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GCE EXAMINERS' REPORTS

ENGLISH LITERATURE

AS/Advanced SUMMER 2012

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Statistical Information The Examiner’s Report may refer in general terms to statistical outcomes. Statistical information on candidates’ performances in all examination components (whether internally or externally assessed) is provided when results are issued. Annual Statistical Report The annual Statistical Report (issued in the second half of the Autumn Term) gives overall outcomes of all examinations administered by WJEC.

Unit Page LT1 1 LT2 11 LT3 15 LT4 21

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ENGLISH LITERATURE

General Certificate of Education

Summer 2012

Advanced Subsidiary LT1: Poetry and Drama 1

Principal Examiner: Dr Jennifer McConnell Unit Statistics The following statistics include all candidates entered for the unit, whether or not they 'cashed in' for an award. The attention of centres is drawn to the fact that the statistics listed should be viewed strictly within the context of this unit and that differences will undoubtedly occur between one year and the next and also between subjects in the same year. Unit Entry Max Mark Mean Mark LT1 9711 60 34.9 Grade Ranges A 47 B 40 C 33 D 27 E 21 N.B. The marks given above are raw marks and not uniform marks.

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LT1: Poetry and Drama 1 General Comments As noted in January, it is pleasing to report that the majority of centres were aware of the changes to this examination and, in the main, candidates were well prepared. Most candidates balanced their time well between Section A and B. As both sections are now worth 30 marks each, a useful rule of thumb is for candidates to spend 10-15 minutes reading and planning and one hour writing for each section. However, as stated in the January report, a clearer focus on AO3 (now worth a third of the marks for Section A) is needed to improve some candidates’ responses. It is worth reiterating that the strongest answers were those where candidates:

planned their answers fully, using an essay plan

addressed AOs with confidence

were aware of the new weightings

had clearly practised answering exam questions in timed conditions, leading to relevant, shaped and focused answers.

In addition, in Section A the strongest responses were those where candidates:

answered the question (rather than just writing about the poems in general)

gave a brief overview of the content of a poem before discussing the techniques used

focused on two core poems (rather than a range of core poems)

began their response focusing on the core poet

discussed the core poems separately rather than moving between them (the latter approach can often lead to a lack of development of ideas, and a lack of close analysis of techniques)

introduced the partner text using signpost phrases such as ‘In contrast’, ‘Similarly’ etc.

discussed the partner text through the lens of the core text

made it explicit when they were exploring other readings. In Section B the strongest responses were those where candidates:

analysed the extract in detail before moving on to discuss at least one other part of the play

showed a clear understanding of the text as drama

discussed the characters as constructs rather than as if they were real people

made a brief reference to relevant context in the introduction and integrated references to context throughout the essay.

Section A AO1: while there were a number of focused and controlled essays, a large minority of candidates are still writing overly long essays. As ever, the strongest essays are those where candidates have clearly spent time planning. Planning will help those candidates who drift away from the question and will also help to avoid candidates adopting a chronological and/or line-by-line approach to the poems.

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AO2: as stated in previous reports, the strongest responses focused closely on how effects are created, with candidates ‘digging’ into the selected quotations. Analysis of writers’ techniques (the how) and the effect of those techniques is essential. Candidates who dealt with the two core poems separately often did better on AO2 as they were able to explore the core poet’s techniques in detail. AO3: as this assessment objective is now worth a third of the marks for Section A, it is essential that candidates address both strands with confidence. As stated in the January report, many candidates would benefit from a closer focus on AO3. Connections

The strongest answers were those which used the partner text as a lens through which to explore the core text.

It is important that candidates do not discuss the partner text in isolation from the core text. In a significant minority of cases, candidates made a link to the partner text, using a suggested signpost phrase, but then went on to discuss the partner text in isolation from the core text. The strongest answers keep returning to the core text while discussing the partner text.

At the very least, candidates should always return to the core text after discussing the partner text.

It can be useful for candidates to think about the attitudes of the poets to the topic and how they show those attitudes by how they write (e.g. imagery, vocabulary, structure, their choices of subject matter or setting etc.).

Other readings

At times this was dealt with very briefly or sometimes even missed out altogether. As this strand is worth 5/30 marks, candidates risk penalising themselves if they do not explore other readings. Other readings can be addressed by:

▪ Engaging with relevant critical opinions (a significant minority of candidates included critics whether they were relevant or not);

▪ Using signpost phrases to make explicit the focus on AO3. For example, ‘This line can be read in different ways’; ‘Other readers’; ‘Some critics might argue’ etc.

It is worth noting that it is the quality of the other readings that is important, not the quantity.

As noted in the January report, a useful tip is for ‘other readings’ to be closely linked to AO2. If a candidate digs deep into the different effects of a technique, they are addressing AO2 and AO3 effectively at the same time.

Section B AO1: it is very pleasing to note that the majority of candidates are aware of the requirement to include detailed analysis of the extract. A few candidates, however, ignored the extract altogether, or dealt with it only briefly. As stated in the January report, it might be useful for candidates to think about spending around 50% of their time on the extract (although this is only one approach). In addition, the wording of the questions has been changed from ‘elsewhere in the play’ to ‘at least one other point in the play’. While candidates are free to range throughout the play if they wish, the most successful answers were those where candidates chose one other point in the play and analysed it in detail. This helped candidates to deal effectively with AO2 (close analysis) and AO4 (links between the extract and the wider play).

