Underlying principles

Underlying principles
We started with a statement of importance – setting out what we believe are the most important values This is set out in full at the beginning of the mark scheme Here is a “wordle” version which really brings out these values in a visual form – for example, that our question strategies would ensure students are able to engage with a variety of inspirational texts in ways that are meaningful to them Show film clip of student Beth talking about importance of reading Slide 5 Copyright © AQA and its licensors. All rights reserved.

Underlying principles
Literature should be an accessible and enabling subject for every student. Assessing all texts in a fair and transparent way. Making use of a range of assessment strategies so that ‘closed book’ and un-tiered aspects of the new regulations are not barriers to learning. Literature is IMPORTANT. It enriches lives and opens doors. Therefore we set out to design a spec that was for all students – accessible and enabling for students of all abilities through text choices and questions that provide both access and stretch For this reason, we take the same approach to the assessment of all texts - When you approach a literary text you approach it the same way, no matter which text it is. To test one skill here and another there is approaching Literature in a contrived way Pre-release Extracts provided in the question paper Two part questions Choice of questions Range of text choices Questions and the mark scheme reflect the fact that students will not have access to some or all of the text that they are writing about. Students can achieve just as highly by making 'references' to the text in many cases. However, the majority of students will, by virtue of having studied the texts over the course, be familiar with certain key passages / references to use as direct reference in the examination. However, the mark scheme, the exemplification scripts and examiner training will all focus on crediting use of direct reference where the student has access to a particular extract, passage or poem Slide 6 Copyright © AQA and its licensors. All rights reserved.

English Literature Specification
Paper 1: 64 marks = 30 for each question + 4 SPaG Slide 7 Copyright © AQA and its licensors. All rights reserved.

Assessment Objective 1 Commonly asked question re ‘references’:
Q: Do students have to learn quotations for the English Literature exams? A: The assessment objective (AO1) states that students should “use textual references, including quotations, to support and illustrate interpretations”. This means that they will be expected to use direct quotations some of the time but not necessarily all of the time. So where students have the stimulus materials in front of them they will be expected to use quotations to support their interpretations. Where students don’t have the material in front of them they will be expected to support their interpretations with a range of types of textual reference. Students have always made direct reference to the text, and the use of references such as single words, paraphrase and summary can be a powerful way to support a response in a closed book context. The mark scheme doesn’t reward quantity or accuracy of direct quotations; instead it rewards the strength of the interpretation and the appropriateness of the reference in supporting that interpretation. Slide 9 Copyright © AQA and its licensors. All rights reserved.

Assessment Objective 2 Note – AO1 and AO2 both worth 40% - this is what we believe is at the heart of English literature – response to text, use of references and analysis of writer’s craft. We always assess them together and we always give them equal weighting. We don’t think they can be divided. Language and structure and form – not necessarily all three always, depends on the text and the task – synthesis of the three expected in the top band in poetry Character development/characterisation as example of structure and form – can be done in a closed book context at different levels Slide 10 Copyright © AQA and its licensors. All rights reserved.

Assessment Objective 3 We assess AO3 on all texts except the unseen. The reasons for this are: In doing so we don’t over-weight it on any one text - We have seen the effects of this – it leads to history-based responses to questions rather than text-based responses So on a 30 mark question for example the marks are: 12 for AO1 12 for AO2 6 for AO3 - We think this reflects the relative importance of the three AOs – the reading and understanding of a text should be rooted in the text itself. The text is a window onto the context and the text is informed by the context We are not assessing context on the unseen texts because we don’t think it can be done meaningfully or fairly. Slide 11 Copyright © AQA and its licensors. All rights reserved.

Assessment Objective 4 SPaG: Assessed on each paper but only on Shakespeare and modern texts – extended reading responses So overall, assessment objectives are not a massive departure from what you know currently – an important point of reassurance and continuity Slide 12 Copyright © AQA and its licensors. All rights reserved.

