1. AS/A-level English Literature A Preparing to teach
Summer 2015
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2. Introductions: what contexts are we working in today?
How many of you are new to English Literature A?
How many of you are new teachers?
How many of you will be teaching AS/ co-teaching?
How confident are you about teaching the specifications at this stage (do you understand its philosophy, its broad structure, its detail)?
Has planning already taken place in your centre?
Have options and texts been chosen?
What size classes are you dealing with?
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3. Contents An overview of English Literature A:
what does the new structure mean for teaching?
2. Co-teachability: Love through the ages:
A-level, Paper 1 and
AS, Papers 1 and 2.
3. A-level Paper 2: Texts in shared contexts:
WW1 and its aftermath OR
Modern times: literature from 1945 to the present day
4. Non-exam assessment (NEA): Texts across time support
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4. Objectives
To increase your understanding of English Literature A (AS and A-level) and its philosophy.
To discuss strategies for structuring the course.
To build your confidence for course preparation.
To provide guidance on meeting the assessment objectives and the demands of the specification: the examined units and the NEA.
To offer you some ideas about co-teaching opportunities.
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5. Underlying design principles
Continuity yet refreshment: the familiarity and security of content and approaches from current specification but with benefit of refreshed content.
Choice and flexibility: designed with choice of time periods and texts in the examined components and texts and genres in the NEA to enable teachers to design a course, tailored to students’ needs and to teacher specialisms.
Clarity of assessment: holistic assessment – all AOs assessed together – a consistent mark scheme across all components – the right approach for English Literature.
Distinctive defined ethos: reading texts within a shared context provides coherence and logic to the way that texts are grouped together for study. This also promotes wider reading.
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6. A broadly historicist approach means:
Underlying design principles
A broadly historicist approach means:
considering texts according to a defined time frame – WW1 and its
aftermath OR Modern times: literature of 1945 to the present
day (synchronic); and
how a single topic, love, has been explored by writers across different times (diachronic).
As no text exists in isolation, but is the product of the time in which it was produced, connections are at the heart of the specifications.
Close reading and the making of autonomous meaning are privileged.
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7. Assessment objectives
AO1: Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression.
AO2: Analyse ways in which meanings are shaped in literary texts.
AO3: Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received.
AO4: Explore connections across literary texts.
AO5: Explore literary texts informed by different interpretations.
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8. Holistic assessment
The new AQA Literature A specifications take a holistic view of assessment. All assessment objectives (AOs) are tested in every question and each task has been designed to enable students to meet all AOs if they answer the question in all its detail and requirements. This reflects our belief that the assessment objectives work best together, producing a rounded and holistic view of English literature. Our mantra throughout the specification therefore is: ‘answer the question!’
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9. A-level: specification at a glance
Component 1:
Love through the ages
Written Paper
40%
3 tasks
75 marks – 25 marks per task
3 hours
open book in Section C only
Component 2:
Texts in shared contexts
2 hours and 30 minutes
open book
Component 3:
Independent critical study: texts across time
NEA
20%
One task
50 marks
word count: 2500
moderated by AQA
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10. The significance of closed book: teaching implications
You will need to:
ensure that students know their texts really well, especially the Shakespeare text that they will be using for Section A
help students to learn quotations and how to use them
help students to use close references
help students to range broadly across the text to make wise comments in the construction of their arguments (these may be of a general nature).
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11. The significance of closed book: teaching implications
AO2 and AO3:
Comments about authorial methods and contexts must not be bolted-on to answers; they need to be relevantly integrated into students’ arguments and discussions.
Students are likely to make more telling comments about structural and organisational issues and voices and settings than about lexical items.
Opportunities to write about language and other methods will also emerge from quotations.
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12. The significance of open book: teaching implications
You will need to:
ensure that students know their texts really well so that they can use their texts to focus on specific passages for detailed discussion
help students to know how to select quotations from their texts and be accurate
help students to range broadly across the text to select wisely in the construction of their arguments
alert students to the dangers of malpractice.
