Homework Autumn Half Term - noelbakeracademy.co.uk · ommunications; verbal written communication,...
Transcript of Homework Autumn Half Term - noelbakeracademy.co.uk · ommunications; verbal written communication,...
Contents
Policy and Guidance Page 5
Art Page 7
Business Pages 9/10
Childcare Pages 11/12
Christian Practices Pages 13/14
Citizenship Pages 15/16
Design and Technology Pages 17/18
Drama Pages 19/20
English Pages 21/22
French Pages 23/24
Geography Pages 25/26/27
Health & Social Care Pages 29/30
History Pages 31/32
Maths Pages 33/34/35/36
Media Studies Pages 37/38/39/40
Music Pages 41/42/43/44/45/46
Physical Education Pages 47/48
Science Pages 49/50/51/52
Sociology Pages 53/54
Spanish Pages 55/56
Within this booklet there is one knowledge organiser per subject for your son/daughter to
use to revise from and learn facts relating to that subject. Parents/carers can help by testing
and supporting with the revision.
The time your son/daughter should spend on the KO’s per week per subject should be:
Y11 – 1hr (to include practice exam questions)
All students should spend at least 30 minutes a day, in addition to homework, reading around
their subjects and be encouraged by parents/carers to read wider to enhance their
knowledge.
3
Noel‐Baker Academy Homework Policy and Guidance for Year 11 Purpose Homework at Noel‐Baker Academy will be set half termly in each subject area. Students are expected to undertake homework every evening. The expected amount of time to be taken on homework will vary for each year group and will increase year on year. After school sessions attended by students are not classed as homework. The purpose of homework at Noel‐Baker Academy is very clear. Homework will:
Support students to retain the key knowledge learned in lessons; Enable parents to support their children in their learning; Promote independence in learning; Promote a work ethic which will support success in further education; Support wider reading and study to support curriculum learning; Encourage practice of examined tasks and questions.
Homework will not:
Be irrelevant or unnecessary
Application
Homework will take the form of independent learning of key facts linked to the topics being studied in lessons. This will be provided as a ‘Knowledge Organiser’. Knowledge organisers will be handed out at the start of each topic.
Students will be expected to learn all of the key knowledge on the organisers. Students will be tested in low stakes quizzes throughout the half term (this is how we will assess if students are doing their homework). What is a Knowledge Organiser?
A Knowledge Organiser is a tool which sets out exactly what knowledge is vital in the curriculum.
It clarifies for everyone – student, parent, teacher, head teacher – exactly what is being taught.
It is not expected to cover the entirety of everything you may possibly cover in a topic – just what is vital.
A Knowledge Organiser should fit onto one page of A4. It is a distillation of knowledge, not a textbook or step by step revision guide.
On the back of each Knowledge Organiser there will be:
A reading list to support further independent reading and study.
Signposts to example exam/assessment questions for practice, where relevant (these will be marked whenever attempted and students will be given feedback in the form of a grade and a target);
Links to exam board materials, where appropriate. Benefits of Knowledge Organisers:
For Students they are a revision of ALL the key information the teacher has decided is necessary for the topic.
Parents know what their children are learning and are able to get involved in supporting their revision through
quizzing and testing at home.
5
Work not finished
in lessons should be completed at home or during Art lunchtime catch up sessions Monday to Thursday.
Key
wor
ds a
nd d
efin
ition
s
Dev
elop
ing-
Bec
omin
g m
ore
adva
nced
/bui
ldin
g yo
ur id
eas.
Sour
ces-
Thi
s co
uld
be th
e w
ork
of a
rtis
ts, c
rafts
peop
le a
nd d
esig
ners
, the
bu
ilt e
nviro
nmen
t, na
tura
l wo
rld, o
bjec
ts, m
usic
, tex
t, c
usto
ms,
trad
ition
s an
d is
sues
, it i
s w
hat
you
mig
ht u
se to
hel
p de
velo
p an
d in
form
you
r w
ork
.
Effe
ctiv
ely-
A w
ay
that
is s
ucce
ssfu
l and
ach
ieve
s w
hat
yo
u w
ant.
Inve
stig
atio
n-T
he
act o
f exa
min
ing
som
ethi
ng c
are
fully
.
Crit
ical
und
erst
andi
ng-L
ook
clos
ely
at h
ow
art
ists
com
mun
icat
e th
eir
idea
s,
feel
ings
and
bel
iefs
thro
ugh
thei
r w
ork
, Y
our
kno
wle
dge
of th
e w
ork
of o
ther
s sh
ould
hel
p yo
u to
dev
elop
you
r id
eas;
this
influ
ence
sho
uld
be c
lear
in y
our
own
wor
k.
Ref
inem
ent-M
akin
g sm
all c
hang
es to
you
r w
ork
thro
ugh
expe
rimen
ting
with
di
ffere
nt m
ate
rials
and
tech
niqu
es.
Purp
osef
ul-
sho
win
g yo
u kn
ow
wha
t yo
u w
ant t
o d
o.
Expl
orin
g-T
o se
arch
and
dis
cove
r us
ing
diffe
rent
mat
eria
ls a
nd te
chni
ques
.
Thou
ghtfu
lly-C
are
fully
con
side
ring
thin
gs.
Tech
niqu
es-T
he w
ay
you
use
ma
teria
ls.
Mat
eria
ls-p
en, p
aint
, cla
y, w
ire,
pap
er e
tc.
Proc
esse
s- T
he w
ay
you
do s
omet
hing
.
Rec
ordi
ng-
Cap
turin
g yo
ur
idea
s, (
dra
win
g, p
hoto
gra
phy,
col
lect
ed im
ages
, ob
ject
s, a
nnot
atio
n.
Con
sist
ent-A
lwa
ys b
ehav
ing
or h
appe
ning
in a
sim
ilar
wa
y.
Inte
ntio
ns-S
omet
hing
you
wan
t an
d pl
an to
do.
Pers
onal
resp
onse
- be
lon
ging
to
or a
ffect
ing
you
rat
her
than
an
yone
els
e.
Ho
w y
ou fe
el a
bou
t yo
ur
artw
ork.
Mea
ning
ful-T
o sh
ow
mea
ning
(to
exp
ress
or
rep
rese
nt a
nd id
ea.
Visual im
ages/language‐ Relating to, done by or used in
seeing.
Art
Kno
wle
dge
Org
anis
er-N
oel-B
aker
Aca
dem
y A
rtis
t foc
us
Ral
ph G
oing
s (1
928-
2016
) w
as a
n A
mer
ican
art
ist
who
pai
nted
ph
otor
ealis
tic s
cene
s an
d st
ill li
fe
arra
ngem
ents
.
Sar
ah G
rah
am is
a B
ritis
h ar
tist w
ho
wor
ks fr
om h
er H
ertfo
rdsh
ire s
tudi
o.
She
cre
ated
larg
e an
d hi
ghly
det
aile
d pa
intin
gs o
f sw
eets
and
toys
.
Alla
n In
nman
is
an A
mer
ican
ar
tist w
ho a
lso
pain
ts to
ys in
ca
refu
lly
arra
nged
sc
enes
.
Eric
D G
ree
n is
an
Am
eric
an a
rtis
t who
us
es o
il pa
stel
s to
cre
ate
still
life
im
ages
.
And
rea
Jose
ph is
an
artis
t liv
ing
in
Der
bysh
ire w
ho u
ses
pens
to c
reat
e he
r hi
ghly
det
aile
d dr
awin
gs o
f eve
ryda
y ob
ject
s su
ch a
s sh
oes.
Lind
a M
erch
ant i
s al
so a
n A
mer
ican
ar
tist
who
use
s so
ft p
aste
ls t
o cr
eate
he
r co
lour
ful i
mag
es o
f rea
listic
sw
eets
.
AO
1-D
evel
op id
eas
thro
ugh
inve
stig
atio
ns, d
emon
stra
ting
criti
cal u
nder
stan
ding
of s
ourc
es.
AO
2-R
efin
e w
ork
by e
xplo
ring
idea
s, s
elec
ting
and
expe
rimen
ting
with
app
ropr
iate
m
edia
, mat
eria
ls, t
echn
ique
s an
d pr
oces
ses.
AO
3-R
ecor
d id
eas,
obs
erva
tions
an
d in
sigh
ts re
leva
nt to
in
tent
ions
as
wor
k pr
ogre
sses
.
AO
4-Pr
esen
t a p
erso
nal a
nd
mea
ning
ful r
espo
nse
that
re
alis
es in
tent
ions
and
de
mon
stra
tes
unde
rsta
ndin
g of
vi
sual
imag
es.
Skill
s/te
chni
ques
Dev
elop
ing
ide
as fr
om s
ourc
e, d
raw
ing,
pa
intin
g (b
lend
, col
our
was
h, im
past
o,
scum
ble)
, prin
ting
(lino
, mon
o, p
ress
prin
t, re
duct
ion,
ste
nci
l, bl
ock)
, ph
otog
raph
y,
mar
k m
akin
g, s
mud
gin
g, s
crat
chin
g,
cutti
ng, c
arvi
ng
, fo
rmin
g, m
ould
ing,
w
eav
ing,
join
ing,
ass
embl
ing,
mod
elli
ng,
fold
ing,
slo
tting
, st
itchi
ng, s
tapl
ing,
co
iling
, pr
essi
ng, s
moo
thin
g, c
olla
gin
g,
batik
, st
itchi
ng, d
igita
l man
ipul
atio
n, p
hoto
sho
p,
coili
ng, t
hum
b/pi
nch
pot.
YEA
R 1
1
Sti
ll lif
e
Vis
its;
http
:ht
tps:
//hep
wor
thw
akef
ield
.org
/ //w
ww
.not
tingh
am
cont
empo
rary
.org
/
7
Kno
wle
dge
Org
anis
er- Y
11 B
usin
ess
Furt
her I
nfor
mat
ion
1)
OC
R G
CS
E (
9-1
) B
usi
ness
Mik
e S
chof
ield
an
d A
lan
Will
iam
s H
odde
r E
du
catio
n (T
hird
Ed
itio
n)
p10
7-1
33
• h
ttp
s://
ww
w.o
cr.o
rg.u
k/Im
age
s/3
042
14-u
nit-
j20
4-0
1-b
usi
ness
-1-b
usi
ne
ss-a
ctiv
ity-m
ark
etin
g-a
nd
-peo
ple
-sam
ple
-a
sse
ssm
en
t-m
ate
rial.p
df
qu
est
ion
17
c
http
s://w
ww
.ocr
.org
.uk/
Imag
es/1
4488
1-qu
estio
n-pa
per-
unit-
a292
-01-
busi
ness
-and
-peo
ple.
1.
2
Ke
y T
erm
s Ve
rtic
al
com
mun
icat
ion
betw
een
peop
le o
n di
ffere
nt le
vels
of
hier
arch
y –
up
war
ds o
r do
wnw
ards
Mr A
mja
d ta
lks
to M
rs
Don
aghy
Hor
izon
tal
com
mun
icat
ion
be
twe
en
2 p
eop
le a
t sa
me
leve
l O
ne
sh
op
ass
ista
nt
talk
s to
an
oth
er
sho
p
ass
ista
nt
Exte
rnal
co
mm
unic
atio
n –
wh
ere
a p
ers
on in
th
e b
usi
ness
co
mm
unic
ate
s w
ith
som
eone
ou
tsid
e th
e
org
an
isat
ion
Tea
che
r se
nd
s a
n em
ail
to a
pa
ren
t M
an
age
r or
ders
so
me
st
ock
ove
r th
e te
lep
hon
e
from
an
oth
er
bu
sine
ss
Form
al
com
mun
icat
ion
Whe
n th
e o
ffic
ial
me
ans
of
com
mun
icat
ing
are
u
sed
Le
tters
, mem
os, f
axe
s,
em
ail,
me
etin
gs,
rep
ort
s
Info
rmal
co
mm
unic
atio
n U
noff
icia
l me
ans
of
com
mun
icat
ing
Con
vers
atio
n d
urin
g b
rea
k C
onve
rsat
ion
at
a s
oci
al
eve
nt
Wha
t is
Com
mun
icat
ion?
C
omm
un
icat
ion
is th
e tr
ansm
issi
on
of a
me
ssa
ge f
rom
a s
en
der
to a
re
ceiv
er.
Fe
ed
back
is th
e r
espo
nse
mad
e b
y a
pe
rson
wh
o r
ece
ive
s th
e
com
mun
icat
ion
tha
t te
lls t
he
pe
rson
wh
eth
er
the
y h
ave
or
not
und
ers
too
d th
e c
om
mun
icat
ion
. The
re a
re d
iffe
ren
t ty
pe
s of
com
mu
nic
atio
ns;
ve
rba
l w
ritte
n c
omm
un
icat
ion
, dig
ital c
om
mun
icat
ion
, fo
rma
l and
info
rma
l co
mm
unic
atio
n, in
tern
al a
nd e
xte
rna
l co
mm
unic
atio
n, h
oriz
on
tal a
nd
vert
ica
l co
mm
un
icat
ion.
W
hat i
s D
igita
l Com
mun
icat
ion?
D
igita
l co
mm
unic
atio
n is
a w
ay
of
exc
ha
ngi
ng in
form
atio
n e
lect
ron
ica
lly
usi
ng I
T
So
cial
Med
ia-
Ke
y in
pro
mo
ting
pro
du
cts
and
se
rvic
es o
nlin
e
Web
site
s- O
pera
tes
on
a 2
4/7
ba
sis
wh
ere
sa
les
can
be
mad
e a
t an
y tim
e o
f th
e d
ay
Fin
an
ce-
Acc
oun
ts c
an b
e c
en
tral
ised
an
d p
aym
en
ts c
an b
e m
ade
W
hat i
s E
mp
loym
ent L
aw
?
Em
plo
yme
nt L
aw
pro
tect
s th
e rig
hts
of
wo
rker
s in
the
wo
rk p
lace
.
9
Wh
at
are
wo
rke
rs’
rig
hts
?
All
wo
rker
s a
re e
ntit
led
to:
•
A lu
nch
bre
ak
• S
tatu
tory
sic
k p
ay
• A
no
tice
pe
riod
if th
e b
usi
ness
no
lon
ger
need
yo
u
• N
ot t
o b
e u
nfa
irly
dis
mis
sed
• M
ate
rnity
, p
ate
rnity
and
ado
ptio
n le
ave
•
The
rig
ht
to r
eque
st f
lexi
ble
wo
rkin
g
• T
ime
off
for
eme
rge
nci
es
• S
tatu
tory
red
und
an
cy p
ay.
•
Not
to
wo
rk m
ore
tha
n 4
8 h
ou
rs p
er
we
ek.
•
Pa
id h
olid
ay
• M
inim
um
len
gth
of
rest
bre
aks
•
To
rece
ive
no
less
tha
n t
he n
atio
nal m
inim
um w
age
•
The
rig
ht
to n
ot b
e b
ulli
ed
, ha
rass
ed o
r b
e u
nfa
irly
dis
crim
ina
ted
a
gain
st
3.
4.
Type
s of
Dis
crim
inat
ion
Equ
al P
ay
Dis
crim
ina
tion
- A
ct e
nsu
res
tha
t w
om
en a
re p
aid
the
sam
e a
s m
en
wh
en
the
y d
o w
ork
at
equ
al v
alu
e
Rac
ial d
iscr
imin
atio
n-
Sto
ps
peo
ple
fro
m d
iffe
ren
t ra
ce,
colo
ur,
na
tion
alit
y o
r e
thn
ic o
rigin
to
be
tre
ate
d d
iffe
rent
ly
Se
x D
iscr
imin
atio
n-
Act
pre
ven
ts m
en o
r w
om
en
be
ing
trea
ted
diff
ere
ntly
Type
s of
Dis
crim
inat
ion
Dis
ab
ility
Dis
crim
ina
tion
- T
he A
ct g
ive
s d
isa
ble
d p
eo
ple
equ
al
op
port
uniti
es
Se
xua
l Orie
nta
tion
Dis
crim
ina
tion
- P
eop
le w
ith d
iffe
ren
t ge
nd
er
or
sexu
al
orie
nta
tion
sh
ou
ld b
e tr
ea
ted
the
sa
me
R
elig
ion
or
Be
lief-
Pro
tect
ion
aga
inst
dis
crim
ina
tion
be
cau
se o
f re
ligio
us
be
liefs
or
not
10
WHAT YOU NEED TO KNOW….
The wide ran
ge of factors which affect the decision to have child
ren
1.
Relationship betw
een partnersis a very im
portant consideration. Couples need to have been together long en
ough
to form
a happy, stable, caring and
secure relationship built on trust.
2.
Finan
ce is im
portant as raising a child
is very expen
sive and the average cost of raising a child
is £231,843. Paren
ts will approach finance in
different ways
and it is very common for both paren
ts to work.
3.
Parental age can
affect the likelihood of conception and how they experience paren
thood. A
s a woman
ages her ability to conceive begins to decline. M
en
produce sperm all their adult life therefore as long as they are physically capable they can
father children.
4.
Peer pressure/ social expectationscan lead
to couples being pressured into having a baby because it is a social expectation and if they don’t have a child
they can
be excluded
by some friendship or family groups.
5.