Comparison “In each specification as a whole, 20-25% of the marks should require candidates to show the abilities described in AO1, AO2 and AO3 through tasks which require them to make comparisons across texts.” The status of comparison – not an assessment objective but the statement appears in the subject content from the DfE What this means is that students have to show the skills of the AOs through comparative tasks. The other requirement was that the comparison had to include the two unseen texts. Slide 13 Copyright © AQA and its licensors. All rights reserved.

Structure of Question Paper 1
1 hour 45 minutes. 40% of total marks. 2 sections. Shakespeare and 19th-century novel. Same question approach for both texts - extract and reference to whole text. Slide 16 Copyright © AQA and its licensors. All rights reserved.

Assessment objectives for Paper 1
Each question assesses AO1, AO2 and AO3: 12 marks available for AO1 12 marks available for AO2 6 marks available for AO3 4 marks available for AO4 (Shakespeare only). Same AOs assessed on section A Shakespeare and Section B C19th novel Question pattern the same across the two texts types + the mark scheme. Don’t have to remember which AO for each question – teach the texts in the same way. Slide 17 Copyright © AQA and its licensors. All rights reserved.

Rationale for Paper 1 Section A: Shakespeare
Shakespeare as a literary text with assessments of character, theme, imagery, language and structure. Aligns with assessment of Shakespeare at “A” level and as a distinct discipline in higher education. Recognition of the power and scope of texts as drama and their ability to move and entertain modern audiences. Questions focus on extract and text as a whole – to be both accessible and enabling for all abilities. Slide 18 Copyright © AQA and its licensors. All rights reserved.

Shakespeare GCSE English Literature set texts from 2015 A range of plays which includes tragedy, comedy, history and mixed genre. Continuity and familiarity – as well as some new and exciting introductions as suggested by teachers and stakeholders Ask delegates which Shakespeare text do they think they will teach? 1.Macbeth 2.Romeo and Juliet 3.The Tempest 4.The Merchant of Venice 5.Much Ado About Nothing 6.Julius Caesar Slide 19 Copyright © AQA and its licensors. All rights reserved.

Paper 1 Section A: Shakespeare sample question
Focus on the printed extract enables candidates to address AO1 and AO2 with close reference to text, before widening the scope of their response to the play as a whole. Starting with this speech, explain how far you think Shakespeare presents Lady Macbeth as a powerful woman. Write about: how Shakespeare presents Lady Macbeth in this speech how Shakespeare presents Lady Macbeth in the play as a whole. Slide 20 Copyright © AQA and its licensors. All rights reserved.

Focus on the printed extract enables candidates to address AO1 and AO2 with close reference to text, before widening the scope of their response to the play as a whole. Addressing AO1 by asking for a ‘response’ to an idea, or statement, about an aspect of the play. Starting with this speech, explain how far you think Shakespeare presents Lady Macbeth as a powerful woman. Write about: how Shakespeare presents Lady Macbeth in this speech how Shakespeare presents Lady Macbeth in the play as a whole. Slide 21 Copyright © AQA and its licensors. All rights reserved.

Focus on the printed extract enables candidates to address AO1 and AO2 with close reference to text, before widening the scope of their response to the play as a whole. Addressing AO1 by asking for a ‘response’ to an idea, or statement, about an aspect of the play. Focus on Shakespeare as writer in order to remind candidates to think about the text as a conscious construct and thereby address AO2. Starting with this speech, explain how far you think Shakespeare presents Lady Macbeth as a powerful woman. Write about: how Shakespeare presents Lady Macbeth in this speech how Shakespeare presents Lady Macbeth in the play as a whole. Slide 22 Copyright © AQA and its licensors. All rights reserved.