NB Students must have clean copies of their texts in the examination.
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13. The significance of open book: teaching implications
AO2 and AO3:
Comments about authorial methods and contexts must not be bolted-on to answers; they need to be relevantly chosen and integrated into students’ arguments and discussions.
In AO2 students are more likely to succeed if they comment on structural and organisational issues, voices, the creation of settings etc. Focusing on lexical items is usually less helpful.
Opportunities to write about language and other methods will also emerge from the key passages students select to support their arguments and discussions.
NB Students must have clean copies of their texts in the examination.
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14. AS: specification at a glance
Component 1:
Love through the ages: Shakespeare and poetry
Written Paper
50%
2 tasks
50 marks – 25 marks per task
1 hour 30 minutes
closed book
Component 2:
Love through the ages: prose
open book
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15. Love through the ages Slide 15
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16. Content and skills for A-level Paper 1 and AS
Students explore aspects of a literary theme (Love through the ages) as seen over time (diachronic approach).
Students read unseen material and set texts; they learn how to read and write for closed book and open book examinations.
Students study three texts for A-level:
one poetry and one prose text (of which one must be pre-1900) and
one Shakespeare play.
Students study four texts for AS:
one poetry two prose texts and one Shakespeare play.
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17. Text choices for A-level Paper 1 and AS Paper 1 and 2
Choice of four Shakespeare plays:
Othello, The Taming of the Shrew, Measure for Measure, The Winter’s Tale
Choice of two AQA Anthologies of time Poetry through the ages:
Anthology of time Poetry through the ages Pre-1900
Anthology of time Poetry through the ages Post-1900.
Choice of prose texts for comparison by a variety of authors across time:
Persuasion, Jane Eyre, Wuthering Heights, The Awakening, Tess of the
D’Urbervilles, The Mill on the Floss* (pre-1900)
The Great Gatsby, A Room with a View, The Go-Between, Rebecca, Atonement, The Rotters’ Club* (post-1900).
AS text list only
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18. A-level: structure of Paper 1
3 hours
75 marks
40% of total marks
open book in Section C
3 sections:
Section A: One passage-based question on a Shakespeare play
(25 marks)
Section B: One compulsory essay question on two unseen poems
Section C: One essay question (from a choice of two) linking one poetry and one prose text (25 marks).
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19. Example question: Section A
Passage-based question (no choice of passage):
‘Typically (a), texts about husbands and wives present marriage from a male point of view.’
In the light of this view, discuss (b) how Shakespeare presents (c) the relationship (d) between Othello and Desdemona in this extract and elsewhere in the play.
(a) In engaging in the debate about the ‘typicality’ of the view, students will be addressing AO5.
(b) As students discuss, they will be organising their writing and using appropriate terminology (AO1).
(c) The words ‘how Shakespeare presents’ signals an invitation to students to write about Shakespeare’s dramatic methods (AO2).
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20. Example question: Section A
Passage-based question (no choice of passage):
‘Typically (a), texts about husbands and wives present marriage from a male point of view.’
In the light of this view, discuss (b) how Shakespeare presents (c) the relationship (d) between Othello and Desdemona in this extract and elsewhere in the play.
(d) In exploring Othello and Desdemona’s marriage, students will be engaging with contexts of gender, power and society along with contexts of production and reception (AO3).
As students are discussing the typicality of the view, they will be connecting with one of the central issues of Love through the ages and so with the representation of marriage in other texts (AO4).
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21. Example question: Section B
Unseen poetry comparison:
It has been said that Rossetti’s poem is conventional and celebratory, whereas Millay’s poem (a) offers a very different view of love.
Compare and contrast (b) the presentation of love (c) in the following poems (d) in the light of this comment (a).
(a) In engaging with the poems in light of the comment, students will be considering different interpretations (AO5). They will also be addressing the central issue of how literary representations of lovers expressing their feelings in texts can reflect different social, cultural and historical aspects of the different time periods in which they were written (AO3).
(b) As students compare and contrast the presentation of love, they will be organising their writing and expressing their ideas using appropriate terminology (AO1).