Genetic counselling for hereditary diseases.G
enetic disorders are inherited
. Gen
etic disorders are: Down’s syndrome; cystic fibrosis, sickle cell anaemia
and m
uscular dystrophy. Paren
ts at risk of having a child
with a gen
etic disorder will be offered
counselling.
Pre –conception health
6.
Diet is extremely im
portant for the mother before and during pregnancy. Governmen
t guidelines for a healthy diet should be followed
that include 5
portions of fruit and veg, and foods that provide protein and iron
7.
Exercise will help a women
cope with the strain her body will be under during pregnancy and birth. R
egular exercise is im
portant to m
aintain fitness during
pregnancy.
8.
Healthy weight is im
portant to safeguard both the mother and baby. Being overw
eight or obese can affect ovulation and m
ake it hard to conceive. It can
lead
to health issues such as high blood pressure, pre‐eclam
psia or diabetes.
9.
Dan
gers of sm
oking/alcohol/ recreational drugs
can lead
to serious dam
age to an unborn child. It is extremely im
portant to protect a foetus from these
factors. The key dangers are that the chem
icals from drugs can
be passed through
the bloodstream
vi the placenta to the unborn child. There are many
risks such as miscarriage, dela yed
developmen
t, still birth and foetal abnorm
alities.
10. Up‐to‐date im
munisationswill contribute to keeping a woman
healthy both before and during pregnancy. The annual flu vaccine is also m
ade available to
pregnant women
.
Roles an
d responsibilities of parenthood
11. Meeting primary needsis a crucial part of paren
ting. Paren
ts should provide for the following needs –Food, Clothing, Shelter, W
armth and rest/sleep.
12. Providing love and nurture
as all children ned
and deserve to be loved. A
child
who does not receive love and nurture m
ay fil to thrive.
13. Socialisation, customs, values,it is im
portant that children need to understand socially accep
table beh
aviour. They need to be supported
in learning how
to experience and m
anage their feelings. A
n im
portant paren
tal role is to be an
appropriate role m
odel.
KNOWLEDGE ORGANISER
SUBJECT : Child
Development
TOPIC – LO1 Roles an
d responsibilities of parenthood
KEY
TER
MS :
Pre‐conception –
before pregnancy
Foetus ‐ an
unborn
human
more than
eight
weeks after conception.
Genetic – inherited
characteristics or
diseases
Hereditary ‐ passing of
genen
tic inform
ation
from paren
ts to child
Socialisation – how
children develop their
norm
s, values and
iden
tity from other
peo
ple
CONTEXT : B
ecoming a paren
t is one of life’s major
experiences and it is also one of life’s major responsibilities.
Responsibilities for the well‐being of a child
starts before
conception
Exam
Questions: 1.State three factors that affect the decision to have children. Explain why each of these factors are important when
deciding to have a
child. W
hich factor do you think is the most im
portant and why?
2.Outline
why
diet and exercise are
important to pre‐conception health. What key
things should be
eaten to make
sure it is a
healthy
diet?
3.W
hy is a healthy weight im
portant for both the mother and the baby?
4. N
ame the five primary care needs (1 m
ark)
5.W
hat are the dangers of sm
oking, alchol and recreational drugs for a foetus?
6. Summarise the roles and responsibilities of paren
thood.
11
Child
care Knowledge
Organ
iser
Th
e follo
wing will give you some guidan
ce if you would like
to find out more about Child
care.
REA
DING LISTS
LINKS TO
EXAM BOARD M
ATERIALS
Books:
Cam
bridge national Level ½ Book ‐ Child
development. M
iran
da Walker. Hodder Ed
ucation ISBN – 978‐1‐471‐89975‐1
A textbook that comprehen
sively covers all of the specification.
OCR Child
Development for GCSE. C
arolyn M
eggitt. Hodder.
A textbook that comprehen
sively covers all of the Unit 1 content.
Websites:
BUPA The BUPA A‐Z health directory provides inform
ation about topics such as: planning for pregnancy, antenatal care, ultrasound in
pregnancy,
childbirth, obesity in children, common childhood illnesses such as chickenpox. http://w
ww.bupa.co.uk/health‐inform
ation/directory
One Born Every M
inute Channel 4 TV series about giving birth. V
ideo
shorts lasting a few m
inutes are available about many topics such as the
role of the father, m
ultiple births and premature births. http://w
ww.channel4.com/program
mes/one‐born‐every‐m
inute‐the‐dads/on‐
dem
and/60895‐002
BBC Bitesize Provides video
clips and inform
ation about reproduction. http://w
ww.bbc.co.uk/ed
ucation/clips/zsrg9j6
Chan
ge4Life Healthy food and lifestyle advice and tips from the Governmen
t’s Change4life health initiative for families.
http://w
ww.nhs.uk/change4life/Pages/change
‐for‐life.aspx
Mothercare A home safety buyer’s guide for parents. http://w
ww.m
othercare.com/home‐safety/buyersguide‐ms‐safety‐
sub1,default,pg. htm
l?q=cooker%
20gaurd
NHS – NHS.co.uk
NSPCC Inform
ation about keeping children safe. A range of inform
ation and advice for paren
ts and teachers about safeguarding
children, online safety, ‘stranger danger’ and ‘the underwear rule’. The website provides case studies, inform
ation sheets, video
clips
and activities. http://w
ww.nspcc.org.uk
www.ocr.org.uk
Link to Cam
bridge national
level ½
Child
development
Exam
assessment material
R018
12
Christian Practices 1 Knowledge Organiser Yr11
Worship
Holy Communion
1. W
orship is the act of religious praise, honour or devotion.
2. W
hy worship? 4 reasons – to praise and thank God; to ask for forgiven
ess; to seek
God’s help; stren
gthen
faith.
There are 4 different form
s of worship:
3. Liturgical – A
church service that follows a set routine e.g. RC,
Anglican.
4. N
on‐liturgical – A church service that does not follow a set text/ritual e.g. B
aptist,
Methodist.
5. Inform
al worship – A type of non‐liturgical worship; it can be charismatic or
spontaneo
us e.g. Quaker, Pen
tecostal.
6. P
rivate worship is when believers praise or honour God in
their
own home.
19. H
oly Communion (Eu
charist) is the sacram
ent that uses bread
and wine to
celebrate the sacrifice of Jesus on the cross and his resurrection.
20. It recalls the Last Supper of Jesus, which m
any Christians consider as the most
important act of worship.
21. C
atholics and some Anglican
s believe the bread
and wine become the body and
blood of Christ (tran
substan
tiation).
22. P
rotestan
ts believe that the bread
and wine are sym
bols of Jesus’ sacrifice.
23. H
oly Communion is so cen
tral that its im
pact is felt in a number of ways: on
individuals, communities and wider society.
24. In m
ost churches the Holy Communion service has 2 parts: the ministry of the W
ord
(focus on the Bible) and the ministry of Holy Communion (the offering, consecrating
and sharing of bread
and wine).
25. H
oly Communion is celeb
rated differently in different churches e.g. Catholic M
ass
Prayer
Pilgrimage
7. P
rayer is communicating with God, either silently or aloud, using set prayers or
inform
al prayer (ACTS).
8. A
n example of a set prayer is the Lord’s Prayer.
Prayer is im
portant to Christians because:
9. In tim
es of trouble prayer gives Christians strength to cope.
10. It gives a sense of peace.
11. It en
courages reflection in
busy lives.
12. It en
ables Christians to talk and listen to God.
13. The Lord’s Prayer reminds Christians to forgive and that God is the Father of the
whole Christian community. It is said at Baptism
s, Holy Communion, m
arriages and
funerals.
26. A
pilgrimage is a journey m
ade for religious reasons to a sacred place. This is a
physical, but also a spiritual journey.
Christians may go on a pilgrimage because:
27. It strengthen
s their faith and brings them
closer to God.
28. They seek a cure for an
illness.
29. They want to thank God or pray for something special.
30. They want to express sorrow for sin and be forgiven
. 31. 2
places of Christian pilgrimage are Lourdes (France) and Io
na (Scotland).
Bap
tism
Celebrating Festivals
14. A
sacrament are holy rituals that outw
ardly express a spiritual experience.
15. C
atholic and Orthodox Christians recognise 7 sacramen
ts: b
aptism
, confirm
ation,
Holy Communion, m
arriage, holy orders, reconciliation and anointing of the sick.
16. B
aptism
is the ritual through
which peo
ple become mem
bers of the church. W
ater
is used as a symbol of washing aw
ay sin.
17. Infant Bap
tism
rem
oves original sin and welcomes the child
into the church.
18. B
eliever’s Bap
tism
involves full im
mersion into water, and is a conscious choice.
Baptism
does not save a person from sin.
“Therefore go an
d make disciples o
f all na
tions, bap
tising them
in th
e na
me of th
e Father and
of the
Son
and
of the
Holy Spirit.”
Matthew
28:19
32. A
festival is a day or period of celebration for religious reasons.
33. Festivals help Christians to rem
ember and celeb
rate the major even
ts in
their
religion e.g. the life, death and resurrection of Jesus.
34. Christmas commemorates the incar nation of Jesus.
35. Celeb
rations reflect Christian beliefs and teachings e.g. lights rep
resent Jesus as the
light coming into the world of darkness.
36. Easter is the most im
portant Christian festival, which celeb
rates Jesus’ rising from
the dead.
37. Celeb
rations run during the week leading up to Easter (Holy W
eek) including Jesus’
sacrifice on ‘G
ood Friday’ and his resurrection on Easter Sunday.
13
Further read
ing/resources/tasks
You are studying AQA GCSE Religious Studies Specification A https://www.aqa.org.uk/subjects/religious‐studies/gcse/religious‐studies‐a‐8062
Sample exam paper Christianity https://filestore.aqa.org.uk/resources/rs/AQA‐806213‐SQP‐S1.PDF
Sample exam paper Islam https://filestore.aqa.org.uk/resources/rs/AQA‐806215‐SQP‐S1.PDF
Sample exam paper Them
es A, B
, D and E ONLY https://filestore.aqa.org.uk/resources/rs/AQA‐80622A‐SQP‐S1.PDF
If you want to attem
pt any of these exam questions, please hand them
to M
rs W
hitaker or Mrs W
ensley for marking.
You can
use the ‘B
iblegateway’ w
ebsite to lookup any Biblical quotes and/or passages https://www.biblegateway.com/
You can
type in
the referen
ce or key phrases to find what you need. E.g. the Lord’s Prayer, M
atthew
6:5‐8, Luke 11:2‐4, Jesus’ prayer in the Garden
of
Gethsemane M
ark 14:32‐36.
You can
make use of Bitesize revision web
site for some of the them
es https://www.bbc.com/bitesize/topics/z9khfrd and
https://www.bbc.com/bitesize/topics/z2mb4j6
14
WHAT YOU NEED TO KNOW….
1.
The Parliament is form
ed into three parts, H
ouse of Commons, House of Lords and The M
onarchy
(Queen
).
2.
The House of Commons has three m
ain roles, rep
resentation (650 M
P’s elected
by the people),
legislation (make laws), scrutiny (keep an eye on the governmen
t)
3.
The House of Lords are elected
and are lords for life, they are a m
ixture of religious leaders/ links to
political parties or experts in
their industry. Lords need to agree
all bills for them
to become Law
s.
4.
The Governmen
t runs the country. It is m
ade up of elected m
embers of the House of Commons and
sometim
es unelected m
embers of the House of Lords. Governmen
t ministers are chosen by the Prime
Minister
5.
Legislature is the nam
e for parliamen
t as a whole. It means a place where laws are made. M
Ps and
Lords work in
partnership deb
ating proposals for new
laws, and m
aking suggestions about how the laws
may be m
ade clearer and m
ore effective.
6.
Parliamen
t is the supreme authority on law‐m
aking in the UK. N
o other UK body or institution can
make
a law that is above that of one made by parliamen
t although
UK governmen
ts are bound by
international law. Furthermore, no parliamen
t can bind its successor, which m
eans that any law that is
made by one parliamen
t can be repealed by a future parliamen
t
7.
To create a new Law
within the UK, a bill is created
and read by the MPs in Parliamen
t this will be
discussed
and voted on. W
ill then
go through
the Committee stage to be discussed
/ amended
, rep
orts
made and a vote will be taken again. This will then
go to the House of Lords to complete the sam
e stages, this will then
have to be approved by them
as well.
8.
Royal A
ssen
t is when
the Queen then
finally signs the bill which will creates it being an
Act of
Parliamen
t, a Law
.
9.
The Civil Service ensures the Government runs sm
oothly and provides advice and guidance to the
minsters
EXAM QUESTIONS
Learn all of the key term
s
Iden
tify three stages that a bill has to go through
to become a law (3 m
arks)
Iden
tify who elects the House of Commons? (1 m
ark)
Evaluate whether the process for passing a bill through
parliamen
t takes too long. Consider both points of view
(8 m
arks)
TASK
– W
atch Prime Minster questions and summarise what happen
s
CITIZEN
SHIP –BRITISH CONSTITUTION– KNOWLEDGE
ORGANISER
CONTEXT
To understand the British Constitution, to know the
separate but complemen
tary roles of the
executive, legislature, judiciary and the M
onarchy in
UK government and understand the differences
between them. To know the bicam
eral system within
Westm
inster and how Law
s are created . To
be able to
explain the role of MP’s, roles within parliamen
t, how
dep
artm
ents within the governmen
t are divided and
the codified and uncodified constitutions
KEY
TER
MS
Parliament – The decision m
aking body of the UK. It has
three parts: The House of Commons, the House of Lords
and the Monarch.
Uncodified constitution ‐ A
constitution in
which not all
parts are collected together in
one documen
t, but are
found in
many different sources. The UK is one of the
only a handful of countries that has such a constitution.
Codified Constitution ‐ A single document which sets out
the rules, laws and ideas beh
ind governing the state and
the rights and responsibilities of its citizens (America)
Bicam
eral system – the two cham
bers working together
to run the legislature
White Pap
er ‐ A documen
t setting out the government’s
policy on a particular issue. It invites opinions from
others
House of Commons: M
ade up of 650 M
Ps from local
constituen
cies, divided
into two ‘sides’ the Majority and
the Opposition
House of Lords: Peers are appointed and elected
by the
Prime Minister, they are norm
ally experts in their field
15
Citizenship Knowledge
Organ
iser
Th
e follo
wing will give you some guidan
ce if you would like
to find out more about Citizenship
REA
DING LIST an
d Learning ab
out Politics in society
Book: https://www.ocr.org.uk/qualifications/gcse/citizen
ship‐studies‐j270‐from‐2016/textbooks/
Watching/Reading the news regularly
https://www.bbc.co.uk/new
s BBC 1 – Question Tim
e – on every week and discusses curren
t deb
ates.
https://www.bbc.co.uk/program
mes/b006t1q9/episodes/player (Past ep
isodes)
Prime M
inisters Questions – each week. Up to date political deb
ates
https://www.parliamen
t.uk/business/new
s/parliamen
t‐government‐and‐politics/parliamen
t/prime‐
ministers‐questions/
LINKS TO
EXAM BOARD M
ATERIALS
OCR CITIZEN
SHIP
Link to the specification
https://www.ocr.org.uk/qualifications/gcse/citize
nship‐studies‐j270‐from‐2016/
https://www.bbc.com/bitesize/topics/zckw
6sg
16
Year 11 Knowledge
Organ
iser DESIGN AND TEC
HNOLO
GY
During year 11 it is im
portant that you fully understand and apply the principles of the design process including the iterative
design process and how designs are communicated
to the m
anufacturing stage. This Knowledge organiser will take you through
the knowledge need to complete your NEA
and external examination
NEA
section 1
production Techniques and Systems
. Understand contemporary and potential future use of automation, Computer
Aided
Design (CAD), and Computer Aided
Manufacture (CAM).
. Be able to recognise and characterise the use of Flexible M
anufacturing System
s (FMS)
. Understand how Just In
Tim
e (JIT) and lean
manufacturing contribute to
manufacturing efficien
cies
Key words:
Automation Flexible‐M
anufacturing System
s
Computer‐Aided
Manufacture Production data managem
ent
Computer‐Aided
Design Computer numerical control
Just‐In Tim
e Production Kaizen
What you need to know: Key Questions:
Which types of products would be best produced using the
JIT production m
ethod? Why?
Find out about the term
KAIZEN
.
How could Kaizen be used to support the lean
manufacturing philosophy?
How would FMS allow a company to respond to trends and m
arket changes?
Explain the term
Product data managem
ent. . Why is it a good idea for companies to invest
in product data managem
ent software?
Why do some peo
ple still prefer to purchase hand‐built item
s instead of mass produced
products? W
hat kind of products may sell better if m
ade by traditional m
ethods?
What is m
eant by a machine being ‘computer numerically controlled’?
How can
CAD/CAM save on shipping costs for a business? Find out about CAM equipmen
t available in
school—
what are the advantages and disadvantages of these?
Find out about design software
Automation‐ The use of computers in production lines make them
flow more easily and
lead
to less human
interaction needed
. In the past manual production lines were slower
and m
ore expen
sive to operate than
the automated
production lines used today.