Focus on the printed extract enables candidates to address AO1 and AO2 with close reference to text, before widening the scope of their response to the play as a whole. Addressing AO1 by asking for a ‘response’ to an idea, or statement, about an aspect of the play. Focus on Shakespeare as writer in order to remind candidates to think about the text as a conscious construct and thereby address AO2. Starting with this speech, explain how far you think Shakespeare presents Lady Macbeth as a powerful woman. Write about: how Shakespeare presents Lady Macbeth in this speech how Shakespeare presents Lady Macbeth in the play as a whole. This asks students to think about contextual elements (AO3): in this case the idea of ‘power’ as well as ideas about women within this context. Slide 23 Copyright © AQA and its licensors. All rights reserved.

Rationale for Paper 1 Section B: 19th century novel
19th century novels are a real opportunity to extend students’ experience of reading. They have some of the strongest story-lines and narrative structures of any novel. They often introduce modern readers to themes and concepts that are just as relevant today as when they were written. To provide a degree of familiarity and transparency – Questions again focus on extract and text as a whole. Slide 24 Copyright © AQA and its licensors. All rights reserved.

19th century novels Something for every student
GCSE English Literature set texts from 2015 Something for every student Equality of demand – same skills based assessment in mark scheme Ask delegates which 19th-century text do they think they will teach? 1.Robert Louis Stevenson The Strange Case of Dr Jekyll and Mr Hyde 2.Charles Dickens A Christmas Carol 3.Charles Dickens Great Expectations 4.Charlotte Brontë Jane Eyre 5.Mary Shelley Frankenstein 6.Jane Austen Pride and Prejudice 7.Sir Arthur Conan Doyle The Sign of Four Show student Isobel on Frankenstein film clip. Slide 25 Copyright © AQA and its licensors. All rights reserved.

Paper 1 Section B: 19th century novel sample question
Focus on the printed extract enables candidates to address AO1 and AO2 with close reference to text, before widening the scope of their response to the novel as a whole. Starting with this extract, how does Dickens present Scrooge as an outsider to society? Write about: how Dickens presents Scrooge in this extract how Dickens presents Scrooge as an outsider to society in the novel as a whole. Slide 26 Copyright © AQA and its licensors. All rights reserved.

Focus on the printed extract enables candidates to address AO1 and AO2 with close reference to text, before widening the scope of their response to the novel as a whole. Focus on Dickens as writer in order to remind candidates to think about the text as a conscious construct and thereby address AO2. Starting with this extract, how does Dickens present Scrooge as an outsider to society? Write about: how Dickens presents Scrooge in this extract how Dickens presents Scrooge as an outsider to society in the novel as a whole. Slide 27 Copyright © AQA and its licensors. All rights reserved.

Focus on the printed extract enables candidates to address AO1 and AO2 with close reference to text, before widening the scope of their response to the novel as a whole. Focus on Dickens as writer in order to remind candidates to think about the text as a conscious construct and thereby address AO2. This asks students to think about contextual elements (AO3): in this case societal elements. Starting with this extract, how does Dickens present Scrooge as an outsider to society? Write about: how Dickens presents Scrooge in this extract how Dickens presents Scrooge as an outsider to society in the novel as a whole. Slide 28 Copyright © AQA and its licensors. All rights reserved.

Focus on the printed extract enables candidates to address AO1 and AO2 with close reference to text, before widening the scope of their response to the novel as a whole. Focus on Dickens as writer in order to remind candidates to think about the text as a conscious construct and thereby address AO2. This asks students to think about contextual elements (AO3): in this case societal elements. Starting with this extract, how does Dickens present Scrooge as an outsider to society? Write about: how Dickens presents Scrooge in this extract how Dickens presents Scrooge as an outsider to society in the novel as a whole. Instruction to look at the bullets, which reiterate and remind students to focus on both the extract and the novel as a whole. Slide 29 Copyright © AQA and its licensors. All rights reserved.