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AO2: as stated in the January report, the majority of centres are giving excellent advice to their candidates about the necessity of focusing closely on a range of dramatic techniques. Many candidates wrote confidently about the texts as drama, discussing staging, costume, props, music, for example. However, there is still a significant minority of candidates who are not engaging with the text as drama. In some cases candidates were able to achieve Band 5 marks for AO1 and AO4 but included very little in the way of discussion of dramatic techniques (AO2). In these cases candidates tended to include examples of dialogue to back up their points rather than discussing the techniques used in the dialogue. It is important to note that candidates are not required to take on the role of a director. Candidates should therefore avoid a directorial approach, for example, ‘If I were directing this scene I would have the characters positioned...’ Rather, candidates should focus on staging as it appears in the text. As the marking grid for AO2 makes clear, candidates have to show understanding of the playwright’s use of dramatic techniques to create meaning; therefore comments on staging must be grounded in the text. (It is acceptable, though, to refer to a production the candidate has seen and show how anything in that performance highlighted an aspect of the play being discussed in their essay). Some candidates are writing about characters as if they were real people. Referring to the playwright’s presentation of characters (i.e. how effects are achieved) and to the function of characters makes it clear that candidates understand that characters are constructs. AO4: as with the January examination, the majority of candidates addressed both strands of this assessment objective to some extent: the play as wider context for the extract and the wider contextual influences on the play. However, there were two key issues:

▪ a significant minority missed out wider contextual issues; ▪ some candidates included everything they knew about context: in these cases

context tended to be either included as a paragraph at the beginning of the essay (sometimes even before addressing the question) or ‘tagged on’ at the end of the essay.

It is essential that references to context are relevant to the question and closely linked to the text. A useful tip is to encourage candidates to view AO4 through the lens of AO2: when a candidate includes analysis of dialogue, staging etc. they then need to make a relevant link to context.

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SECTION A: NOTES ON QUESTIONS T.S. Eliot: Selected Poems (Core text) (Prufrock and Other Observations, The Waste Land, The Hollow Men, Ariel Poems) W.B. Yeats: Selected Poems (Partner text) Q.1 What connections have you found between the ways in which Eliot and Yeats

write about loneliness and isolation in their poems? In the main candidates engaged well with this question and there were a number of

interesting responses. Many chose to focus on Prufrock’s loneliness and isolation, and there were some nuanced, detailed and sensitive discussions of the poem. Equally effective responses included discussions of ‘The Waste Land’, ‘Rhapsody on a Windy Night’, ‘The Hollow Men’ and ‘Portrait of a Lady’.

Q.2 ‘Water is a central image in Eliot’s poetry: it is linked to both life and death’. In

the light of this statement, compare the ways in which Eliot and Yeats write about water in their poems.

There were some superb responses to this question and many candidates engaged

effectively with the concept of water as a central image in Eliot’s poetry. There were some beautifully detailed analyses of ‘Marina’ and candidates’ enthusiasm for the poem was clear. However, in a significant minority of cases, some candidates explored water imagery in ‘Marina’ without linking their points to what the poem was about. In these cases, discussion of techniques was disconnected from the meaning of the poem.

Philip Larkin: The Whitsun Weddings (Core text) Dannie Abse: Welsh Retrospective (Partner text) Q.3 Compare the ways in which Larkin and Abse write about unhappiness in their

poems. In the main candidates addressed this question with confidence. There were some

excellent answers on (in particular) ‘Mr Bleaney’, ‘Faith Healing’ and ‘Love Songs in Age’. There is still, however, a tendency at times to uncritically equate the voices of personas with Larkin’s own voice. Further, it is important to remember that AO4 (context) is not rewarded on Section A. However, relevant comments of a biographical nature can be usefully addressed under AO3 (possible readings of the text).

Q.4 Compare and contrast the ways in which Larkin and Abse write about settings

in their poems. Candidates wrote effectively about a number of different settings, from the contrast

between the urban and rural settings in ‘Here’ to the indoor and outdoor settings of ‘Mr Bleaney’. Many candidates linked setting to memory, as in Abse’s ‘Return to Cardiff’, and many argued effectively that setting was often a means to comment on or to criticise aspects of society (especially for Larkin).

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Sylvia Plath: Poems Selected by Ted Hughes (Core text) Ted Hughes: Poems Selected by Simon Armitage (Partner text)

Q.5 Compare the ways in which Plath and Hughes write about new life in their poems. In your response you must include detailed critical discussion of ‘You’re’ and at least one other of Plath’s poems.

The majority of candidates wrote with confidence on ‘You’re’, clearly relishing the opportunity to write about a poem that most saw as almost uniformly positive in its attitude to new life. Successful second poems included ‘Morning Song’; ‘Nick and the Candlestick’, ‘By Candlelight’ and ‘The Manor Garden’. A few candidates interpreted new life more metaphorically (though equally validly), writing effectively on ‘Ariel’ and ‘Facelift’. Most candidates made links to Hughes’ ‘Full Moon and Little Frieda’ and many also pointed out that Hughes tends to focus more on new life in the natural world, for example in ‘March Calf’ and ‘New Foal’.

Q.6 ‘The power of Plath’s poetry comes from her use of surprising, often controversial imagery’. In the light of this statement, what connections have you found between the ways Plath and Hughes use such imagery in their poems?

There were some truly superb responses here. As might be expected, ‘Daddy’ was a popular choice; however, candidates wrote effectively on a vast number of poems including ‘Ariel’, ‘Cut’ and ‘Mary’s Song’. The strongest answers kept focus on ‘surprising’ and/or ‘controversial’ imagery; weaker responses focused on imagery in general. Some candidates started writing about imagery and then went on to discuss the poems in general.

Carol Ann Duffy: Selected Poems (Core text) (Standing Female Nude, The Other Country, The World’s Wife) Sheenagh Pugh: Selected Poems (Partner text)

Q.7 ‘Duffy’s poems show that, without a doubt, she is on the side of the oppressed’. In the light of this statement, compare the ways in which Duffy and Pugh write about oppression in their poems.

The majority of candidates engaged with the statement and in the main they agreed wholeheartedly, many writing about the way Duffy gives a voice to the oppressed through her dramatic monologues. There were some superb answers which explored Duffy’s feminism and her criticism of patriarchy and the male gaze. Candidates used a range of relevant poems to back up their points including ‘Standing Female Nude’, ‘Girl Talking’, ‘Lizzie Six’, ‘Education for Leisure’ and ‘Comprehensive’. Some candidates argued effectively that Pugh was as much on the side of the oppressed as Duffy (and at times more overtly political), citing poems such as ‘M.S.A’, ‘Nothing Happened Here’ and ‘Torturers’.