Despite this, some traditional manufacturers still rely on skilled manual labour. Products
made in this way ten
d to be bespoke, low volume and high cost item
s, including sports
cars or high‐end furniture. M
ost manufacturing is still becoming increasingly automated
. Automation involves computers using complex software system
s that have an
overview
of many aspects of the production. Production data managem
ent is the term
used to
describe these software system
s. All of the data is stored cen
trally, is updated
live and
is accessible by all employees who need the most up to date
Inform
ation. This red
uces mistakes, ensures that all team
s in the company can w
ork
together, leads to accurate costing and forecasting production progress.
Computer‐Aided
design and m
anufacturing
Computer aided
design (CAD) and computer aided
manufacture (CAM) are essential to ensure
smooth transition between the designing and m
anufacturing stages of creating products. CAD is
the design of new
products using specialist computer based
software. CAM is uses the CAD files to
turn these designs into prototypes or finished
products. M
any designers still prefer to start
sketching an
idea using pen
and paper in
order to express ideas more freely. Once the design has
been created
CAD can
be used to re‐sketch accurately and can
be used to m
anipulate and test the
design until it is finalised
. Both CAD and CAM work through
the use of computer numerical control (CNC). This is when
the
CAD software generates a series of machine codes which are interpreted by the CNC m
achine into
movemen
ts of the machine bed
or other actions such as motor speeds to control needles or
cutters. In schools common CAM equipmen
t includes laser cutters, vinyl cutters, computerised
sewing and embroidery machines, CNC routers and lathes.
Disadvantages of CADM Designs can be altered easily Software can be difficult to learn
Faster to draw complex designs, so saves labour costs
And developmen
t time Software can be expen
sive Design can
be saved and historic
versions kept and archived
. Designs can also be easily copied or repeated. There can be
compatibility issues with the
software Work can
be sent be em
ail for approval and for manufacture
Advantages of CADM ‐Faster than
traditional tools, Expen
sive to set up/buy eq
uipmen
t More
accurate than
traditional m
ethods, Training costs and tim
e high accuracy and rep
etition CAM
machines need specialist en
gineers for maintenance and rep
air Machines can
operate 24/7 CAM
machines can
lead
to unem
ploym
ent
due to rep
lacing traditional skills/jobs Work can
be produced directly from CAD files
17
Security issues—data could be corrupted or hacked Teams of designers can work on the
same project sim
ultaneo
usly Software may need regular updates Designs can b
e rendered
to look photo realistic to
gather public or target m
arket opinion Dem
and on computer mem
ory
Software can process stress testing and associated
calculations to predict issues with a
produc t prior to m
anufacture, D
ata could be lot in power cuts
Flexible m
anufacturing system
s (FMS)
This refers to a collection of automated m
achines that are adaptable and used in
production lines
Where the products being made may change on a regular basis. M
anufacturers can
respond quickly
to changes in the m
arket and consumer dem
ands, it also allows for a reaction to trends and fashion. FMS machines are flexible and adaptable, they are best eq
uipped
for
batch production. The need for flexibility could add further set up costs to the production. C
NC m
achines are frequently used in
FMS as they can
be reprogram
med
easily so
changes are quick, sim
ple and cost effective. R
obot arms are also used because they can
be program
med
to do m
any tasks. They can
also perform
multiple tasks while on one
production line, m
aking the FM
S capable of real tim
e changes and greater flexibility during manufacture.
Just In
Tim
e M
anufacturing (JIT)
Using Just In
Tim
e production m
ethods manufacturers are able to respond to customer dem
ands more effectively. JIT m
anufacturing en
sures that customers get the right
product at the right time and at the right price. A
customer’s order will trigger the production proves and the manufacturer makes the product specifically to m
eet
The order. Stock is not ordered
until the product will be made, reducing waste and m
aking production m
ore economical as stock is not ordered
of not need
ed.
REA
DING LISTS
After school activities
www.bbcbitesize.co.uk
AQA design and Technology 9‐1 ‐Hodder
education
www.technologystuden
t.co.uk
AQA Resistant materials Hodder Education
www.gcsep
od.co.uk
STEA
M Club Ambassadors
GCSE after school catch up KS4
Calen
dared
whole day holiday/ Easter catch sessions‐TB
C
18
Drama ‐ Year 11 – Knowledge Organ
iser – Component 1
You are req
uired
to devise a piece of original theatre in response to a stimulus, using the practitioner of Brecht to influen
ce your work.
Key Exam
ination inform
ation an
d De
adlines/Examination
Devising Th
eatre
Non‐exam assessm
ent: internally assessed, externally m
oderated
40% of qualification / 60 m
arks
Exam
perform
ance date: 26th and 27th November
Portfolio
dea
dline: Tuesday 20th November
Written evalua
tion: Tuesday 11th Decem
ber
Key Brecht te
rms (
You must e
nsure accurate sp
elling of key te
rminolog
y an
d practitioner’s
ideas)
Dire
ct add
ress – breaking down the fourth wall and talking directly to the audience.
Narrator –
Used to tell the story to the audience without the use of conversation between characters.
Multi‐rolling
– W
here a perform
er plays m
ore than
one character. Often
only using token costume and key stereotypical character traits to convey a change
in character.
Gestus –
a sim
ple gesture or movemen
t by a character that reflects the character’s overall attitude but does not give the audience enough
to follow their
emotional journey.
Placards – a way of communicating time passing; change in
place or circumstance etc.
Tickle and
slap
– Using jokes to convey hard hitting messages
Music and
song
s – often
upbeat happy songs that contrast with a serious message
Aliena
tion/Ve
rfremdu
ngseffekt –
making the audience stop and think about the serious message and not allowing them
to be carried
along with the
emotions of a character. The audience is often
rem
inded
it is a perform
ance (e.g. seeing actors changing characters).
Brea
king
the fourth wall – breaking down the divide between the audience and perform
ers usually by interacting directly with the audience.
Episod
ic structure – Lots of short scenes are pieced together by character, them
e, place etc. gen
erally the play has no specific beginning, m
iddle or en
d so
scen
es could be shuffled in
to different orders.
Political m
essage
– all of Brecht’s work had
a political m
essage
Loca
l The
atre
s D
erby
The
atre
– w
ww
.der
byth
eatr
e.co
.uk
Upc
omin
g pr
oduc
tions
: -
‘Abi
’ - T
his
vibr
ant o
ne-w
oman
sh
ow e
xplo
res
how
a fi
ery
15-y
ear-
old
girl
expe
rienc
es m
oder
n so
ciet
y by
del
ving
into
her
rea
lm o
f bo
ys, f
amily
, pa
rtyi
ng,
ambi
tions
and
soc
ial m
edia
, with
wit
and
flair
– 29
th S
epte
mbe
r to
20th
Oct
ober
– S
tude
nt T
icke
ts £
8.
- ‘K
nock
, Kno
ck’ -
Exp
ect t
o la
ugh
and
cry
in th
is p
oign
ant a
nd m
ovin
g pi
ece
usin
g ph
ysic
al th
eatr
e, c
low
n an
d m
ask
to c
aptu
re th
e he
arts
of g
row
nups
an
d th
inki
ng fa
mili
es –
Frid
ay 2
6th O
ctob
er -
£8
19
You must con
sider th
e following when devisin
g your piece of theatre:
Structure – order of scen
es, tim
e, place
Them
e/Plot – what happen
s, how is this communicated
? Form
and
style – How will you rep
resent the style of Brecht in your
perform
ance?
Lang
uage
/dialogu
e – what will be spoken by the characters? Will it be to one
another as conversation or as a direct address to the audience?
How can
you
use th
e following to com
mun
icate meaning
in
your piece?
Ligh
ting – intensity, colour, focus audience/sym
bolic, gobos
Soun
d – M
usic, sound effects, live/pre‐recorded
, volume,
Costum
e – sym
bolic/rep
resentational, token, full, age, status,
stereo
type, colour
Set –
minim
alist, full, token, m
oveable, m
ulti‐functional
Choice of stage:
Proscen
ium arch
Traverse
Thrust
In‐the‐round
Brecht would try to m
ake the audience see
political events in a different way so they would change their mind or rethink about an
event. Brecht would also
make the audience not em
pathise with his character as he believes that if they did that it would detract from the message of the play.
During the process, it is expected that
you will indep
enden
tly make notes
about key choices and m
omen
ts in
the
developmen
t of your piece. You m
ust
documen
t developmen
ts of character,
plot, style, staging, dialogue etc. This can
be in
the form
of diagram
s, sketches,
ground plans, diagram
s, storyboards,
mood boards, sections of script.
20
English ‐An Inspector Calls Knowledge
Plot:
Context:
Key Quotations
The play is set over the course of one night; one story, one place, one
time; uses flashbacks.
Act One:
*The Birling family celeb
rate Sheila and Gerald’s engagemen
t *The Inspector arrives.
*Mr Birling reveals he fired Eva Smith for going on strike from the
factory.
*Sheila reveals she got Eva fired from her job at Milw
ard’s out of
jealousy.
*The Inspector reveals Eva changed her nam
e to Daisy Ren
ton.
*Sheila questions Gerald alone.
Act Two:
*Gerald explains how he tried to help Daisy and had
an affair with her.
*Mrs Birling pretends not to know who the girl is from the
photograph.
*Mrs Birling is forced
to reveal the girl wen
t to her for help because
she was pregnant, calling herself M
rs Birling. M
rs Birling uses her
influen
ce to have the girl’s claim
rejected.
*Mrs Birling thinks the father should be dealt with severely; Sheila
understands that it is Eric.
Act Three:
*Eric ent ers and tells his story about Eva Sm
ith.
*Eric discovers his m
other didn’t help her and accuses her of causing
her death.
*The Inspector leaves.
*Gerald returns and suggests that m
aybe it was a hoax.
*Mr Birling is convinced everything is fine and phones the police
station and then
the infirm
ary – no Inspector Goole and no suicide.
*The police call and say there has been a suicide.
*1912–play set the night the Titanic sinks; just before
WW1; just before strikes.
*1945 – play written
; after W
W2; start of welfare state;
social equality more of a perceived
need.
*Socialism – social responsibility, w
e should all look after
one another and work together for the better.
*Cap
italism – Businesses should continue to m
ake money
in spite of human
cost, w
e are all responsible only for
ourselves.
*Class – upper and lower social classes segregated
*Age – old vs young; new
and old ideas set against each
other.
*Attitudes to women – patriarchal society leading to
misogyny
Audience reactions
*Post‐w
ar audience (contemporary) – would have found
Birling’s foolish predictions to be ridiculous; Priestley
intended
to expose upper class ignorance and arrogance.
First shown in
Russia in
1945; C
ommunist audience m
ight
have been sym
pathetic to Priestley’s m
essage.
Shown in
USA
in 1947; w
ealthier capitalist audience m
ight
have been less sym
pathetic.
MR BIRLING
1. “The Titanic… unsinkable, absolutely unsinkable.”
2. “A m
an has to m
ake his own way – has to look after
him
self”
3. “community and all that nonsense.”
4. “there’s every excuse for what your mother and I did”
MRS BIRLING
1. “About fifty, a rather cold woman
and her husband’s
social superior”
2. “she only had
herself to blame”
3. “he ought to be dealt with very severely”
SHEILA
BIRLING
1.“A pretty girl in
her early twen
ties, very pleased
with
life and rather excited
” 2. “But these girls aren
’t cheap labour‐ they’re peo
ple.”
3. “And if I could help her now, I would‐”
ERIC BIRLING
1. “In his early twen
ties, not quite at ease, half shy, half
assertive”
2. “Why shouldn’t they try for higher wages? We try for
the highest possible prices”
3. “Well I was in
that state when
a chap
easily turns
nasty‐“
4. “(shouting) And I say the girl’ s dead and we all helped
to kill her‐ and that’s what m
atters‐”
GER
ALD
CROFT
1.“An attractive chap
about thirty…very m
uch the
easy well‐bred young man
‐about‐town”
2.“she looked young and fresh”
3.“Everything’s all right now Sheila. W
hat about
this ring?”
INSPEC
TOR GOOLE
1.‘creates at once an im
pression of massiveness,
solidity and purposefulness.’
2.“it’s better to ask for the Earth than
to take it”
3.“Public m
en, M
r Birling, have responsibilities as
well as privileges”
4.“We don’t live alone. W
e are m
embers of one
body. W
e are responsible for each other.”
Characters
*The In
spector–arrives in Act One; has a picture of Eva
Smith; q
uestions the Birlings and Gerald; is not a real
Inspector; voice of Priestley and socialism.
*Mr Birlin
g – upper m
iddle class m
an of the house; factory
owner; successful capitalist – has worked
his way up.
*Mrs Birlin
g – upper class; volunteers for a charity.
*Sheila
– daughter; early 20s; m
ost influen
ced by the
Inspector ‐ changes the most.
*Eric – son; early 20s; likes to drink – irresponsible; steals
money from his father’s business; sides with Sheila by the
end.
*Gerald – about 30; engaged to Sheila; u
pper class; m
ore
likely to side with M
r and M
rs Birling; doesn’t accep
t responsibility
*Eva Smith – lower class working woman; only ever
presented through
the voice of the other characters;
commits suicide by drinking disinfectant.
Themes
1. Priestley asks his audience to examine their individual and collective
responsibility to society. He wants a welfare state.
2. The hypocrisy of middle‐class Edwardian society is uncovered:
appearance& rep
utation m
atter more than
reality&
morality.
3. Priestley criticises the selfishness of capitalism and wants a fairer,
socialist future after the horrors of tw
o world wars.
4. Priestley shows the older gen
eration to be set in their ways, while
the young are open
to change.
5. Eva Smith is the em
bodim
ent of young, working‐class women
who
were oppressed
by the middle/upper classes.
21
Next Step
s To
Indep
endence
Read
… about the text and responses to it.
https://www.bl.uk/20th‐century‐literature/articles/an
‐introduction‐to‐an‐
inspector‐calls
https://www.telegrap
h.co.uk/culture/tvandradio/11841142/A
n‐Inspector‐
Calls‐the‐m
essage‐behind‐the‐new‐BBC‐thriller.htm
l https://www.theguardian.com/stage/2015/aug/29/how‐jb‐priestley‐
inspector‐calls‐ussr
Explore…the social, cultural and historical contexts.
http://w
ww.intriguing‐history.com/periods‐history/edwardian‐period/
https://www.britannica.com/topic/Edwardian‐era
https://www.bbc.co.uk/history/sections/world‐w
ar‐one
http://w
ww.bbc.co.uk/history/histories/titanic
http://w
ww.bbc.co.uk/history/w
orldwars/wwtw
o/
Author…
inform
ation and other works.
https://www.bl.uk/20th‐century‐
literature/articles/an
‐inspector‐calls‐and‐j‐b‐
priestleys‐political‐journey
http://w
ww.jbpriestleysociety.com/biograp
hy‐3/
https://www.bl.uk/people/j‐b‐priestley
A list of all the works of J.B Priestley can be found
here: https://biblio
.co.uk/j‐b‐
priestley/au
thor/15275
Practise… exam style questions.
*Arthur Birling is an appalling character with no red
eeming features.’
How far do you agree
with this statemen
t?
Write about:
what Arthur Birling says and does in
the play
how Priestley presents the character of Arthur Birling
*How does JB Priestley present ideas about ineq
uality in the play?
Write about:
the im
portance of ineq
uality in the play
how Priestley presents ineq
uality in the ways he writes
22
Knowledge Organiser AUT 1 Year 11 French Module 5
En vacances On holiday Je passe mes vacances … I spend my holidays in… En Allemagne (f) Germany En Autriche (f) Austria En Espagne (f) Spain En Suisse (f) Switzerland En Pologne (f) Poland En Angleterre (f) England Aux Etats-Unis (mpl) United States Aux Pays-Bas (mpl) Netherlands Au pays de Galles (m) Wales Au Pakistan (m) Pakistan Au Japon (m) Japan Je vais au bord de la mer/à la campagne/ à la montagne
I go to the seaside/the countryside/the mountains
Je voyage en avion/en ferry/en train/en voiture
I travel by plane/ferry/train/car
Je loge dans un gîte/un hôtel (4 étoiles)/ une auberge de jeunesse/une chambre d’hôte/dans une tente
I stay in a holiday cottage/a 4 star hotel/ a youth hostel/ a bed and breakfast/a tent
Je me lève tôt/on se couche tard I get up early/we go to bed late Je vais à la plage/je me baigne dans la mer I go to the beach/I bathe in the sea On peut faire de l’escalade/faire une visite à Paris/jouer à pétanque
You can do climbing/visit Paris/play boules
C’est formidable/luxueux/merveilleux/passionnant/pittoresque/reposant/tranquille
It’s tremendous/luxurious/wonderful/exciting/picturesque/restful/quiet
A l’hôtel At the hotel Je voudrais une chambre pour une/deux personnes
I would like a room for one/two people
Avec un lit simple/un grand lit With a single/double bed Avec une salle de bains/une douche/une vue sur la mer
With a bathroom/ a shower/ a view of the sea
Au rez-de-chaussée/au premier/deuxième étage
On the ground floor/ on the first/second floor
Il y a parking tout près/un micro-ondes/la climatisation dans la chambre
There is parking nearby/a microwave/air conditioning in the room
23
Knowledge Organiser AUT 1 Year 11 French Module 5
En route! On the road! Si j’avais le choix, pour aller en….. If I had the choice, to go to… Je voyagerais en car/avion/à moto I would travel by
coach/airplane/motobike Car c’est/ce n’est pas…. Because it is/it isn’t…
Rapide/confortable/pratique/bon pour l’environnement/ennuyeux/fatigant/cher
Quick/comfortable/practical/good for the environment/boring/tiring/expensive
Un billet/ Un aller-simple A ticket/ A single Un aller-retour A return Le guichet/ Le quai Ticket office/ the platform La salle d’attente Waiting room CHALLENGE: C’était catastrophe It was catastrophic Avant de partir j’avais reservé mon billet d’avion/fait ma valise/fait des recherches
Before leaving I had reserved my ticket/done my case/done my research
Mais/pourtant je me suis cassé(e) la jambe But/however I broke my leg J’ai oublié mon passeport I forgot my passport J’ai raté l’avion I missed the plane J’ai pris un coup de soleil affreux I got terribly sunburnt Le camping-car était tombé en panne The camper-van broke down On m’a volé mon sac à main My handbag was stolen J’ai dû aller au commissariat/à l’hôpital/chez le médecin
I had to go to the police station/hospital/doctors
Grammar: The conditional tense: For regular –er and ir verbs take the infinitive and add this endings Je -ais Tu -ais Il/elle/on -ait Nous -ions Vous - iez Ils/elles - aient Common irregular verbs : Aller – j’irais Faire – je ferais Etre – je serais Avoir – j’aurais Avant de + infinitive – before having done something Avant de partir – before leaving
Websites for further practice
www. wordreference.com Online dictionary ‐ use this and not an online translator
http://www.french‐linguistics.co.uk/verbs/ Explanation of grammar and verb practice.
www.languagesonline.org.uk Choose French from the menu on the left and scroll down for vocabulary and grammar exercises.