Structure of Question Paper 2
2 hour 15 minutes. 60% of total marks. 3 sections. Modern prose or drama, poetry and unseen texts. Assesses comparison. Point about length of examination within the 4 hours regulation Stress identity and flow of this paper through the 3 sections Our determination to offer choice of prose or drama texts – confirm regulation again here Our commitment to keep unseen texts as two poems Opportunity here then for teaching of section B to support and inform section B Our rationale for two comparison activities – “In each specification as a whole, 20-25% of the marks should require candidates to show the abilities described in AO1, AO2 and AO3 through tasks which require them to make comparisons across texts.” Must be covered in unseen texts as a minimum Our strategy to have 2 comparisons recognises it as a higher order skill – 2 goes at it and reduces unnecessary pressure on unseen texts Our strategy builds on current familiarity of comparing studied poems Allows choice of poems in section B depending on students’ preferences Allows teaching and learning in section B (and its resources) to support section C Following this slide, show the specimen question paper and mark scheme / marking criteria. Slide 32 Copyright © AQA and its licensors. All rights reserved.

Assessment objectives for Paper 2 Section A
Each question assesses AO1, AO2, AO3 and AO4: 12 marks available for AO1 12 marks available for AO2 6 marks available for AO3 4 marks available for AO4. Same weightings as paper 1 because of our approach to Literature – we respond to lit in the same way no matter what genre it is Remind that this reflects the relative importance of the three AOs – the reading and understanding of a text should be rooted in the text itself The text is a window onto the context and the text is informed by the context 4 marks SPaG for modern prose/drama component Slide 33 Copyright © AQA and its licensors. All rights reserved.

Rationale for Paper 2 Section A: Modern prose or drama
A wide choice of modern prose or drama texts so that centres can study what works best for their students. Opportunity to select a contemporary text that will engage and inspire today’s young readers. Essay-style question as a way of varying assessment and stimulating an extended response. Choice of questions so that there will always be something that every student can write about. Choice of free AQA short story anthology. Open essay questions – accessible to all abilities – minimal reading demand, students can answer at their level From a largely narrative response at the bottom end to a well-structured and supported essay, tending towards an A-level response, at the top Questions and mark scheme allow for both extremes and everything in between – accessible and enabling Slide 34 Copyright © AQA and its licensors. All rights reserved.

Modern prose Ask delegates which text they are likely to teach?
GCSE English Literature set texts from 2015 Ask delegates which text they are likely to teach? P: Which Modern Prose text do you think you will teach? William Golding Lord of the Flies AQA Anthology Telling Tales George Orwell Animal Farm Kazuo Ishiguro Never Let Me Go Meera Syal Anita and Me Stephen Kelman Pigeon English Slide 35 Copyright © AQA and its licensors. All rights reserved.

Modern drama Ask delegates which text they are likely to teach?
GCSE English Literature set texts from 2015 Ask delegates which text they are likely to teach? P: Which Modern Drama text do you think you will teach? JB Priestley An Inspector Calls Willy Russell Blood Brothers Alan Bennett The History Boys Dennis Kelly DNA Simon Stephens The Curious Incident of the Dog in the Night- Time (play script) Shelagh Delaney A Taste of Honey Show Tom and Brad film clip. Slide 36 Copyright © AQA and its licensors. All rights reserved.

Paper 2 Section A: Modern prose/drama sample question
Focus on writer in order to remind candidates to think about the text as a conscious construct and thereby address AO2. How does Priestley explore responsibility in An Inspector Calls? Write about: the ideas about responsibility in An Inspector Calls how Priestley presents these ideas by the ways he writes. Slide 37 Copyright © AQA and its licensors. All rights reserved.

Focus on writer in order to remind candidates to think about the text as a conscious construct and thereby address AO2. Addresses AO3 by focusing on the key social ideas in the play. How does Priestley explore responsibility in An Inspector Calls? Write about: the ideas about responsibility in An Inspector Calls how Priestley presents these ideas by the ways he writes. Slide 38 Copyright © AQA and its licensors. All rights reserved.

