assessed for AO2 Analyse ways in which meanings are shaped in texts. A response that does not address one of the two assessment objectives targeted cannot achieve all of the marks in the given level. Question 3(a) Narrative writing Level 6: 16–18 marks AO5 Flair, originality and a high degree of control demonstrated in the use of English to communicate in different ways. AO2 Excellent, fully developed and detailed demonstration of ways in which meanings are shaped in texts. Level 5: 13–15 marks AO5 Control and creativity demonstrated in the use of English to communicate in different ways. AO2 Clear and well developed demonstration of ways in which meanings are shaped in texts. Level 4: 10–12 marks AO5 Competence and engaging effects demonstrated in the use of English to communicate in different ways. AO2 Competent demonstration of ways in which meanings are shaped in texts. H474/03 Mark Scheme October 2021 24 Level 3: 7–9 marks AO5 Some accuracy and attempt to create effects demonstrated in the use of English to communicate in different ways. AO2 Some demonstration of ways in which meanings are shaped in texts. Level 2: 4–6 marks AO5 Limited accuracy and some attempt to create effects demonstrated in the use of English to communicate in different ways. AO2 Some limited demonstration of ways in which meanings are shaped in texts. Level 1: 1–3 marks AO5 Little accuracy and little attempt to create effects demonstrated in the use of English to communicate in different ways. AO2 Very little demonstration of ways in which meanings are shaped in texts. 0 marks: no response or response not worthy of credit.

H474/03 Mark Scheme October 2021 25 Question 3(b) Commentary Level 6: 13–14 marks AO1 Excellent application of relevant concepts and methods from integrated linguistic and literary study as appropriate. Consistently coherent and fluent written expression and apt and consistent use of terminology relevant to the task and texts. AO2 Excellent, fully developed and detailed critical analysis of ways in which meanings are shaped in texts. Level 5: 10–12 marks AO1 Secure application of relevant concepts and methods from integrated linguistic and literary study as appropriate. Consistently clear written expression and appropriate use of terminology relevant to the task and texts. AO2 Clear and well developed critical analysis of ways in which meanings are shaped in texts. Level 4: 7 –9 marks AO1 Competent application of relevant concepts and methods from integrated linguistic and literary study as appropriate. Generally clear written expression and mainly appropriate use of terminology relevant to the task and texts. AO2 Competent analysis of ways in which meanings are shaped in texts. Level 3: 5–6 marks AO1 Some application of relevant concepts and methods selected appropriately from integrated linguistic and literary study. Generally clear written expression with occasional inconsistencies and some appropriate use of terminology relevant to the task and texts. AO2 Some analysis of ways in which meanings are shaped in texts. H474/03 Mark Scheme October 2021 26 Level 2: 3–4 marks AO1 Limited attempt to apply relevant concepts and methods from integrated linguistic and literary study appropriately. Some inconsistent written expression and limited use of associated terminology relevant to the task and texts. AO2 Limited analysis of ways in which meanings are shaped in texts. Level 1: 1–2 marks AO1 Very little attempt to apply relevant concepts and methods from integrated linguistic and literary study appropriately. Inconsistent written expression and little use of terminology relevant to the task and texts. AO2 Very little analysis of ways in which meanings are shaped in texts. 0 marks: no response or response not worthy of credit. H474/03 Mark Scheme October 2021 27 Question Response Marks Guidance 3 Choose one of the storylines below. Write your narrative, masking your own choices about the story’s starting point and linguistic techniques. You are writing the opening to a narrative, and can use any one of the bullet points as the beginning of your story. You are not expected to write the full story and you are not required to use all six bullet points. You should write approximately 500 words. A higher level response (levels 4 to 6) will: AO5 Demonstrate expertise and creativity in its use of English to create an effective opening to a narrative that shows a high degree of control over the techniques that have been chosen. AO2 Demonstrate a sophisticated awareness of the ways in which meanings are shaped in narrative texts. A lower level response (levels 1 to 3) will: AO5 Show some ability to shape the opening to a narrative, drawing on some techniques that go beyond basic storytelling. AO2 Show some awareness of the ways in which meanings are shaped in narrative texts. 18 Candidates will use a range of different narrative techniques, drawn from their study of narrative texts for Section 1 in order to create the opening of a narrative of their own. They may draw selectively on techniques such as dialogue, description, evocation of setting and imagery and will choose a particular narrative voice, point of view, way of handling time and prose style. They will make their own choices to create an effective opening to a narrative. Note: Candidates are writing the opening to a narrative, and can start at any point, using any one of the bullet points as the beginning of their story. They are not expected to write the full story and are not required to use all six bullet points. H474/03 Mark Scheme October 2021 28 Question Response Marks Guidance 4 Outline the key narrative and linguistic techniques you have used in your writing for Question 3. You should write approximately 250 words. A higher level response (levels 4 to 6) will: AO1 Apply concepts and methods from the study of narrative techniques, using relevant terminology and coherent written expression to convincingly show how techniques have been used in the Question 3(a) response. AO2 Effectively and convincingly analyse ways in which meanings are shaped in the Question 3(a) narrative writing response. A lower level response (levels 1 to 3) will: AO1 Identify some concepts and methods from the study of narrative techniques, using some terminology and clear written expression. AO2 Describe some ways in which meanings have been shaped in the Question 3 narrative writing response. 14 Candidates will be expected to explain and analyse the narrative techniques they have used in their own creative writing for Question 3. They will not be expected to write about connections between their writing and the text studied for Section 3 but rather to write about the narrative concepts and techniques they have adopted. H474/03 Mark Scheme October 2021 29 Appendix 1 Assessment Objective weightings are given as percentages. Assessment Objectives Grid Narrative text Question AO1% AO2% AO3% AO4% AO5% Total% 1 5 6 5 0 0 16% Totals 5% 6% 5% 0% 0% 16% Original writing Question AO1% AO2% AO3% AO4% AO5% Total% 2 0 2 0 0 7 9% 3 0 2 0 0 7 9% Totals 0% 2% 0% 0% 7% 9% Commentary Question AO1% AO2% AO3% AO4% AO5% Total% 4 4 3 0 0 0 7% Totals 4% 3% 0% 0% 0% 7% OCR (Oxford Cambridge and RSA Examinations) The Triangle Building Shaftesbury Road Cambridge CB2 8EA OCR Customer Contact Centre Education and Learning Telephone: 01223 553998 Facsimile: 01223 552627 Email: general.qualifications@ocr.org.uk www.ocr.org.uk For staff training purposes and as part of our quality assurance programme your call may be recorded or monitored

H474/03 Mark Scheme June 2022 5 12. Annotations Annotation Meaning Blank Page – this annotation must be used on all blank pages within an answer booklet (structured or unstructured) and on each page of an additional object where there is no candidate response. Positive Recognition Assessment Objective 1 Assessment Objective 2 Assessment Objective 3 Assessment Objective 4 Assessment Objective 5 Attempted or insecure Analysis Detailed Effect Expression Link Answering the question View Relevant but broad, general or implicit H474/03 Mark Scheme June 2022 6 Subject-specific marking instructions Candidates answer one question from Section A and two questions from Section B. Assessment objectives AO1, AO2 and AO3 are assessed in Section A. Assessment objectives AO1, AO2 and AO5 are assessed in Section B. For each section the level descriptors are organised with the dominant assessment objective first. The question-specific guidance on the tasks provide an indication of what candidates are likely to cover in terms of AOs 1, 2, 3 and 5. The guidance and indicative content are neither prescriptive nor exhaustive: candidates should be rewarded for any relevant response which appropriately addresses the Assessment Objectives. INTRODUCTION Your first task as an Examiner is to become thoroughly familiar with the material on which the examination depends. This material includes: • the specification, especially the assessment objectives • the question paper and its rubrics • the texts which candidates have studied • the mark scheme. You should ensure that you have copies of these materials. You should ensure also that you are familiar with the administrative procedures related to the marking process. These are set out in the OCR booklet Instructions for Examiners. Please ask for help or guidance whenever you need it. Your first point of contact is your Team Leader. Awarding Marks (i) Each section is worth 32 marks. (ii) Section A has one question worth 32 marks. Section B has two questions which added together are worth a maximum of 32 marks. (iii) In Section B question 3 is worth 18 marks and question 4 is worth 14 marks. Mark each question and then add the marks together for a total mark out of 32. For each answer, award a single overall mark out of 32, following this procedure: • refer to the question-specific Guidance for Higher and Lower response and indicative content • using ‘best fit’, make a holistic judgement to locate the answer in the appropriate level descriptor • place the answer precisely within the level and determine the appropriate mark out of 32 considering the relevant AOs • bear in mind the weighting of the AOs, and place the answer within the level and award the appropriate mark out of 32 • if a candidate does not address one of the assessment objectives targeted they cannot achieve all of the marks in the given level. H474/03 Mark Scheme June 2022 7 Mark positively. Use the lowest mark in the level only if the answer is borderline /doubtful. Use the full range of marks, particularly at the top and bottom ends of the mark range. When the complete script has been marked: • if necessary, follow the instructions concerning rubric infringements; • add together the two marks out of 32, to arrive at the total mark for the script out of 64. Rubric Infringement Candidates might infringe the rubric in one of the following ways: • only answering one question • answering two questions from Section A or one from Section B • answering more than two questions. If a candidate has written three or more answers, mark all answers and award the highest mark achieved in each Section of the paper. These are the Assessment Objectives for the English Language and Literature specification as a whole. AO1 Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology and coherent written expression. AO2 Analyse ways in which meanings are shaped in texts. AO3 Demonstrate understanding of the significance and influence of contexts in which texts are produced and received. AO4 Explore connections across texts informed by linguistic and literary concepts and methods. AO5 Demonstrate expertise and creativity in the use of English to communicate in different ways. H474/03 Mark Scheme June 2022 8 WEIGHTING OF ASSESSMENT OBJECTIVES The relationship between the units and the assessment objectives of the scheme of assessment is shown in the following table: Component % of A Level AO1 AO2 AO3 AO4 AO5 Total Exploring non-fiction and spoken texts (01) 4% 3% 4% 5% 0% 16% The language of poetry and plays (02) 9% 12% 8.5% 2.5% 0% 32% Reading as a writer, writing as a reader (03) 9% 11% 5% 0% 7% 32% Independent study: analysing and producing texts (04) 3% 4% 2.5% 4.5% 6% 20% Total: 25% 30% 20% 12% 13% 100% USING THE MARK SCHEME Study this Mark Scheme carefully. The Mark Scheme is an integral part of the process that begins with the setting of the question paper and ends with the awarding of grades. Question Papers and Mark Schemes are developed in association with each other so that issues of differentiation and positive achievement can be addressed from the very start. This Mark Scheme is a working document; it is not exhaustive; it does not provide ‘correct’ answers. The Mark Scheme can only provide ‘best guesses’ about how the question will work out, and it is subject to revision after we have looked at a wide range of scripts. The Examiners’ Standardisation Meeting will ensure that the Mark Scheme covers the range of candidates’ responses to the questions, and that all Examiners understand and apply the Mark Scheme in the same way. The Mark Scheme will be discussed and amended at the meeting, and administrative procedures will be confirmed. Co-ordination scripts will be issued at the meeting to exemplify aspects of candidates’ responses and achievements; the co-ordination scripts then become part of this Mark Scheme. Before the Standardisation Meeting, you should read and mark in pencil a number of scripts, in order to gain an impression of the range of responses and achievement that may be expected. In your marking, you will encounter valid responses which are not covered by the Mark Scheme: these responses must be credited. You will encounter answers which fall outside the ‘target range’ of Bands for the paper which you are marking. Please mark these answers according to the marking criteria. Please read carefully all the scripts in your allocation and make every effort to look positively for achievement throughout the ability range. Always be prepared to use the full range of marks. H474/03 Mark Scheme June 2022 9 Section A - Reading as a writer The weightings for the assessment objectives are: AO2 6% AO1 5% AO3 5% Total 16% In Section A the dominant assessment objective is AO2 Analyse ways in which meanings are shaped in texts. Answers will also be assessed for AO1 and AO3. Answers should explore how meanings are shaped by analysing the author’s use of narrative techniques (AO2). They should develop a coherent argument, using relevant concepts and methods from linguistic and literary study and associated terminology (AO1). Answers should be developed with reference to literary and generic contexts (AO3). The criteria below are organised to reflect the order of the dominant assessment objectives. A response that does not address any one of the three assessment objectives targeted cannot achieve all of the marks in the given level. Level 6: 27-32 marks AO2 Excellent, fully developed and detailed critical analysis of ways in which meanings are shaped in texts. AO1 Excellent application of relevant concepts and methods from integrated linguistic and literary study as appropriate. Consistently coherent and fluent written expression and apt and consistent use of terminology relevant to the task and texts. AO3 Perceptive understanding of the significance and influence of the contexts in which texts are produced and received. H474/03 Mark Scheme June 2022 10 Level 5: 22-26 marks AO2 Clear and well developed critical analysis of ways in which meanings are shaped in texts. AO1 Secure application of relevant concepts and methods from integrated linguistic and literary study as appropriate. Consistently clear written expression and appropriate use of terminology relevant to the task and texts. AO3 Clear and relevant understanding of the significance and influence of the contexts in which texts are produced and received. Level 4: 17-21 marks AO2 Competent analysis of ways in which meanings are shaped in texts. AO1 Competent application of relevant concepts and methods from integrated linguistic and literary study as appropriate. Generally clear written expression and mainly appropriate use of terminology relevant to the task and texts. AO3 Some understanding of the significance and influence of the contexts in which texts are produced and received. Level 3: 12-16 marks AO2 Some analysis of ways in which meanings are shaped in texts. AO1 Some application of relevant concepts and methods selected appropriately from integrated linguistic and literary study. Generally clear written expression with occasional inconsistencies and some appropriate use of terminology relevant to the task and texts. AO3 Some awareness of the significance and influence of the contexts in which texts are produced and received. H474/03 Mark Scheme June 2022 11 Level 2: 7-11 marks AO2 Limited analysis of ways in which meanings are shaped in texts. AO1 Limited attempt to apply relevant concepts and methods from integrated linguistic and literary study appropriately. Some inconsistent written expression and limited use of terminology relevant to the task and texts. AO3 Limited awareness of the significance and influence of the context in which texts are produced and received. Level 1: 1-6 marks AO2 Very little analysis of ways in which meanings are shaped in texts. AO1 Very little attempt to apply relevant concepts and methods from integrated linguistic and literary study appropriately. Inconsistent written expression and little use of terminology relevant to the task and texts. AO3 Very little awareness of the significance and influence of the contexts in which texts are produced and received. 