Speaking practice
www.voki.com
Make yourself an online persona and record yourself speaking French. Save each one you make or paste in the text and choose a French voice to say the text for you.
http://text‐to‐speech.imtranslator.net/
Paste in some (corrected! ) text to the text box and choose French from the drop‐down language menu‐listen to the accurate pronunciation and practise yourself.
24
The challenge of Natural H
azards
Unit 1 GCSE Geograp
hy
What
are Natural H
azards?
Natural hazards are physical events such as earthquakes an
d
volcan
oes that have the potential to do dam
age human
s an
d property.
Hazards include tectonic hazards, tropical storm
s an
d forest fires.
What affects hazard risk?
Population growth
Global clim
ate change
Deforestation
Wealth ‐LICs are
particularly at risk as they
do not have the money to
protect them
selves Earthquakes an
d Volcan
oes
Volcan
oes
Earthquakes
•Constructivemargins –Hot
magma rises between the
plates eg. Iceland. Form
s Shield volcanoes
•Destructivemargins –an
oceanic plate subducts
under a continen
tal plate.
Friction causes oceanic plate
to melt and pressure forces
magma up to form
composite volcanoes egthe
Pacific Rim
•Constructivemargins –
usually small earthquakes as
plates pull apart.
•Destructivemargins –
violent earthquakes as
pressure builds and is then
released
•Conservativemargins –
plates slide past each other.
They catch and then
as
pressure builds it is released
egSan Andreas fault. .
Monitoring
Prediction
Seismometers measure earth m
ovemen
t.Satellite
map
s, m
onitor water table, rad
on gas detectors
and anim
al activity.
By observing monitoring data, this can
allo
w
evacuation before event. Only 9lead
tim
e for
earthquake, hard to predict.
Protection
Planning
Reinforced build
ings and m
aking build
ing
foundations that absorb m
ovement
Automatic shut offs for gas an
d electricity
Avoid build
ing in at risk areas
Training for emergency services an
d planned
evacuation routes an
d drills.
Effects of Tectonic Hazards
Primary effects hap
pen im
mediately. Secondary effects hap
pen as a result
of the primary effects an
d are therefore often slightly later.
Primary ‐Earthquakes
Secondary ‐Earthquakes
•Property and buildings
destroyed
•Peo
ple injured or killed
•Ports, roads, railways dam
aged
•Pipes (water and gas) and
electricity cables broken
•Business reduced as money
spen
t repairing property
•Blocked
transport hinders
emergency services
•Broken gas pipes cause fire
•Broken water pipes lead
to a
lack of fresh water
Primary ‐Volcan
oes
Secondary ‐Volcan
oes
•Property and farm land
destroyed
•Peo
ple and anim
als killed or
injured
•Air travel halted due to volcanic
ash
•Water supplies contaminated
•Economy slows down.
Emergency services struggle to
arrive
•Possible flooding if ice melts
Tourism
can
increase as peo
ple
come to watch
•Ash breaks down leading to
fertile farm land
Structure of the Earth
The earth has 4 layers
The inner core
The outer core
The m
antle
The crust
The crust is split into m
ajor
fragmen
ts called tectonic plates.
There are 2 types: O
cean
ic(thin
and younger but den
se) and
Continen
tal(old and thicker but
less den
se)
These plates move and where
they m
eet you get tectonic
activity (volcanoes and
earthquakes).
There are 2 theo
ries of why
plates move: convection currents
and ridge push, slab pull.
Plates either m
ove against each
other (destructivemargin) aw
ay
from each other (constructive) or
next to each other (conservative)
Responses to Tectonic Hazards
Immediate (short term
)Long‐term
•Issue warnings if possible
•Rescue team
s search for
survivors
•Treat injured
•Provide food and shelter, food
and drink
•Recover bodies
•Extinguish fires
•Repair an
d re‐build
properties
and infrastructure
•Im
prove build
ing regulations
•Restore utilities
•Resettle locals elsewhere
•Develop opportunities for
recovery of economy
•Install m
onitoring technology
Comparing Earthquakes –L’Aquila, (HIC) an
d Haiti, (LIC)
L’Aqulla, 2009
Haiti, 2010
Primary Effects
308 deaths
1500 injured
11,000 buildings dam
aged
220,000 deaths
300,000injured
Water and electricity cut off
Secondary Effects
Aftershocks made rescue more
difficult. Fires.Broken waterpipes
led to landslides
67,500 peo
ple homeless
88,000 unem
ployed
Cholera
1.3million homeless
Dam
age $7.8billion
1/5 lost jobs (clothing indu
stry
impa
cted)
Immediate Responses
40,000 ten
ts. 10,000 in hotels and
train carriages. 36am
bulances,
sniffer dogs, fire services and arm
y to area to help victims.
Governmen
t money to rep
air gas,
electricity. Free mobile phones to
peo
ple who had
lost homes.
International aid (Red
Cross) and
equipment sent, but this didn’t reach
many areas for weeks
due to blocked
roads.
Tents, blankets and m
edical supplies
sent, but took a month to reach m
ost
areas.US sent 10,000 troops.
115,000 ten
ts set up. $100m from US.
Long term
responses
New
settlem
ents built to house
over 20 000 residen
tsMost of city reb
uilt
Investigation into building
standards .N
o billssky and uni
fees stopped
. Freeze mortgage
paymen
ts,.No AID needed
.
New
settlem
ents of 40 000 peo
ple
Aid to reb
uild
schools and build
new
homes. 3
years later many still living
in tem
porary ten
ts and schools still
not rebuilt after 10 years. I billion
from
23 charities, £428million from
EU. Oxfam
–built schools. Food
tokens to clear rubble.
LICs suffer m
ore than
HICs from natural d
isasters because they
are
not as prepared and struggle to react effectively
25
Global atm
ospheric circulation
At the equator, the sun’s rays are m
ost concentrated
. This m
ean
s it is
hotter. This one fact causes global atm
ospheric circulation at different
latitudes.
High pressure = dry
Low pressure = wet
As the air heats it rises –causing low pressure. A
s it cools, it sinks,
causing high pressure. W
inds move from high pressure to low pressure.
They curve because of the Coriolis
effect (the turning of the Earth)
Tropical Storm
s
Occur in low latitudes between 5 and 30 degrees north and south of
equator. Ocean
tem
perature needs to be above 27 degrees °C. H
appen
between summer and autumn
Hurrican
e Katrina, Louisiana USA
August 2005
Primary Effects
Secondary Effects
1836killed
300 000 homes destroyed
80% of New
Orleans flooded
3 million peo
ple without
electricity
Habitats destroyed
230 000 jobs lost from dam
aged
businesses
Water supply polluted
1 million homeless
Total cost of dam
age $150 billion
Looting. I.7mwithout electricity.
Immediate Responses
Long‐term
Responses
70‐80% of New
Orleans evacuated
before hurricane reached
land
State of em
ergency declared in
Louisiana and M
ississippi
Emergency shelter set up in
Superdomefor 15,000 for 3 days
50 000 peo
ple rescued
Charities provided
hot means and
aid
Governmen
t provided
$16 billion
to reb
uild
Some houses rebuilt on stilts
Some areas zoned
no build
areas
Rep
aired flood defen
ce costing
$14.5 billion (mainly levees)
FEMA organised
caravans for the
homeless,
Sequence of a Tropical Storm
1.
Air is heated above warm tropical ocean
s2.
Air rises under low pressure conditions
3.
Strong winds form
as rising air draws in m
ore air and m
oisture
causing torrential rain
4.
Air spins due to Coriolis effect around a calm eye
of the storm
5.
Cold air sinks in
the eye
so it is clear and dry
6.
Heat is given off as it cools powering the storm
7.
On m
eeting land, it loses source of heat and m
oisture so loses power.
Extreme weather in the UK
Rain–can cause flooding dam
aging homes and business
Snow & Ice –causes injuries and disruption to schools and business. Destroys
farm
crops
Hail–
causes dam
age to property and crops
Drought–lim
ited
water supply . Can
dam
age crops
Wind–dam
age to property and dam
age to trees potentially leading to injury
Thunderstorm
s–lightening can cause fires or even
death
Heat
waves–causes breathing difficulties and can
disrupt travel.
UK weather is getting more extreme due to clim
ate change. Temperatures
are more extreme and rain is m
ore frequen
t and intense leading to more
flooding even
ts. Since 1980 average tem
perature has increased 1 degree and
winter rainfall has increased.
Prediction
Planning
Protection
Monitoring wind
patterns allows path
to be predicted. U
se
of satellites to
monitor path to allow
evacuation
Avoid building in high
risk areas
Emergency drills
Evacuation routes
Reinforced
buildings
and stilts to make safe
from floodwater
Flood defen
ces eg
levees and sea walls
November / December 2010 –Th
e Big Freeze
A long period of heavy snow and cold weather as cold air from
N Europe and Siberia was over the UK
Social Effects
Several peo
ple died of hypothermia and acciden
ts on icy roads
Water froze in pipes causing them
to burst leading to flooding. 40 000 homes
without water for over a week
7000 schools closed in
Decem
ber leading to disruption
Economic Effects
Transport disrupted and some drivers trapped
in cars for 15 hours
Peo
ple could not get to work
Christmas shopping was affected
Estimated
cost of dam
age due to lost business £1.6 billion (reducing GDP by
0.5%)
Environmental impacts
Frost dam
aged
crops esp. sugar beet
Use of gas and electricity increased increasing CO2 emissions
Man
agement strategies
Gritters on roads to red
uce
acciden
ts but supplies were
limited
Warning to restrict travel to only
essential journeys
Closing schools
Getting individuals to stock up on
essential supplies
Clim
ate chan
ge will affect tropical storm
s too. W
armer ocean
s will lead
to
more intense storm
s –but not necessarily m
ore frequent ones
26
Clim
ate Chan
ge –natural o
r human
?
Eviden
ce for clim
ate change shows changes before humans were on
the planet. So some of it must be natural. However, the rate
of change
since the 1970s is unprecedented. Humans are responsible –despite
what M
r Trump says!
Cau
ses
Natural
Human
•Orbital chan
ges–The sun’s
energy on the Earth’s
surface changes as the
Earth’s orbit is elliptical its
axis is tilted
on an angle.
•Solar Output –sunspots
increase to a m
axim
um
every 11 years
•Volcan
ic activity –volcanic
aerosols reflect sunlight
away red
ucing global
temperatures temporarily
•Fossil fuels –release carbon
dioxide with accounts for
50% of greenhouse gases
•Agriculture –accounts for
around 20% of greenhouse
gases due to methane
production from cows etc.
Larger populations and
growing dem
and for met and
rice increase contribution
•Deforestation –logging and
clearing land for agriculture
increases carbon dioxide in
the atmosphere and red
uces
ability to planet to absorb
carbon through
photosynthesis.
Evidence for Clim
ate Chan
ge
The M
et Office has reliable clim
ate evidence since 1914 –but we can
tell what hap
pened
before that using several m
ethods.
Ice and Sedim
ent Cores
Tree Rings
•Ice sheets are m
ade up of
layers of snow –one per
year. If you drill down you
can analyse gases trapped
in
layers of ice for the past. Ice
cores from Antarctica show
changes over the last 400
000 years.
•Rem
ains of organisms found
in cores from the ocean
floor
can by traced
back 5 million
years.
•A tree grows one new
rind
each year. Rings are thicker
in warm, w
et conditions
•This gives us reliable
eviden
ce for the last 10 000
years
Pollen Analysis
Temperature Records
•Pollen is preserved
in
sedim
ent. Different species
need different clim
atic
conditions
•Historical records date back
to the 1850s. Historical
records also tell us about
harvest and weather rep
orts.
Man
aging Clim
ate Chan
ge
Mitigation
Adap
tion
•Alternative energy production –
renew
able sources will last
longer but they can
be
expen
sive and are less reliable
than
fossil fuels
•Planting Trees –helps to
remove carbon dioxide. Has the
potential to increase carbon
storage by 28%. H
owever land
may be lim
ited
and biodiversity
is still threaten
ed unless a wide
range of trees are planted
•Carbon Cap
ture –takes carbon
dioxide from the em
ission
sources and stores it
underground under a cap
rock.
It can
red
uce capture of up to
90% of carbon dioxide.
However, it is very expen
sive
and unclear if the captured
carbon would escape in the long
term
. Also it discourages
developmen
t of renew
able
energy resources
•International Agreements –
targets will only be met if they
are legally binding (Paris 2015).
Financial support is needed
for
LICs. However, poorer countries
argue that they need to
industrialise and getting richer
countries to accep
t their
responsibility is difficult.
•Chan
ges in agricultural systems
–needed
to react to changing
rainfall and tem
perature
patterns and changing threat of
disease and pests. This is hard
for poor farm
ers who ten
d to be
most affected
•Man
aging water supplies –eg.
by installing water efficient
devices and increasing supply
through
things like desalin
ation
plants. There is an increasing
threat of political stability
•Reducing risk –reducing risk
from rising sea levels would
involve constructing defen
ces
such as the Tham
es Flood
Barrier or restoring mangrove
forests, or raising buildings on
stilts. These are expen
sive and
possibly only short term
measures.
Effects of Clim
ate Chan
ge
Social
Environmen
tal
•Increased disease eg. skin
cancer and heat stroke
•Winter deaths decrease with
milder winters
•Crop yields affected
by up to
12% in South America but will
increase in
Northern Europe
but will need m
ore irrigation
•Less ice in Arctic Ocean
increases shipping and
extraction of oil and gas
reserves
•Droughts red
uce food and
water supply in
sub‐Saharan
Africa. W
ater scarcity in South
and South East UK
•Increased flood risk. 70% of
Asia is at risk of increased
flooding
•Declining fish in
some areas
affect diet and jobs
•Increased extreme weather
•Skiing industry in
Alps
threaten
ed.
•Increased drought in
Med
iterranean region
•Lower rainfall causes food
shortages for orangutans in
Borneo
and In
donesia
•Sea level rise leads to flooding
and coastal erosion
•Ice melts threaten
habitats of
polar bears
•Warmer rivers affect m
arine
wildlife
•Forests in n America may
experience m
ore pests, disease
and forest fires
•Coral bleaching and decline in
biodiversity such as the Great
Barrier Reef (Australia)
Past papers = https://www.aqa.org.uk/subjects/geography/gcse/geo
graphy‐8035/assessm
ent‐resources
Follow @
MissBerridge
on twitter for extra reading Geo
graphy Review m
agazine is recommen
ded
27
WHAT YOU NEED TO KNOW….
COMPLETE
1.Know definitions
Equality – to be equal, given
the same choices and opportunities regardless of individual
differences (same political, social and economic rights)
Diversity – Accepting and respecting individual differences such as faith, diet, ethnicity and
customs
Discrim
ination – Acting out due to negative prejudices
Legislation – A collection of Laws passed by Parliamnet ‐ state the rights and entitlem
ents of
the individual. Law
is upheld through
the courts.
2.Rights of individuals – Choice, Confiden
tiality, Equal and fair treatmen
t,Protection from
abuse and harm and consultation
3. Examples of how these m
ay not be m
et in different settings – nursery/residen
tial home/
hospital/doctors
4. W
hy are rights im
portan
t? – help raise self esteem, empower and give control over their
lives. H
ave confiden
ce and trust in
care services and in
care workers, feel safe in the care
setting. Provide equality of access to services and treatmen
ts and ensure individual needs are
met.