Focus on writer in order to remind candidates to think about the text as a conscious construct and thereby address AO2. Addresses AO3 by focusing on the key social ideas in the play. How does Priestley explore responsibility in An Inspector Calls? Write about: the ideas about responsibility in An Inspector Calls how Priestley presents these ideas by the ways he writes. The task as a whole assesses AO1 in terms of candidates presenting a considered ‘response’ to the task and the text. Slide 39 Copyright © AQA and its licensors. All rights reserved.

Focus on writer in order to remind candidates to think about the text as a conscious construct and thereby address AO2. Addresses AO3 by focusing on the key social ideas in the play. How does Priestley explore responsibility in An Inspector Calls? Write about: the ideas about responsibility in An Inspector Calls how Priestley presents these ideas by the ways he writes. The task as a whole assesses AO1 in terms of candidates presenting a considered ‘response’ to the task and the text. Q: Do students have to learn quotations for this question? A: The assessment objective (AO1) states that students should “use textual references, including quotations, to support and illustrate interpretations”. This means that they will be expected to use direct quotations some of the time but not necessarily all of the time. So where students have the stimulus materials in front of them they will be expected to use quotations to support their interpretations. Where students don’t have the material in front of them they will be expected to support their interpretations with a range of types of textual reference. Students have always made direct reference to the text, and the use of references such as single words, paraphrase and summary can be a powerful way to support a response in a closed book context. The mark scheme doesn’t reward quantity or accuracy of direct quotations; instead it rewards the strength of the interpretation and the appropriateness of the reference in supporting that interpretation. Bullets provide scaffold and a reminder of the focus of the question. Slide 40 Copyright © AQA and its licensors. All rights reserved.

Rationale for Paper 2 Section B: Studied poetry cluster
Named poem printed on the exam paper. Students can choose second poem for comparison. Engaging and themed poetry clusters. A range of poets from across time. Named poem printed on the exam paper provides a focus for students to apply close reading skills and textual analysis Choosing own poem for comparison allows student to write about the one they feel most confident writing about Comparing a named poem with a self selected one helps students to develop comparison skills in preparation for section C where they are required to compare two unseen poems The questions and the mark scheme reflect the fact that students will not have access to some or all of the text that they are writing about. Students can achieve just as highly by making 'references' to the text in many cases. However, the majority of students will, by virtue of having studied the texts over the course, be familiar with certain key passages / references to use as direct reference in the examination. However, the mark scheme, the exemplification scripts and examiner training will all focus on crediting use of direct reference where the student has access to a particular extract, passage or poem. Choice of clusters – each constructed to include poets from across the whole time period, both male and female, and representation from poets writing in English from different cultures to help students to perceive literature as all inclusive Inclusion of poets, including Romantics, from across a wide time period enables students to make connections across texts and to see the universal themes that link writers from different periods and contexts Slide 42 Copyright © AQA and its licensors. All rights reserved.

Assessment objectives for Paper 2 Section B
Each question assesses AO1, AO2 and AO3: 12 marks available for AO1 12 marks available for AO2 6 marks available for AO3. Again, same weightings as all paper 1 and paper 2 section A – emphasise consistent approach Also, comparison is here. Why? It's because there is a % requirement for comparison and as it's a higher order skill we felt that loading it onto unseen would place an additional level of unnecessary demand on students, especially those of lower ability. Also, teachers are more familiar with comparison on taught poetry. We have consciously put comparison there as it enables students to develop a harder skill with taught material, thereby minimising the risk for candidates. A third reason is that comparison has to include comparison of context (AO3). It is far easier to address this with an anthology of poems than through unseen poetry. Again, this has been very carefully considered but the model we have chosen we very strongly believe will be more enabling for the full range of candidates. The next reason is that if candidates are responding to a single taught poem, there is no choice / option for them. In this way students can select the second poem and can write about the one they feel most confident about. We have deliberately minimised comparison on unseen in order to support and protect less able candidates, as well as to provide a challenge / discriminator for the more able. Slide 43 Copyright © AQA and its licensors. All rights reserved.