0 marks: no response or response not worthy of credit. H474/03 Mark Scheme June 2022 12 Question Response Marks Guidance 1 In what ways does the opening of the novel set the narrative in motion? You should range across the text to explore how features such as character, setting and viewpoint are introduced during the early stages of the novel, the function the opening plays in the novel as a whole, and the broader generic context. A higher level response (levels 4 to 6) will: AO2 Explore the ways the writer establishes key features of the text, going beyond the most obvious ones, and giving a strong sense of how the opening creates meaning in the novel as a whole. AO1 Use vocabulary, terminology and narrative concepts appropriately, to analyse the ways in which the opening establishes key features of the text. Express ideas coherently and fluently, with a wide vocabulary. AO3 Show an understanding of the literary and generic context, using this knowledge to illuminate their discussion of the novel’s opening. 32 The indicative content shows an integrated approach to AO2 and AO1 with additional guidance for AO3. In all indicative content below discussion of a novel’s ‘opening’ is not restricted to the first page or first chapter, but to all early developments in the book and the way these relate to what follows. Depending on the text studied, candidates may discuss: AO2 and AO1 Jane Eyre 1.‘Openings’ AO2 and AO1 The novel opens by plunging into an account of life at Gateshead Hall. Jane establishes herself as controlling the narrative of her life. The novel quickly establishes its credentials as fictional autobiography and bildungsroman with the Red Room episode anticipating further Gothic writing later in the story. We may surmise from her tone that Jane is now a balanced, happily married lady looking back on the vicissitudes of her early life. Jane’s insights into the dysfunctional family of the Reeds are not as complete as they will be later. At this stage she is overawed by family snobbery and her cousin’s excessive veneration of ‘Master Reed’. Nevertheless the scene in which, at just ten, Jane confronts and morally overcomes a solid, worldly woman of thirty-seven demonstrates important aspects of her character: rectitude, feistiness, and a fearless outspokenness when necessary. Some may point out that the Lowood sequence which follows is sharpened with personal reminiscence of the Brontë sisters’ time at Cowan Bridge, Lancashire. Once again Jane displays an independent spirit and a strong sense of right and wrong, contrasted with the non-judgmental pacifism of Helen Burns. This is an H474/03 Mark Scheme June 2022 13 A lower level response (level 1 – 3) will: AO2 Identify and list some ways in which the. the opening creates meaning in the novel as a whole. AO1 Use some appropriate vocabulary and narrative concepts to analyse the ways in which the opening establishes key features of the text.. Expression is clear but may lack precision. AO3 Show limited understanding of the literary and generic context in relation to the effects of the novel’s opening. episodic novel, but the early episodes are written in a strong literary prose that is of a piece with the novel as a whole and confirms their importance within it. AO3 Many Classic Victorian novels (notably The Mill on the Floss, Oliver Twist and David Copperfield) feature a section devoted to the childhood of the protagonist. The Spartan descriptions of the Lowood section contrast with the rather pointless opulence at Gateshead Hall, showing that though of genteel birth, Jane will have to make her own way in an unforgiving world. She settles at Thornfield as that socially ambiguous thing, a ‘governess’, looking forward only to a ‘new servitude’. The Brontë family interest in the doctrine of ‘universal salvation’ appears in the astonishing ‘teaching’ of Helen Burns. The Great Gatsby 1.‘Openings’ AO2 and AO1 Fitzgerald’s novella is a masterpiece of compression. The judiciousness, inquisitiveness and slight apprehensiveness of the narrator who will filter everything for us, Nick Carraway, are established at once. He, like everything in this novel, is fresh from World War One, and like many young men on the make, he looks to be something in the City. The style of the opening chapters is comparatively restrained, except for the portentous description of the local deity, the frowning hoarding to Dr T.J. Eckleburg. The initial views of Gatsby are stylistically more expansive, as Nick strives to sort out ‘the foul dust that floated in the wake of his dreams.’ The lush inventive style of the book is exemplified by extraordinary and ambitious metaphors, like the New York trees that grow quickly, as if in a stop motion film. H474/03 Mark Scheme June 2022 14 AO3 At first, much energy goes into establishing that all these characters are mid- Westerners, and that New York, with its ‘great wet barnyard’ of Long Island Sound, attracts newcomers like feeding time. Daisy, Tom, Nick and Jordan all have links to the plutocracy, with its access to ‘old money.’ The glimpse of the Wilson garage in the Valley of Ashes extends the social range of the novel rapidly and tellingly. Gatsby is an ‘absent presence’, previewed by Nick as if the memory of him is always in the forefront of his mind. We deduce that Gatsby is likely to be more socially mobile and impactful than the other characters to whom we are introduced, if only because, where they are morally footloose, he amounts to ‘an unbroken stream of successful gestures.’ Things Fall Apart 1.‘Openings’ AO2 and AO1 Achebe’s teasingly simple style means there will be plenty of what Ian Watt calls ‘delayed decoding’ for the reader to do at the beginning of the book. It is clear that the pre-colonial world of our chosen Igbo tribe only extends to ‘nine villages’ and just about takes in the neighbouring tribes with which they are at frequently at war. Okonkwo’s prowess comes solely from martial deeds and this has made him a celebrity at the age of eighteen, with three wives and many yams. Achebe does not specify when these things happened (we later find out it is the later nineteenth century) because the tribe has no sense of history. There is no sense that this country will one day become modern Nigeria until much later in the book. As elsewhere the prose of the opening is dominated by simple declarative writing which is careful never to enter the abstract register. But if Achebe’s prose implies anything about his leading character, it is that he is insecure in his ‘achievement’, and that insecurity can H474/03 Mark Scheme June 2022 15 make him brutal. Ikemefuma, the most conspicuous object of that brutality, is introduced into the novel very early. AO3 Achebe artfully suggests the isolated nature of tribal life before the arrival of the Missionaries and colonists. Much of Okonkwo’s prowess is shown to derive from success in local warfare, but wars come and go in this novel without seeming much to change the placid patterns of rural life. Some are remembered as ‘just wars’; some of them were probably ‘unjust’. Nobody makes much of the distinction. Sporting contests are focused on physical prowess: wrestling is popular. There is much belief in the power and effect of curses; for instance a plague of locusts requires blood sacrifice to overcome it. ‘The Oracle of the Hills and Caves’ seems to possess ultimate spiritual authority. Priests are, for example, devotees of ‘the snake-cult’. Achebe’s artfully understated novel presents all this with rigid objectivity, never a suggestion that it might be savage or outmoded. 1.‘Openings’ The God of Small Things AO2 and AO1 The opening of this novel, ‘Paradise, Pickles and Preserves’, and the first part of the story, in which the twins Estha and Rahel live out a seemingly enchanted existence together, is likely to be one of the most appealing parts of the book. Roy offers us lush, metaphorical prose reminiscent of Romantic accounts of childhood, such as those of Laurie Lee. Rain is described as ‘slanting silver ropes’ slamming into ‘loose earth’. The drowning of Sophie Mol, fleeing with the twins from apparent persecution, is introduced into the H474/03 Mark Scheme June 2022 16 story very early, together with the shadow of oppressive modern Indian culture and the pressure of the past, though the full implications of this episode do not emerge until much later. Narrative serendipity is a key feature of this novel, and of post-modern writing in general. It is never quite clear from its opening what kind of novel this will be, and what ‘contract’ with the reader is being drawn up. As the narrator puts it, ‘No It didn't matter that the story had begun, because Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets.’ A03 The novel is shaped by the caste system, which was meant to be outlawed when India gained her independence, but which remained entrenched. Many of the book’s characters are former ‘untouchables’ who converted to Christianity under the British to escape their low caste status. Estha and Rahel’s experience as children, before they fall foul of the ‘love laws’, provide the book with its structural spine; the episodic, even chaotic delivery of the plot may represent an attempt to overthrow the rigid fatalism of Indian culture, as well as pay homage to the loose, playful structure of the postmodern novel. Atonement 1.‘Openings’ AO2 and AO1 McEwan’s artfully constructed novel depends on the establishment of apprentice novelist Briony Tallis’s adolescent inner life in the opening sequence. Determined to write a play, she struggles to get sexually precocious Lola and her difficult twin brothers to participate. McEwan’s H474/03 Mark Scheme June 2022 17 language artfully simulates the awkward pretension of very young writers: ‘the tale of spontaneous Arabella / Who ran off with an extrinsic fellow’. The rest of the exposition misconstrues a sexual misadventure, in the mellow atmosphere of an English Country House novel. McEwan’s prose, weaving a sunlit ‘geometry of light’, recalls the Great Houses of E.M. Forster, Elizabeth Bowen and Virginia Woolf. A ponderous Meissen vase, soon to be broken, recalls the central symbol of Henry James’ The Golden Bowl. The sophisticated stylishness of the opening (a little too lush?) is a kind of cover for Briony’s developing sensibility as a writer. It also shows up her naivety, when she comes to quite the wrong ‘psychological conclusions’ as to Robbie’s treatment of her sister, Cecilia. Focus on a novelist writing a novel points up early in the book the relationship and distance between art and life. AO3 The opening of the novel explores the apparent luxury of upper-class life in the inter-war years, preparing for the harsher territory of wartime and beyond. Even here there are hints that ‘Mr Hitler needs to pipe down’. The murkiest waters of the early scenes at Tallis, however, involve the class system. The Marshalls are run after because they are rich, proprietors of an American style chocolate bar. Robbie is falsely accused of sexual assault largely because he is a scholarship boy and the son of a cleaning lady. Later in the novel high- flying Briony will do literary penance as she writes about the cruel fate her misunderstandings caused for him, and explores the limited way an artist can make up in her fiction for the major mistakes of her life. The Namesake 1.‘Openings’ The Namesake H474/03 Mark Scheme June 2022 18 AO2 and AO1 Lahiri’s novel begins in good Fielding-esque fashion with the birth of its protagonist, Gogol, in a high-tech Cambridge Massachusetts hospital. His mother has recently flown from Bengal but is forced to swap her ‘Murshidabad sari’ for a regulation hospital gown. Meanwhile, in the swish but undistinguished waiting-room, Gogol’s father, Ashoke, is mulling over his curious fascination (for a Bengali) with Russian literature, and especially Gogol’s strange fable of patched-up poverty, ‘The Overcoat’. This sequence provides an early explanation of the title of the novel. Neither parent is comfortable relinquishing their Bengali heritage, either at this stage in the novel or later, though the family has made its living out of university placements and needs to adjust to a global lifestyle. As elsewhere in the novel imported Bengali customs lie cheek-by-jowl with the modest but manicured culture of New England: baby’s ceremonial first haircut conducted over a copy of ‘Mother Goose’, while his mother wonders why American houses don’t look like those in Gone with the Wind. The novel started life as short stories in The New Yorker, which explains its slickly accessible style. AO3 Most of the early action unfolds in the genteel university town of Cambridge, Massachusetts. Here the comfortable consumer lifestyle of the sixties and seventies contrasts with, for instance, the obligations Bengali culture imposes upon respect for and consultation of the extended family. Important Bengali words, like daknam (pet-name) and bhalonam are left untranslated in the novel, reminders that assimilation is not complete. Everywhere, however, a chorus of slogans announces the arrival of the permissive society: ‘The Montgomerys have a dull green Volkswagen van covered with stickers: QUESTION AUTHORITY! GIVE A DAMN! BAN THE BRA! PEACE!’ Some of Ashoke and Ashima’s American friends have become Buddhists. H474/03 Mark Scheme June 2022 19 Question Response Marks Guidance 2 In what ways does the writer of your text use symbols and motifs? You should range across the text to explore how symbols and motifs are used, the function they play in the novel as a whole, and the broader generic context. A higher level response (levels 4 – 6) will: AO2 Explore the ways the writer uses symbols and motifs, going beyond the most obvious features, and giving a strong sense of the role played by symbols and motifs within the novel as a whole. AO1 Use vocabulary, terminology and narrative concepts appropriately, to analyse the ways in which symbols and motifs are used in the novel. Express ideas coherently and fluently, with a wide vocabulary. AO3 Show an understanding of the literary and generic context, using this knowledge to illuminate their discussion of the importance of symbols and motifs in the novel. 32 The indicative content shows an integrated approach to AO2 and AO1 with additional guidance for AO3. Depending on the text studied, candidates may discuss: The indicative content shows an integrated approach to AO2 and AO1 with additional guidance for AO3. Depending on the text studied, candidates may discuss: Jane Eyre 2. Symbols and Motifs AO2 and AO1 The novel uses the recurring motif of the fire of passion, binding together all key concerns of the book: Jane’s feelings like smouldering heath, the white fire of passion (and prophetic threat) as lightning strikes the oak tree, Bertha the Firestarter, the purgatorial flame at Thornfield, from which Rochester emerges cleansed. The novel also features a number of metaphors of imprisonment and repression, of which Bertha’s ‘madwoman’s attic’ is the most prominent. Some may focus on the Spartan motifs at Lowood (forced haircuts, evangelical self-denial, Puritanical dress and Brocklehurst as ‘black pillar’). The Gothic implications of the Red Room experience are also significant, as are the Gothic shadows at Thornfield. Jane’s imagination often rises to Romantic intensity, for example the unusual imagery of the pictures she shows Rochester, featuring Arctic wastes. AO3 Many may explore the symbolism of Jane Eyre as that of an important pre- feminist novel: the image of ‘fire’ symbolizing Jane’s female passion but also the wild, partly-repressed energy of Bertha, the book’s anti-heroine. The H474/03 Mark Scheme June 2022 20 Gothic tropes too may be viewed in terms of ‘female Gothic’: Bluebeard’s castle of mysteries, shadows of a woman’s inner life, Brontë’s inspiration from Ann Radcliffe. Jane’s more ‘womanly’ rivals may be viewed in pre-feminist terms: a ‘flock of white plumy birds’ feeding off the patriarchy. The Great Gatsby 2. Symbols and Motifs AO2 an AO1 Candidates are likely to be familiar with the symbolism of the novel. The green light at the end of Daisy’s dock is the symbol of Gatsby's hopes and dreams, and combined with the ‘fresh green breast of the New World’ at the close of the book, encloses many aspects of the American Dream. The minatory symbols of the eyes of Dr T.J. Eckleburg and the Valley of Ashes suggest a more ominous scale of symbolic values. There are many symbols of fatal leisure, like the swimming-pool. The novella unfolds during a long, parched summer, with much overheated or overwrought symbolism generated by the weather and setting, lending the novel a general sense of languid ominousness. AO3 Large, destructive motor-cars, serviced by institutions such as Wilson’s garage, may be linked to American prosperity after World War One; Gatsby’s mansion, shirt, parties and other motifs of conspicuous consumption may suggest to candidates a bubble of prosperity about to burst. The most ominous symbol, the eyes of Dr T.J. Eckleburg, suggest the prominence and durability of advertising in American culture: the eyes of a forgotten, failed optometrist have become the eyes of God. Things Fall Apart 2. Symbols and Motifs AO2 and AO1 A quiet, melancholy, underwritten novel, Things Fall Apart avoids imagery where it can: the European novels about Africa Achebe read before writing H474/03 Mark Scheme June 2022 21 A lower level response (levels 1 to 3) will: Things Fall Apart, such as Heart of Darkness, were often packed with symbols, and he wished to avoid this effect. Instead Achebe focuses on symbols already physically half-embedded in the text, such as ‘Roaring Flame’, Okonkwo’s nickname, which frequently imports fire-imagery into the narrative. The characters of the beast fables which constitute popular education (‘Tortoise and Cat went to wrestle against Yams’) also assume a certain symbolic value. There are also cultural symbols, such as the masks which cover the features of the elders of the tribe when they play the part of resurrected ancestors. The coming of the locusts (real locusts, but symbols too) forms an uncomfortable prelude to the killing of Ikemufuna. AO3 Achebe wrote in English for a wider audience and because he felt local dialects had been polluted by the missionaries writing them down, but English often seems an uncomfortable language for the colonial story. The symbols of language, even the would-be lingua franca, English, are often uncomfortable and sometimes ridiculous, as when the white man repeatedly says ‘my buttocks’ whenever he attempts the pronoun ‘myself’. A world of