Health and Social Care TO
PIC ‐Supporting individuals in Health and Social Care Settings
CONTEXT Supporting individuals in a health and social care setting through
understanding their
rights. H
ow these rights are not met in different health and social care settings
Rights of individuals
Confidentiality – Personal /med
ical
inform
ation kept secure. M
ust ask if
inform
ation can
be passed on. M
eetings
take place in
a private place.
Choice – gives individual control over their
lives – promotes indep
enden
ce. G
ives
choices – diet/clothes/ treatmen
t.
Equal and Fair Treatment – Equality Act
should be used. Everyone given the sam
e
opportunities – education, health and social
care. D
ifferent individuals have different
needs.
Consultation – individuals should be asked
their opinions/ views about the type of care
they would like – take their opinions into
account.
Protection from abuse and harm
All care settings should follow safeguarding
procedures to protect children and
adults.Th
e health and safety at work act
should be put in place in
the setting and
fire and risk assessmen
t procedures should
be followed
OCR EXAM QUESTIONS AND M
ARK SCHEM
ES
https://www.ocr.org.uk/qualifications/cambridge‐
nationals/health‐and‐social‐care‐level‐1‐2‐j801‐j811‐
j821/assessment/
TASK
S:
1.Summarise key definitions
2.Identify the 5 rights for individuals in a health and social
care setting
3.Describe what each of these rights are and include an
example of when these could be broken. In different health
and social care settings
4.Create a revision resource for this section in preparation
for the ex am
KNOWLEDGE ORGANISER
Exam
ples of when
the rights are broken
Sharing confidential
inform
ation with peo
ple
who do not need to
know/Leaving documents
out. Discussing in public.
No option for different types
of food, religious
requirem
ents, types of
treatm
ents
Not being given sam
e
chances in education, health
and social care. D
ue to age,
gender, disabilites
Not being asked their
opinion or view
s about what
they would like to have for
treatm
ents – eg moving into
a residen
tial home, when
they do not want to and
there are other options.
He alth and Safety Act is not
followed – In
hospital a hoist
is not used for lifting
29
Health and Social Care Knowledge
Organ
iser
Th
e follo
wing will give you some guidan
ce if you would like
to find out more about Health and Social Care
REA
DING LIST an
d Learning ab
out Health and Social Care in
Society
Book: https://www.ocr.org.uk/qualifications/cambridge‐nationals/health‐and‐social‐care‐level‐1‐2‐j801‐j811‐
j821/textbooks/
Legislation links
https://www.gov.uk/guidance/equality‐act‐2010‐guidance
http://w
ww.hse.gov.uk/legislation/hsw
a.htm
https://www.nhs.uk/using‐the‐nhs/nhs‐services/m
ental‐health‐services/men
tal‐health‐act/
https://www.gov.uk/governmen
t/publications/every‐child
‐matters
https://www.nhs.uk/
Watching/Reading the news regularly
https://www.bbc.co.uk/new
s
LINKS TO
EXAM BOARD M
ATERIALS
OCR Health and Social CAre
Link to the specification
https://www.ocr.org.uk/qualifications/cambrid
ge‐nationals/health‐and‐social‐care‐level‐1‐2‐
j801‐j811‐j821/specification‐at‐a‐glan
ce/
Past Exam
Pap
ers and M
ark Schemes
https://www.ocr.org.uk/qualifications/cambrid
ge‐nationals/health‐and‐social‐care‐level‐1‐2‐
j801‐j811‐j821/assessment/
30
1
KNOW
LEDGE
ORG
ANIS
ER: CO
NFL
ICT &
TEN
SION 1
918-
1939
PART
1 Y
11
Dat
e Ke
y ev
ent
Commen
ts
ARM
ISTI
CE
TREA
TY O
F VE
RSAIL
LES
1.Nov
11
19
18
ARM
ISTI
CE
End
of W
W1
2.19
19
PARI
S PE
ACE
CO
NFE
RENCE
: VE
RSAIL
LES
Key
ques
tion
: ho
w to
tre
at G
erman
y Dom
inat
ed b
y bi
g 3
Pres
iden
t W
ilson
- USA
, Lloy
d Ge
orge
- PM
, Br
itain;
Clemen
ceau
- Fr
ance
Ge
rman
y no
t invite
d 3.
AIM
S OF
THE
BIG
3 Pr
esiden
t W
ilson
– w
ante
d fa
ir s
ettlem
ent
base
d on
his 1
4 po
ints
-not
too
har
sh
Wan
ted
to s
et u
p Le
ague
of
Nat
ions
Cl
emen
ceau
- wa
nted
rea
lly h
arsh
tre
aty
to c
ripp
le G
erman
y- r
even
ge-
punish
Ger
man
y Lloy
d Ge
orge
- to
ok t
he m
iddle
grou
nd –
pun
ish
Germ
any
but
not
too
hars
h 4.
June
19
19
GERM
ANY
FORC
ED T
O
SIGN
THE
TREA
TY
Germ
any
not
invite
d to
pea
ce c
onfe
renc
e bu
t ho
ped
for
a fa
ir t
reat
y W
ere
appa
lled
by t
reat
y- v
ery
hars
h Ca
lled
a DIK
TAT-
Germ
any
mad
e to
sign
it o
r wo
uld
face
mor
e at
tack
s by
allies
5.
TERM
S OF
TREA
TY
Germ
any
lost
lan
d [1
0%] an
d po
pulation
[12
.5%]
Lost
coa
l fields
and
half o
f iron
and
ste
el ind
ustr
y Rh
inelan
d- d
emilita
rise
d, A
lsac
e –
Lorr
aine
to
Fran
ce, Sa
ar t
o be
run
by
Leag
ue o
f Nat
ions
, un
ion
betw
een
Germ
any
and
Aus
tria f
orbi
dden
Ge
rman
colon
ies-
to
be r
un b
y Le
ague
of
Nat
ions
6.
GE
RMANY'
S ARM
ED F
ORC
ES
LIM
ITED
Arm
y- lim
ited
to
100,
000
troo
ps-
had
to b
e vo
lunt
eers
No
tank
s, s
ubmar
ines
, airc
raft
6
batt
lesh
ips
only
No
troo
ps in
Rhinelan
d 7.
W
AR
GUIL
T RE
PARA
TIONS
War
guilt c
laus
e mad
e Ge
rman
y ac
cept
all
resp
onsibi
lity
for
the
war
and
damag
e ca
used
Ge
rman
y ha
d to
pay
rep
arat
ions
for
war
dam
age-
fixed
at
£6.
6 bi
llion
- Ge
rman
y sh
ould h
ave
paid u
ntil
1984
8.
Clem
ence
au-
criticised
in
Fran
ce-
trea
ty n
ot s
een
as h
arsh
eno
ugh!
Lloy
d Ge
orge
– a
her
o in B
rita
in b
ut h
e wa
s wo
rried
that
it
was
too
hars
h W
ilson
– v
ery
disa
ppoint
ed-
man
y of
his id
eas
igno
red-
Lea
gue
of N
ations
set
up
but
USA
ref
used
to
join–
31
2
9.
Exam
Pap
ers
http
s://
filest
ore.
aqa.
org.
uk/r
esou
rces
/histo
ry/A
QA-8
1451
BB-S
IN.P
DF
sour
ce b
ooklet
ht
tps:
//filest
ore.
aqa.
org.
uk/r
esou
rces
/histo
ry/A
QA-8
1451
BB-S
QP.
ques
tion
pap
er
http
s://
filest
ore.
aqa.
org.
uk/r
esou
rces
/histo
ry/A
QA-8
1451
BB-S
IN-A
DD.P
DF
sour
ce b
ooklet
ht
tps:
//filest
ore.
aqa.
org.
uk/r
esou
rces
/histo
ry/A
QA-8
1451
BB-S
QP.
ques
tion
pap
er
32
Know
led
ge o
rgan
izer:
Num
ber b
asic
s (Ye
ar 1
1 - F
ound
atio
n) –
11X
2, 1
1X3,
11X
4, 1
1Y2,
11Y
3, 1
1Y4
Ma
them
atic
al k
now
led
ge
Ca
lcul
ate
with
pos
itive
ind
ices
– C
lip 8
2
Cal
cula
te w
ith ro
ots –
Clip
81
Power: The power of a number says how m
any times to use
the number in a m
ultiplication. For exam
ple: 82 = 8 × 8 = 64
Square root: The square root of a number is a value that,
when
multiplied by itself, gives the number. For exam
ple: 4
× 4
= 16, so a square root of 16 is 4.
Cube root: The cube root of a number is a special value that,
when
used in
a m
ultiplication three times, gives that number.
For exam
ple: 3
× 3 × 3 = 27, so the cube root of 27 is 3.
Index number or indices: The index of a number says how
many times to use the number in a m
ultiplication and is
another nam
e for the power of a number.
The
powe
rs o
f 2:
The
powe
rs o
f :
22
22
2
22
22
2
22
22
2
22
22
2
22
22
22
2
Mul
tiply
ing
with
ind
ices
– C
lip 1
31
Div
ide
with
ind
ices
– C
lip 1
31
Pow
ers o
f ind
ices
– C
lip 1
31
33
Ma
them
atic
al R
ead
ing
Ex
tra R
esou
rces
Ex
tra R
ead
ing
- Yo
u m
ust k
now
all o
f the
se fo
r you
r GC
SE e
xam
!
50 M
athe
mat
ical
Idea
s Yo
u Re
ally
N
eed
to K
now
by
Tony
Cril
ly
In th
is bo
ok, P
rofe
ssor
Ton
y C
rilly
ex
plai
ns in
50
clea
r and
con
cise
es
says
the
mat
hem
atic
al
conc
epts
- an
cien
t and
mod
ern,
th
eore
tical
and
pra
ctic
al,
ever
yday
and
eso
teric
- th
at
allo
w u
s to
und
erst
and
and
shap
e th
e w
orld
aro
und
us.
Pack
ed w
ith
diag
ram
s, ex
ampl
es a
nd
anec
dot
es, t
his b
ook
is th
e pe
rfect
ove
rvie
w o
f thi
s ofte
n d
aun
ting
but a
lwa
ys e
ssen
tial
subj
ect.
For o
nce,
mat
hem
atic
s co
uld
n't b
e sim
pler
.
You
will
be g
iven
a w
eekl
y M
ath
swa
tch
Task
to su
ppor
t the
re
tent
ion
of p
roce
sses
from
you
r Kn
owle
dge
Org
ani
ser.
This
will
have
a
tim
e a
lloca
tion
of o
ne h
our u
nles
s it
says
oth
erw
ise.
Logi
n d
etai
ls fo
r Mat
hsw
atch
are
: Us
erna
me
fu
ll nam
e, fo
llow
ed b
y th
eir y
ear
grou
p an
d th
en @
noel
-bak
er.
For
Exa
mpl
e Jo
e Bl
oggs
in Y
ear 7
e.
g.
joeb
logg
s7@
noel
-ba
ker
Pass
wor
d: (
case
sens
itive
) N
BA20
18
Link
to M
aths
wat
ch:
https://vle.mathsw
atch.co.uk/vle/
O
n th
e fro
nt o
f you
r kno
wle
dge
or
gani
ser e
ach
sect
ion
has t
he
rele
vant
Mat
hsw
atch
clip
to
supp
ort y
ou fu
rther
.
34
Know
led
ge o
rgan
izer:
Num
ber b
asic
s (Ye
ar 1
1 - H
ighe
r) –
11X1
, 11Y
1
Ma
them
atic
al k
now
led
ge
Mul
tiply
ing
with
ind
ices
– C
lip 1
31
Div
idin
g w
ith in
dic
es –
Clip
131
Power: The power of a number says how m
any times to use
the number in a m
ultiplication. For exam
ple: 82 = 8 × 8 = 64
Square root: The square root of a number is a value that,
when
multiplied by itself, gives the number. For exam
ple: 4
× 4
= 16, so a square root of 16 is 4.
Cube root: The cube root of a number is a special value that,
when
used in
a m
ultiplication three times, gives that number.
For exam
ple: 3
× 3 × 3 = 27, so the cube root of 27 is 3.
Index number or indices: The index of a number says how
many times to use the number in a m
ultiplication and is
another nam
e for the power of a number.
Surd: A
number that can't be simplified to remove a square
root (or cube root etc).
Exam
ples: √2 (square root of 2) can't be simplified
further so it
is a surd
Pow
ers o
f ind
ices
– C
lip 1
31
Mul
tiply
ing
surd
s – C
lip 2
07a
Div
idin
g su
rds –
Clip
207
a
35
Ma
them
atic
al R
ead
ing
Ex
tra R
esou
rces
Ex
tra R
ead
ing
- Yo
u m
ust k
now
all o
f the
se fo
r you
r GC
SE e
xam
!
50 M
athe
mat
ical
Idea
s Yo
u Re
ally
N
eed
to K
now
by
Tony
Cril
ly
In th
is bo
ok, P
rofe
ssor
Ton
y C
rilly
ex
plai
ns in
50
clea
r and
con
cise
es
says
the
mat
hem
atic
al
conc
epts
- an
cien
t and
mod
ern,
th
eore
tical
and
pra
ctic
al,
ever
yday
and
eso
teric
- th
at
allo
w u
s to
und
erst
and
and
shap
e th
e w
orld
aro
und
us.
Pack
ed w
ith
diag
ram
s, ex
ampl
es a
nd
anec
dot
es, t
his b
ook
is th
e pe
rfect
ove
rvie
w o
f thi
s ofte
n d
aun
ting
but a
lwa
ys e
ssen
tial
subj
ect.
For o
nce,
mat
hem
atic
s co
uld
n't b
e sim
pler
.
You
will
be g
iven
a w
eekl
y M
ath
swa
tch
Task
to su
ppor
t the
re
tent
ion
of p
roce
sses
from
you
r Kn
owle
dge
Org
ani
ser.
This
will
have
a
tim
e a
lloca
tion
of o
ne h
our u
nles
s it
says
oth
erw
ise.
Logi
n d
etai
ls fo
r Mat
hsw
atch
are
: Us
erna
me
fu
ll nam
e, fo
llow
ed b
y th
eir y
ear
grou
p an
d th
en @
noel
-bak
er.
For
Exa
mpl
e Jo
e Bl
oggs
in Y
ear 7
e.
g.
joeb
logg
s7@
noel
-ba
ker
Pass
wor
d: (
case
sens
itive
) N
BA20
18
Link
to M
aths
wat
ch:
https://vle.mathsw
atch.co.uk/vle/
O
n th
e fro
nt o
f you
r kno
wle
dge
or
gani
ser e
ach
sect
ion
has t
he
rele
vant
Mat
hsw
atch
clip
to
supp
ort y
ou fu
rther
.
36
Year 11 – Med
ia Studies – The
oretical Framew
ork an
d Co
mpo
nent 1
The theo
retical framew
ork for analysing and creating med
ia provides you with the tools to develop a critical understanding and appreciation
of the m
edia.
The fram
ework consists o
f fou
r inter‐related
areas:
• media language: h
ow the m
edia use form
s, codes, conventions to communicate m
eanings
• representation: h
ow the m
edia portray even
ts, issues, individuals and social groups
• media industries: how the m
edia industries' processes of production, distribution and circulation affect med
ia form
s and platform
s
• media audiences: how m
edia form
s target, reach and address audiences, how audiences interpret and respond to them, and how
mem
bers of audiences become producers them
selves.
What is the context of a piece of Med
ia and how does it’s context influen
ce products and processes?
Historical Context
• How the product reflects the tim
e in which it was m
ade.
Social and Cultural Context
• How the product reflects the society and culture in
which it was m
ade.
• How the product is inform
ed by cultural influen
ces.
Political Context
• How the product reflects the political context in which it was m
ade.
37
Glossary of te
rms ‐ You
must b
e ab
le to
use th
ese words in you
r writing an
d spell them correctly.
CONNOTA
TION
The suggested m
eanings attached
to a sign, e.g., the red
car in
the advert suggests speed and power.
CONVEN
TIONS
What the audience expects to see
in a particular med
ia text, for example the conventions of science fiction film
s may
include: aliens, scien
tists, other worlds, gadgets, rep
resentations of good and evil. Useful headings to discuss
conventions are: characters, setting, iconography, narrative, technical codes and representation.
COVER
LINES
These suggest the content to the reader and often
contain teasers and rhetorical questions. These relate to the gen
re
of the magazine.
CROSS‐PLATFORM M
ARKETING
In m
edia terms, a text that is distributed and exhibited
across a range of med
ia form
ats or platform
s. This m
ay
include film
, television, print, radio and the Internet.
DEM
OGRAPHIC CATEGORY
A group in
which consumers are placed according to their age, sex, income, profession, etc. The categories range
from A to E where categories A and B are the wealthiest and m
ost influen
tial m
embers of society.
DEN
OTA
TION
The description of what you can
see/hear in a m
edia text, e.g. the car in the advert is red
.
ENCODING AND DEC
ODING
Med
ia producers encode m
essages and m
eanings in
products that are decoded, or interpreted, by audiences.
ENIGMA CODE
A narrative device which increases tension and audience interest by only releasing bits of inform
ation, for exam
ple
teasers in a film
trailer. Narrative strands that are set up at the beginning of a drama/film
that m
akes the audience
ask questions; part of a restricted
narrative.