Studied poetry clusters
Choice of two clusters, each consisting of 15 poems each: Love and relationships Lord Byron When We Two Parted Percy Bysshe Shelley Love’s Philosophy Robert Browning Porphyria’s Lover Elizabeth Barrett Browning Sonnet XXIV - I Think of thee Thomas Hardy Neutral Tones Maura Dooley Letters from Yorkshire Charlotte Mew The Farmer’s Bride C Day Lewis Walking Away Charles Causley Eden Rock Seamus Heaney Follower Simon Armitage Mother, any distance Carol Ann Duffy Before You Were Mine Owen Sheers Winter Swans Daljit Nagra Singh Song! Andrew Waterhouse Climbing My Grandfather Some familiar from previous anthologies, some new, ‘representative’ romantics, range of voices/perspectives/types of relationship/love Slide 44 Copyright © AQA and its licensors. All rights reserved.

Studied poetry clusters
Conflict and power Shelley Ozymandias Blake London Wordsworth The Prelude: stealing the boat Robert Browning My Last Duchess Alfred Lord Tennyson The Charge of the Light Brigade Wilfred Owen Exposure Seamus Heaney Storm on the Island Ted Hughes Bayonet Charge Simon Armitage Remains Jane Weir Poppies Carol Ann Duffy War Photographer Imtiaz Dharker Tissue Carol Rumens The Émigrée Beatrice Garland Kamikaze John Agard Checking Out Me History Some familiar from previous anthologies, some new, ‘representative’ romantics, range of voices/perspectives/types of conflict/power – internal/external Two themes can actually be an interesting approach to take when selecting texts and planning your course. If you think about the texts you’ve seen so far you can think of several in each category that you might link with the themes of love and relationships or conflict and power - enable students to make links between texts and see the universality of literary themes… Slide 45 Copyright © AQA and its licensors. All rights reserved.

Paper 2 Section B: studied poetry sample question
Key command word used to remind candidates that they are forming a comparative response to two poems (AO1). Compare the ways poets present ideas about power in ‘Ozymandias’ and in one other poem from ‘Power and conflict’. Candidates will select one cluster to write about There will be one question on each cluster Candidates will respond to a named poem printed in the exam paper and compare it to another of their choice from the cluster that they have studied. Make point about references again Slide 46 Copyright © AQA and its licensors. All rights reserved.

Key command word used to remind candidates that they are forming a comparative response to two poems (AO1). Focus on writer in order to remind candidates to think about the texts as a conscious construct and thereby address AO2. Compare the ways poets present ideas about power in ‘Ozymandias’ and in one other poem from ‘Power and conflict’. Candidates will select one cluster to write about There will be one question on each cluster Candidates will respond to a named poem printed in the exam paper and compare it to another of their choice from the cluster that they have studied. Slide 47 Copyright © AQA and its licensors. All rights reserved.

Key command word used to remind candidates that they are forming a comparative response to two poems (AO1). Focus on writer in order to remind candidates to think about the texts as a conscious construct and thereby address AO2. Candidate directed to a named poem, printed on the paper. Compare the ways poets present ideas about power in ‘Ozymandias’ and in one other poem from ‘Power and conflict’. Candidates will select one cluster to write about There will be one question on each cluster Candidates will respond to a named poem printed in the exam paper and compare it to another of their choice from the cluster that they have studied. Slide 48 Copyright © AQA and its licensors. All rights reserved.

Key command word used to remind candidates that they are forming a comparative response to two poems (AO1). Focus on writer in order to remind candidates to think about the texts as a conscious construct and thereby address AO2. Candidate directed to a named poem, printed on the paper. Compare the ways poets present ideas about power in ‘Ozymandias’ and in one other poem from ‘Power and conflict’. Candidates will select one cluster to write about There will be one question on each cluster Candidates will respond to a named poem printed in the exam paper and compare it to another of their choice from the cluster that they have studied. This asks candidates to think about contextual elements (AO3). Slide 49 Copyright © AQA and its licensors. All rights reserved.