simple, declarative sentences, often mimicking the patterns of Igbo speech, is overturned by ‘the poetry of the new religion’ (Christianity) and – later – the polysyllabic abstractions of British administration. Achebe writes generally without imagery, and with Hemingway-like directness. The God of Small Things 2. Symbols and Motifs AO1 and AO2 In some ways The God of Small Things is about the power of symbols, especially their impact upon childhood experience. Most potent is possibly The History House, a ruin on an abandoned rubber plantation where the Black Sahib (an Englishman who went native) lived long ago. This cultural crossroads becomes the scene of many of the novel’s darkest adventures: the site where Velutha and Ammu meet in secret as lovers, where Estha and H474/03 Mark Scheme June 2022 22 AO2 Identify and list some ways in which the writer uses symbols and motifs. AO1 Use some appropriate vocabulary and narrative concepts to analyse the ways in which symbols and motifs are used in the novel. Expression is clear but may lack precision. AO3 Show limited understanding of the literary and generic context in relation to the role of symbols and motifs. Rahel hide after Sophie Mol drowns, and where Velutha receives his fatal beating. Symbols are often packed into Roy’s grandiose descriptions of landscape, like the river, whose water was ‘thick and toxic’, and whose bed grins ‘skull-like’ in time of drought, with ‘holes where teeth had been’. AO3 Pappachi’s moth, which so terrorizes Rahul in ghostly form, is a symbol of the way unrecognized achievement and perceived governmental injustice can rankle in modern India. The overarching company ‘Paradise Pickles and Preserves’ symbolically ‘preserves’ old cultural uses of the Raj, but is regularly disrupted by the un-English activities of the Communist party. Rahul’s watch, frozen at ten to two, symbolizes the relationship between time and timelessness in modern India. Atonement 2. Symbols and Motifs AO1 and AO2 Uncle Clem’s Vase is an important symbol of the past, an heirloom, destroyed when it is immersed in the waters where Cecilia and Eddie are indulging their class-bound love. Through this symbol McEwan echoes the bowl ‘with a flaw in it’ in Henry James’s novel, The Golden Bowl. The fountain, the Temple on the landscaped islands and the show of underwater lights form a strongly symbolic (almost a theatrical) setting for Briony’s ‘crime’, as well as symbolising the contrived force of the class system stacked against Robbie. All this is reminiscent of the Victorian and Edwardian country-house novel. The Etonian chocolate manufacturer, Paul Marshall, the real sexual offender, scatters his Amo Bars across the book, where they provide convenient sustenance for WW2 troops, but McEwan’s use of symbolism is much less insistent once his novel progresses beyond Tallis House. AO3 The great house, the controlled leisure of the inter-war years, and the unseen mantraps of class are dominant features of the novel’s opening, with obvious reminiscences of the work of E.M. Forster (Howards End) and Henry James H474/03 Mark Scheme June 2022 23 (Gardencourt in Portrait of a Lady). Some will note that the fixtures of the Tallis home are not original but meant to create an ambience of semi-contrived cultural solidity, a dead neo-classicism. The violence of the Dunkirk sequence and the blood-and-guts of the wartime hospital make less studied use of symbolism, and when symbols are used they have greater shock-value, like the symbol of the severed leg stuck in the tree. Dunkirk also symbolizes miraculous escape, or at least unexpected outcome, and also seems to represent the huge historical facts the novelist-in-the-novel can’t control. The Namesake 2. Symbols and Motifs AO1 and AO2 Gogol’s anxieties about his name form a series of rites of passage. This provides the book with a tight chronological structure, befitting its original status as a magazine serial and page-turner. Nicolai Gogol’s story ‘The Overcoat’, which Ashoke was reading in Calcutta at the time of his train-crash, is one of the book’s most important cultural symbols. It shows that great literature is able to transcend cultural divisions in unexpected ways – but at the same time it keeps bringing us back to Gogol’s highly personal scruples about his name. The book is a mixture of elaborate journeys, by road, rail and plane, with significant domestic stopping points, especially the kitchen. These represent stages in the family’s complex cultural journey through time. Ashima’s efforts to provide Bengali cuisine, and the limitations of what she produces, are a significant symbol of the book’s intercultural malaise. AO3 Most of the book’s symbols and motifs (often drawn from literature, popular culture, and architecture, Gogol’s chosen major subject) suggest the globalization of American culture, and the strange way it intersects with the lingering influence of the traditions of Bengal. Clothing has to be donned against New England winters as a line of defence against changing identity. Gogol’s ‘Overcoat’ suggests (from the symbolism of Nicolai Gogol’s story) that we are what we wear. Nothing is more symbolically important in determining H474/03 Mark Scheme June 2022 24 Gogol’s personality than the bit of crumpled paper his father clutched in the wrecked train: ‘to give him any other name was quite out of the question.’ H474/03 Mark Scheme June 2022 25 Section B – Writing as a reader The weightings for the assessment objectives are: Narrative writing: AO5 7% AO2 2% 9% Commentary: AO1 4% AO2 3% 7% Total: 16% In Section B Narrative writing the dominant assessment objective is AO5 Demonstrate expertise and creativity in the use of English to communicate in different ways. Answers should also demonstrate understanding of how meanings are shaped in their original writing (AO2). A response that does not address one of the two assessment objectives targeted cannot achieve all of the marks in the given level. In Section B Commentary the dominant assessment objective is AO1 Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology and coherent written expression. Answers will also be assessed for AO2 Analyse ways in which meanings are shaped in texts. A response that does not address one of the two assessment objectives targeted cannot achieve all of the marks in the given level. Narrative writing Level 6: 16-18 marks AO5 Flair, originality and a high degree of control demonstrated in the use of English to communicate in different ways. AO2 Excellent, fully developed and detailed demonstration of ways in which meanings are shaped in texts. Level 5: 13-15 marks AO5 Control and creativity demonstrated in the use of English to communicate in different ways. AO2 Clear and well developed demonstration of ways in which meanings are shaped in texts. Level 4: 10–12 marks AO5 Competence and engaging effects demonstrated in the use of English to communicate in different ways. AO2 Competent demonstration of ways in which meanings are shaped in texts. H474/03 Mark Scheme June 2022 26 Level 3: 7–9 marks AO5 Some accuracy and attempt to create effects demonstrated in the use of English to communicate in different ways. AO2 Some demonstration of ways in which meanings are shaped in texts. Level 2: 4–6 marks AO5 Limited accuracy and some attempt to create effects demonstrated in the use of English to communicate in different ways. AO2 Some limited demonstration of ways in which meanings are shaped in texts. Level 1: 1–3 marks AO5 Little accuracy and little attempt to create effects demonstrated in the use of English to communicate in different ways. AO2 Very little demonstration of ways in which meanings are shaped in texts. 0 marks: no response or response not worthy of credit. H474/03 Mark Scheme June 2022 27 Commentary Level 6: 13–14 marks AO1 Excellent application of relevant concepts and methods from integrated linguistic and literary study as appropriate. Consistently coherent and fluent written expression and apt and consistent use of terminology relevant to the task and texts. AO2 Excellent, fully developed and detailed critical analysis of ways in which meanings are shaped in texts. Level 5: 10–12 marks AO1 Secure application of relevant concepts and methods from integrated linguistic and literary study as appropriate. Consistently clear written expression and appropriate use of terminology relevant to the task and texts. AO2 Clear and well developed critical analysis of ways in which meanings are shaped in texts. Level 4: 7–9 marks AO1 Competent application of relevant concepts and methods from integrated linguistic and literary study as appropriate. Generally clear written expression and mainly appropriate use of terminology relevant to the task and texts. AO2 Competent analysis of ways in which meanings are shaped in texts. Level 3: 5–6 marks AO1 Some application of relevant concepts and methods selected appropriately from integrated linguistic and literary study. Generally clear written expression with occasional inconsistencies and some appropriate use of terminology relevant to the task and texts. AO2 Some analysis of ways in which meanings are shaped in texts. H474/03 Mark Scheme June 2022 28 Level 2: 3–4 marks AO1 Limited attempt to apply relevant concepts and methods from integrated linguistic and literary study appropriately. Some inconsistent written expression and limited use of associated terminology relevant to the task and texts. AO2 Limited analysis of ways in which meanings are shaped in texts. Level 1: 1–2 marks AO1 Very little attempt to apply relevant concepts and methods from integrated linguistic and literary study appropriately. Inconsistent written expression and little use of terminology relevant to the task and texts. AO2 Very little analysis of ways in which meanings are shaped in texts. 0 marks: no response or response not worthy of credit. H474/03 Mark Scheme June 2022 29 Question Response Marks Guidance 3 Choose one of the storylines below to develop as the opening of a narrative. You should make your own choices about narrative technique, including whether to start at the beginning of the story or not. A higher level response (levels 4 to 6) will: AO5 Demonstrate expertise and creativity in its use of English to create an effective opening to a narrative that shows a high degree of control over the techniques that have been chosen. AO2 Demonstrate a sophisticated awareness of the ways in which meanings are shaped in narrative texts. A lower level response (levels 1 to 3) will: AO5 Show some ability to shape the opening to a narrative, drawing on some techniques that go beyond basic storytelling. AO2 Show some awareness of the ways in which meanings are shaped in narrative texts. 18 Candidates will use a range of different narrative techniques, drawn from their study of narrative texts for Section 1 in order to create the opening of a narrative of their own. They may draw selectively on techniques such as dialogue, description, evocation of setting and imagery and will choose a particular narrative voice, point of view, way of handling time and prose style. They will make their own choices to create an effective opening to a narrative. Note: Candidates are writing the opening to a narrative, and can start at any point, using any one of the bullet points as the beginning of their story. They are not expected to write the full story and are not required to use all six bullet points. H474/03 Mark Scheme June 2022 30 Question Response Marks Guidance 4 Outline the key narrative and linguistic techniques you have used in your writing for Question 3. You should write approximately 250 words. A higher level response (levels 4 to 6) will: AO1 Apply concepts and methods from the study of narrative techniques, using relevant terminology and coherent written expression to convincingly show how techniques have been used in the Question 3 response. AO2 Effectively and convincingly analyse ways in which meanings are shaped in the Question 3 narrative writing response. A lower level response (levels 1 to 3) will: AO1 Identify some concepts and methods from the study of narrative techniques, using some terminology and clear written expression. AO2 Describe some ways in which meanings have been shaped in the Question 3 narrative writing response. 14 Candidates will be expected to explain and analyse the narrative techniques they have used in their own creative writing for Question 3. They will not be expected to write about connections between their writing and the text studied for Section 3 but rather to write about the narrative concepts and techniques they have adopted. H474/03 Mark Scheme June 2022 31 Appendix 1 Assessment Objective weightings are given as percentages. Assessment Objectives Grid Narrative text Question AO1% AO2% AO3% AO4% AO5% Total% 1 5 6 5 0 0 16% Totals 5% 6% 5% 0% 0% 16% Original writing Question AO1% AO2% AO3% AO4% AO5% Total% 2 0 2 0 0 7 9% 3 0 2 0 0 7 9% Totals 0% 2% 0% 0% 7% 9% Commentary Question AO1% AO2% AO3% AO4% AO5% Total% 4 4 3 0 0 0 7% Totals 4% 3% 0% 0% 0% 7% Need to get in touch? 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H470/02 Mark Scheme June 2023 5 11. Annotations Annotation Meaning Blank Page – this annotation must be used on all blank pages within an answer booklet (structured or unstructured) and on each page of an additional object where there is no candidate response. Positive Recognition Assessment Objective 1 Assessment Objective 2 Assessment Objective 3 Assessment Objective 4 Attempted or insecure Irrelevant INTRODUCTION Your first task as an Examiner is to become thoroughly familiar with the material on which the examination depends. This material includes: • the specification, especially the assessment objectives • the question paper and its rubrics • the texts which candidates have studied • the mark scheme. You should ensure that you have copies of these materials. You should ensure also that you are familiar with the administrative procedures related to the marking process. These are set out in the OCR booklet Instructions for Examiners. Please ask for help or guidance whenever you need it. Your first point of contact is your Team Leader. H470/02 Mark Scheme June 2023 6 These are the Assessment Objectives for the English Language specification as a whole. AO1 Apply appropriate methods of language analysis, using associated terminology and coherent written expression. AO2 Demonstrate critical understanding of concepts and issues relevant to language use. AO3 Analyse and evaluate how contextual factors and language features are associated with the construction of meaning. AO4 Explore connections across texts, informed by linguistic concepts and methods. AO5 Demonstrate expertise and creativity in the use of English to communicate in different ways. WEIGHTING OF ASSESSMENT OBJECTIVES The relationship between the components and the assessment objectives of the scheme of assessment is shown in the following table: Component % of A level AO1 AO2 AO3 AO4 AO5 Total Exploring language H470/01 11% 6% 11% 6% 6% 40% Dimensions of linguistic variation H470/02 11% 11% 12% 6% 0% 40% Independent language research H470/03 5% 5% 5% 0% 5% 20% 27% 22% 28% 12% 11% 100% H470/02 Mark Scheme June 2023 7 USING THE MARK SCHEME Study this Mark Scheme carefully. The Mark Scheme is an integral part of the process that begins with the setting of the question paper and ends with the awarding of grades. Question Papers and Mark Schemes are developed in association with each other so that issues of differentiation and positive achievement can be addressed from the very start. This Mark Scheme is a working document; it is not exhaustive; it does not provide ‘correct’ answers. The Mark Scheme can only provide ‘best guesses’ about how the question will work out, and it is subject to revision after we have looked at a wide range of scripts. The Examiners’ Standardisation Meeting will ensure that the Mark Scheme covers the range of candidates’ responses to the questions, and that all Examiners understand and apply the Mark Scheme in the same way. The Mark Scheme will be discussed and amended at the meeting, and administrative procedures will be confirmed. Co-ordination scripts will be issued at the meeting to exemplify aspects of candidates’ responses and achievements; the co-ordination scripts then become part of this Mark Scheme. Before the Standardisation Meeting, you should read and mark in pencil a number of scripts, in order to gain an impression of the range of responses and achievement that may be expected. In your marking, you will encounter valid responses which are not covered by the Mark Scheme: these responses must be credited. You will encounter answers which fall outside the ‘target range’ of Bands for the paper which you are marking. Please mark these answers according to the marking criteria. Please read carefully all the scripts in your allocation and make every effort to look positively for achievement throughout the ability range. Always be prepared to use the full range of marks. H470/02 Mark Scheme June 2023 8 PAPER-SPECIFIC INSTRUCTIONS: H470/02 Dimensions of linguistic variation Candidates answer all the questions on the paper. The paper addresses assessment objectives 1-4: Assessment Objectives AO1 and AO2 are addressed in question 1. Assessment Objectives AO2 and AO3 are addressed in question 2. Assessment Objectives AO1, AO3 and AO4 are addressed in question 3. AO5 is assessed in components 1 and 3. In each question, the assessment objectives are given equal weighting. THE INDICATIVE CONTENT FOR EACH TASK provides an indication of what candidates are likely to cover. The notes are neither prescriptive nor exhaustive: candidates should be rewarded for any relevant response which appropriately addresses the Assessment Objectives. THE LEVEL DESCRIPTORS FOR EACH QUESTION FOLLOW THE INDICATIVE CONTENT SUBJECT-SPECIFIC INSTRUCTIONS: ENGLISH LANGUAGE • Each level descriptor covers the relevant assessment objectives. • Where the assessment objectives appear in separate columns, marks should be allocated for each assessment objective independently of one another. There is no requirement for responses to be allocated marks from within the same level across each assessment objective. • An answer does not have to meet all the requirements of a level descriptor before being placed in that level. The extent to which it meets all of the requirements of a level descriptor will determine its placement within that level. • The extent to which the statements within the level have been achieved should be the only criteria used when deciding the mark within a level. • Indicative content indicates possible points candidates might make, but this is not an exhaustive account. Any valid response should be rewarded. H470/02 Mark Scheme June 2023 9 Indicative Content - Please note: indicative content indicates possible points candidates might make, but this is not an exhaustive account. Any valid response should be rewarded. Question Guidance Marks Text features 1 Text A is a transcript from a private data source featuring a father and his son, Tom, who is two and a half. They are playing with Tom’s toy cars. Using the appropriate terminology to explain your findings, examine the language development stage of the child-participant as evidenced in the transcript. You should identify and analyse the phonology, grammar and meaning of his utterances. Use your knowledge of theories and concepts of child language acquisition to support your answer. Meaning: • Tom uses labelling of ‘car’ correctly and is also able to pre-modify it, e.g. ‘wed/ [red] car’, to create meanings that are more precise. • The father responds to Tom’s suggestions and builds on them, for instance by asking about the race’s finishing line – an implied reminder that it needs to have one. • Tom initiates the game and his father allows himself to be drawn in; Tom also shifts the topic and activity at the end ‘let’s go to a park’. • Element of competition, could be seen as stereotypically male, as could the choice of toy. • Tom transforms the game into something more imaginative by introducing the idea of the desert. 