FEATU
RE
In m
agazine terms, the m
ain, or one of the main, stories in
an edition. Features are generally located in
the m
iddle of
the magazine, and cover more than
one or tw
o pages.
FOUR Cs
This stands for Cross Cultural Consumer Characteristics and was a way of categorising consumers into groups through
their motivational needs. The main groups were Mainstream
ers, Aspirers, Explorers, Succeeders and Reform
ers.
GEN
RE
Med
ia texts can be grouped into genres that all share similar conventions. Science fiction is a gen
re, as are teen
age
magazines, etc.
ICONOGRAPHY
The props, costumes, objects and backgrounds associated
with a particular genre; for exam
ple, in a police series you
would expect to see, uniform
s, blue flashing lights, scene of crim
e tape and police radios.
INTERACTIVE AUDIENCE
The ways in which audiences can become actively involved
with a product, for exam
ple by posting a response to a
blog or live tw
eeting during a television program
me.
MISE‐EN
‐SCEN
E In analysis of moving im
age products, how the combination of im
ages in
the frame creates meaning; how individual
shots in
a film
or photograph have been composed.
SIGN/CODE
Something which communicates m
eaning, e.g., colours, sounds. The meaning of the sign
may change according to the
context, e.g., the colour red can
mean passion, love, danger or speed dep
ending on how and where it is used.
38
Med
ia S
tudi
es K
now
ledg
e O
rgan
iser
The
med
ia p
lay
a ce
ntra
l rol
e in
con
tem
pora
ry so
ciet
y an
d cu
lture
. The
y sh
ape
our p
erce
ptio
ns o
f the
wor
ld th
roug
h th
e re
pres
enta
tions
, vie
wpo
ints
and
mes
sage
s the
y of
fer.
The
med
ia h
ave
real
rele
vanc
e an
d im
porta
nce
in o
ur li
ves t
oday
, pro
vidi
ng
us w
ith w
ays t
o co
mm
unic
ate,
with
form
s of c
ultu
ral e
xpre
ssio
n an
d th
e ab
ility
to p
artic
ipat
e in
key
asp
ects
of s
ocie
ty.
The
use
of th
e co
rrec
t ter
min
olog
y is
vita
l in
com
mun
icat
ing
unde
rsta
ndin
g an
d in
you
r kno
wle
dge
of th
e su
bjec
t.
MED
IA T
ERM
INO
LOG
YPa
rt O
ne: G
ener
ic T
erm
s1)
ACTION CODE ‐ Something that tells the audience that action follows.
2) ACTIVE AUDIENCE ‐ Audiences who actively en
gage in selecting med
ia products to consume
and interpret their meanings.
3) ANCHORAGE ‐ The words that accompany an
image (still or moving) give the meaning
associated
with that im
age.
4) AUDIENCE CONSU
MPTION ‐ The way in
which audiences en
gage with m
edia products (e.g.
view
ing a TV
program
me, playing a video
gam
e, reading a magazine).
5) AUDIENCE INTERPRETATION ‐ The way in
which audiences 'read' the meanings in, and m
ake
sense of, m
edia products.
6) AUDIENCE RESPONSE ‐ How audiences react to m
edia products e.g. by accepting the
intended
meanings (preferred
reading).
7) BRAND ID
ENTITY
‐ The association the audience m
ake with the brand, for exam
ple Chanel
or Nike, built up over time and reinforced
by the advertising campaigns.
8) BROADSH
EET ‐ A larger new
spaper that publishes m
ore serious new
s.
9) CAPTION ‐ W
ords that accompany an
image that explain its meaning.
10) CIRCULA
TION ‐ The dissemination of med
ia products ‐ e.g. print magazines, broadcast of
television program
mes etc.
11) CONNOTA
TION ‐ The suggested m
eanings attached
to a sign, e.g., the red car in
the advert
suggests speed and power.
12) CONVEN
TIONS ‐ What the audience expects to see
in a particular med
ia text.
13) CROSS‐PLA
TFORM M
ARKETING ‐ In
med
ia terms, a text that is distributed and exhibited
across a range of med
ia form
ats or platform
s.
14) D
EMOGRAPHIC CATEGORY ‐ A group in
which consumers are placed according to their age,
sex, income, profession, etc.
15) D
ENOTA
TION ‐ The description of what you can
see/hear in a m
edia text, e.g. the car in the
advert is red
.
16) D
ISTR
IBUTION ‐ The methods by which m
edia products are delivered
to audiences, including
the marketing campaign.
17) EN
IGMA CODE ‐ A narrative device which increases tension and audience interest by only
releasing bits of inform
ation, for exam
ple teasers in
a film
trailer.
18) FA
N ‐ An enthusiast or aficionado of a particular med
ia form
or product.
19) FEATU
RE ‐ In m
agazine term
s, the main, or one of the main, stories in an edition.
20) FR
ANCHISE ‐ An entire series of, for exam
ple, a film
including the original film
and all those
that follow.
21) GATEKEEPER
S ‐ The peo
ple responsible for deciding the most appropriate stories to appear
in new
spapers. They m
ay be the owner, editor or senior journalists.
22) GEN
RE ‐ Med
ia texts can
be grouped
into gen
res that all share similar conventions.
23) HOUSE STY
LE ‐ W
hat m
akes the magazine recognisable to its readers every issue.
24) ICONOGRAPHY ‐ The props, costumes, objects and backgrounds associated
with a gen
re.
25) INTERTEXTU
AL ‐ Where one med
ia text makes referen
ce to aspects of another text.
26) MARKETING ‐ The way in
which an organisation tells its audience about a product.
27) MISE‐EN
‐SCEN
E ‐ In analysis of moving im
age products, how the combination of im
ages in
the fram
e creates meaning.
28) MISREP
RESEN
TATION ‐ Certain social groups (usually m
inority groups) m
ay be represented
in a way that is inappropriate and not based
on reality.
29) NARRATIVE ‐ The 'story' that is told by the med
ia text.
30) POLITICAL BIAS ‐ Where a new
spaper m
ay show support for a political party through
its
choice of stories, style of coverage, cartoons, etc.
31) PRODUCTION ‐ The process by which m
edia products are constructed
.
32) REA
LISM
‐ A style of presentation that claim
s to portray 'real life' accurately and authen
tically.
33) RED
TOP ‐ A British new
spaper that has its nam
e in red
at the top of the front page. R
ed‐tops have a
lot of readers, but are not considered
to be as serious as other new
spapers.
34) REP
RESEN
TATION ‐ The way in
whi ch key sections of society are presented by the m
edia.
35) SEXUAL OBJECTIFICATION ‐ The practice of regarding a person as an
object to be viewed
only in
terms
of their sexual appeal.
36) SIGN/CODE ‐ Something which communicates meaning, e.g., colours, sounds.
37) SPLA
SH ‐ The story that is given the most prominen
ce on the front page of a new
s paper.
38) STER
EOTY
PE ‐ An exaggerated
representation of someo
ne or something.
39) TA
BLO
ID ‐ Refers to the dim
ensions of a newspaper; a tabloid is smaller and m
ore compact in size.
40) VIRAL MARKETING ‐ W
here the aw
aren
ess of the product or the advertising campaign
is spread
through
less conventional ways including social netw
orks and the Internet.
39
Text
book
s and
reso
urce
s for
lear
ners
. T
he M
edia
Stu
dent
s’ B
ook
by G
ill B
rans
ton
and
Roy
Sta
ffor
d. P
ublis
hed
by R
outle
dge;
5th
edi
tion
(27
May
201
0) IS
BN
: 978
0415
5584
26
Med
ia, G
ende
r an
d Id
entit
y: A
n In
trod
uctio
n by
Dav
id G
aunt
lett.
Pub
lishe
d by
Rou
tledg
e; 2
nd e
ditio
n (1
8 M
arch
200
8); I
SBN
978
0415
3966
15
Med
ia M
agaz
ine
publ
ishe
d qu
arte
rly b
y Th
e En
glis
h an
d M
edia
Cen
tre. A
vaila
ble
on su
bscr
iptio
n on
ly –
for i
nstit
utio
ns o
r ind
ivid
uals
. Cov
ers a
rang
e of
m
edia
issu
es, t
heor
ies a
nd te
xts w
ith a
rticl
es w
ritte
n by
aca
dem
ics,
med
ia p
rofe
ssio
nals
, tea
cher
s and
stud
ents
. B
BC
Bite
size
– in
trodu
ctio
ns/o
verv
iew
of n
arra
tive,
gen
re, r
epre
sent
atio
n et
c. a
nd in
dust
ries:
http
://w
ww
.bbc
.co.
uk/e
duca
tion/
subj
ects
/ztn
ygk7
Th
e fo
llow
ing
Med
ia P
ract
ice
hand
book
s pub
lishe
d by
Rou
tledg
e in
clud
e in
form
atio
n ab
out i
ndus
try
proc
esse
s and
pra
ctic
es
(pot
entia
lly u
sefu
l for
pro
duct
ion
wor
k), a
s wel
l as c
ritic
ally
refle
ctin
g on
the
med
ia fo
rms.
T
he V
ideo
gam
es H
andb
ook
by Ja
mes
New
man
and
Iain
Sim
ons.
Publ
ishe
d by
Rou
tledg
e; n
ew e
ditio
n (1
Jan
2017
); IS
BN
: 978
0415
3835
30
The
New
Tel
evis
ion
Han
dboo
k by
Pat
ricia
Hol
land
. Pub
lishe
d by
Rou
tledg
e; 5
th e
ditio
n (1
9 D
ec 2
016)
; ISB
N: 9
7811
3883
3517
T
he N
ewsp
aper
s Han
dboo
k by
Ric
hard
Kee
ble
and
Ian
Ree
ves.
Publ
ishe
d by
Rou
tledg
e; 5
th e
ditio
n (2
6 A
ug 2
014)
; ISB
N: 9
7804
1566
6527
T
he M
agaz
ines
Han
dboo
k by
Jenn
y M
cKay
. Pub
lishe
d by
Rou
tledg
e; 3
rd e
ditio
n (1
1 Fe
b 20
13);
ISB
N: 9
7804
1561
7574
T
he A
dver
tisin
g H
andb
ook
by H
elen
Pow
ell,
Jona
than
Har
dy, S
arah
Haw
kin,
Iain
Mac
rury
. Pub
lishe
d by
Rou
tledg
e; 3
rd e
ditio
n (2
2 M
ay 2
009)
; ISB
N:
9780
4154
2311
3
The
Rad
io H
andb
ook
by C
arol
e Fl
emin
g. P
ublis
hed
by R
outle
dge;
3rd
edi
tion
(17
Jul 2
009)
; ISB
N: 9
7804
1544
5085
T
he D
igita
l Med
ia H
andb
ook
by A
ndre
w D
ewdn
ey a
nd P
eter
Rid
e. P
ublis
hed
by R
outle
dge;
2nd
edi
tion
(29
Oct
201
3); I
SBN
: 978
0415
6999
14
Web
site
s of r
egul
ator
y bo
dies
in th
e U
K.
Ofc
om –
tele
visi
on a
nd ra
dio
(incl
udin
g vi
deo-
on-d
eman
d se
rvic
es) h
ttps:
//ww
w.o
fcom
.org
.uk/
tv-r
adio
-and
-on-
dem
and
B
BFC
– fi
lm (t
heat
rical
and
DV
D, a
lso
digi
tal/
stre
amin
g), m
usic
vid
eos (
pilo
t sch
eme)
http
://w
ww
.bbf
c.co
.uk/
IP
SO –
mag
azin
es a
nd n
ewsp
aper
s http
s://w
ww
.ipso
.co.
uk/
IMPR
ESS
– p
ress
regu
lato
r http
://im
pres
s.pre
ss/
ASA
– a
dver
tisin
g ht
tps:
//ww
w.a
sa.o
rg.u
k/A
bout
-ASA
/Abo
ut-r
egul
atio
n.as
px
VSC
– v
ideo
gam
es h
ttp://
vide
osta
ndar
ds.o
rg.u
k/V
SC/
40
AoS2 The Concerto Through
Tim
e, The Baroque Concerto
You will study The Concerto and its developmen
t from 1650 to 1910 through
looking at: the Baroque Solo Concerto; the Baroque Concerto Grosso; the
Classical Concerto; the Romantic Concerto.
1.
The concerto:
It is a work for a solo instrumen
t accompanied by an
orchestra. It consists of three movemen
ts: fast‐slow‐fast. The movemen
ts have the following features: tutti sections – the full
orchestra is playing; solo passages – can
sometim
es be accompanied by a light orchestra or soloists play by them
selves; cad
enza – Classical period onwards, this is the passage
where the soloist perform
s unaccompan
ied. V
irtuosic perform
ance dem
onstrating quick scales, arpeggios using all the registers of the instrument, large leaps and ornam
entation
(decoration of the m
elody using trills, turns, m
orden
ts, acciaccaturas and grace notes). It appears at the end of the first m
ovement. During the Classical period they were
improvised, the Romantic period they were composed in
advance by the composer or the perform
er. A
perform
er who has outstanding abilities on their instrumen
t is described
as
virtuosic; themes – m
usical phrases and ideas that m
ove between
the soloist and the orchestra.
3.
The basso continuo:
An accompanim
ent in the Baroque period usually played on a keyboard instrumen
t and a bass instrument. The composer would only write out the bass part with numbers
underneath it (figured bass). The bass part was for the keyboard players left hand and the bass instrument, the figured bass part is played by the keyboard players right hand. The
theo
rbo also known as a chitarrone is a m
ember of the lute fam
ily it also plays the ba
sso continuo
parts in
the baroque period.
2.
The orchestra:
The orchestra during the Baroque period was small and depen
dent on the musicians available. It consisted
of a: string section – two or three players, violins, violas; woodwind
section – recorders or wooden
flutes, oboes and bassoons; brass section – natural trumpets and horns (both without valves); percussion section – tim
pani, usually only two: o
ne
tuned to the tonic note and the other tuned
to the dominant note. The solo instruments in
the Baroque period were: violin; cello; h
arpsichord; recorder. The oboe and flute were
used in
Bach’s concertos.
5.
Decorative
melodies: m
akes use of ornam
entation.
4.
Continuo section: the continuo section m
ay consist of a cello, lute and harpsichord or organ. C
ello plays the bass line; the other instrumen
ts play the harmonic layers
through
playing the chords.
6.
Terraced dyn
amics: every instrument changes volume at the sam
e tim
e, sudden
changes no crescen
dos or dim
inuen
dos. Every instrumen
t is sam
e dynam
ic level at the
same time.
7.
Balan
ced phrases: phrases are eq
ual lengths.
8.
Texture: p
olyphonic/contrap
untal, indepen
dent melodies; homophonic, all parts m
ove together in
harmony; m
elody an
d accompan
iment.
9.
Modulation: to related
keys such as dominant and relative minor, tutti sections return to the same themes heard at the start but in different keys.
10. M
usician
s: court m
usicians, work for the church or aristocracy. Composers wrote for the musicians they had
not necessary for the instrumen
tation that they m
ay have
wanted.
41
11. T
he concerto grosso:
Was popular in the Baroque period but did not carry on in
the other periods of musical history. It is written for a sm
all group of soloists, two to three instrumen
ts. This small group
of soloists are known as the concertino section. The rest of the orchestra is called the ripieno section, usually strings. The continuo section is still used alongside these instrumen
ts.
13. S
uggested listening:
Vivaldi The Four Seasons Amsterdam
Sinfonietta, Jan
ine Jan
sen: https://www.youtube.com/w
atch?v=zzE‐kVadtNw
Corelli: C
oncerto Grosso in
F M
ajor Opus 6 No. 2; complete, V
oices of Music 4K UHD, o
riginal instrument: https://www.youtube.com/w
atch?v=‐RQqdumu7SI
J.S Bach Brandenburg Concerto No 2: h
ttps://www.youtube.com/w
atch?v=3HSRIDtw
sfM
J.S Bach Brandenburg Concerto No 4: https://www.youtube.com/w
atch?v=G
6hQvvhqfJo
J.S Bach’s Concerto in
A m
inor for violin
: https://www.youtube.com/w
atch?v=kpdg3JG5fIg
Albinoni’s Concerto Op. 9
No. 2
for oboe: h
ttps://www.youtube.com/w
atch?v=dLxJLrjvl8A
Han
del G
eorg Friedrich ‐ 6 Organ
Concertos , O
p. 4: h
ttps://www.youtube.com/w
atch?v=u
oiXvQ
hWrKY
Han
del: Concerto Grosso "Alexander's Feast": Andan
te non presto: h
ttps://www.youtube.com/w
atch?v=ZiAioQKrb0c
Listening to different instruments: h
ttp://w
ww.philharmonia.co.uk/explore/instrumen
ts
Listening to different instruments: h
ttp://w
ww.english‐online.at/m
usic/orchestra/orchestra.htm
Orchestral layout plan form
the Baroque period to the m
odern period: h
ttps://sites.google.com/site/retromusics/evolutionoforchestra
12. C
omposers:
Vivaldi: https://www.classicfm
.com/composers/vivaldi/ and https://www.britannica.com/biography/Antonio‐Vivaldi
Corelli: h
ttps://www.classicfm
.com/composers/arcangelo‐corelli/ and https://www.britannica.com/biography/Arcangelo‐Corelli
J.S. Bach: h
ttps://www.classicfm
.com/composers/bach/ and https://www.britannica.com/biography/Johann‐Sebastian
‐Bach
Albinoni: https://www.classicfm
.com/composers/albinoni/ and https://www.britannica.com/biography/To
maso‐Giovanni‐Albinoni
Han
del: https://www.classicfm
.com/composers/handel/ and https://www.britannica.com/biography/Geo
rge‐Frideric‐Handel
42
AoS2 The Concerto Through
Tim
e, The Classical Concerto
You will study The Concerto and its developmen
t from 1650 to 1910 through
looking at: the Baroque Solo Concerto; the Baroque Concerto Grosso; the
Classical Concerto; the Romantic Concerto.