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22. Example question: Section B
Unseen poetry comparison:
It has been said that Rossetti’s poem is conventional and celebratory, whereas Millay’s poem (a) offers a very different view of love.
Compare and contrast (b) the presentation of love (c) in the following poems (d) in the light of this comment (a).
(c) The words ‘presentation of love’ give a clear invitation to students to engage with the poets’ methods and their effects and to show how those methods open up meanings about love (AO2).
(d) As students are making connections between the poems in terms of subject matter or poetic methods, they will be addressing AO4. They will also be connecting implicitly with other texts which address the same concepts of love they are exploring in these poems (AO4).
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23. Example question: Section C
Section C: comparing texts A choice of two questions. ‘Compare how the authors of two texts you have studied present barriers to love.’ Task 1: how does this question hit the assessment objectives?
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24. AS structure of Paper 1: Shakespeare and poetry
1 hour 30 minutes
50 marks
50% of total marks
closed Book
2 sections:
Section A: students answer one passage-based question on a
Shakespeare play (25 marks)
Section B: students answer one question on a previously studied poem.
A poem is printed from each of the anthologies. (25 marks)
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25. Example question for AS: Paper 1 Section A:
Passage-based question (no choice of passage):
Read the passage from Othello, provided below, and respond to the following:
How does Shakespeare present (a) aspects of love in this passage?
Examine (b) the view that, in this passage and elsewhere in the play, Desdemona is presented as ‘a typically (c) naïve young woman whose love is little more than hero-worship (d).’
(a) The words ‘how does Shakespeare present’ signal an invitation to students to write about Shakespeare’s dramatic methods (AO2).
(b) As students examine the view, they will be organising their writing and expressing their ideas using appropriate terminology (AO1).
(c) In engaging in the debate about the notion of ‘typicality’, students will be addressing AO5.
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26. Example question for AS: Paper 1 Section A:
Passage-based question (no choice of passage):
Read the passage from Othello, provided below, and respond to the following:
How does Shakespeare present (a) aspects of love in this passage?
Examine (b) the view that, in this passage and elsewhere in the play, Desdemona is presented as ‘a typically (c) naïve young woman whose love is little more than hero-worship (d).’
(d) In exploring Othello and Desdemona’s marriage, students will be engaging with contexts of gender, power and society along with contexts of production and reception (AO3).
As students are discussing the notion of ‘typicality’, they will be connecting with one of the central issues of Love through the ages and so with the representation of marriage in other texts (AO4).
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27. Example question for AS Paper 1 Section B
AQA Anthology of love poetry through the ages pre-1900: Examine the view that Richard Lovelace presents the speaker in this poem as having a selfish attitude to love. AQA Anthology of love poetry through the ages post-1900: Examine the view that Elizabeth Jennings presents the married couple in this poem as having entirely lost their love for each other.
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28. AS: structure of Paper 2 – prose
1 hour 30 minutes
50 marks
50% of total marks
open book
2 sections:
Section A – one compulsory question on an unseen prose extract (25 marks)
Section B – one question from a choice of two comparative questions on
two prose texts (25 marks).
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29. Example question: Paper 2 Section A
Unseen prose: The Age of Innocence by Edith Wharton ( ) was published in The story is set in New York in the 1870s. The countess Madame Ellen Olenska has left Europe to escape from her brutish husband, and is being given legal advice on her potential divorce by the novel’s protagonist, Newland Archer. Archer is engaged to Olenska’s cousin, May Welland. In this extract, which takes place in Olenska’s house, Archer has a rare opportunity to speak to her privately. Examine the view that Wharton presents Newland Archer as a heartless seducer in this extract. Make close reference to the writer’s methods in your response.
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30. Example question: Section B
Comparing prose texts:
A choice of two questions.
‘Women characters (a) are presented (b) primarily as those who suffer and endure (c).’
By comparing (d) two prose texts, explore the extent to which you agree (e) with this statement.