20 Phonology: • Repetition of sounds and words occurs throughout, ‘um um I won (.) I won (.) I won’. • Tom uses largely standard pronunciation, apart from substitutions in /wed/ [red] and /dɪs/ [this]. • Tom emphasises certain words, ‘I won’. • When Tom adds emphasis ‘oh no’, the same emphasis is used by his father. • Both use rising intonation throughout to signify questions. • Both use elision frequently, ‘let’s play racing cars’ reflecting the informal context. Grammar: • Tom uses subject and object pronouns correctly ‘race your car against /dɪs/ [this] one’. • Almost all of Tom’s utterances are in the present tense. • Some use of concrete nouns – ‘car’, ‘park’, – reflecting topic/activity. • Tom’s use of prepositions is sometimes secure (‘let’s go to a park’) and sometimes insecure, ‘the park’s somewhere down the desert’. • Tom uses standard syntax (e.g. subject-verb-complement) appropriately ‘the paint’s worn out’. • Tom makes use of several imperatives, ‘let’s play racing cars’; he also uses a full range of other sentence functions. • Use of ‘racing’, potentially, as an adjective as well as a verb ‘let’s play racing cars’. H470/02 Mark Scheme June 2023 10 There may be specific relevant comment on the father’s interventions; these should be rewarded (although the focus needs to remain with the child participant). For example: • The father uses interrogative sentence functions with rising intonation (‘to a park’) to support Tom and provide scaffolding. • The father supports Tom’s premise of a race by asking where the finish line is. Question Guidance Marks Text features 1 Concepts: • Tom’s non-standard utterances, e.g. ‘dɪs/ [this]’, would not have been copied from an adult (possible contradiction of Behaviourism) • The father’s interaction provides scaffolding (Bruner) and positive attention/encouragement as well as consolidation via reinforcement (Skinner) of his son’s wording, ‘let’s go to a park’ / Father: ‘to a park (with rising intonation)’. • The father also mirror’s his son’s utterances (Skinner) by echoing Tom’s emphatic use of ‘oh no’. • Chronological age would link to telegraphic stage; however, the data is strongly suggestive of post-telegraphic speech 20 • Many of the utterances include or revolve around objects – cars/park/desert – supporting Nelson’s findings that nouns/naming words represent 60% of children’s early word production. • Capacity for imaginative play suggests cognitive development (link to Piaget) and also Halliday – imaginative function of language: ‘yes /wed/ [red] car (.) the park’s somewhere down the desert’. • Some of the speech is interactional (Halliday). • Could mention Vygotsky’s ZPD – the father is encouraging Tom to extend his speech by providing the word ‘destination’ and then explaining, implicitly, that it is a synonym for ‘finish line’ – a word he also supplies. H470/02 Mark Scheme June 2023 11 There is a total of 20 marks available for Question 1. Decide on a mark for AO1 out of 10, and then a separate mark for AO2 out of 10. Add the two marks together to reach a total out of 20 marks. It is possible that candidates may achieve different bands for each AO: allocate the mark according to the level of competency demonstrated for each AO individually. Level AO1 Mark AO2 Mark 5 • The response will make assured reference to a wide range of language features, with appropriate and well-selected examples which support a focussed analysis. • The response will be enhanced by a consistently accurate use of a wide range of appropriate terminology; writing is in a secure academic register. 9–10 • The response will make assured reference to stages of development explained and explored effectively, with well-selected examples. • The response will make discerning/perceptive links to theory or concepts in a way that suggests assured understanding of the relationship between theory and practice. 9–10 4 • The response will make consistently accurate and sustained reference to a range of language features, with appropriate examples and developed analyses. • The response will make consistently accurate use of a range of appropriate terminology to enhance the response; written expression is coherent. 7–8 • The response will make consistently accurate reference to stages of development with appropriate examples and an analysis which demonstrates awareness of the complexity of the processes involved. • The response will consistently connect the elements of the participants’ language usage with a variety of concepts/ theories in a way that suggests secure understanding of the relationship between theory and practice. 7–8 3 • The response will make generally accurate reference to a range of language features, with appropriate examples and a clear attempt at analysis. • Accurate use of appropriate terminology will enhance the response; written expression is clear. 5–6 • The response will make generally accurate reference to stages of development, with appropriate examples and supporting comment or explanation. • The response will connect the elements of the participants’ language usage with concepts and theories in a way that is valid and relevant. 5–6 H470/02 Mark Scheme June 2023 12 Level AO1 Mark AO2 Mark 2 • The response will identify some relevant language features, with appropriate examples and relevant comments. • Appropriate terminology will be used accurately, although the range of terminology will be limited; written expression has some errors but the meaning remains apparent. 3–4 • The response will make some accurate reference/s to stages of development, with some relevant comments or appropriate examples. • The response will make valid connections between elements of the participants’ language usage and concepts or theory. 3–4 1 • The response will accurately identify features of the material but will make very few relevant or valid points about these features. The response may cover only one of the language levels specified in the question. • Little or no accurate use of appropriate terminology; writing may at times obscure meaning. 1–2 • The response will make little or basic reference to stages of language development. • Few if any valid links between elements of participants’ language and appropriate stage/s of development or other relevant concepts. 1–2 0 • No response or no response worthy of any credit. 0 • No response or no response worthy of any credit. 0 H470/02 Mark Scheme June 2023 13 Indicative Content - Please note: indicative content indicates possible points candidates might make, but this is not an exhaustive account. Any valid response should be rewarded. Question Guidance Marks Text features 2 Text B is from The Guardian’s website. It was published October 2019. Using your understanding of relevant ideas and concepts, investigate how language features and contextual factors construct meanings in this text. Possibilities are provided below for guidance but any valid response should be rewarded. This online article contains characteristic features of multi-modal texts. It raises questions about the wisdom and implications of expectant parents holding gender reveal parties and speculates about attitudes towards – and representations of – males and female children. As well as raising issues about gender, candidates may also link it to power, as it presents examples of influential power exerted by celebrities and the media; there are also references to patriarchy and the inclusion of comment by industry experts. 24 Possibilities are provided below for guidance but any valid response should be rewarded. • The accompanying image, of a pink and blue celebration cake, reflects the topic of the written text. The cake is filled with gendered representations of footballs, prams, dolls and cars. • By using the post-modifier ‘mother who started gender reveal parties’, further information about the focus of the article is provided. • The article begins with an anecdote providing the context, including information such as the date and name of the woman concerned. • Hyperbolic language used to describe the reaction to the announcement that a daughter was expected, ‘There were gasps, tears and someone shrieked’, complies with Tannen’s theory of genderlect in emphasising feelings over information. • Representation of (female) professor as successful in what has traditionally been a male-dominated subject is presumably intended to disarm gender stereotypes (could link to Pilkington). • Graphological features that are characteristic of genre e.g., links to social media. • Latinate/relatively sophisticated lexical choices – ‘simultaneously’, ‘expectant’, ‘patriarchal’, ‘inspiration’ – reflect broadsheet context. • Lexical field of giving birth, ‘pregnancies’, ‘expectant’, ‘born’, reflecting topic. • Also lexical field of celebration: ‘parties’, ‘confetti’, ‘streamers’, ‘balloons’. H470/02 Mark Scheme June 2023 14 • Proper nouns/names to establish credibility of views being expressed/influential power (Fairclough), particularly that of Sarah Knott, a Cambridge professor in the field. (Also, see pragmatics.) Pragmatics: • Suggests that traditional, binary representations of gender are problematic. • Metaphorical appropriation of the verb ‘to birth’ as a way of representing Karvundis’s creation of the gender-reveal party but ‘that day she did unwittingly birth something’. • The article focuses on Karvundis’s regret, and there is an irony in the fact that her daughter, whose gender-reveal party seemingly started the trend, is photographed ‘dressed in a suit’ and ‘sporting an “androgynous” haircut’. • Assumptions are made about shared frames of reference, with mentions made of Twitter and John Lewis. Also, focus is on the US, where Karvunidis lives. • Idiomatic simile ‘the story spread like wildfire’ may anticipate slightly older readership. • Comparison with the real wildfire started in Arizona implicitly represents the trend as potentially damaging/destructive. • Metaphorical verb ‘unleashed’ reflecting Karvunidis’ discomfort with the trend she purportedly initiated. • Uses a relatively high proportion of the Karvunidis’ own words, also represents her as increasingly concerned about the popularity of gender-reveal parties: ‘her unease about gender-reveals started soon after they began to take off’. • Use of influential power (Fairclough) – reference to actor Kate Hudson and Professor Sarah Knott to provide expert opinion. H470/02 Mark Scheme June 2023 15 There is a total of 24 marks available for Question 2 Decide on a mark for AO2 out of 12, and then a separate mark for AO3 out of 12. Add the two marks together to reach a total out of 24 marks. It is possible that candidates may achieve different bands for each AO: allocate the mark according to the level of competency demonstrated for each AO individually. Level AO2 Mark AO3 Mark 6 • Candidates show an assured knowledge and understanding of relevant concepts and issues. • Candidates engage critically with the ways concepts and issues inform their analysis of the text’s patterns of language use. 11–12 • Candidates offer a discerning exploration of a range of contextual factors and language features, and how they are associated with the construction of meaning. • Candidates evaluate in perceptive detail how contextual features inherent in the text are associated with the construction of meaning. 11–12 5 • Candidates show a good knowledge and understanding of relevant concepts and issues. • Candidates use their knowledge and understanding of concepts and issues to offer informed comment of the text’s patterns of language use. 9–10 • Candidates respond in detail to a range of contextual factors and language features, and how they are associated with the construction of meaning. • Candidates will analyse in detail how contextual features inherent in the text are associated with the construction of meaning. 9–10 4 • Candidates show a sound level of knowledge and understanding of relevant concepts and issues. • Candidates use their knowledge and understanding of concepts and issues to comment on some language features in the text. 7–8 • Candidates make a sound attempt to respond to a range of contextual factors and language features, and how they are associated with the construction of meaning. • Candidates make clear, relevant response to the contextual features inherent in the text and how these are associated with the construction of meaning. 7–8 3 • Candidates show a largely accurate knowledge and understanding of language concepts or issues, although is likely to lack the depth needed to be convincing. • Candidates use their knowledge and understanding of concepts and issues to comment generally on language use in the text. 5–6 • Candidates make some attempts to respond to contextual factors and language features and make some points about how they are associated with the construction of meaning. • Candidates make general comments regarding the contextual features inherent in the text, showing some understanding of how these are associated with the construction of meaning. 5–6 H470/02 Mark Scheme June 2023 16 Level AO2 Mark AO3 Mark 2 • Candidates’ knowledge and understanding of concepts/issues is likely to have inaccuracies or be muddled. • Candidates use concepts/issues to comment on the text, although connections may be lacking or confused. 3–4 • Candidates make a limited response to contextual factors and language features and how they are associated with the construction of meaning. • Candidates show a basic understanding of how contextual features inherent in the text contribute to the overall meaning. 3–4 1 • Candidates select irrelevant or unconnected concepts or issues or present erroneous accounts of concepts. • Candidates attempt to use concepts or issues to comment on the text, although these will be superficial. 1–2 • Candidates make only one or at the most two references to contextual factors and language features and how they are associated with the construction of meaning. • Candidates make little attempt to show understanding of how one or more contextual features inherent in the text contribute to the overall meaning. 1–2 0 • No response or no response worthy of any credit. 0 • No response or no response worthy of any credit. 0 H470/02 Mark Scheme June 2023 17 Indicative Content - Please note: indicative content indicates possible points candidates might make, but this is not an exhaustive account. Any valid response should be rewarded. Question Answer Mark Guidance 3 Text C is from an article titled ‘The Structure, Diseases and Management of the Human Teeth’. It was written by an American dentist in 1824. Text D is from an online article produced by Carefree Dental, an American company that provides dental services. It was published in March 2016. By detailed analysis of the writing in both passages, discuss and illustrate the variations in language between the 19th and 21st centuries. Answers should explore the ways language is used in each text, as well as how contextual factors influence the way meaning is constructed. AO3: Text C’s general contextual features: the text was part of a treatise written by a dentist describing the nature and problems of human dentition. The focus is on the damage done from using tooth powders, and the harmful ingredients these products contain. In general, it is scientific in its approach, although there are also moments when the tone verges on the hyperbolic. 