1.
The concerto:
It is a work for a solo instrumen
t accompanied by an
orchestra. It consists of three movemen
ts: fast‐slow‐fast. The movemen
ts have the following features: tutti sections – the full
orchestra is playing; solo passages – can
sometim
es be accompanied by a light orchestra or soloists play by them
selves; cad
enza – Classical period onwards, this is the passage
where the soloist perform
s unaccompan
ied. V
irtuosic perform
ance dem
onstrating quick scales, arpeggios using all the registers of the instrument, large leaps and ornam
entation
(decoration of the m
elody using trills, turns, m
orden
ts, acciaccaturas and grace notes). It appears at the end of the first m
ovement. During the Classical period they were
improvised, the Romantic period they were composed in
advance by the composer or the perform
er. A
perform
er who has outstanding abilities on their instrumen
t is described
as
virtuosic; themes – m
usical phrases and ideas that m
ove between
the soloist and the orchestra.
During the Classical period the concerto developed. It still has the three movemen
t structure; h
owever, each m
ovemen
t was longer than
in the previous Baroque concerto. The
caden
za still appears in
the classical concerto. The soloist does not play in the tutti section.
2.
The orchestra:
The orchestra during the Classical period was larger than
the Baroque orchestra. It consisted of: string section – six per section (1st violins; 2
nd violin; viola; cello; d
ouble bass);
woodwind section – two flutes; two oboes; two bassoons; two clarinets added
near to the end of the Classical period; brass section – two French horns; two trumpets; p
ercussion
section – two tim
panis; p
iano – rep
laced the harpsichord over time, not every composer liked the change to piano but is soon becam
e popular and was often
used as a solo
instrument in concertos of the Classical period.
9.
Sections of the orchestra: w
oodwind and brass add colour texture of the piece through
different use of timbres and ranges. Brass section along with the tim
pani used in
louder sections.
8.
Dynam
ics: crescendo and dim
inuendos are used; varied dynam
ics such as: pp; ff; m
p; m
f.
4.
Balan
ced phrases: four to eight bars; question and answ
er phrases.
3.
Texture: m
elody an
d accompan
iment and homophonic.
5.
Melody: 1
st violin
s in the orchestra.
7.
Harmony an
d tonality: diatonic (notes from the key that the piece is in); m
odulation to related keys such as: related
minor/major; tonic m
ajor/minor; subdominant;
dominant.
7.
Bassline: A
lberti bass(broken chord accompanim
ent in quaver m
ovemen
t) often
used in
the piano and orchestra.
10. C
omposers:
Mozart: h
ttps://www.classicfm
.com/composers/m
ozart/ and https://www.britannica.com/biography/Wolfgang‐Amadeu
s‐Mozart
Beethoven: h
ttps://www.classicfm
.com/composers/beethoven/ and https://www.britannica.com/biography/Ludwig‐van
‐Beethoven
Haydn: h
ttps://www.classicfm
.com/composers/haydn/ and https://www.britannica.com/biography/Joseph‐Haydn
43
11. S
uggested listening:
Beethoven Piano Concerto No.3 ‐3M (3/3) M.Uchida M.Jan
sons BRSO
: https://www.youtube.com/w
atch?v=s_30DI6qOBY
Beethoven: Pian
o Co
ncerto No 1 in C M
ajor
: https://www.youtube.com/w
atch?v=zns6‐njnqB8
Mozart violin
concerto No 5, A
nne So
phie M
utter: https://www.youtube.com/w
atch?v=ETXPKHPPov8
Mozart’s Flute Concerto in
D m
ajor, 2
nd m
ovement: https://www.youtube.com/w
atch?v=3B8Z0KS8k4k
Mozart’s Clarinet Concerto in
A m
ajor, 2
nd m
ovement: https://www.youtube.com/w
atch?v=6QAAZ29cvfU
Mozart’s Piano Concerto No.24 in
C m
inor: https://www.youtube.com/w
atch?v=P
OWVTXuB68I
Boccherini’s Cello
Concerto No. 9: h
ttps://www.youtube.com/w
atch?v=IUSnRLPbZG
k
Haydn’s Trumpet Concerto in
E flat, 1
st m
ovement: https://www.youtube.com/w
atch?v=ZUZYoVw7moc
44
AoS2 The Concerto Through
Tim
e, The Romantic Concerto
You will study The Concerto and its developmen
t from 1650 to 1910 through
looking at: the Baroque Solo Concerto; the Baroque Concerto Grosso; the
Classical Concerto; the Romantic Concerto.
1.
The concerto:
It is a work for a solo instrumen
t accompanied by an
orchestra. It consists of three movemen
ts: fast‐slow‐fast. The movemen
ts have the following features: tutti sections – the full
orchestra is playing; solo passages – can
sometim
es be accompanied by a light orchestra or soloists play by them
selves; cad
enza – Classical period onwards, this is the passage
where the soloist perform
s unaccompan
ied. V
irtuosic perform
ance dem
onstrating quick scales, arpeggios using all the registers of the instrument, large leaps and ornam
entation
(decoration of the m
elody using trills, turns, m
orden
ts, acciaccaturas and grace notes). It appears at the end of the first m
ovement. During the Classical period they were
improvised, the Romantic period they were composed in
advance by the composer or the perform
er. A
perform
er who has outstanding abilities on their instrumen
t is described
as
virtuosic; themes – m
usical phrases and ideas that m
ove between
the soloist and the orchestra.
During the Romantic peri od: the solo part was m
ore virtuosic; he music was m
ore dem
anding for the soloist and the orchestra; caden
za – longer and pre‐composed by the
composer or the perform
er due to the length and the demand in
virtuosic playing; orchestral introduction that was used m
ostly in
the Baroque and Classical concerto to introduce
the soloist did not happen
as much in
the Romantic concerto – the soloist started the concerto playing a dramatic and virtuosic introduction; tutti sections were not just perform
ed
by the violins; m
ore sections of the orchestra played the m
elodies; m
usic more dramatic; N
ationalist music appears; this is based
on folk m
usic and old tunes from the country of
birth of the composer; conductor introduced.
2.
The orchestra:
The orchestra during the Romantic period became larger than
the Classical orchestra. String section – 1
st violins; 2
nd violin; viola; cello; d
ouble bass (w
as given
its own part and not
doubling up the cell part); larger sections of each. W
oodwind section – two clarinets; two flutes; two oboes; two bassoons; two clarinets added near to the end of the Classical
period. B
rass section – French horns; trumpets; trombones; tuba. Number of each ins trument varies on the composer. Percussion section –timpani; bass drum; side drum; cym
bals
and whatever the composer wanted. N
ew instruments–piccolo (sm
all flute); cor anglais (larger oboe); b
ass clarinet; contrabassoon (larger bassoon).
9.
Sections of the orchestra: w
oodwind and brass section used m
ore and became more lyrical.
8.
Dynam
ics: W
ider range
of dynam
ics.
4.
Pitch: wide ran
ge
3.
Texture: thicker, m
elodies doubled by different instrumen
ts in
unison oroctaves.
5.
Melody: become longer.
6.
Harmony an
d tonality: diatonic; chromatic chords and m
elodies to create dissonan
ce; cad
ences are not as clear due to the distantly related chords and the dissonan
ce
used; m
odulationto distant related keys.
7.
Bassline: A
lberti bass (broken chord accompan
iment in quaver movement) often
used in
the piano and orchestra.
12. T
imbre: w
ide ran
ge.
10. R
ubato used by both thesoloist and the conductor. Rubato –slowing down or speeding up of themelody orpiece for ashort amount of time.
45
13. S
uggested listening:
Mendelssohn’s Violin
Concerto in
E m
inor, Op.64: h
ttps://www.youtube.com/w
atch?v=K
67o86CS5uo
Brahms’ Violin
Concerto in
D M
ajor: https://www.youtube.com/w
atch?v=tV7APwv68tY
Tchaiko
vsky’s Piano Concerto No. 1
in B‐flat minor: https://www.youtube.com/w
atch?v=Ybg2BEy_p
u0
Rachman
inov’s Piano Concerto No 2 in
C M
inor: https://www.youtube.com/w
atch?v=e
‐x01ddG0x4
12. C
omposers:
Mendelssohn: https://www.classicfm
.com/composers/m
endelssohn/ and https://www.britannica.com/biography/Felix‐M
endelssohn
Brahms: https://www.classicfm
.com/composers/brahms/ and https://www.britannica.com/biography/Johannes‐Brahms
Tchaiko
vsky: https://www.classicfm
.com/composers/tchaikovsky/ and https://www.britannica.com/biography/Pyotr‐Ilyich‐Tchaikovsky
Rachman
inov: https://www.classicfm
.com/composers/rachmaninov/ and https://www.britannica.com/biography/Sergey‐Rachmaninoff
46
Physical Education Knowledge Organ
iser
In PE it is im
portant that you dem
onstrate a range of skills across different sporting activities. However, it is also just as
important to understand how the body works when
we are taking part in sport, as well as how to keep ourselves safe
and avoid injuries. Learn key inform
ation below in
order to develop your k nowledge in
PE.
FUNCTION OF TH
E SK
ELETAL SYSTEM
(WHY DO W
E NEED BONES?)
SKELETAL SYSTEM
(BONES OF TH
E BODY)
The skeletal system has five functions:
1.
Protection
2.
Movemen
t 3.
Support/Shape
4.
Blood Production
5.
Mineral Storage
These are five major bones in the body
1.
Femur
2.
Tibia
3.
Fibula
4.
Humerus
5.
Ribs
MUSCULA
R SYSTEM
(MUSCLES IN THE BODY)
SAFETY
IN SPORT
The function of the muscular system
is to allow your
body to m
ove
These are five major muscles in the body
1.
Bicep
2.
Tricep
s 3.
Quadriceps
4.
Ham
strings
5.
Gastrocnemius
To avoid injuries in
sport you m
ust follow some safety rules
1.
No Jew
ellery
2.
Hair tied
back
3.
Nails no longer than
the edge of your finger
4.
Gum shield and shin pads
5.
Correct footw
ear
CHARACTERISTICS OF A NOEL BAKER
SPORTSPER
SON:
WARM UP AND COOL DOWN
To m
ake sport enjoyable for all it is im
portant that you dem
onstrate the
correct characteristics in lessons:
1.
Sporting conduct – No swearing, respecting team
mates, opposition
and officials.
2.
Honest – Following rules, playing fairly and be able to self‐officiate.
3.
Effort and Enthusiasm – Always try your best regardless of the activity
and team you are on. B
e competi tive!
4.
Empathy – Being understanding of your class mates abilities and
emotions.
5.
Peer success – Shaking hands and saying well done after gam
es.
To avoid injuries in
sport we must m
ake sure we warm up and cool down correctly.
A warm up should include:
1.
Pulse Raiser – Slowly increase in
heart rate e.g. jogging.
2.
Mobility – Increasing range of movements at a joint e.g. circular arms sw
ings.
3.
Stretching – Stretching muscles in the body.
4.
Dynam
ic M
ovemen
ts – Change in
speed and direction e.g. sprints
5.
Skill Reh
e arsal – Practice skills you will use in
your sport, rep
eat these to get used
to the m
ovemen
t e.g. shooting.
A cool down should include:
1.
Gen
tly jog
2.
Stretches
21
3
54
12
34 5
47
Physical Education Knowledge Organ
iser
Th
e follo
wing will give you some guidan
ce if you would like
to find out more about Physical Education.
REA
DING LISTS
GET
INVOLV
ED
LINKS TO
EXAM BOARD M
ATERIALS
https://literacytrust.org.uk/resources/?phase=s
econdary
Range of books at both the Learning Resources
Cen
tre (LRC) and in
the PE office.
https://www.bbc.co.uk/sport
https://www.bbc.com/bitesize/subjects/zdhs34j
http://w
ww.lboro.ac.uk/sport/
442 m
agazine
https://talksport.com/
School clubs‐ see
our extracurricular timetable
Local sports clubs:
Basketball‐
https://www.derbytrailblazers.com/
Football‐
http://w
ww.derbyshirefa.com/
Netball‐
http://w
ww.derbyshiren
etball.co.uk/
Hockey‐
http://derbyshockeydev.clubbuzz.co.uk/
Badminton
http://w
ww.derbyshireb
adminton.co.uk/
Gym
nastics
https://www.british‐gym
nastics.org/east‐
midlands/county‐associations/derbyshire
Dance‐
http://w
ww.ded
a.uk.com/
http://w
ww.partybeats.co.uk/dancebeats/
http://upbeatdanceonline.com/
Rugby‐
https://nldrfu.co.uk/
Cricket‐
http://cricket.derbyshireccc.com/
Sw
imming‐
http://w
ww.derbyshireswim
ming.org.uk/
For more inform
ation on each sport and how to
become involved
visit
https://www.bbc.co.uk/sport/get‐inspired
GCSE PE‐
https://www.ocr.org.uk/qualifications/by‐
subject/physical‐education/
https://www.bbc.com/bitesize/exam
specs/ztrcg
82
BTEC SPORT‐
https://qualifications.pearson.com/en/qualificati
ons/btec‐tech‐awards/sport‐activity‐and‐
fitness.htm
l
48
Cell structure and specialised cells
Cell tran
sport
Plants and photosynthesis
Respiration
Year 11 Biology pap
er 1 Knowledge
Organ
iser
49
Systems: Circulatory and respiratory
Enzymes an
d digestion
Fighting disease
Further read
ing
Use the link below to revise, watch video
s and answ
er sample exam questions on the
topics covered in
Biology paper 1.
https://www.bbc.com/bitesize/exam
specs/z8r997h
50
1.
Atomic structure and the periodic tab
le
Elem
ents in
the periodic table are arranged in
order of
atomic (proton) number so that elements with sim
ilar
properties are in
columns, known as groups. Sim
ilar
properties occur at regular
intervals.
Elem
ents in
the same group in
the
periodic table have the sam
e number of electrons in their outer
shell (outer electrons) and this
gives them sim
ilar chem
ical
properties.
2.
Bonding, structure and properties of matter
Simple covalent molecules
Weak interm
olecular forces so
low m
elting/boiling point‐ less
energy needed to overcome
forces.
Giant covalent structure
Diamond
Strong
covalent
bonds
(each
carbon
bonds to 4
others)
High
melting
point/
strong‐ lots
of en
ergy
needed to
break
bonds
Graphite
Each
carbon
covalently
bonds to 3
others.
Layers‐
weak
interm
olec
ular forces
so layers
slide.
Electron
free
to
move to
carry
charge
conducts
Fullerene
Fullerenes
are
molecules
of carbon
atoms with
hollow
shapes.
Carbon
nanotubes
are
cylindric al
fullerenes
with high
length to
diameter
ratios.
Graphene
Is a single
layer of
graphite
and has
properties
that m
ake it
useful in
electronics
and
composites.
Giant ionic lattice
Strong electrostatic
forces of attraction
between oppositely
charged ions so
higher
melting/boiling
point.
Conduct electricity
when
in
solution/m
olten
as
ions free
to m
ove.
Polymers
Long chain m
olecule m
ade by
the joining of monomers.
Triple: Thermosoften
ing
polymers melt when they are
heated‐w
eak interm
olecular
forces. Thermosetting
polymers do not melt when they
are heated‐cross links.
Metallic Structures
Conduct electricity: sea
of delocalised
electrons can
carry charge.
In pure m
etals, atoms are arranged in
layers, w
hich
allows metals to be bent and shaped
. Pure m
etals are
too soft for many uses an
d so are m
ixed with other
metals to m
ake alloys which are harder‐layers distorted
so no longer can slide.
Nan
oparticles
(triple)
Nanoscience refers
to structures that
are 1–100 nm in
size, of the
order of a few
hundred atoms.
High surface area
to
volume ratios
Year 11 Chem
istry Knowledge Organiser 1
51
3.
Quan
titative
chemistry
Relative atomic m
ass: The sum of the
protons and neu
trons in an atom.
Atomic number=n
umber of protons.
Law of conservation of mass states that no
atoms are lost or made during a chem
ical
reaction. Equations must be balanced.
Relative form
ula m
ass (M
r) of a compound
is the sum of the relative atomic m
asses of
the atoms in the numbers shown in
the
form
ula.
Some reactions may appear to involve a
change in
mass but this can
usually be
explained
because a reactant or product is a
gas and its mass has not been taken
into
account.
When
ever a m
easuremen
t is m
ade there is
always some uncertainty about the result
obtained
. Higher tier: Chem
ical
amounts are
measured in
moles.