Q.8 What connections have you found between the ways Duffy and Pugh write about desire in their poems?

Candidates approached the idea of desire in a number of relevant ways. Many focused on sexual desire, often discussing the lesbian desire presented in ‘Girlfriends’ and ‘Oppenheim’s Cup and Saucer’, or the ways desire could be used as a tool to oppress (as in ‘Lizzie Six’). In these essays links were most often made to ‘Eva and the Roofers’ and ‘St. Cuthbert and the Women’. Other candidates wrote successfully on the desire for money (‘Making Money’), the desire to kill/take revenge (‘Education for Leisure’) or the desire for freedom (‘Dolphins’). However, in some cases candidates seemed to be forcing the concept of desire into their chosen poem (for example the desire for freedom in ‘Shooting Stars’). It is important that candidates choose their poems carefully to ensure they are wholly relevant to the question.

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Seamus Heaney: New Selected Poems (Core text) (Death of a Naturalist, Door into the Dark, The Haw Lantern) Owen Sheers: Skirrid Hill (Partner text) Q.9 Compare the ways in which Heaney and Sheers write about love in their

poems. Many candidates wrote effectively on Heaney and Sheers’ love for their partners (e.g.

‘Poem’ and ‘Marking Time’) with many commenting on Sheers’ use of more overtly sexual imagery. Candidates also wrote well on the poets’ love for their family, for example in ‘Clearances’. Some candidates took a broader (but equally relevant) approach to love, choosing to focus on Heaney and Sheers’ love of the land.

Q.10 What connections have you found between the ways in which Heaney and

Sheers write about journeys in their poems? Candidates wrote equally well on literal and metaphorical journeys. In a minority of

cases, candidates writing on the journey from childhood to adulthood (a valid approach) shifted into writing solely about childhood or ‘growing up’ rather than journeys. It is essential that candidates keep focus on the question that has been asked.

Eavan Boland: Selected Poems (Core text) (New Territory, The War Horse, The Journey) Clare Pollard: Look, Clare! Look! (Partner text) Q.11 What connections have you found between the ways in which Boland and

Pollard write about birds and/or animals in their poems? In the main candidates answering this question wrote on ‘War Horse’ and there were

some sensitive and detailed discussions of Boland’s techniques in this poem. Candidates tended to discuss the way that Boland uses animal and bird imagery as a means to explore other ideas, such as identity, memories, the past, mythology and politics.

Q.12 Compare the ways in which Boland and Pollard write about children and

childhood in their poems. In your response you must include detailed critical discussion of ‘Child of our Time’ and at least one other of Boland’s poems.

Candidates were comfortable writing about childhood and many clearly enjoyed

writing about ‘Child of our Time’. Successful second poems included ‘I Remember’ and ‘An Irish Childhood in England: 1951’. Many candidates focused on the personal nature of many of Boland and Pollard’s poems on childhood. As with the previous question, some candidates showed how poems on children and childhood are linked to other themes, such as women, memories, the past, identity and politics.

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SECTION B: NOTES ON QUESTIONS David Hare: Murmuring Judges Q.13 Re-read Act 1 Scene 1 from the beginning to page 5 (Act 1 Scene 2) (SIR

PETER turns to IRINA, about to defend himself, but CUDDEFORD rides over him). Discuss the presentation of injustice in this extract and at least one other point in the play.

The strongest answers focused on how injustice is presented in the play; weaker

responses listed examples of injustice with little focus on Hare’s techniques. Most candidates were able to discuss (sometimes very successfully) the techniques used by Hare to present Gerard as a sympathetic character. Many candidates wrote effectively on the function the characters such as Irina. However, some candidates wrote about the characters as if they were real people.

Q.14 Re-read Act 2 Scene 6. Discuss Hare’s presentation of attitudes towards

women in this scene and at least one other point in the play. The best answers focused on Hare’s presentation of attitudes to women rather than

simply the presentation of women. There were some excellent responses to this question and in the main candidates discussed the given scene with confidence, for example commenting on the significance of the meeting between Sandra and Irina and their attitudes to each other, and the significance of the setting. Candidates made useful links to Irina’s interactions with Sir Peter, Sandra’s interactions with Barry and the presentation of Esther. Most candidates showed at least some awareness of 1990s attitudes to women. As in previous years, the best answers integrated context rather than ‘tagging’ it on at the beginning or end.

David Mamet: Oleanna Q.15 Re-read Act 1 from page 28 (CAROL: I want to know everything that went on’)

to page 33 (JOHN: To go with the tenure. That’s right. Nice house, close to the private school ... (He continues making his note)). Discuss how Mamet presents ideas about American education in this extract and at least one other point in the play.

There were some interesting responses to this question. The strongest answers kept

focus on how ideas about American education are presented in the text itself. Some candidates wrote about Mamet’s film version of the play and this is absolutely valid. However, it is important that discussion of the film does not replace discussion of the play and further, that candidates make clear when they are discussing something (e.g. costume) that only appears in the film. Some weaker answers tended to confuse or conflate the film and the play.

Q.16 Re-read Act 1 from page 36 (JOHN: Charts, do you see ...) to the end of the

scene on page 41. Discuss how Mamet presents ideas about gender in this extract and at least one other point in the play.

There were some very strong responses to this question. The best answers avoided

making sweeping generalisations about men and women and about feminism and political correctness. However, some candidates drifted into writing essays about miscommunication or power – while both are important elements of the presentation of gender, it is essential that candidates keep focus on the question at all times.

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Brian Friel: Dancing at Lughnasa

Q.17 Re-read Act 1 from page 22 (KATE: No need for corner-boy language Christina) to page 26 (KATE reads the paper – or pretends to). Discuss how Friel presents attitudes to women in 1930s society in this extract and at least one other point in the play.