36 Lexis and semantics Text C Text D • Nature of document – about human teeth and the alleged perils of using tooth powders – lends itself to multiple concrete nouns. Most of these would be known to the general reader, e.g. ‘instrument’, ‘hands’ and ‘tooth powder’. • Usage of ‘ruinous’ quite archaic; also ‘spiritous’; ‘infusion’ less so but noteworthy. • Formal register: ‘I shall make some observations on their composition and nature’. • Some Latinate language, ‘corrosive’, ‘infusion’, ‘composition’, ‘accumulations’. • Lexical field of dentition linking with purpose of the treatise: ‘dentrific’, ‘set of teeth’, ‘tooth brush’. • Some noun phrases with emotive overtones used to represent the lack of dental hygiene, ‘foul matter’, ‘foul accumulation’. • Some scientific language; ‘corrosive’, ‘dentrific’, ‘tincture’, • The nature of the document – about the history of toothpaste and its relation to tooth powder – generates two distinct semantic fields: time and teeth. • Temporal words/phrases such as ‘ancient history’, ‘forever’, ‘thousands of years’, and ‘once upon a time’ help to place the information provided in context. • The topic lends itself to multiple concrete nouns, especially regarding the ingredients of the products mentioned: ‘eggshells’, ‘herbs’, ‘honey’, and ‘brick dust’, for example. • Lexical field of scientific experimentation, ‘mixture', ‘component’, ‘substances’, ‘added’. • Quasi jargon e.g., ‘remineralise’ and medical lexis such as ‘antiseptic’ and ‘saliva production’ help to establish scientific credibility. • Specialist lexis naming the ingredients, ‘Xylitol’, ‘Bentonite Clay’. • Familiar collocations ‘clean and fresh’ and ‘minty and fresh’ reflect provenance – text produced by company supplying dental services. H470/02 Mark Scheme June 2023 18 Text D’s general contextual features: this is an extract from an online article produced by Carefree Dental, a US- based company supplying dental services. It was published in March 2016 and informs readers about the services the company offers. ‘insoluble’. • Contrast between self- representation of scientific explanation ‘to shew the injury of these applications, I shall make some observations’ and emotive choice of premodifiers ‘ruinous compositions’. • Archaic spelling of ‘shew’. • Use of listing to show the ingredients of tooth powders. • Representation of tooth powder as being dangerous through premodifiers and verb choices, ‘its powerful qualities will not fail, essentially to injure, if not wholly to ruin the finest set of teeth. • Archaic use of ‘&c. &c’ and ‘thro' negligence’. • Use of dates and historical figures – ‘1000 A.D.’, ‘Cleopatra’ – reflect topic. • Range of sensory adjectives reflecting topic, ‘minty’, ‘fresh’, ‘abrasive’. Grammar and morphology Text C Text D • Clause-laden sentences characteristic of the period and directly comparable with other text. • Relative clauses used to qualify/provide additional information ‘united with powder which often consists of brick dust’. • Non-standard capitalisation of ‘Suitable’. • Starting sentences with conjunctions, ‘But should the’, • Sentences are often simple ‘Here you’ll find out everything you need to know about this tooth cleaner’ or compound ‘Peppermint oil is a great choice for dental powder because it is naturally antiseptic and antibacterial’; overall there is much less complexity than in Text C. • There are also several sentences starting with conjunctions in a way that mimics speech: ‘So they created a milder substance using burnt snail shells, herbs, and honey’. H470/02 Mark Scheme June 2023 19 ‘And to shew’. • Some passive sentences, ‘When this operation has been performed’, contribute to the scientific flavour of the text. • Active sentences mainly foreground the writer’s/reader’s role, ‘we may infer the necessity’, ‘I shall make’. • Largely declarative sentences, mostly complex or complex/compound. • Mainly present tense but some use of the conditional/auxiliary verbs to warn against dangers, ‘should…will not fail’. • Use of plural first-person pronoun at start; shifts to first person as he demonstrates his own knowledge, ‘I shall make’. • Frequent use of pre-modifiers, ‘watery infusion’, ‘aromatic nature’, ‘gritty powder’ to facilitate precision. • Use of adverbs, ‘essentially’, ‘wholly’, ‘generally’, to strengthen or qualify the claims being made. • Use of dynamic verbs: ‘brush’, ‘mixed’, ‘added’ reflecting physicality of process/product. • Idiomatic verb use ‘toothpaste… was born’. • Plural inclusive at start: ‘We all know’ producing sense of shared response to the topic. • Comparatives – ‘milder’, ‘sweeter’ – help chart the fine-tuning of the production process. • Mixture of tense/aspect to describe different aspects of the creation of toothpaste and the writer’s reporting of it. • Pre-modifying adjectives ‘metal toxins’, ‘mercury fillings’ add credibility and precision. • Proper nouns such as ‘Egypt’; other geographical references ‘Greeks’, ‘Chinese’, ‘Romans’. • Use of interrogatives at start to engage reader, ‘What’s the deal with dental powder? Is it better than toothpaste?’ • Demonstrative pronoun, ‘Here’ creates deixis at the start, representing the article as the source of information which will enable the reader to answer these questions, (bordering on hypophora). • Declarative sentences used primarily. Question Answer Mark Guidance H470/02 Mark Scheme June 2023 20 3 AO4: While both texts focus on dentition and tooth-care, the accounts are different, as Text C is advising readers about good dental hygiene practice whereas Text D is relating the history and development of toothpaste. Text C is more emotive and almost moralistic in tone; Text D is more neutral, informal in terms of its register, and faintly humorous. The first text relates the dangers of various substances people use in an attempt to care for their teeth; the second takes an informative historical overview. Both suggest, directly and indirectly, the importance of dental hygiene. Less of the lexis in Text D is Latinate, and sentences are shorter and grammatically less complex. Possibilities are provided (right) for guidance but any valid response should be rewarded. Each language level is taken in turn to illuminate the likely connections which may be explored by candidates across both texts. 36 Discourse Text C Text D • The text begins with listing the various challenges healthy teeth can withstand. • Syntactic parallelism, ‘the summer's heat, and winter's cold’ offer fuller explanation within the context of an informative treatise. • Textual cohesion is provided by the treatise format, to some extent – the author describes different aspects of tooth care and warns against the use of tooth powders. (See below.) • The text is divided into paragraphs describing the right way to care for the teeth and then detailing the effect and ingredients of ‘tooth powders’. • The most explicit engagement with the reader is near the end, as the author launches into his explanation. • Informative style providing historical overview of the history of toothpaste as a product, its ingredients and function. • The article is structured chronologically, posing a series of questions at the start and then going on to narrate the events that would enable the reader to answer them. Relatively frequent use of temporal markers, ‘once upon a time’, ‘the first use of’; repetition of phrasal verb ‘dates back’. • Short paragraphs and sub headings characteristic of online articles. • Graphological features including headline typical of article genre, also the series of interrogatives at the start pose a question the rest of the article sets out to answer. • Syntactic parallelism used to elaborate on the role of different ingredients, ‘Borax for a foaming effect, and glycerin turning the powder into a paste’. • Some American orthography and phrasing reflect provenance, ‘remineralize’, ‘realized’, ‘What’s the deal…’. Pragmatics H470/02 Mark Scheme June 2023 21 Text C Text D • The description of the damage done using tooth powders is framed as being serious • The military metaphor of ‘guarding the teeth’ against ‘every foul accumulation’ provides a quasi-moralistic tone, reinforced by the characterisation of a lack of dental hygiene as a form of ‘negligence’. • Some emphasis on status, both in offering scientific explanations to a vulnerable public and in his reference to the expertise of himself and his colleagues in treating the accumulation of debris, which, he says, ‘can only be properly removed, by Suitable instruments, in the hands of a dentist’. • The capitalisation of ‘Suitable’ and its semantic opacity, raises the status of the dentists, as they are the only ones who are privy to this specialist knowledge. • The unnamed author writing on behalf of ‘Carefree Dental’ sets themselves up as being able to offer insights into the origin of toothpaste. • The opening frames the article as a response to the imagined reader’s questions. • Further assumptions about the stance of the imagined reader and the shared experience of reader and writer are made at the start: ‘We all know what goes into a normal, healthy dental regimen’. • Use of direct address early on heightens the sense of reader/writer relationship ‘And even if you don’t do the last two steps, toothpaste has always been a staple tooth cleaner since what seems like forever. But did you know that once upon a time...’. • Use of genre-typical reference ‘How Stuff Works’ attributes another source for the information presented. • Factual content framed as a narration of the story of how present-day product came into being ‘once upon a time’. There is a total of 36 marks available for Question 3. H470/02 Mark Scheme June 2023 22 Decide on a mark for AO1 out of 12, and then a separate mark for AO3 out of 12, and a separate mark for AO4 out of 12. Add the three marks together to reach a total out of 36 marks. It is possible that candidates may achieve different bands for each AO: allocate the mark according to the level of competency demonstrated for each AO individually. Level AO1 Mark AO3 Mark AO4 Mark 6 • Candidates apply a wide range of appropriate methods in an assured and systematic way, using appropriate terminology and writing in a secure academic register. • They deftly establish and explore patterns of language use and can closely analyse incisively chosen evidence. 11–12 • Candidates make discerning points about the possible effect of contextual factors on particular features of language, both in terms of production and reception. • They perceptively evaluate their points, suggesting alternatives for how context might account for variations in language use. 11–12 • Candidates selectively and methodically apply confident knowledge of appropriate linguistic concepts across both texts. • Candidates compare particular linguistic features in the two texts, making illuminating connections between them which clearly establish some of the ways that language has varied over time. 11–12 5 • Candidates apply a range of appropriate methods to the texts in a systematic way, using appropriate terminology and coherent written expression. • They establish patterns of language use and can analyse well-chosen evidence in some depth. 9–10 • Candidates make strong and helpful points about relevant contextual factors, showing how context might affect language use, both in terms of production and reception. • They show that they can weigh up how contextual factors might account for variations in language use. 9–10 • Candidates methodically apply sound knowledge of appropriate linguistic concepts across both texts. • Candidates compare linguistic features in the two texts, making helpful connections between them which show some of the ways that language has varied over time. 9–10 Level AO1 Mark AO3 Mark AO4 Mark H470/02 Mark Scheme June 2023 23 4 • Candidates apply some appropriate methods in a sound way, using mostly appropriate terminology and coherent if uneconomical writing. • Analysis is characterised by either a fairly limited number of well-developed points, with relevant evidence, or a larger number of valid supported points that lack depth. 7–8 • Candidates make some valid points about context, showing how contextual factors can affect language production and reception. • They come to some sound conclusions about how contextual factors could cause variations in language. 7–8 • Candidates apply accurate knowledge of linguistic concepts to language features in a way that is mostly appropriate, across both texts. • They make some comparisons of linguistic features in the two texts, making some connections between them which show ways in which language use has varied over time. 7–8 3 • Candidates attempt to apply linguistic methods with some success, and terminology is at times appropriate; written expression contains some errors. • Analysis is uneven and is characterised by either scattered points that are supported with evidence or points which may have validity but are unsupported. 5–6 • Candidates make a few successful attempts at showing how basic contextual factors affect the way language is produced and received. • Conclusions drawn tend to be assertive and simplistic rather than weighed in the balance and are sometimes unconvincing; there may be an elementary sense of how context affects language variation. 5–6 • Candidates have a loose grasp of linguistic concepts and attempt to apply them across both texts, although sometimes unconvincingly. • They will make more general connections and will attempt to compare particular features associated with the ways language use has varied over time, but with only partial success. 5–6 H470/02 Mark Scheme June 2023 24 Level AO1 Mark AO3 Mark AO4 Mark 2 • Candidates make a vague attempt to apply linguistic methods to the texts and some terms are used, with occasional appropriateness; writing is likely to contain errors which sometimes obscure meaning. • One or two simple points are made, with little or tenuous evidence; assertive rather than analytical. 3–4 • Candidates can comment on context, although this is unlikely to show proper grasp of production and reception and so is of very limited use. • Evaluation of points is not happening in this band because there is no real exploration of language, but there may be one or two generalisations made about the effects of context on the language. 3–4 • Where linguistic concepts are in evidence for each text, understanding is shallow and knowledge of them is likely to be muddled. • Some loose connections between the texts are established in one or two places in the answer. These connections are likely to be simple matching or contrasting of features with very little demonstration of how language use has varied over time. 3–4 1 • Candidates struggle to apply the linguistic methods; terminology, if present, is inappropriate and accuracy of written expression is very limited. • There may be the odd point made but there is no analysis with evidence. 1–2 • One or at the most two references are made to the context with no link to language production or reception. • Little or no attempt to draw conclusions about the effect of context on different uses of language. 1–2 • Any knowledge of linguistic concepts is likely to be mostly inaccurate with perhaps a very vague sense of understanding both texts being present. • The notion of comparison is essentially lost in this band. There may be one or two connections here and there, but these do not help with notions of how language use has varied over time. 1–2 0 • No response or no response worthy of any credit. 0 • No response or no response worthy of any credit. 0 • No response or no response worthy of any credit. 0 H470/02 Mark Scheme June 2023 25 APPENDIX 1 Assessment Objective weightings are given as percentages. Assessment Objectives Grid Question AO1% AO2% AO3% AO4% AO5% Total% 1 5 5 0 0 0 10 2 0 6 6 0 0 12 3 6 0 6 6 0 18 Totals 11% 11% 12% 6% 0% 40% Need to get in touch? If you ever have any questions about OCR qualifications or services (including administration, logistics and teaching) please feel free to get in touch with our customer support centre. 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H474/01 Mark Scheme June 2023 5 11. Annotations Annotation Meaning Blank Page – this annotation must be used on all blank pages within an answer booklet (structured or unstructured) and on each page of an additional object where there is no candidate response. Positive Recognition Assessment Objective 1 Assessment Objective 2 Assessment Objective 3 Assessment Objective 4 Assessment Objective 5 Attempted or insecure Analysis Detailed Effect Expression H474/01 Mark Scheme June 2023 6 Annotation Meaning Link Answering the question View Relevant but broad, general or implicit