(a) Students will be engaging with the literary representation of women and so with contexts of gender and how these can reflect different social, cultural and historical contexts (AO3).
(b) As students explore the extent to which women are presented as the prime sufferers in their texts, they will be considering the writers’ methods of presentation (AO2).
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31. Example question: Section B
Comparing prose texts:
A choice of two questions.
‘Women characters (a) are presented (b) primarily as those who suffer and endure (c).’
By comparing (d) two prose texts, explore the extent to which you agree (e) with this statement.
(c) As students are making comparisons between their texts in respect of the presentation of women suffering and enduring for love, they will be addressing AO4.
(d) As students compare their prose texts they will be organising their writing and expressing their ideas using appropriate terminology (AO1).
(e) As students consider the extent to which they agree/disagree with the statement in two texts, they will engage with different interpretations (AO5).
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32. Task 2 Look at the question commentary on A-level Paper 1, Section C*.
How could you use this in your teaching?
*pages 6-9 of Session hand-out
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33. Task 3 Look at this student’s response* to:
It has been said that Rossetti’s poem** is conventional and celebratory, whereas Millay’s poem*** offers a very different view of love.
Compare and contrast the presentation of love in the following poems in the light of this comment.
Does the student have a good understanding of Love through the ages?
* pages of Session handout
** ‘A Birthday’
*** ‘Love is Not All’
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34. Co-teaching opportunities: key points
If your centre has made the decision that AS and A-level will both be taught then there are key points to note:
AQA has ensured that the two courses can be taught together
if students are taught together there will inevitably be some restrictions on choices because of the different rules for AS and A-level
teachers need to ensure that in selecting texts the A-level date requirements are covered as are the major genre requirements for AS (the only date requirements for AS are covered by the study of Shakespeare)
with creative teaching and thinking it can work with benefits for both groups of students.
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35. Co-teaching Literature A: covering the requirements
Both groups of students will study a Shakespeare play common to both set text lists.
Both groups will study the same Anthology of love poetry (pre/post 1900).
Both groups will study two prose texts (to satisfy the requirement for AS).
One A-level poetry or prose text must have been written before 1900 to satisfy the A-level date rule.
Slide 35
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36. Co-teaching Literature A: choosing the prose texts
Both prose texts could be from the A-level text list: this provides A-level students with wider reading on the theme of Love through the ages; it also provides A-level students with choice of prose texts to use in examination of A-level, Paper 1, Section C.
One of the prose texts could be from the wider AS text list: this provides A-level students with wider reading on the theme of Love through the ages; it also provides them with a choice of using this prose text for NEA.
Slide 36
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37. Co-teaching opportunities: how it would work if 4th text is used for NEA by A-level students
Students study either Othello, The Taming of the Shrew, Measure for Measure or The Winter’s Tale, plus any of these combinations of texts: +
Anthology of love poetry through the ages pre-1900 +
(one of)
Persuasion, Jane Eyre, Wuthering Heights, The Awakening, Tess of the D’Urbervilles The Great Gatsby, A Room with a View, The Go-Between, Rebecca, Atonement
The Rotters’ Club, The Mill on the Floss
Anthology of love poetry through the ages post-1900 +
(one of)
Persuasion, Jane Eyre, Wuthering Heights, The Awakening, Tess of the D’Urbervilles
The Rotters’ Club, The Mill on the Floss
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38. Task 4
Select one of the suggestions for co-teaching the course and suggest how you could begin in September.
You will need to identify:
the texts you will be using
what you will do in your first lessons
the kinds of task you could ask your students to do in the first few weeks.
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39. Ideas for engagement
Think about the value of using examples from current affairs to introduce students to aspects of love (for example, celebrity/ royal/well-known figures’ marriages, births, divorces, reunions; unconventional relationships; familial disputes; cultural customs etc).
Think about how contemporary television drama can lead students into the theme, for example Last Tango in Halifax.
youtube.com/watch?v=OhGgkJkdDGo
youtube.com/watch?v=M05K7Ib4VV8
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40. Texts in shared contexts: WW1 and its aftermath OR Modern times: literature from 1945 to the present day
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41. Content and skills for A-level Paper 2
Students explore texts written within a narrower and clearly defined time period: either WW1 and its aftermath OR Modern times: literature from 1945 to the present day (synchronic approach).