The symbol for the
unit m
ole is m
ol.
The mass of one
mole of a substance
in grams is
numerically equal to
its relative form
ula m
ass.
Triple only:
4.
Chemical chan
ges(required practical link 1)
Salts acids bases
Metals react with oxygen to produce m
etal oxides. W
hen
metals react with
other substances the metal atoms form
positive ions. The reactivity of a metal is
related to its tenden
cy to form
positive ions. M
etals can be arranged in
order of
their reactivity in
a reactivity series. M
etals less reactive than
carbon can
be
extracted from their oxides by reduction with carbon. R
eduction involves the
loss of oxygen. O
xidation is the loss of electrons and red
uction is the gain of
Electrons (higher tier). A
cids react with some metals to produce salts and
hydrogen. A
cids are neu
tralised
by alkalis (eg soluble m
etal hydroxides) and
bases (eg insoluble m
etal hydroxides and m
etal oxides) to produce salts and
water, and by metal carbonates to produce salts, w
ater and carbon dioxide.
The particular salt produced in
any reaction between an acid and a base or alkali
dep
ends on:
• the acid used (hydrochloric acid produces chlorides, nitric acid produces
nitrates, sulfuric acid produces sulfates)
•the positive ions (m
etal) in the base, alkali or carbonate.
Acids produce hydrogen ions (H+) in
aqueo
us solutions.
Aqueo
us solutions of alkalis contain hydroxide ions (OH–).
neu
tralisation
Higher tier: A strong acid is completely ionised
in aqueo
us solution. A
weak acid
is only partially ionised
in aqueo
us solution. A
s the pH decreases by one unit, the
hydrogen ion concentration of the solution increases by a factor of 10.
(required practical triple link 2)
Electrolysis (required practical link
3)
When
an ionic compound is m
elted
or dissolved
in water, the ions are
free
to m
ove about within the
liquid or solution. These liquids
and solutions are able to conduct
electricity and are called
electrolytes. M
etals can be
extracted from m
olten
compounds
using electrolysis Positively
charged ions move to the negative
electrode (cathode) and negatively
charged ions move to the positive electrode (anode) opposites attract. The least
reactive ion m
oves to the electrode to form
atoms or molecules.
5.
Energy chan
ges(required practical link 4)
An exothermic reaction is one that transfers en
ergy to the
surroundings so the temperature of the surroundings increases.
An endothermic reaction is one that takes in
energy from the
surroundings so the temperature of the surroundings decreases
The en
ergy needed
to break bonds and the en
ergy released
when
bonds are form
ed can
be calculated from bond energies.
The difference between the sum of the en
ergy needed
to break
bonds in the reactants and the sum of the en
ergy released when
bonds in the products are form
ed is the overall en
ergy change of
the reaction.
Triple only: A
sim
ple cell can be m
ade by connecting tw
o different
metals in contact with an electrolyte. Fuel cells are supplied by an
external source of fuel (eg hydrogen) and oxygen or air. The fuel is
oxidised electrochem
ically within the fuel cell to produce a potential
difference.
Reading list
Making Salts required practical link 1 :
https://www.youtube.com/w
atch?v=9GH95172Js8
Neutralisation TRIPLE ONLY required practical triple link 2:
https://www.youtube.com/w
atch?v=saR
BT5oZfh8
Electrolysis required practical link 3:
https://www.youtube.com/w
atch?v=u
kbtTTG
1Kew
Temperature changes required practical link 4:
https://www.youtube.com/w
atch?v=rdI7xEq4Ew
8
Bitesize: https://www.bbc.com/bitesize/exam
specs/z8r997h
Combined
papers:
https://www.aqa.org.uk/subjects/science/gcse/combined
‐science‐
trilogy‐8464/assessm
ent‐resources
Triple papers:
https://www.aqa.org.uk/subjects/science/gcse/chem
istry‐
8462/assessm
ent‐resources
52
You have a fresh start in
Y11. You can
use this tim
e to atten
d REV
ISION SESSIONS AT
LUNCHTIME WHER
E SO
CIOLO
GY STAFF W
ILL SU
PPORT YO
U W
ITH YOUR HOMEW
ORK
and this will also m
ake you feel m
ore comfortable with your exam
in the summer.
The grid below tells you exactly what you need to know this half‐term
. When you have
completed each task, tick it off as ‘complete’.
WHAT YOU NEED TO KNOW….
Topic Area: Education
1.
I understand the term
MATERIAL DEP
RIVATION and can
write a detailed
paragraph explaining what it m
ean
s with references to social class and why a
Marxist would agree that m
aterial deprivation im
pacts achievement.
2.
I understand the term
CULTURAL DEP
RIVATION and can
write a detailed
paragraph explaining what is m
ean
s with references to ethnic m
inority
underachiement in education.
3.
I understand FEM
INISM and can
explain why girls an
d boys choose different
subjects in education and can
write a detailed paragraph on this subject using
key words.
4.
I can
describe at last THREE
educational policies over the last 75 years.
Topic Area: Crime
5.
I can
identify and explain the difference betw
een ‘crime’ an
d ‘d
evian
ce’ u
sing
keyw
ords an
d also give examples of both crime and devian
ce.
YEA
R 11 SOCIOLO
GY‐ KNOWLEDGE ORGANISER
(September 2018‐October 2018)
Welcome back to GCSE Sociology! This half‐term
you will complete the ‘Education’ topic from last year and then
begin a new topic
entitled
‘Crime and Deviance’.
The topic areas that we are currently studying are called: ‘EDUCATION’ A
ND ‘C
RIM
E AND DEV
IANCE’.
Will I have an assessment this half‐term
? YES
What will m
y assessmen
t be on?
Your assessmen
t wil test your knowledge of the ED
UCATION topic. You will
also be asked GCSE STYLE QUESTIONS (3, 4
& 12 m
arkers).
Exam
Questions (These might come up in
your actual assessm
ents)
Q. D
escribe wha
t sociologists m
ean by an ‘ethno
centric
curriculum
’. (3 m
arks)
Q. D
escribe on
e educationa
l policy im
plem
ented in th
e last 25 years (3 marks)
Q. Identify
and
explain one
difference between the ‘m
aterial depriv
ation’ and
‘cultural depriv
ation’ (4
marks).
Q. D
iscuss h
ow fa
r sociologists a
gree th
at ethnicity is th
e main reason
for
diffe
rence in edu
catio
nal achievement (12 marks).
KEY
TER
MS/ KEY
CONCEP
TS:
One of your homew
ork tasks for this half‐term
is to m
ake sure that
you can
define/ explain each of the key terms/ key concepts below:
Social Class
Material D
eprivation
Cultural D
eprivation
Patriarchy
Gen
der role allocation
Ethnocentric Curriculum
Ethnic M
inority
Educational Policy
Crime
Deviance
Social Construction
EXAM DATES: GCSE SOCIOLO
GY
Monday 20th M
ay 2019 (PM) – Paper 1: The Sociology of Families and Education
Friday 24th M
ay 2019 (PM) – Paper 2: The Sociology of Crime and Deviance and Social
Stratification.
Links to Exam Board M
aterials an
d resources Links
https://www.aqa.org.uk/subjects/sociology/gcse/sociology‐8192/introduction https://www.bbc.co.uk/ regularly watching/reading the news
https://www.sociologystuff.com/Crime‐and‐Deviance https://www.sociologystuff.com/Fam
ily
https://sociologytw
ynham
.com/ h
ttp://w
ww.polity.co.uk/gidden
s7/lecturerresource/default.asp
https://www.sociologystuff.com/Theo
ry‐and‐M
ethods http://w
ww.discoversociology.co.uk/
https://getrevising.co.uk/resources?q=sociology
https://www.aqa.org.uk/subjects/sociology/gcse/specification‐4190/past‐papers‐and‐m
ark‐schem
es (Old spec exam questions, but relevant to new course
You will be ab
le to
fin
d all of the
inform
ation on
keyw
ords and
key
concep
ts to
com
plete
these ho
mew
ork
tasks o
n the ba
ck of
this workshe
et!
53
Key Term
s/ Key Concepts
SOCIAL CLA
SS – This is a category based
on income and wealth. B
asically, the m
ore m
oney you have and earn, the higher social class you are in. The less m
oney you have and earn, the lower social class
you are in. There are four basic classes taught in sociology: u
pper class, m
iddle‐class, w
orking‐class, and underclass.
CONFLICT TH
EORY – A conflict theory is a sociological viewpoint that states that SOCIETY IS IN
CONFLICT. The word conflict means quarrel or opposition. There are tw
o m
ain conflict theo
ries you are
taught in sociology:
CONFLICT TH
EORY 1: MARXISM – SOCIETY IS IN
CONFLICT. THIS CONFLICT IS BETWEEN THE BOURGEO
ISIES (ruling class) AND THE PROLETA
RIAT (w
orking class). M
arxists call this CLASS CONFLICT. The ruling
class EXPLO
IT (take advantage of) the working class. This conflict is the key explanation to why the world is the way it is.
Material Deprivation – Not having en
ough
materials to fully take part in society. In
education, those who are m
aterially dep
rived are those peo
ple in poverty who cannot afford even the
basic stationery such as pens, pen
cils, rulers to take part in the school day. W
hen these studen
ts go home they m
ay live in
overcrowded
and noisy housing where they do not have a quiet
space to complete homework/revision. This will im
pact on their achievemen
t.
Cultural D
eprivation – This refers to not having the norm
s, values and knowledge needed to fully take part in society. In
educaton, those who are culturally dep
rived m
ay not be able to
access the language skills needed
to get the higher grades because they m
ay be from an ethnic m
inority that does not speak English in
the home. Other types of cultural dep
rivation are linked
to paren
tal socialisation – if your paren
ts teach you the values that school is not im
portant, you are less likely to achieve in
education. Socialisation is key to learning culture. Some studen
ts
are socialised to take school m
ore seriously than
others.
CONFLICT TH
EORY 2: FEMINISM – SOCIETY IS IN
CONFLICT. THIS CONFLICT IS BETWEEN M
EN AND W
OMEN
. Fem
inists belive that m
en EXPLO
IT (take advantage of) women
. This conflict is the key explanation to
why the world is the way it is.
PATR
IARCHY – Th
is is the key idea
of feminism. Patriarchy means ‘m
ale control’. For feminists the world is PATR
IARCHAL (controlled by men). In
a patriarchal world, fem
inists believe that
women
must fight against patriarchy ‘m
ale control’ so they can
be fully free.
GEN
DER
ROLE ALLOCATION – Gen
der role allocation occurs in
education where teachers push fem
ale studen
ts towards more ‘fem
ale‐friendly’ subjects such as Childcare, H
air and Beauty,
Health and Social Care rather than
towards Science or maths which is reserved for male studen
ts. This leads to few
er fem
ales taking up subjects such as science, technology, engineering and
maths (STEM subjetcs) at university. The governmen
t are very concerned
about this.
CONSENSU
S TH
EORY – A consensus theo
ry is a sociological viewpoint that states that SOCIETY IS IN
CONSENSU
S (agreemen
t). The word consensus means ‘agreemen
t’. There is one m
ain consensus
theo
ry you are taught in sociology:
FU
NCTIONALISM
– Functionalists believe that within society there are SHARED
VALU
ES. Functionalists believe that generally, society FU
NCTIONS harmoniously and everything in society
works because the vast m
ajority of peo
ple in
society SHARE TH
E SA
ME BELIEFS (e.g. m
ost peo
ple believe that criminals should be punished
, that is why we have a prison system – to help
society function).
ETHNIC M
INORITY – In
Britain, the m
ajority of people who live in
this country are ‘W
hite‐British’, this refers to their ethnicity (their cultural background, country they are from and iden
tity). Every
other ethnic group are known as ethnic m
inorities. There are some ethnic m
inority groups that are doing very well in education such as Indians and Chinese peo
ple, and there are some ethnicities that
are underachieving in education such as: Black‐Caribbeans, Pakistanis and Bangladeshis.
ETHNOCEN
TRIC CURRICULU
M – This is where the curriculum is biased against ethnic m
inorities. For exam
ple, if the history and cultural heritage of Britain is taught in a way that does not take into
account the experiences of minorities (such as only teaching about the Tudors, or British Kings) or if m
inorities are taught as being weak (E.g. B
lack peo
ple are only taught as being slaves rather than
also being leaders of indep
enden
ce m
ovemen
ts). The curriculum can
be biased in
other ways as uniform
and school tim
etable m
ay not take into account the cultural or religious backgrounds of
minority groups.
EDUCATIONAL POLICY – A policy is a GOVER
NMEN
T ACTION PLAN. A
s the governmen
t is in
charge of ed
ucation in
this country they m
ust introduce policies (action plans) to support/improve
education. There are four key historical governmen
t policies: 1) Th
e 1944 Education Act – This introduced the tripartite system, and m
ade schooling compulsory until age sixteen
. (2) 1988 Education
Act which introduced m
arketization (Ofsted and League Tables). (3) 1997 Labour Governmen
t – Introduced EMA and School A
ction. (4) 2010 Conservative‐Liberal Coalition who rep
laced EMA with
Pupil Premium funding, and supported greater academ
isation of schools.
CRIM
E – An action that is against the law. DEV
IANCE – An action that goes against the m
ainstream
norm
s of society (not all deviant acts are illegal).
SOCIAL CONSTRUCTION – An idea created by society (e.g. “Blue is for boys and pink is for girls.”/ Crime is also a social construction. W
e have agred as a society that some acts are criminal.)
54
Y11 Spanish KO AUT1 ‐ Holidays
Talking about a holiday in the present tense
Normalmente voy a Francia para mis vacaciones Normally I go to France for my holidays.
Siempre vamos a España en verano porque hace calor.
We always go to Spain in summer because it’s hot.
Cuando voy a España me quedo en un hotel porque es más cómodo.
When I go to Spain I stay in a hotel because it is more comfortable.
Me gusta tomar el sol y nadar en el mar.
I like to sunbathe and swim in the sea.
Prefiero descansar en la playa, pero a mi padre le gusta hacer turismo.
I prefer to relax but my dad likes to do tourism.
Viajamos en avión porque es más rápido que ir en coche.
We travel by plane because it’s quicker than going by car.
Prefiero las vacaciones de verano porque me encanta el sol y la playa.
I prefer summer holidays because I love the sun and the beach.
Talking about a holiday in the past tense
El año pasado fui a Grecia con mi familia. Last year I went to Greece with my family.
Nos quedamos en un apartamento que estaba al lado de la playa.
We stayed in an apartment which was next to the beach.
Todos los días íbamos a la playa y nadábamos en el mar.
Every day we went to the beach and we swam in the sea.
Lo mejor fue cuando aprendí a hacer vela. The best thing was when I learnt to sail.
El apartamento era muy bonito y tenía una piscina grande.
The apartment was very pretty and it had a big swimming pool.
Sin embargo, no había ni restaurante ni gimnasio. ¡Qué pena!
However, there wasn’t a restaurant nor a gym. What a shame!
El pueblo era muy animado y había mucho que hacer.
The village was very lively and there was lots to do.
Por la noche, íbamos a los restaurantes y bailábamos en las discotecas.
At night, we went to the restaurants and danced in the discos.
Lo pasé bomba I had a great time!
Me gustó muchísimo I really liked it
Nos divertimos muchísimo We enjoyed ourselves very much
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Y11 Spanish KO AUT1 ‐ Holidays
Talking about a holiday in the future tense
El año que viene voy a ir a Los Estados Unidos con mis amigos.
Next year i am going to go the USA with my Friends.
Vamos a visitar Nueva York y Vamos a ir de compras y hacer turismo.
We are going to visit New York and we are going to go shopping and sightseeing.
Siempre he querido visitar no sólo Nueva York sino todo Estados Unidos.
I have always wanted to visit not only New York but all of the United States
Teno ganas de ver todos los edificios famosos. I really want to see all the famous buildings.
ON-LINE PRACTICE
In addition to the exercises set in Quizlet, below is a list of websites for extra practice at home. You do not have to use them all. Choose the ones you feel more comfortable with. Little and often is the best way of learning a Language.
Research and Reference
1. www. wordreference.com
Online dictionary - use this and not an online translator
2. www.conjugation.org
Online verb conjugation tool - you type in the verb and it shows you all forms of all tenses.
3. www.spanish.typeit.org
It saves you having to know the Spanish character codes or use the insert symbol.
Grammar practice
1.www.languagesonline.org.uk
Choose Spanish from the menu on the left and scroll down
for vocabulary and grammar exercises.
2. www.colby.edy/~bknelson/SLC/index.php
A website full of grammar practice
3.www.studyspanish.com/verbs/
Explanation and quizzes online with instant feedback
4.www.asisehace.net
Grammar and vocabulary by topic
General practice
www.bbc.co.uk/languages/Spanish
The is a range of practice including listening, grammar and cultural information.
Speaking practice
1.www.voki.com
Make yourself an online persona and record yourself speaking Spanish. Save each one you make or paste in the text and choose a Spanish voice to say the text for you.
2. http://text-to-speech.imtranslator.net/
Past in some (corrected! ) text to the text box and choose Spanish from the drop-down language menu-listen to the accurate pronunciation and practise yourself.
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