H474/01 Mark Scheme June 2023 7 12. Subject Specific Marking Instructions Candidates answer Question 1. Assessment objectives AO1, AO2, AO3 and AO4 are assessed in this question. The question-specific notes on the task provide an indication of what candidates are likely to cover in terms of AOs 1, 2, 3 and 4. The level descriptors are organised with the dominant assessment objective first; for this question, AO4 followed by AO1, AO3 and AO2. The notes are neither prescriptive nor exhaustive: candidates should be rewarded for any relevant response which appropriately addresses the Assessment Objectives. Awarding Marks (i) There is one question worth 32 marks. (ii) Award a single overall mark out of 32, following this procedure: • refer to the question-specific Guidance for descriptions of Higher and Lower response and indicative content • using ‘best fit’, make a holistic judgement to locate the answer in the appropriate level descriptor • place the answer precisely within the level and determine the appropriate mark out of 32 considering the relevant AOs • bear in mind the weighting of the AOs, and place the answer within the level and award the appropriate mark out of 32 • there should be clear evidence of candidates’ response to AO4, AO1, AO3 and AO2. If a candidate does not address one of the assessment objectives they cannot achieve all of the marks in the given level. Mark positively. Use the lowest mark in the level only if the answer is borderline / doubtful. Use the full range of marks, particularly at the top and bottom ends of the mark range. H474/01 Mark Scheme June 2023 8 These are the Assessment Objectives for the English Language and Literature specification as a whole. AO1 Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology and coherent written expression. AO2 Analyse ways in which meanings are shaped in texts. AO3 Demonstrate understanding of the significance and influence of contexts in which texts are produced and received. AO4 Explore connections across texts informed by linguistic and literary concepts and methods. AO5 Demonstrate expertise and creativity in the use of English to communicate in different ways. WEIGHTING OF ASSESSMENT OBJECTIVES The relationship between the units and the assessment objectives of the scheme of assessment is shown below. The weightings for the assessment objectives are: AO4 5% AO1 4% AO3 4% AO2 3% Total 16% The dominant assessment objective is AO4 Explore connections across texts informed by linguistic and literary concepts and methods. Answers will also be assessed for AO1, AO3 and AO2. Answers should explore connections across the texts, considering similarities and differences, informed by linguistic concepts and methods (AO4). They should develop a coherent argument, using relevant concepts and methods from linguistic and literary study and associated terminology (AO1). Answers should be developed with reference to contextual factors (AO3) and explore the ways speakers and writers shape meanings (AO2). The criteria below are organised to reflect the order of the dominant assessment objectives. A response that does not address any one of the four assessment objectives targeted cannot achieve all of the marks in the given level. Level 6: 27–32 marks H474/01 Mark Scheme June 2023 9 AO4 Excellent and detailed exploration of connections across texts informed by linguistic and literary concepts and methods. AO1 Excellent application of relevant concepts and methods from integrated linguistic and literary study as appropriate. Consistently coherent and fluent written expression and apt and consistent use of terminology relevant to the task and texts. AO3 Perceptive understanding of the significance and influence of the contexts in which texts are produced and received. AO2 Excellent, fully developed and detailed critical analysis of ways in which meanings are shaped in texts. Level 5: 22–26 marks AO4 Clearly developed exploration of connections across texts informed by linguistic and literary concepts and methods. AO1 Secure application of relevant concepts and methods from integrated linguistic and literary study as appropriate. Consistently clear written expression and appropriate use of terminology relevant to the task and texts. AO3 Clear and relevant understanding of the significance and influence of the contexts in which texts are produced and received. AO2 Clear and well developed critical analysis of ways in which meanings are shaped in texts. Level 4: 17–21 marks AO4 Competent exploration of connections across texts informed by linguistic and literary concepts and methods. AO1 Competent application of relevant concepts and methods from integrated linguistic and literary study as appropriate. Generally clear written expression and mainly appropriate use of terminology relevant to the task and texts. AO3 Some understanding of the significance and influence of the contexts in which texts are produced and received. AO2 Competent analysis of ways in which meanings are shaped in texts. Level 3: 12–16 marks H474/01 Mark Scheme June 2023 10 AO4 Some attempt to explore connections across texts informed by linguistic and literary concepts and methods. AO1 Some application of relevant concepts and methods selected appropriately from integrated linguistic and literary study. Generally clear written expression with occasional inconsistencies and some appropriate use of terminology relevant to the task and texts. AO3 Some awareness of the significance and influence of the contexts in which texts are produced and received. AO2 Some analysis of ways in which meanings are shaped in texts. Level 2: 7–11 marks AO4 Limited attempt to make connections across texts informed by linguistic and literary concepts and methods. AO1 Limited attempt to apply relevant concepts and methods from integrated linguistic and literary study appropriately. Some inconsistent written expression and limited use of terminology relevant to the task and texts. AO3 Limited awareness of the significance and influence of the context in which texts are produced and received. AO2 Limited analysis of ways in which meanings are shaped in texts. Level 1: 1–6 marks AO4 Very little attempt to make connections across texts informed by linguistic and literary concepts and methods. AO1 Very little attempt to apply relevant concepts and methods from integrated linguistic and literary study appropriately. Inconsistent written expression and little use of terminology relevant to the task and texts. AO3 Very little awareness of the significance and influence of the contexts in which texts are produced and received. AO2 Very little analysis of ways in which meanings are shaped in texts. 0 marks: no response or response not worthy of credit. H474/01 Mark Scheme June 2023 11 Question Response Marks Guidance 1 Text A from the anthology is a transcript from an extract of a British daytime television talk-show where Great British Bake Off winner Nadiya Hussain is being interviewed by This Morning hosts Phillip Schofield and Holly Willoughby ahead of the release of a new TV show and cookbook. Text B is from a website called But Why Tho? This site is dedicated to sharing opinions and reviews of new video games, comics, film, television, and books. This extract is a review of Bake Off winner Nadiya Hussain’s recent television baking series on Netflix called Nadiya Bakes. Carefully read the two texts and compare the ways in which the speakers in Text A and the writer in Text B use language to convey meaning. In your answer you should analyse the impact that the different contexts have on language use, including for example, mode, purpose and audience. A higher level response (levels 4 to 6) will: AO1 Use vocabulary and terminology appropriately, referring to a range of language levels, including grammar and discourse, e.g. conjunctions, contractions etc. Express ideas fluently and coherently, with a wide vocabulary. AO4 Make comparisons between texts, e.g. analysing similarities (both present a range of formality in lexis) and differences (the interplay between spontaneous speech of the guest and the more crafted nature of the presenters’ questions in the television show versus the more crafted nature of website review.) 32 The indicative content shows an integrated approach to the four assessment objectives. AO4, AO1, AO3 and AO2 Context/audience/purpose e.g. • Text B is written for a website. The review is written for people who enjoy watching cookery programmes, or who want to know more about the new show. The writer addresses the audience of the review directly (‘even if you’re a total novice’) and tries to persuade the reader they will enjoy Nadiya’s new television series and tries to persuade them they will also want to cook/eat Nadiya’s food (‘watching this program will have you craving some of the most aesthetically pleasing food on a cooking show that you’ll ever see’) and tells them that they will learn something (‘you learn the science of baking’). Text B’s writer also wants to convey her opinion of Nadiya, and she often compliments her (‘it’s a superb display’) to encourage readers to watch the series. She is also trying to appeal to an audience who enjoy diverse foods (‘the food is so colourful and diverse in origin’). • Whilst not as persuasive, Text A’s presenters do give their own opinion perhaps to influence and entertain their viewers. As well as letting their viewers find out more about Nadiya as a person away from her cooking by asking her questions about her personal life (‘you say that it was a bit of a journey to find out what being British meant?’) Phillip also promotes and praises Nadiya’s book (‘the book, the book is fabulous’) to the television viewers. This promotion of the book is presumably the reason Nadiya has appeared on the television show and Phillip helps with this (‘it’s just so stunning, this is gorgeous’). Nadiya also self-promotes her book to the viewers too and tries to advertise it as being something more than a cookbook (‘I know it’s a cookbook, but I know someone will pick it up and say ‘You know what? I get that.’) She could be trying to appeal to an audience who have diverse backgrounds like herself. H474/01 Mark Scheme June 2023 12 Question Response Marks Guidance AO2 Explore the ways the speakers use language to achieve their purposes for their respective audiences, e.g. the use of questions to develop the conversation for the television show and help the viewer learn more about Nadiya’s life or the reviewer’s focus on the look or aesthetics of the cookery show for potential television viewers who will only see (and not taste) the food. AO3 Understand the significance of a range of contextual factors, e.g. the reviewer’s feelings about cultural appreciation in the Netflix review, or the appeal by Nadiya to self-promote her new book to people from diverse background. Explore the shared purposes; intended/implied audiences. A lower level response (levels 1 to 3) will: AO1 Use some appropriate terminology, mainly at level of word choice, e.g. adjective use, or syntax, such as complex sentences. Expression is clear but may lack precision. AO4 Make general comparisons between language use, e.g. crafted versus spontaneous. AO2 Examine some ways the writers use language in each text, e.g. use of adjectives to show the reviewer’s opinions of Nadiya versus the use of verbs to show the presenters’ feelings towards Nadiya’s new book. AO3 Recognise and show an understanding of the differences between contexts. Mode e.g. • The crafted written mode of Text B is visible with the cataphoric reference on the first line (Famed chef and baker Nadiya Hussain has done it again), with the use of ‘it’ referring to something the audience has to read on in order to find out that ‘it’ is the new ‘program on Netflix’. Paragraphs are relatively short in order to make the online review more appealing for a reader to read quickly on a computer screen, or on technological devices. • Although Text A is a spoken text, there are also elements where the conversation in Text A has been crafted and planned. Text A is being filmed live in a studio. The conversation will not be completely spontaneous because Holly and Phillip will have scripted questions. Holly’s questions imply that prior research has been carried on out on Nadiya and the questions are used to prompt further information. Although there is no explicit reference to a viewer, the presenters are aware of an audience watching the television wanting to hear more and so they prompt and steer the conversation in certain directions. Lexis/Semantics e.g. • The lexis used in Text A suggests that Nadiya respects and admires the part that individual people in her family have played in her success. She uses nouns such as ‘sacrifice’ (‘my grandparents made a sacrifice’) and she shows a respect for this. • In Text B, respect is also shown through the lexis, but this time the noun ‘reverence’ is used to convey the idea of a deep respect. The writer is commenting upon Nadiya’s regard for her culture rather than just specific people (‘Nadiya has such deep respect and reverence for these cultures’.) • Both texts contain a focus on the aesthetics of Nadiya’s work. In Text A, Philip expresses his interest in the appearance of Nadiya’s new book (‘I just love the pictures’), and Text B also acknowledges how important the aesthetics are for television (‘aesthetically, the food is exemplary, making all of it look all the more delicious’), however the writer of this text takes this subject even further H474/01 Mark Scheme June 2023 13 Question Response Marks Guidance considering how it is captured on television (‘the cinematography for the food is top-notch’) and mentioning the use of colours (‘so much colour!’) It seems that the appearance of the food becomes even more important than taste for television viewers (‘some of the most aesthetically pleasing food on a cooking show that you’ll ever see’). Pragmatics e.g. • In Text A, Nadiya implies a lack of knowledge/confidence about certain issues in her life (‘I’ll probably never get an answer, the one thing I never did was challenge myself’), however, the writer of Text B implies that the baker is very confident at her profession (‘a superb display of her mastery over the craft and her ability to instil confidence in her viewers’) and uses adverbs such as ‘seamlessly’ to describe her teaching approach. • In Text B there is perhaps an implied meaning that the writer herself feels slightly marginalised because of her own cultural background and so she has a deep respect for Nadiya’s cultural acknowledgements in her cooking (‘Western society continues to marginalise Middle Eastern and North African people’). To reinforce this praise of Nadiya, the writer then uses food lexis associated with these Middle Eastern and North African cultures such as ‘tahini’ or ‘cardamom and turmeric.’ The writer tries to convey her own opinion idea that some ‘white’ chefs who use these ingredients do not show enough respect towards the cultures from which they came (‘often when chefs (who tend to be white) use some of these ingredients, it’s without reverence for their origins’). She attributes the adjective ‘regressive’ to such chefs, and yet, when referring to Nadiya, she uses adjectives such as ‘innovative.’ Grammar/syntax e.g. • In Text A, the spontaneity of Nadiya’s speech is revealed with her use of fronted conjunctions. Many of her sentences start with fronted conjunctions (‘So I had the elastic band’) and she links many of her ideas with coordinating conjunctions as if they are thoughts popping into her head at that moment (‘And then I’ve never really worn it since. And sometimes I have and-I think’) H474/01 Mark Scheme June 2023 14 Question Response Marks Guidance • In Text B, despite it being a crafted text, there are elements of this text that have been crafted to make it seem almost conversational with the use of fronted conjunctions (‘But Nadiya has such deep respect and reverence’) to help make the review more engaging and interesting to read on the website. • In Text A, because Nadiya’s speech is spontaneous, sentences have many clauses (‘And to me that’s really important, and I don’t, I don’t write for no reason, I write for purpose, and I know it’s a cookbook…’). • Text B’s crafted speech shows sentences that rarely have more than 3 clauses. Sentences are more complex and carefully crafted with embedded relative clauses (‘Often, when popular chefs (who tend to be white) use some of these ingredients, it’s without reverence for their origins’). Need to get in touch? 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H474/03 Mark Scheme June 2023 5 11. Annotations Annotation Meaning Blank Page – this annotation must be used on all blank pages within an answer booklet (structured or unstructured) and on each page of an additional object where there is no candidate response. Positive Recognition Assessment Objective 1 Assessment Objective 2 Assessment Objective 3 Assessment Objective 5 Attempted or insecure Analysis Detailed Expression Answering the question View Relevant but broad, general or implicit

H474/03 Mark Scheme June 2023 6 12. Subject Specific Marking Instructions Candidates answer one question from Section A and two questions from Section B. Assessment objectives AO1, AO2 and AO3 are assessed in Section A. Assessment objectives AO1, AO2 and AO5 are assessed in Section B. For each section the level descriptors are organised with the dominant assessment objective first. The question-specific guidance on the tasks provide an indication of what candidates are likely to cover in terms of AOs 1, 2, 3 and 5. The guidance and indicative content are neither prescriptive nor exhaustive: candidates should be rewarded for any relevant response which appropriately addresses the Assessment Objectives. Awarding Marks 1. Each section is worth 32 marks. 2. Section A has one question worth 32 marks. Section B has two questions which added together are worth a maximum of 32 marks. 