Students read unseen material and set texts; they learn how to read and write for open book examinations.
Students study three texts: one poetry text, one prose text and one drama text (of which one must be written post-2000).
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42. A-level: text choices for WW1 and its aftermath
Choice of six core set texts (Section A):*
Regeneration, Birdsong, Oh! What a Lovely War, Journey’s End, Up the Line to Death, Scars Upon My Heart
Choice of comparative set texts (Section B):
The Return of the Soldier, All Quiet on the Western Front, Strange Meeting, A Farewell to Arms, Goodbye to All That, A Long, Long Way (post-2000),
The First Casualty (post-2000), Life Class (post-2000)
The Accrington Pals, Blackadder Goes Forth, My Boy Jack (post-2000)
The Penguin Book of First World War Poetry, The Oxford Book of War Poetry, The War Poems of Wilfred Owen
* Students can use any of the core set texts for comparison in Section B provided they have not used them in Section A.
Slide 42
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43. A-level: text choices for Modern times
Choice of six core set texts (Section A):*
The Handmaid’s Tale, Waterland, Top Girls, A Streetcar Named Desire, Feminine Gospels (post-2000), Skirrid Hill (post-2000)
Choice of comparative set texts:
Spies (post-2000), One Flew Over the Cuckoo’s Nest, The God of Small
Things, The Help (post-2000), The Color Purple, Oranges are not the Only
Fruit, Revolutionary Road
Translations, All My Sons, Our Country’s Good, Cat on a Hot Tin Roof
Tony Harrison, Selected Poems (2013 edition); Seamus Heaney, New
Selected Poems ( ); Birthday Letters; Ariel
* Students can use any of the core set texts for comparison in Section B provided they have not used them in Section A.
Slide 43
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44. A-level: structure of Paper 2
2 hours 30 minutes
75 marks
40% of total marks
open book
3 sections:
Section A: One essay question on a set text (25 marks)
Section B: One compulsory essay question on unseen literary prose
(25 marks)
Section C: One essay question linking two texts (25 marks).
Slide 44
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45. Significance
‘When used in AS and A-level English Literature questions, the term ‘significance’ has a very specific use and gives access to AOs 2, 3, 4 and 5. Its use here derives from semiotics and involves understanding the idea of ‘signification’.
Significance involves weighing up all the potential contributions to how a text can be analysed: through the way the text is constructed and written; through the text specific contexts that can be relevantly applied; through connecting the text(s) to other texts; and then finding potential meanings and interpretations.
Slide 45
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46. Example question: Section A
Core set text:
A choice of two questions on each set text.
‘Faulks uses birdsong (a) to suggest a range of possible ideas (b) within the novel.’
Examine (c) the significance (b) of the title of the novel in the light of this comment.
(a) The comment directs students to Faulks’ use of birdsong as a strategy for making meaning and ideas. In examining this strategy, they will be considering the writer’s methods (AO2).
(c) As students examine the significance of birdsong they will be organising their writing and expressing their ideas using appropriate terminology (AO1).
Slide 46
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47. Example question: Section A
Core set text:
A choice of two questions on each set text.
‘Faulks uses birdsong (a) to suggest a range of possible ideas (b) within the novel.’
Examine (c) the significance (b) of the title of the novel in the light of this comment.
(b) The term ‘significance’ invites access to AOs 2, 3, 4, and 5. Students will be weighing up the potential meanings that arise from this metaphor: how it leads to many possible contexts of understanding (AO3), implicitly connecting their study of it with the ways in which metaphors are used to represent the conflict in other reading of this period (AO4), engaging with different ways in which significance can be found in the notion of birdsong (AO5).