There were some confident responses to this question, with the strongest answers focusing closely on how attitudes to women are presented in the play, rather than just how women are presented. All candidates were aware to some extent of the attitudes to women in Ireland in the 1930s (e.g. commenting on the influence of De Valera and the Catholic Church). Some candidates effectively contrasted the attitudes towards women with those displayed towards men in the play.

Q.18 Re-read Act 1 from the beginning to page 5 (AGNES: She’ll remember. Kate forgets nothing). Discuss how Friel uses the 1936 setting in this extract and at least one other point in the play.

The strongest answers were those where candidates kept focus on the text first and foremost; these candidates grounded their discussion of the 1936 setting in the play. The range and depth of relevant contexts drawn on by candidates was often impressive, for example de Valera; the Dance Halls Act; industrialisation; attitudes to women etc. Weaker responses listed examples of the 1936 context with only general links to the play. Comments on context must be grounded in the text. It can be useful for candidates to think in terms of AO2 + AO4 (i.e. AO2 as a way into AO4).

Tom Stoppard: Arcadia

Q.19 Re-read Act 2 Scene 5 from the opening (page 70/page 72 in the new edition) to page 76/78 in the new edition (Bernard cracks. Everything becomes loud and overlapped as Bernard threatens to walk out and is cajoled into continuing). Discuss how Stoppard presents the relationship between the past and the present in this extract and at least one other point in the play.

Candidates clearly enjoy studying and writing about this play and there were some controlled, intelligent and beautifully written responses to this question. Many candidates chose to write about the end of the play, where the two time periods merge on stage. This elicited some excellent discussions of context, in particular science and heat. It was pleasing to see so many candidates commenting on the structure and staging of the play; however, some candidates need more focus on Stoppard’s techniques to improve AO2.

Q.20 Re-read Act 1 Scene 1 from page 13/page 15 in the new edition (Lady Croom Oh, no! Not the gazebo!) to the end of the scene. Discuss how Stoppard presents gardens in this extract and at least one other point in the play.

Again there were some perceptive responses to this question, with some candidates drawing on a wide range of relevant contexts (including the history of gardens, Eden, the Napoleonic wars, Regency attitudes to women etc.). The best answers always grounded their references to context in the text. In weaker responses there was a tendency to include a paragraph on the history of gardens without linking it to the text; further, in some cases candidates were not wholly secure on the history of gardens. More worryingly, some candidates who dealt superbly with AO1 and AO4 lacked focus on Stoppard’s techniques and how meaning is created (often just including some quotations to back up their points); this meant that they scored less highly on AO2. It is worth reiterating here the importance of candidates discussing the play as drama, for example the schoolroom setting, the shifting time periods, props, costumes, music, stage directions etc.

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Arthur Miller: Broken Glass Q.21 Re-read the opening of Scene 1 from the beginning to page 4 (HYMAN. Forget

it, it was only a remark.). Explore Miller’s presentation of Jewishness in this extract and at least one other point in the play.

In the main, candidates discussed the presentation of Gellburg’s Jewishness with

confidence. Many usefully compared Gellburg’s Jewishness with the presentation of Hyman’s Jewishness and also (in other parts of the play) Sylvia’s Jewishness. However, some candidates made sweeping generalisations about Jewishness and others were a little shaky on context.

Q.22 Re-read from the opening of Scene 2 on page 15 to page 19 (SYLVIA. Well I am

glad.). Discuss how Miller uses the 1938 setting in this extract and at least one other point in the play.

The strongest answers were those where candidates kept focus on the text first and

foremost; these candidates grounded their discussion of the 1936 setting in the play. There was evidence of some perceptive understanding of a range of contexts including 1930s attitudes to Jews (both in America and Germany), the depression, attitudes to women, the American Dream, Freud etc. Weaker responses listed examples of the 1938 context with only general links to the play. Comments on context must be grounded in the text. It can be useful for candidates to think of AO2 + AO4 (i.e. AO2 as a way into AO4).

Diane Samuels: Kindertransport Q.23 Re-read Act 2 Scene 1 from page 55 (both editions) (Sounds of children’s

chatter and train noises.) to page 59 (both editions) (LIL helps EVA up). Discuss how Samuels uses the relationship between Lil and Eva to explore the effects war has on children in this extract and at least one other point in the play.

The strongest answers kept focus on the relationship between Lil and Eva.

Candidates discussed the presentation of the development of the relationship and linked this to Eva’s changing identity. Some candidates included a paragraph about the Kindertransport at the beginning of their essays before dealing with the question. It is much more effective for contextual references to be integrated throughout the essay. It can be useful for candidates to think of AO2 as a way into AO4.

Q.24 Re-read Act 1 Scene 1 from page 15/page 16 in the new edition (The shadow of

the RATCATCHER looms.) to the end of the scene on page 20/page 21 in the new edition. Examine how Samuels presents the significance of journeys in this extract and at least one other point in the play.

The majority of candidates clearly understood the significance of journeys in the play,

using it as a way to discuss the impact of the past on the present and making links between journeys and separation. Candidates discussed the impact of journeys on Eva and their role in her transition into Evelyn, often with real sensitivity. As with question 23, however, it is important that candidates do not ‘tag’ on a paragraph on context at the beginning or the end of the essay: the best answers wove relevant references to context throughout.