Key command word used to remind candidates that they are forming a comparative response to two poems (AO1). Focus on writer in order to remind candidates to think about the texts as a conscious construct and thereby address AO2. Candidate directed to a named poem, printed on the paper. Compare the ways poets present ideas about power in ‘Ozymandias’ and in one other poem from ‘Power and conflict’. Candidates have free choice about which poem to choose from their cluster. Candidates will select one cluster to write about There will be one question on each cluster Candidates will respond to a named poem printed in the exam paper and compare it to another of their choice from the cluster that they have studied. Look at assessment template document This asks candidates to think about contextual elements (AO3). Slide 50 Copyright © AQA and its licensors. All rights reserved.

Rationale for Paper 2 Section C: Unseen texts
A two part question to structure response. Students initially respond to first unseen poem – 24 marks. AO1 and AO2 assessed equally. Students then compare first poem with second poem - 8 marks as final part of question. Students do well on unseen poetry - better than on taught in many cases. Restricting unseen to poetry. Not other genres. Short, whole texts with ambiguous meanings can be freeing for students of all abilities Not more challenging poems than current unseens. A recognition that comparison is a high order skill – 8 marks question synoptic out of 96 for the whole paper – challenging – stretch question - MS structured to show different levels of comparison Slide 52 Copyright © AQA and its licensors. All rights reserved.

Assessment objectives for Paper 2 Section C
27.1 (one poem) assesses AO1 and AO2: 12 marks available for AO1 12 marks available for AO2. 27.2 (comparison of two poems) assesses AO2 only: 8 marks available for AO2. No AO3 – don’t believe that writing about context is possible on unseen in timed conditions. Would have to give contextual information which would increase the reading burden. This is over three separate questions Slide 53 Copyright © AQA and its licensors. All rights reserved.

Paper 2 Section C: unseen poetry sample question
Focus on single poem. 27.1 In ‘To a Daughter Leaving Home’, how does the poet present the speaker’s feelings about her daughter? [24 marks] Candidates will select one cluster to write about There will be one question on each cluster Candidates will respond to a named poem printed in the exam paper and compare it to another of their choice from the cluster that they have studied. Slide 54 Copyright © AQA and its licensors. All rights reserved.

Focus on writer in order to remind candidates to think about the texts as a conscious construct and thereby address AO2. Focus on single poem. 27.1 In ‘To a Daughter Leaving Home’, how does the poet present the speaker’s feelings about her daughter? [24 marks] Candidates will select one cluster to write about There will be one question on each cluster Candidates will respond to a named poem printed in the exam paper and compare it to another of their choice from the cluster that they have studied. Slide 55 Copyright © AQA and its licensors. All rights reserved.

Question outlines focus for comparison. 27.2 In both ‘Poem for My Sister’ and ‘To a Daughter Leaving Home’ the speakers describe feelings about watching someone they love grow up. What are the similarities and/or differences between the ways the ways the poets present these feelings? [8 marks] Candidates will select one cluster to write about There will be one question on each cluster Candidates will respond to a named poem printed in the exam paper and compare it to another of their choice from the cluster that they have studied. Question for each of the two poems is similarly phrased to enable students to start to think about links before writing response to 8 mark question Further scaffolding to support comparison. Focus on methods to highlight AO2. Slide 56 Copyright © AQA and its licensors. All rights reserved.

Key things to remember for Literature
Closed text exams – not too scary! The mark scheme for Paper two especially should allow for weaker students to still gain marks for knowing the story and being able to make specific reference to parts of the text, without using actual quotes. Awareness of context does not need to be as explicit as we may have previously thought.

Underlying principles

Similar presentations

Presentation on theme: "Underlying principles"— Presentation transcript:

Similar presentations

About project

Feedback

Log in

Auth with social network:

Underlying principles

Similar presentations

Presentation on theme: "Underlying principles"— Presentation transcript:

Similar presentations

About project

Feedback