Slide 47
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48. Example question: Paper 2 Section B
Unseen text: This introduction is printed on the examination paper to contextualise the extract: ‘Read the insert carefully. It is taken from Brick Lane, a novel by Monica Ali published in year-old Nazneen has moved from Bangladesh to Britain to become the wife of Chanu, an older man. Having no prior experience of Britain and very little knowledge of the English language, Nazneen spends her time in their small flat looking out across a housing estate. Explore the significance of isolation in this extract. Remember to include in your answer relevant detailed analysis of the ways that Ali shapes meanings.
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49. Task 5
As we read the extract together, think of the guidance you would give to your students on how to approach this task.
What might students write about here?
Select some aspects of isolation and think about what their significance might be.
Take five minutes to discuss with others and be ready to feed back to the whole group.
Slide 49
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50. Example question: Paper 2 Section B
Comparing texts: ‘Modern literature shows isolated characters as being profoundly damaged.’ Compare the significance of isolation in two other texts you have studied. Remember to include in your answer reference to how meanings are shaped in the texts you are comparing.
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51. Task 6
In pairs, identify 3 key points that will be helpful in preparing students for Paper 2 (2 minutes).
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52. Task 7 Look at the Modern times resource package.
What use could you make of this in your teaching?
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53. Independent critical study: texts across time
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54. A-level: NEA criteria
Students write a comparative critical study of two texts.
Word count: 2500 words.
In addition, an appropriate academic bibliography must be included.
One text must have been written before 1900 and two different authors must be studied.
Core set texts and comparative set texts listed for study in A-level Papers 1 and 2 cannot be used for NEA. One of the two prose texts, which appear on the AS text list only, can be used for NEA (The Mill on the Floss OR The Rotters’ Club).
Equal attention should be paid to each text.
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55. Typical NEA task
Compare and contrast the presentation of women in Keats’ narrative poems ‘Lamia’, ‘Isabella’ and ‘The Eve of St Agnes’ with that of Anne Bronte’s in her novel The Tenant of Wildfell Hall. In what ways do you think the Gothic settings of these texts help the writers to shape their presentation of heroines in peril? Task 8: in pairs, discuss possible text combinations and tasks. Be ready to share your ideas with the whole group.
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56. Task 9 Look at the exemplar NEA script*:
What has this student achieved?
Are there any issues you would like to raise about this piece?
*See pages of Session hand-out
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57. A-level and AS Literature resources
Free printed anthologies for all poetry.
AQA English e-library.
Support with course planning: programmes of study and teaching plans.
Commentaries on how the different types of question might be approached.
Advice sheet on how to prepare your own sample questions.
Student responses and commentaries.
NEA guidance document.
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58. AQA ongoing support and resources
AQA website: aqa.org.uk/7712
Planning, Teaching and Assessment Resources:
A-level English Literature A launch presentation video: aqa.org.uk/subjects/english/as-and-a-level/english-literature-a /planning-resources
AQA’s secure website e-AQA: aqa.org.uk/log-in
Secure Key Materials (exam documents and teacher support materials for current and new specifications)
ERA (Enhanced Results Analysis).
Training courses including getting started, co-teaching AS and A-level effectively, feedback on exams. These will be listed on the AQA website later in the year: aqa.org.uk/professional-development
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59. Other resources
AQA English e-library with supporting digital resources
Teachit
The English Review & Emagazine for text-based and approach-based articles
endorsed textbooks
direct contact to our subject team and access to our network of advisers to share best practice.
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60. AQA approved textbooks
We only approve student textbooks (print and digital) –
though see approved publishers’ websites for the full range of
resources to support each specification.
Textbooks must be matched to the specification to be AQA approved.
Each approval process consists of a detailed 4-stage review by
our reviewers (ie senior examiners or Chairs).
Published textbooks which do not have the AQA approved
badge are not ‘AQA approved’. Prior to publication publishers
will advise that these books have entered the AQA approval
process.
See the AQA website (All about us) for full details.
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61. Contact points for more information and guidance
Customer Services advisers
Tel:
Teacher Support and CPD Managers
Tel no:
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62. Thank you
Slide 62
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