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ENGLISH LITERATURE

General Certificate of Education

Summer 2012

Advanced Subsidiary

LT2: Prose Study & Creative Reading Principal Examiner: Rhodri Jones Unit Statistics The following statistics include all candidates entered for the unit, whether or not they 'cashed in' for an award. The attention of centres is drawn to the fact that the statistics listed should be viewed strictly within the context of this unit and that differences will undoubtedly occur between one year and the next and also between subjects in the same year. Unit Entry Max Mark Mean Mark LT2 10204 80 56.7 Grade Ranges A 65 B 56 C 47 D 38 E 30

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LT2: Prose Study and Creative Reading General Comments Now that we are in the fourth year of the specification it is pleasing to report that the majority of centres have now embedded the course successfully, giving candidates a suitable degree of independence. Assessment was much more secure this year, on the whole, and this seemed partly down to the new five-band assessment grid which enabled teachers to be more precise in their marking while encouraging some much-needed attention to the second strand of AO3. The more stringent rule on word count was also successful. Candidates’ submissions were more concise and fluent as a consequence. Administration As is the case in every series, it is vital that all centres use the most recently updated coversheets which can be downloaded from WJEC’s website. Please ensure these are downloaded from the link on the web page each year as there are often small but important amendments. Rather than completing the coversheet in full, some centres still direct moderators to comments at the end of the candidates’ work, which are sometimes addressed to the candidate. It is a requirement that teachers’ summative comments used to justify marks awarded are entered on the coversheets and are seen as a dialogue to be had with the moderator justifying the marks which have been given by the centre. Separate marks for both AO3i and AO3ii should be included so that the moderator can see how performance in both strands has been rewarded. All candidates’ work, and not just those folders included in the moderation sample, must be accompanied by a completed coversheet, signed by both the candidate and teacher. If more folders are requested by the moderator these must be available for immediate posting. Most candidates adhered to the word limit this year and there were fewer examples of excessively long responses. Candidates should include cumulative word counts at the foot of each page and if any exceed 1650 words for section A or 825 words for each creative reading task, teachers must indicate when the limit has been reached and stop marking at that point. There were many instances where this was not the case and teachers’ annotations continued past the point where the maximum word count had been reached. Quotations are included in the word count but brief footnotes used to reference sources are not. Please refer to WJEC’s Internal Assessment Manual in regard to the organisation of the sample. Each candidate’s folder must be secure. The most efficient method is to attach the coversheet securely to the essay using a staple or treasury tag. Folders within the sample must also be arranged in rank order. Section A: Prose Study Task-setting is still the cause of many problems in this section. As mentioned in previous years, the use of a critical quotation can be helpful in giving candidates some focus on the second strand of AO3. However, the critical quotation does need to be apposite. Some candidates were given quotations which were too focused on context rather than analysis of the text. Others were not given a more precise focus after the quotation in order to clarify the direction of their essays. It is important that tasks are sufficiently narrow in focus for a 1500 word essay and that they lead candidates to close analysis of the way writers use form, structure and language in order to create meaning. Tasks based on social class, for example, addressed context but weren’t helpful for AO2 while essays discussing love,

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women or relationships were often too broad for candidates to produce a very well developed argument in their essays. A uniform task for a whole centre served lower ability candidates well but those in the middle of the sample as well as the most able often suffered as a consequence with too much reliance on teacher’s notes instead of personal and creative responses. Lower ability candidates were also hindered at times by tasks which dealt with concepts. More careful tailoring of task-setting to suit the individual needs of candidates’ of all abilities will make a significant difference to candidates’ outcomes and further foster the creativity and independence embraced by the unit. The most successful responses tended to use analysis (AO2) as the lynchpin of the essays. Many essays dealt confidently with language, although some closer detail is required to reach Band 4 and 5 work than some teachers imagined, while form and structure was dealt with less confidently. More consideration of narrative structures would be useful and would also tie in to Section B. A greater awareness of imagery, particularly repeated or extended images in a novel would also be useful. Indeed, there needs to be a greater balance in analysis of the detail and the whole. A strong overview along with detailed analysis was a characteristic of the most productive work. There is an opportunity, as I mentioned in last year’s report, of using this prose study module to teach the general techniques of fiction. Candidates could then explore the way individual writers use these approaches in their own work. There was a worrying number of candidates who wrote about characters and the plot of a novel or a number of short stories as if they were real people and real events. There needs to be an awareness of the writers’ hand behind the text and such approaches should not be rewarded highly for AO2. AO2 should also be used for making connections between texts (AO3). There are a variety of ways of making these connections but the most productive and illuminating did not merely notice similarities or differences between characters, contexts or the plots of the prose studied. Instead, the most successful candidates considered the ways in which the writers had shaped meaning in their texts, the ways in which form, structure and language were used and to what end. AO2 could even be used with AO4. Some students used a ‘tick-box’ approach to context, writing a paragraph or two of information in order to address the AO. This approach should be discouraged as should an over-reliance upon biographical information, used at times to make some fairly sweeping statements about a text. The most productive approach was one that chose material that would enhance and illuminate the reading of the text and could also, when done most successfully, allow some exploration of AO3 (other readings). Merely knowing plenty of contextual facts does not constitute a sound appreciation of the significance and influence of contexts. They must be used intelligently to shape the reading of the text. Ultimately, AO2 should drive the candidates’ essays with the other AOs feeding into the analysis of the texts. It was particularly pleasing to see other readings (AO3) being considered in far more detail, a direct result of the revised assessment grid. This made a significant difference to the essays and teachers should be congratulated on leading and giving their students access to a wide range of critical sources while also facilitating discussion regarding meaning during lessons.

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Section B: Creative Reading There were some very impressive responses to a range of texts in this section. As in previous years, the subject matter reflected the culture of the candidates with the gothic, horror, dystopia, domestic violence and crime being favourite topics. The best writing had a sound sense of character with a strong awareness of the reader. The most impressive work was often taken from the candidates’ own contexts and this should be encouraged rather than efforts on the most typical subjects. As with Section A, candidates need to address AO2 far more productively in their commentaries. There were plenty of examples of some thoughtful responses which reflected the craft of structuring and creating a creative piece while also clearly showing, through some close analysis, how the stimulus text had been used. Less successful approaches, as in previous years, tended to make very general comments or spotted techniques without having a clear sense of the meaning of the whole piece. Beginning with an overview and then explaining how that meaning was created through the choice of form, structure and language seemed to be an approach that many found rewarding. The sole focus of AO2 certainly made the commentaries easier to mark and enabled candidates to be much clearer in their work. Candidates do need to ensure that they keep a balance between their own writing and the stimulus text, with their own work as the ‘core’ and the stimulus as a ‘partner’. It is expected that they do quote and analyse from the stimulus text. After all, the assessment grid does note ‘writers’ techniques’. In general, the course seems to be well-taught and developing candidates’ independence. The main focus of the report is clearly how candidates can better address the requirements of AO2 and this should be targeted by centres in the year ahead.