3. In Section B Question 3 is worth 18 marks and Question 4 is worth 14 marks. Mark each question and then add the marks together for a total mark out of 32. For each answer, award a single overall mark out of 32, following this procedure: • refer to the question-specific Guidance for Higher and Lower response and indicative content • using ‘best fit’, make a holistic judgement to locate the answer in the appropriate level descriptor • place the answer precisely within the level and determine the appropriate mark out of 32 considering the relevant AOs • bear in mind the weighting of the AOs, and place the answer within the level and award the appropriate mark out of 32 • if a candidate does not address one of the assessment objectives targeted they cannot achieve all of the marks in the given level. Mark positively. Use the lowest mark in the level only if the answer is borderline /doubtful. Use the full range of marks, particularly at the top and bottom ends of the mark range. When the complete script has been marked: • if necessary, follow the instructions concerning rubric infringements; • add together the two marks out of 32, to arrive at the total mark for the script out of 64. Rubric Infringement Candidates might infringe the rubric in one of the following ways: • only answering one question • answering two questions from Section A or one from Section B • answering more than two questions. If a candidate has written three or more answers, mark all answers and award the highest mark achieved in each Section of the paper. H474/03 Mark Scheme June 2023 7 These are the Assessment Objectives for the English Language and Literature specification as a whole. AO1 Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology and coherent written expression. AO2 Analyse ways in which meanings are shaped in texts. AO3 Demonstrate understanding of the significance and influence of contexts in which texts are produced and received. AO4 Explore connections across texts informed by linguistic and literary concepts and methods* NOT ASSESSED IN H474/3 AO5 Demonstrate expertise and creativity in the use of English to communicate in different ways. H474/03 Mark Scheme June 2023 8 WEIGHTING OF ASSESSMENT OBJECTIVES The relationship between the units and the assessment objectives of the scheme of assessment is shown in the following table: Component % of A Level AO1 AO2 AO3 AO4 AO5 Total Exploring non-fiction and spoken texts (01) 4% 3% 4% 5% 0% 16% The language of poetry and plays (02) 9% 12% 8.5% 2.5% 0% 32% Reading as a writer, writing as a reader (03) 9% 11% 5% 0% 7% 32% Independent study: analysing and producing texts (04) 3% 4% 2.5% 4.5% 6% 20% Total: 25% 30% 20% 12% 13% 100% H474/03 Mark Scheme June 2023 9 Section A - Reading as a writer The weightings for the assessment objectives are: AO2 6% AO1 5% AO3 5% Total 16% In Section A the dominant assessment objective is AO2 Analyse ways in which meanings are shaped in texts. Answers will also be assessed for AO1 and AO3. Answers should explore how meanings are shaped by analysing the author’s use of narrative techniques (AO2). They should develop a coherent argument, using relevant concepts and methods from linguistic and literary study and associated terminology (AO1). Answers should be developed with reference to literary and generic contexts (AO3). The criteria below are organised to reflect the order of the dominant assessment objectives. A response that does not address any one of the three assessment objectives targeted cannot achieve all of the marks in the given level. Level 6: 27-32 marks AO2 Excellent, fully developed and detailed critical analysis of ways in which meanings are shaped in texts. AO1 Excellent application of relevant concepts and methods from integrated linguistic and literary study as appropriate. Consistently coherent and fluent written expression and apt and consistent use of terminology relevant to the task and texts. AO3 Perceptive understanding of the significance and influence of the contexts in which texts are produced and received. H474/03 Mark Scheme June 2023 10 Level 5: 22-26 marks AO2 Clear and well developed critical analysis of ways in which meanings are shaped in texts. AO1 Secure application of relevant concepts and methods from integrated linguistic and literary study as appropriate. Consistently clear written expression and appropriate use of terminology relevant to the task and texts. AO3 Clear and relevant understanding of the significance and influence of the contexts in which texts are produced and received. Level 4: 17-21 marks AO2 Competent analysis of ways in which meanings are shaped in texts. AO1 Competent application of relevant concepts and methods from integrated linguistic and literary study as appropriate. Generally clear written expression and mainly appropriate use of terminology relevant to the task and texts. AO3 Some understanding of the significance and influence of the contexts in which texts are produced and received. Level 3: 12-16 marks AO2 Some analysis of ways in which meanings are shaped in texts. AO1 Some application of relevant concepts and methods selected appropriately from integrated linguistic and literary study. Generally clear written expression with occasional inconsistencies and some appropriate use of terminology relevant to the task and texts. AO3 Some awareness of the significance and influence of the contexts in which texts are produced and received. H474/03 Mark Scheme June 2023 11 Level 2: 7-11 marks AO2 Limited analysis of ways in which meanings are shaped in texts. AO1 Limited attempt to apply relevant concepts and methods from integrated linguistic and literary study appropriately. Some inconsistent written expression and limited use of terminology relevant to the task and texts. AO3 Limited awareness of the significance and influence of the context in which texts are produced and received. Level 1: 1-6 marks AO2 Very little analysis of ways in which meanings are shaped in texts. AO1 Very little attempt to apply relevant concepts and methods from integrated linguistic and literary study appropriately. Inconsistent written expression and little use of terminology relevant to the task and texts. AO3 Very little awareness of the significance and influence of the contexts in which texts are produced and received. 0 marks: no response or response not worthy of credit. H474/03 Mark Scheme June 2023 12 Question Response Marks Guidance 1 In what ways does the ending of the novel provide a resolution of its narrative? You should range across the text to explore how features such as character, setting and viewpoint are presented during the final stages of the novel, the function the ending plays in the novel as a whole, and the broader generic context. A higher level response (levels 4 to 6) will: AO2 Explore the ways the writer presents the ending, going beyond the most obvious features, and giving a strong sense of how the ending creates meaning in the novel as a whole. AO1 Use vocabulary, terminology and narrative concepts appropriately, to analyse the ways in which the writer presents the ending. Express ideas coherently and fluently, with a wide vocabulary. AO3 Show an understanding of the literary and generic context, using this 32 The indicative content shows an integrated approach to AO2 and AO1 with additional guidance for AO3. Depending on the text studied, candidates may discuss: Jane Eyre AO2 and AO1 The ending of Jane Eyre resolves the question of Jane’s inheritance, proving her to be an heiress after all, and sees St John depart to missionary work in India without her; her love for Rochester, via something like telepathic communication, has proved stronger than St John’s arid but selfless proposal. The final movement of the novel involves a retrospect, Jane ‘catching up’ with the story of the Thornfield fire from a local innkeeper, and then encountering a much more vulnerable Rochester, partially blinded and injured from his efforts to save Bertha, apparently having atoned in suffering for his past sins. The final scene takes place at Ferndean, Rochester’s less salubrious second mansion, where damp always prevented him from exiling Bertha. In these decisive scenes, where Jane is young, strong and vigorous, and Rochester a subdued and wounded middle-aged husk, many will argue that Jane’s narrative (‘Reader I married him’) gives the female voice the upper hand. Others will find this regularisation of their love profoundly romantic. AO3 This is the ending of an early Victorian romantic novel, a space of reward and punishment, but buoyed with the pious hope that God has forgiven Rochester and looks favourably on his injuries. The bildungsroman element of the novel resolves in a conventional concluding marriage, Jane empowered by her uncle’s legacy. Unexpected, however, is the way the novel finishes not with Rochester or Jane but with that angular pilgrim St H474/03 Mark Scheme June 2023 13 Question Response Marks Guidance knowledge to illuminate their discussion of the use of the novel’s ending. A lower level response (level 1 – 3) will: AO2 Identify and list some ways in which the writer accomplishes the novel’s ending. AO1 Use some appropriate vocabulary and narrative concepts to analyse the ways in which the novel’s ending is presented. Expression is clear but may lack precision. AO3 Show limited understanding of the literary and generic context in relation to the ending of the novel studied. John Rivers sacrificing himself to the glory of God in India. Its very last words are the last words of the Bible. The Great Gatsby AO2 and AO1 The death of Gatsby, dreaming in his lonely swimming pool at the onset of autumn, gives way to Nick’s increasing disquiet about the funeral, when Gatsby’s followers desert him. As often in the second half of the novel, we are given deeper insights into Gatsby’s distinct but distant personality. These are provided by his father, showing Nick a teenage task-book that demonstrates how assiduously young Jay Gatz took and monitored the task of self-improvement. Then follows that remarkable coda on the damaging ubiquity of the American dream. Some candidates will feel that Nick provides a fitting meditation on an appropriately tragic ending; some may commend the primary colour symbolism of Nick’s prose (‘green light’, ‘fresh green breast’); others might approve of how the optimistic oars beat on ‘against the current’: ‘and one fine morning—’ AO3 Nick develops two themes in the book’s final pages: the ubiquity of the American dream and the need for self-renewal, something sensed by the early Dutch colonists in what was then New Amsterdam; and that strange sense that none of the major characters really belongs in New York, or on the East Coast, or even among the traditions of privileged America: ‘We were all Westerners’. This is as true of the ‘vast carelessness’ of Tom and Daisy as of the exquisite uncertainties of Gatsby himself. H474/03 Mark Scheme June 2023 14 Question Response Marks Guidance Things Fall Apart AO2 and AO1 The final chapters of Achebe’s hitherto leisurely novel signal a change in pace and direction. At first the arrival of the European missionaries provides distraction and humour (‘Instead of saying “myself” he always said “My buttocks”), with the church providing an intriguing (‘lunatic’) alternative to the local religions, though there is tension when a sacred python is killed. Nobody is clear, as yet, whether the missionaries offer a threat to traditional tribal ways of life, but warriors like Okonkwo feel themselves emasculated (‘Why have they lost the power to fight?’). Right at the end of the book a British colonial power arrives. Now tribal disputes are to be settled in court and transgressors are to be hanged, apparently without malice. Without understanding very much about it, except that he is dressed as a warrior again, Okonkwo and his clansmen destroy a church. Soon after he slaughters a government messenger, and commits suicide. AO3 Throughout these final scenes, as throughout the book, neither Okonkwo nor his people nor even Achebe has much to say about their predicament: the old tribal ways end overnight, described in Achebe’s characteristically limpid prose, all dramatisation without reflection. With brilliant irony the District Commissioner is writing a book called ‘The Pacification of the Primitive Tribes of the Lower Niger’, no doubt an academic treatise reminiscent of the pamphlet of Conrad’s Mr Kurtz. H474/03 Mark Scheme June 2023 15 Question Response Marks Guidance The God of Small Things AO1 and AO2 The ending of this novel, long prepared for, is the graphic incestuous lovemaking of Velutha and Ammu, as inevitable as daylight, ‘a luminous woman opening herself to a luminous man’. Recently the cruel momentous death of Sophie Mol (‘Loved from the Beginning’) has been recounted, and its sequel at the hands of the brutal ‘touchable’ police, but the novel’s final sequence delves much further back into the past, where the lovers are only just becoming lovers, and act by instinct, not by moral consciousness. Sophie Mol is alive again and has just come home. For thirteen nights over the novel’s final pages the lovers are given over to the ‘Small Things’ of copulation, before Roy reaches that potential love-charm, a ‘Tomorrow’ which hasn’t happened yet. The novel has played so many games with time it is not surprising it should end near the beginning of its time-scheme, nor that a novel which is all about the consequences of guilt and shame should end in a scene of transgressive love that is seen by the lovers as innocent and inevitable. It becomes clear that the book is finally about the nature and consequences of illicit love. AO3 The end of the novel seems to hang fire in time, as if the large cultural questions it asks, not least the nature of Indian moral attitudes after the departure of the British, have not been answered yet. The History House, monument to the Raj, is a dark space. Most of the talk is of commerce, Lotteries, the lettering for bottles of Paradise Pickles. Father Mulligan, the apostle of Missionary Catholicism has just died. It is still 1969, and the novel’s subversive sound-track is popular music from London or Hollywood musicals. Some wait for a Marxist Revolution. The Twins bring about a kind of Revolution through their love. H474/03 Mark Scheme June 2023 16 Question Response Marks Guidance Atonement AO1 and AO2 Seventy-seven year old Briony, a brilliantly successful novelist in an age of public readings and awards, makes her way from museums to auditoria via taxicabs. She explains how she has had repeated goes at her novel between January 1940 and the present moment, 1999. The book has evolved as it increasingly recognises her guilt at her inadvertent ‘framing’ of Robbie when she was an adolescent girl. But her final decision is to leave the falsely sanguine manuscript of her novel alone. She will not offer herself or us a purely aesthetic display of ‘atonement’. Robbie and Cecilia continue to make peace with her in an invented final meeting. She will not substitute the ‘fact’ there never was such a meeting, an ending of ‘bleakest realism’. She is keen, even in this last chapter, to check the facts in her novels with experts, but, as in time past, she gets them horribly wrong, as a Man from the Museum points out: ’Madame (underlined three times) a Stuka does not carry a single thousand ton bomb.’ Briony is still wondering how a feted successful novelist, simultaneously fallible and ignorant, can, with the ‘novelist’s absolute power of deciding outcomes’ also be ‘God’. The novel ends with quiet force, asking more questions about the nature of fiction than it answers, reflecting on the idyllic summer of 1935 in the big house, where all the damage was done, incorporating the war-torn sections in the hospital and the retreat from Dunkirk. All these are of course episodes brilliantly concocted by Briony the conflicted novelist. AO3 The final section juxtaposes the distant English history of big houses and businessmen before the Second World War, with the agonised surgery to clear up the mess of War and the iconic retreat to Dunkirk. It is clear that Briony is drawing her inspiration from one time and writing about it in another, struggling against encroaching memory loss (‘vascular dementia’), H474/03 Mark Scheme June 2023 17 Question Response Marks Guidance noting that her ‘accomplices’ in the destruction of Robbie, Lola and Marshall, are vulgarly portentous as ever, reflecting that the island and its Temple have gone from the Big House and London has become a cemetery of memories: ‘The addresses of the dead pile up’. The Namesake AO1 and AO2 The Namesake ends with its hero meditating on his namesake, Nicolai Gogol, author of the story about an overcoat that has meant so much to himself and his father in the American lives they so often take for granted. By the end of the book Gogol no longer dreams of the vibrancy of distant Calcutta, the city his parents quit for a successful academic life in America thirty-three years before. The sense of that place is no stronger to him in the final chapter than it was at the beginning of the book. Lahiri’s prose is just as purposefully flat and dry. ‘Gogol knows now that his parents had lived their lives in America in spite of what was missing.’ He himself has sampled New York, ‘but has always hovered close to this quiet, ordinary town that had remained, for his mother and father, stubbornly exotic.’ His mother is still stubbornly preparing Indian food on American cookware for a farewell party, lighting incense sticks, but no longer sure if she wants to return to India. AO3 Lahiri reminds us at the end of the book just how much social change she has incorporated: counter-culture, the sexual revolution, the Cold War, Reaganomics. And yet for Ashok and his family America merely presents a sequence of bland, fulfilling opportunities and plenty of purchasing power. For Gogol there is a familiar cultural confection of student life, with Bengal usually conspicuous by its absence: Comparative Literature, Stendhal, The H474/03 Mark Scheme June 2023 18 Question Response Marks Guidance Names of Popes. This is a suitably low key study of successful people who feel the hollow spaces of globalism at the centre of their lives. H474/03 Mark Scheme June 2023 19 Question Response Marks Guidance 2 In what ways does the writer use characterisation to shape the narrative? You should range across the text to explore how character contributes to the structure of the narrative, the function character plays in the novel as a whole, and the broader generic context. A higher level response (levels 4 – 6) will: AO2 Explore the ways the writer develops character, going beyond the most obvious features, and giving a strong sense of the role played by characterisation within the novel as a whole. AO1 Use vocabulary, terminology and narrative concepts appropriately, to analyse the ways in which character is developed in the novel. Express ideas coherently and fluently, with a wide vocabulary. AO3 Show an understanding of the literary and generic context, using this knowledge to illuminate their discussion of character development. 