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ENGLISH LITERATURE

General Certificate of Education

Summer 2012

Advanced

LT3: Period & Genre Study

Principal Examiner: Lesley Hancock Unit Statistics The following statistics include all candidates entered for the unit, whether or not they 'cashed in' for an award. The attention of centres is drawn to the fact that the statistics listed should be viewed strictly within the context of this unit and that differences will undoubtedly occur between one year and the next and also between subjects in the same year. Unit Entry Max Mark Mean Mark LT3 6989 40 29.8 Grade Ranges A 35 B 29 C 24 D 19 E 14 N.B. The marks given above are raw marks and not uniform marks.

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LT3: Period and Genre

Once again, it was a pleasure to read some truly outstanding work. Many candidates demonstrated enthusiastic engagement with their chosen texts which was not only impressive but positively infectious; moderators reported that reading some candidates’ responses had actually motivated them to revisit texts or even read unfamiliar works, a clear testament to the quality of the work seen.

Since the unit’s introduction, moderators have noted centres’ increased confidence in delivering the course. Many teachers have fostered impressive creativity and independence in their students through exploration of often inventive and inspired text selections.

While there is much to admire in the work of the candidates and their teachers, there are ways centres could prepare more effectively for this unit, and the following advice, collated from a wide selection of moderators’ comments, will hopefully be of use in preparing next year’s cohort for LT3.

Administration

It is important that all colleagues use the most recently updated coversheet which can be downloaded from WJEC’s website. It is worth checking this each year as there are often small but important amendments. Rather than completing the coversheet in full, some centres still direct moderators to comments at the end of the candidates’ work, which are sometimes addressed to the candidates. It is a requirement that teachers’ summative comments, used to justify marks awarded, are entered on the coversheets.

Separate marks for both AO3i and AO3ii should be included so that the moderator can see how performance in both strands has been rewarded.

All candidates’ work, and not just those folders included in the moderation sample, must be accompanied by a completed coversheet signed by both the candidate and teacher. If more folders are requested by the moderator these must be available for immediate posting.

Most candidates adhered to the word limit this year and there were fewer examples of excessively long responses. Candidates should include cumulative word counts at the foot of each page and if any exceed 3300 words teachers must indicate when the limit has been reached and stop marking at that point. Quotations are included in the word count, as they help to develop the argument, but brief footnotes used to reference sources are not.

Each folder sent must be securely assembled. The most efficient method is to attach the coversheet securely to the essay using a staple or treasury tag. It is also very helpful if the folders are arranged in rank order.

Assessment

Many centres clearly take great pride in making their assessment as accurate and reliable as possible. However, in cases where the assessment is not satisfactory, and candidates’ marks may have to be adjusted, insufficient consideration of the key qualifying descriptors in the criteria is often to blame.

In centres where the marking is most secure there is clear evidence of:

detailed annotation combining assessment objective markers with key words from the assessment criteria indicating the band achieved, e.g. AO3i purposeful/sound, or AO1 sophisticated. In some centres, annotation is still very sparse, sometimes solely indiscriminate ticks. The most efficient centres view annotation as a valuable way to justify the marks awarded and many encourage double spacing so that they can include detailed on-script comments to guide the moderator.

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a consistent approach to annotation across the centre and clear evidence of dialogue between teachers about standardisation in the internal moderation process. Where marks have been altered by a centre’s internal moderation procedures, it is helpful to have some brief indication of the reasons for the change.

a willingness to show awareness of candidates’ weaknesses as well as clearly highlighting their strengths. Moderators obviously note less successful elements in candidates’ work and comment favourably when centres accurately reflect this awareness in their comments and assessment. It must be clear to the external moderator that the shortcomings of an assignment have been taken account of in the overall awarding of the mark given by the centre.

close focus on the wording of the AO criteria. Some centres include highlighted copies of the relevant assessment grid. This can be helpful to candidates, primary markers and moderators, but should not be used in place of detailed summative comments.

Text choice and task setting While some centres allow candidates a completely independent choice of all three texts, most teach at least one or both of the core texts, offering a choice of partner, while in some centres all three texts are taught. There is no hierarchy of approach as teachers are best placed to decide which is most suitable for their students. However, it is important that candidates are offered a range of appropriate tasks, especially when common texts are studied, rather than being restricted to the same texts and very similar tasks. In some centres, candidates were still clearly following some sort of template with little opportunity to demonstrate the independence and creativity fundamental to this unit. In some cases the poetry core text was rather sidelined and candidates seemed more comfortable writing about novels. Choosing the appropriate poetry text can be the most challenging decision for centres, as it is perhaps the genre which candidates feel least confident in tackling and most in need of guidance and support. Candidates can demonstrate independence in selecting the poems to focus on from those studied, but also need guidance about how many to include. While some limited their response to only one or two poems, others sacrificed depth for breadth by referring to too many. While this obviously depends on the poet in question, as a rough guide, those candidates who explored four or five poems in some detail were more able to demonstrate the direct engagement with the writers’ craft needed to address AO2 and to make clear, purposeful links for AOs 3 and 4. Those using anthologies often selected poems for their content or theme rather than real literary merit, affecting marks for all the AOs. Careful wording of tasks is very important and many centres have followed advice given at CPD sessions and supporting online documentation, and in moderators’ reports. Some candidates are still hampered by inappropriate and poorly worded tasks, however, and clearly need stronger guidance in this area. As a general rule, well worded tasks:

foreground the core texts clearly to help candidates strike the correct balance between core texts and partner text

use words such as explore/consider/discuss to encourage creative engagement with the texts and task

use the term presentation as a prompt to students to focus on the more heavily weighted AO2

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encourage a strictly literary response to the texts through focus on literary concepts, such as theme, characterisation, imagery, form and structure, etc.

avoid reductive or context-driven approaches to the text

are not too wide-ranging or ambitious for 3000 words. For instance, instead of “love” as a theme, candidates could be encouraged to narrow the focus by exploring presentation of jealous or obsessive love, destructive relationships or unsuitable suitors, etc.

AO1 Many candidates were awarded full marks for accurate and fluent expression alone. While accuracy is obviously important, candidates awarded Band 5 also need to demonstrate sophisticated and mature conceptual understanding and creativity along with very effective organisation, confident use of terminology and flair. There were frequent examples, even in more confident responses, of overlong paragraphs which made arguments more difficult to follow. It might be worthwhile guiding candidates to use careful paragraphing as a helpful tool in the organisation and structure of ideas. AO2 As this is the most heavily weighted assessment objective, candidates should be reminded to demonstrate detailed engagement with the craft of writing in all three texts and especially the two cores. While secure and confident grasp of implied meaning is obviously vital and should be highly rewarded, candidates must analyse how that meaning is conveyed in order to achieve Bands 4 and 5. They need to know there is a clear difference between confident summary of meaning, using quotation as support, and detailed exploration of how the language, form and structure have been used to communicate meaning and affect reader response. While it was good to see candidates acknowledging the importance of sound in poetry, some very elaborate claims were made for alliteration, sibilance, fricatives, plosives and dentals, for example, in all three genres. Candidates seemed keener to comment on the use of sound effects than to engage with imagery and motifs which might have given them material for more detailed, purposeful analysis. There was not always enough sense of the progression of ideas in novels, especially when candidates selected quotations without clear context in order to fit their broad argument. There was also a tendency in some candidates to write about characters as if they are real people rather than literary constructs, especially when trying to make connections between characters in texts and the writers’ real lives, for instance between Offred in The Handmaid’s Tale and Emily Dickinson as women marginalised by society. A keener sense of the different generic features would be beneficial in addressing both AOs 2 and 3i. It is important that candidates show awareness of the writer behind the texts, not in solely biographical terms for AO4, but also in the deliberate choices made to shape response; some candidates still write about the texts without referring to the writer at all.

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AO3

As separate marks are now awarded for both strands of this assessment objective, it was good to note that there were fewer examples of centres overlooking one of them in their teaching and assessment.

There are still examples, however, of the partner text being given equal weight instead of being used to illuminate the core texts. After making a connection with the partner, the most successful candidates always return to one or both of the core texts to demonstrate enhanced understanding. Candidates, who select a partner text which allows some consideration of differences, as well as similarities, often make more productive and illuminating links. For example, in work focusing on WWI core texts, such as Wilfred Owen’s poetry and Birdsong, a partner text from a different conflict such as Henry V, Catch 22 or the poetry of Keith Douglas or Brian Turner, often gave more perspective than another WWI text such as Journey’s End or Sassoon’s poetry which tend to echo or mirror the same concerns and themes.

Links can be made between core texts as well as between core and partner texts to address AO3i. There is also no reason why candidates should not develop their arguments by making links between poems from their core poetry texts, such as between several of Shakespeare’s sonnets for example, but this cannot be rewarded as AO3i which refers to connections between “different literary texts”.

It is worth spending some lesson time modelling for candidates how to address AO3ii, particularly on how to select, absorb and make use of relevant, informative critical views as there were still some areas of concern with this strand of AO3.

Too many candidates rely on inappropriate study sites such as Sparknotes and Gradesaver which provide quite bland commentaries rather than the incisive and thought-provoking views with which candidates can productively engage.

Some quote vague comments on the whole text or the writers’ work in general, such as those seen in blurbs or on readers’ forums on Amazon.co.uk for instance. These are unlikely to inform the candidates’ interpretations or help develop their arguments.

Many quote overlong critical opinions which use up precious words and squeeze opportunities for the candidates’ own views and detailed analysis. They could be encouraged to condense the other reading to as few words as possible which can be neatly subsumed and fully integrated in the argument.

There are still too many candidates not acknowledging or referencing material from the internet and, increasingly it seems, from books. Teachers must be alert when assessing work and remind candidates of the extremely serious consequences of plagiarism. The JCQ instructions are quite clear: all material taken from another source must be placed inside quotation marks and fully referenced in footnotes or the required bibliography.

AO4

There are still examples of candidates writing half or even a page of their response before mentioning the texts in any detail as they focus instead on the historical, social or psychological context which drives their response. Contextual information should be used to illuminate and enhance understanding of the texts in a solidly literary response. However, in the majority of responses, students are engaging with the context and using the texts as illustrations. Students do need clear guidance on tasks to avoid making their responses context-driven. It’s best to avoid questions which invite a historical, biographical or sociological approach such as:

How far do these texts prove that the American Dream has failed?”

Explore the ways in which the texts subvert social stereotypes in WWI.

Comment on the presentation of social divides in these texts.

How far do you agree that heroes reflect the societies which produced them?

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Candidates would be best advised to start their responses by direct reference to the texts rather than contextual issues. Long sections about background information, divorced from any direct links to the texts, should be avoided. Candidates need to be reminded to keep returning to the texts to make clear how their understanding of them has been enhanced by their knowledge of relevant contextual factors. In the vast majority of cases, moderators are favourably impressed by the way candidates have been prepared for this unit and the quality of work produced. During the moderation process, they see a wide range of texts, tasks and approaches and spend considerable time and thought in writing individual reports which they hope will be helpful to centres in planning, teaching and assessment. While a few centres seem reluctant to act upon their moderators’ advice, most clearly make a determined effort to give their candidates every opportunity to achieve their full potential. Overall, there is a strong sense every year that candidates have been well taught and have learnt a lot in writing their LT3 responses.