32 The indicative content shows an integrated approach to AO2 and AO1 with additional guidance for AO3. Depending on the text studied, candidates may discuss: Jane Eyre AO2 and AO1 Jane Eyre is a first person novel, so all the characters are reflected through Jane’s personal vision. This can lead to complex ‘double takes’: at first Jane sees Aunt Reed as a focus of injustice; later in the novel, however, she empathises with her needs enough to visit her deathbed. St John Rivers is sometimes a life denying disciplinarian, at other times a saint. Many candidates will argue that, as a bildungsroman, the novel is structured to develop Jane’s own character: her vulnerable girlhood, where she needs ‘cover’ to survive at self-seeking Gateshead Hall; the Gothic introduction to Thornfield, matching Jane’s exploration of the feeling that brings her love for Rochester to life; the agonised departure from Rochester after the discovery of his bigamy; the ‘destitution’ at Whitcross, a kind of expressionist demonstration of Jane’s exhausted soul. As the novel progresses, Jane’s judgments become more and more secure: her serious tiffs with Rochester, not at all like flirtation; basking in the glow of discovering a family of cousins; refusing to hide her temptations from God. AO3 Many will argue that Jane progresses from a poor, plain orphan to something like a model early-Victorian wife, and the book dramatizes her progress through the limited choices and moral difficulties of a time when it was arguably easier to become an ‘angel in the house’. However, the H474/03 Mark Scheme June 2023 20 Question Response Marks Guidance novel explores other pressures on its characterisation: the distant evil of slavery and its consequences for the Madwoman in the Attic; the tendency of Victorian plots (like this one) to reward worthy people (like Jane) with unexpected legacies; the surprise that Jane has had a ‘family’ waiting for her in a Derbyshire parsonage all the time. The Great Gatsby AO2 and AO1 The Great Gatsby is a short book with many characters, many of whom do not develop very much, but who may come to be viewed slightly differently as Nick Carraway’s narrative becomes more insightful and sharply focused. Jordan Baker, at first a picture of slightly dissatisfied fashionable dishonesty, becomes neglected, even passed over as the book goes on. Tom and Daisy, selfish, self-seeking people, have a limited glamour when Nick first encounters them, but they are dismissed without compassion in the final pages. Gatsby himself remains an enigma, but the book is structured so that more and more of his backstory is revealed, to Nick and us, the episodes with Dan Cody, the homage paid by his odd, detached father. Fitzgerald’s editor urged him to structure the book this way, so that the initial flat reflection ‘the Platonic idea of himself’ becomes a wounded romantic who somehow encapsulates his age. But the book is Nick’s story as much as Gatsby’s. Some may argue that Nick, as a ‘limited narrator’ should be trusted in very little, but he mediates the novel’s symbolism with a touch of poetry, and sums up the American dream, and the feelings of insecurity in the hearts of most Americans, brilliantly in the novel’s final pages. H474/03 Mark Scheme June 2023 21 Question Response Marks Guidance AO3 This is a book crowded with extras, populating hedonistic New York like the weird proper names who come to Gatsby’s party, or that memorable hanger-on Klipspringer. There is not much time to dwell on setting, but proper attention is given to more and less glamorous living-spaces, and the impact of derelict spaces liked the Valley of Ashes on the ‘hot struggles of the poor’. Things Fall Apart AO2 and AO1 Achebe’s prose is unadorned, direct and forceful. Many of the characters are undeveloped, and the register is starkly dramatic rather than analytic. Achebe does, however, make clear on many occasions Okonkwo’s fear of seeming weak before his tribesmen, and his tendency to lose his uncertainty in macho displays or violent games. Meanwhile there is no hint that the novel has a time frame. This turns out to be the later nineteenth century but nothing can be dated until the missionaries arrive. In the sense of the outer world time does not exist for these tribes, and life is a tough but sustainable sequence of plantings, harvests, locust plagues and natural and unnatural deaths. Achebe suggests that despite the waywardness of tribal culture, it is purposive, and in this sense tests and brings out character: ‘A man’s life from birth to death was a series of transition rites which brought him nearer and nearer to his ancestors.’ H474/03 Mark Scheme June 2023 22 Question Response Marks Guidance A lower level response (levels 1 to 3) will: AO2 Identify and list some ways in which the writer develops character. AO1 Use some appropriate vocabulary and narrative concepts to analyse the ways in which characters develop in the novel. Expression is clear but may lack precision. AO3 Show limited understanding of the literary and generic context in relation to development of character. AO3 Much contextualising of tribal life is managed by constant dramatic reference to communal rites, snatches of songs, and folk-fables of wily creatures such as the tortoise and cat. Gossip, too, is a significant aspect of specification: it is clear that characters are expected to behave in an appropriate way, even sometimes killing, for the honour of themselves and their ancestors. There are few complaints about injustice, because time seems to bring redress. Character is very much a product of the leisurely repeating seasons. The quietly iterated rituals of the narrative match those of pre- colonial tribal life. The God of Small Things AO1 and AO2 The non-linear handling of time in The God of Small Things both compresses and transcends history, spreading its gaze over the diversity of post-colonial India, at ease neither with its present and its past. Narrative seems subordinate to these larger sociological movements, and becomes intriguingly fragmented by them. This also blocks focus on any one character for very long, though Baby Kochamma’s larger-than-life presence draws the reader’s attention in a number of time-frames. The jagged impact of the characterisation is augmented by Roy’s frequent changes of register and her insistent literary language. On the other hand Rahel’s developing understanding of the novel’s events as focaliser tends to offer a binding presence. In some ways, typical of post-modern fiction, assembling the novel’s disjointed events and elusive H474/03 Mark Scheme June 2023 23 Question Response Marks Guidance characterisation in coherent order mirrors the complex cultural problems the text embodies. AO3 The timeframe is one of the major ways of exploring and exposing the lives of the characters. They are caught between 1969, when the twins are separated, and 1993, when they are reunited; this has the effect of concentrating a complex story upon these two figures, who provide the main narrative path to the ending. The significance of the twins’ incest, and its dark consequences, is signalled early in the novel, but it is only at the end that we catch up with the ‘lovers’ in those challenging moments of irresistible impulse and unqualified bliss. Atonement AO1 and AO2 The novel’s narrative is structured in an apparently linear manner: historical sequences from 1935 and 1940, then a largely ‘invented’ wish-fulfilment section from later in World War Two and a coda from the present day (1999). The book’s complexity derives from the way Briony (the novelist) remains in control throughout the novel (which is in an important sense not about actual events but the responsibilities of the writer of fiction). This means that her attitude to all the key characters is constantly shifting, though there is little indulgence throughout of the Marshalls, a family whose arrogance and entitlement is based on the production of chocolate. The narrative voice is keen to bring out the innocence and victimhood of H474/03 Mark Scheme June 2023 24 Question Response Marks Guidance her sister Cecilia, and the lower class Oxbridge graduate she falls for, Robbie. But the novelist and therefore her novel is never sure, right up to the end, whether making ‘atonement’ for the sufferings you have caused in a work of fiction has any real value. These paradoxes lead to satisfying and teasing metafictional complexity. Briony presents the novel’s wartime scenes with tense realism, contrasting with the comparative lushness and self-indulgence of the opening section, where she often incorporates passages of her own adolescent prose. The novel’s structure is probably more significant in its revelation of the novelist’s personality than any of the other characters. AO3 The sexual experimentation and class tensions of the novel’s rather leisurely opening signal that this is also a book about the vanished interwar years, and the effect of that damaged idyll on its characters, two of whom are brutally misjudged and cruelly consumed by events. In some ways McEwan is nodding at the tradition of English fiction (L.P. Hartley, Waugh’s A Handful of Dust) that shows a whole ‘Gothic world coming to grief’. The Namesake AO1 and AO2 Lahiri offers the reader a journey narrative and a transcontinental bildungsroman, focused almost wholly on the vicissitudes of a relatively unglamorous hero, but reflecting on two generations of life H474/03 Mark Scheme June 2023 25 Question Response Marks Guidance in America, where the need to keep in touch with Bengali roots is constantly smoothed over by the immediacy of American society, commercialism and cultural change from the late sixties to the millennium. There is a strong biographical format, almost like an eighteenth-century novel, with the (deeply divided) hero as focaliser. Free indirect discourse splices in the (more conservative) opinions of the parents. Gogol’s anxieties about his name form a series of rites of passage that structure the book, intermittently highlighting a metanarrative derived from ‘The Overcoat’ by the Russian author Gogol, who is also the hero’s ‘Namesake’. The narrative is written in a colourlessly lucid prose, suitable to its America of tenure-track academia and white goods. AO3 The narrative unfolds against a sometimes muffled background of American history, from Vietnam (via a little parental backstory) through drugs and free love to the Millennium. Though ostensibly a novel about high achievers, concentration is on family ties rather than professional interests. Indian culture is often viewed as disconcertingly distant (even irrecoverable) from the prospect of the novel’s American ‘world’. H474/03 Mark Scheme June 2023 26 Section B – Writing as a reader The weightings for the assessment objectives are: Narrative writing: AO5 7% AO2 2% 9% Commentary: AO1 4% AO2 3% 7% Total: 16% In Section B Narrative writing the dominant assessment objective is AO5 Demonstrate expertise and creativity in the use of English to communicate in different ways. Answers should also demonstrate understanding of how meanings are shaped in their original writing (AO2). A response that does not address one of the two assessment objectives targeted cannot achieve all of the marks in the given level. In Section B Commentary the dominant assessment objective is AO1 Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology and coherent written expression. Answers will also be assessed for AO2 Analyse ways in which meanings are shaped in texts. A response that does not address one of the two assessment objectives targeted cannot achieve all of the marks in the given level. Narrative writing Level 6: 18–16 marks AO5 Flair, originality and a high degree of control demonstrated in the use of English to communicate in different ways. AO2 Excellent, fully developed and detailed demonstration of ways in which meanings are shaped in texts. Level 5: 15–13 marks AO5 Control and creativity demonstrated in the use of English to communicate in different ways. AO2 Clear and well developed demonstration of ways in which meanings are shaped in texts. H474/03 Mark Scheme June 2023 27 Level 4: 12–10 marks AO5 Competence and engaging effects demonstrated in the use of English to communicate in different ways. AO2 Competent demonstration of ways in which meanings are shaped in texts. Level 3: 9–7 marks AO5 Some accuracy and attempt to create effects demonstrated in the use of English to communicate in different ways. AO2 Some demonstration of ways in which meanings are shaped in texts. Level 2: 6–4marks AO5 Limited accuracy and some attempt to create effects demonstrated in the use of English to communicate in different ways. AO2 Some limited demonstration of ways in which meanings are shaped in texts. Level 1: 3–1 marks AO5 Little accuracy and little attempt to create effects demonstrated in the use of English to communicate in different ways. AO2 Very little demonstration of ways in which meanings are shaped in texts. 0 marks: no response or response not worthy of credit. H474/03 Mark Scheme June 2023 28 Commentary Level 6: 14–13 marks AO1 Excellent application of relevant concepts and methods from integrated linguistic and literary study as appropriate. Consistently coherent and fluent written expression and apt and consistent use of terminology relevant to the task and texts. AO2 Excellent, fully developed and detailed critical analysis of ways in which meanings are shaped in texts. Level 5: 12–10 marks AO1 Secure application of relevant concepts and methods from integrated linguistic and literary study as appropriate. Consistently clear written expression and appropriate use of terminology relevant to the task and texts. AO2 Clear and well developed critical analysis of ways in which meanings are shaped in texts. Level 4: 9–7 marks AO1 Competent application of relevant concepts and methods from integrated linguistic and literary study as appropriate. Generally clear written expression and mainly appropriate use of terminology relevant to the task and texts. AO2 Competent analysis of ways in which meanings are shaped in texts. Level 3: 6–5 marks AO1 Some application of relevant concepts and methods selected appropriately from integrated linguistic and literary study. Generally clear written expression with occasional inconsistencies and some appropriate use of terminology relevant to the task and texts. AO2 Some analysis of ways in which meanings are shaped in texts. H474/03 Mark Scheme June 2023 29 Level 2: 4–3 marks AO1 Limited attempt to apply relevant concepts and methods from integrated linguistic and literary study appropriately. Some inconsistent written expression and limited use of associated terminology relevant to the task and texts. AO2 Limited analysis of ways in which meanings are shaped in texts. Level 1: 2–1 marks AO1 Very little attempt to apply relevant concepts and methods from integrated linguistic and literary study appropriately. Inconsistent written expression and little use of terminology relevant to the task and texts. AO2 Very little analysis of ways in which meanings are shaped in texts. 0 marks: no response or response not worthy of credit. H474/03 Mark Scheme June 2023 30 Question Response Marks Guidance 3a Choose one of the storylines opposite to develop as the opening of a narrative. You should make your own choices about the story’s starting point and linguistic techniques. A higher level response (levels 4 to 6) will: AO5 Demonstrate expertise and creativity in its use of English to create an effective opening to a narrative that shows a high degree of control over the techniques that have been chosen. AO2 Demonstrate a sophisticated awareness of the ways in which meanings are shaped in narrative texts. A lower level response (levels 1 to 3) will: AO5 Show some ability to shape the opening to a narrative, drawing on some techniques that go beyond basic storytelling. AO2 Show some awareness of the ways in which meanings are shaped in narrative texts. 18 Candidates will use a range of different narrative techniques, drawn from their study of narrative texts for Section 1 in order to create the opening of a narrative of their own. They may draw selectively on techniques such as dialogue, description, evocation of setting and imagery and will choose a particular narrative voice, point of view, way of handling time and prose style. They will make their own choices to create an effective opening to a narrative. Note: Candidates are writing the opening to a narrative, and can start at any point, using any one of the bullet points as the beginning of their story. They are not expected to write the full story. Candidates who do not satisfy the examiner that they have engaged with the storyline arc implied by the prompts will not be able to achieve a mark higher than Level 2 for Question 3a. H474/03 Mark Scheme June 2023 31 Question Response Marks Guidance 3b Outline the key narrative and linguistic techniques you have used in your writing for Question 3a. You should write approximately 250 words. A higher level response (levels 4 to 6) will: AO1 Apply concepts and methods from the study of narrative techniques, using relevant terminology and coherent written expression to convincingly show how techniques have been used in the Question 3 response. AO2 Effectively and convincingly analyse ways in which meanings are shaped in the Question 3 narrative writing response. A lower level response (levels 1 to 3) will: AO1 Identify some concepts and methods from the study of narrative techniques, using some terminology and clear written expression. AO2 Describe some ways in which meanings have been shaped in the Question 3 narrative writing response. 14 Candidates will be expected to explain and analyse the narrative techniques they have used in their own creative writing for Question 3a. They will not be expected to write about connections between their writing and the text studied for Section A but rather to write about the narrative concepts and techniques they have adopted to answer Q3a. Responses which have not satisfied the examiner that they have engaged with the storyline arc implied in Question 3a will be self-penalising in terms of achievement for Question 3b. In these instances, commentaries will not be able to achieve a mark higher than Level 2 for Question 3b given that they will not be able to satisfactorily analyse the ways meanings have been shaped in terms of the given storyline arc. H474/03 Mark Scheme June 2023 32 Appendix 1 Assessment Objective weightings are given as percentages. Assessment Objectives Grid Narrative text Question AO1% AO2% AO3% AO4% AO5% Total% 1 5 6 5 0 0 16% Totals 5% 6% 5% 0% 0% 16% Original writing Question AO1% AO2% AO3% AO4% AO5% Total% 2 0 2 0 0 7 9% 3 0 2 0 0 7 9% Totals 0% 2% 0% 0% 7% 9% Commentary Question AO1% AO2% AO3% AO4% AO5% Total% 4 4 3 0 0 0 7% Totals 4% 3% 0% 0% 0% 7% Need to get in touch? If you ever have any questions about OCR qualifications or services (including administration, logistics and teaching) please feel free to get in touch with our customer support centre. Call us on 01223 553998 Alternatively, you can email us on support@ocr.org.uk For more information visit ocr.org.uk/qualifications/resource-finder ocr.org.uk Twitter/ocrexams /ocrexams /company/ocr /ocrexams OCR is part of Cambridge University Press & Assessment, a department of the University of Cambridge. 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