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ENGLISH LITERATURE

General Certificate of Education

Summer 2012

Advanced Subsidiary/Advanced

LT4: Poetry and Drama 2 Principal Examiner: Stephen Purcell Unit Statistics The following statistics include all candidates entered for the unit, whether or not they 'cashed in' for an award. The attention of centres is drawn to the fact that the statistics listed should be viewed strictly within the context of this unit and that differences will undoubtedly occur between one year and the next and also between subjects in the same year. Unit Entry Max Mark Mean Mark LT4 6310 80 48.3 Grade Ranges A 65 B 54 C 43 D 32 E 21 N.B. The marks given above are raw marks and not uniform marks.

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LT4: Poetry and Drama 2 It is always pleasing to report that candidates made use of the full range of opportunities to write about poetry in Section A. For examiners, one of the most rewarding aspects of this unit is to see how candidates have made independent choices and taken creative approaches to the questions in Section A so that even in a medium sized centre (where the same core poetry has been studied by all candidates) there is still enormous variety in the approaches made by candidates. The same is true of the choice of unseen poems, where even when answering the same questions, different candidates who, presumably, had studied together made connections in radically different ways. It was always hoped that this would be the way candidates would put their knowledge and understanding of literature to work at the synoptic stage of this specification. The choice of core poets has now settled into two fairly clear “divisions” with Chaucer, Donne and Blake proving more popular than Milton and Lyrical Ballads. However, it is very pleasing to see the way some centres have either taught more than one of the core poets or perhaps have decided upon different writers for different teaching groups. Colleagues are clearly finding opportunities to capitalise upon staff interests and expertise as well as fostering choice and some degree of independence among candidates. In Section B, Hamlet and King Lear remain the most popular choices with The Tempest and Measure for Measure fairly close behind. Still only a few centres study Richard ll but examiners saw some very high quality responses to the two history plays. There was a very good spread of responses and candidates appear to have found the two questions on their chosen texts equally appealing. However, some centres are still struggling to achieve the best balance between core and partner drama texts: some still see the essay as a straight forward comparative exercise between evenly weighted texts; others address the question through the partner text without successfully linking the partner to the core, but the most successful candidates see clearly that their task under AO3i is to make connections showing how their understanding and appreciation of the core texts have been illuminated by specific elements of the partners. Most of the points made in the last three or four reports on this Unit could be made again and I urge centres to consult past LT4 reports on the WJEC website. This year, I would like to place emphasis upon a few issues outlined below which are hampering some candidates in their efforts to achieve their full potential. The following points apply equally to Sections A and B. AO1 “Appropriate terminology” is an element of this assessment objective which some candidates have attempted to grasp in a literal and, essentially, unproductive way. We saw significant numbers of Section B essays where “hamartia”, “catharsis” and “stichomythia” appeared (sometimes in the same sentence) but their use (alone) did very little to support insights into Hamlet’s or Lear’s predicaments. Candidates must be persuaded that a parade of knowledge for its own sake with no attempt to address the ideas which are implied by the use of such specialist terms will not contribute very much to the quality of an essay. Essentially, this is the equivalent of feature-spotting in Section A where simply identifying sonnet form, iambic pentameter or rhyme pattern will not automatically provide insights into meaning and literary impact. In a similar way, the technical vocabulary used in the analysis of English Language does not (of itself) contribute very much to the understanding or appreciation of a writer’s ideas and techniques.

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Another AO1 issue (but with serious implications for other assessment ojectives) is the approach to essay introductions taken by many candidates. Examiners are seeking to reward work from the very first sentence and lengthy statements of intent which do little more than re-hash questions, or essays which begin with an extended consideration of historical context before a text is even mentioned do not give the examiner an opportunity to begin rewarding. Careful reading of the performance descriptors in the LT4 Assessment Grid will show that in Bands 3, 4 and 5 it is the “significance” of contextual factors (AO4) which is the key and significance cannot be established without prior consideration of the text. Even in Band 2 it is the “importance” of contexts which is mentioned and, once again, we cannot judge importance without first establishing which aspects of the text are under consideration. The oft repeated “task-text-context” formula is worth bearing in mind here.

AO1 is also concerned with relevance and coherence. In past reports, CPD sessions and online support documentation, a good deal of emphasis has been placed upon the need for careful reflection upon the specific demands of set questions and then appropriate planning to keep essays focused. We are still seeing low-scoring, very lengthy responses where candidates appear to be trying to record everything they have learned. Well planned, economical responses are far more likely to achieve the levels of relevance and coherence required for marks in the higher bands.

AO2

The key point to be made under AO2 is to repeat the need for well supported critical analysis rather than descriptive or narrative approaches to texts. At the preparation stage, many candidates would benefit from more time spent discussing how language, structure and form is used in the texts rather than focusing solely on plot and character, for example.

AO3i

The emphasis in addressing this part of AO3 must be upon showing how the reading of a partner text has illuminated the candidate’s response to the core. Simply noting parallel circumstances or themes is only the first stage of thought but there are strong suggestions that many candidates feel that this is all that is required of them.

AO3ii

Critical views (or the recognition that there could be different ways of reading texts) should be the starting points for discussion. The most successful essays build creatively and critically upon what other readers have thought while less successful essays use such references in much the same way that technical terms are used unproductively: as superficial evidence of knowledge rather than the means for creative, critical engagement with texts.

AO4

As always, it is necessary to sound a note of caution. Candidates who allow their enthusiasm for the historical “facts” associated with a writer’s work to run away with them tend to write inappropriately as the emphasis is removed from the literary qualities of texts. Consideration of contexts must arise from a discussion of the text in light of the chosen task: references should be accurate and economical and not allowed to develop into lengthy discussions which unbalance essays while compromising relevance and coherence.

While it is always possible to make improvements, the vast majority of centres must be congratulated upon the ways in which they have supported candidates in their preparations for this demanding Unit. LT4 examiners never fail to comment on the enthusiasm for reading and ideas which shine through the scripts and this is clear testament to the energy, dedication and expertise of those who deliver this specification.

GCE English Literature Examiners Report/Summer 2012/ED

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