Notes version for use in schools and colleges

Notes version for use in schools and colleges
GCSE English Literature (8702) For first teaching in 2015 and for first assessment in 2017 Notes version for use in schools and colleges This set of slides has been adapted from our successful series of launch events delivered in the summer and early autumn term 2014. They have extensive notes so that this presentation can be used at departmental meetings and school gatherings to support conversations about entry decisions. The current GCSE English Literature specification will be assessed for the final time in summer 2016. Similarly, the current GCSE English specification will be assessed for the final time in summer 2016 and November 2016 (resits only). New DfE regulation prevents all exam boards from reforming GCSE English. iGCSE qualifications count towards performance measures as an English equivalent for the last time in 2016. Whilst iGCSE qualifications may be reformed in line with reformed GCSE criteria for first assessment in 2017, they still cannot count as the English equivalent in new performance measures in 2017. The DfE is still consulting with Ofqual and examination boards about whether iGCSE qualifications can count at any future stage beyond that point. As a result, the main choice for first teaching in 2015, for first assessment in 2017 will need to be GCSE English Language as a potential standalone qualification which has a reading element to fulfil National Curriculum requirements, and GCSE English Literature as an optional subject. There is an incentive for students to take both in that the higher of the two grades will count as a double weighting in revised performance measures. This specification has been designed to support co-teaching of both specifications as part of an integrated and coherent course – examples of which can be found on our website as part of our commitment to teach offer. Slide 1 Copyright © AQA and its licensors. All rights reserved. Follow us on

Structure of the presentation
Overview of the new specification Underlying principles and key features Specification at a glance Summary of content and assessment objectives Paper 1 Content and question types Break Paper 2 Support and resources The slides begin with a focus on the underlying principles and key features and proceed to explore more detailed examples of questions on each paper. The final slides set out the support and resources that AQA will provide as part of a commitment to teach and enter students for the new specification. Slide 2 Copyright © AQA and its licensors. All rights reserved. Follow us on

Objectives To understand the key elements of the specification structure, teaching content and assessment. To start thinking about the implications for teaching and learning. To enable you to ask any questions about the specification. To review the resources and support available from AQA. Understanding the new regulations and criteria for design is an important first step in appreciating how the DfE policy intent is to increase the demand of the existing GCSE Literature qualification. These slides set out how AQA has considered all the aspects of additional challenge in the criteria and sought to find fair and transparent ways to assess students’ skills – in effect, providing an accessible and enabling assessment journey for all abilities of learner. In working through each slide, there are clear opportunities to reflect on implications for teaching and learning – what can stay the same, and what will need to develop, both in KS4, but just as importantly in KS3 as a foundation for introducing high quality provision and seeding aspects of skills development. AQA has developed a range of resources and support offers which will hopefully reassure teachers that a coherent course based on this specification will both inspire and build confidence in all students. In talking through the question types, there will be opportunities to reflect as a department and ask questions about the exact nature of the assessment strategy that has been developed – these can be addressed by our curriculum advisers, enquiries made to the subject team, or by downloading a FAQ document available on the website. Most helpfully of all, as part of a commitment to teach offer, there is a senior examiner’s commentary document that sets out, for each question, detailed explanations about the rationale for each question, and how a student’s response helps explore the nature and challenge of each Literature question. Slide 3 Copyright © AQA and its licensors. All rights reserved. Follow us on

Context Developed by an experienced team of teachers and examiners.
Reviewed by a subject panel of stakeholders and subject experts. Piloted in a range of schools to ensure effective, robust and engaging question strategies. Fulfils all new National Curriculum requirements and complements all other qualifications in this suite: for example, GCSE English Language. The new specification is for teaching from September 2015 with first assessment in summer 2017. This is an exciting new Literature specification for AQA – Its experienced team of senior examiners have brought a depth of subject and assessment knowledge to the development process. Yet to a far more significant extent than ever before, AQA has engaged with many teachers from a range of different school and college types in order to bring a degree of creativity and thinking to the process that is rooted in English classrooms. In addition, AQA engaged with subject societies and stakeholders – all of which helped to ensure that our new Literature specification is fit for purpose and will engage the range of abilities that will take the qualification. Slide 4 Copyright © AQA and its licensors. All rights reserved.

Underlying principles
We started with a statement of importance – setting out what we believe are the most important values when teaching and assessing reading. This statement is set out in full at the beginning of the mark scheme that can be downloaded from our website. This “wordle” interpretation of the statement shows in visual form what we value in our new design - for example, that our question strategies should ensure students are able to engage at a personal and human level with the ideas in a variety of inspirational texts. 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. We feel that the study and assessment of Literature is of value for all abilities of students. It enriches lives and develops key aspects of literacy as well as providing insights into the self and the human condition. Therefore we set out to design a specification that is engaging and enabling for 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 – so that when a text is being studies, it can be approached in the same way, no matter which text it is - to test one skill here and another there is approaching Literature in a contrived way. As regulation requires all assessments to be closed book, we are keen to use extracts within the exam papers to support close analysis. Two part questions are holistically marked to reward students for the quality of their response. Slide 6 Copyright © AQA and its licensors. All rights reserved.

English Literature Specification
In recognition of the need for students, of different reading abilities, to be able to approach the closed book nature of the assessments in a fair and transparent way, we have incorporated notional reading time of up to 15 minutes within the time allocation – Note: this is purely guidance and students will be able to begin writing, if they so wish, from the start of the examination. Paper 1: 64 marks = 30 for each question. An additional 4 marks for AO4 (SPaG) has been allocated to question 1, Shakespeare, to reflect the fact that students are likely to be at their most alert at the start of the examination - SPaG needs to contribute to 5% of the qualification and be assessed on both papers – hence a similar strategy in Paper 2 where we allocate an additional 4 marks to the first question focusing on modern prose or drama. Slide 7 Copyright © AQA and its licensors. All rights reserved.

English Literature Specification
Regulation determines that 5 components need to be assessed. Two papers are the most valid way of doing this – no exam board has been able to offer a third paper – as this would have meant a single component being assessed on a single paper – something that could not give enough of a spread of marks on that third paper at awarding to support good assessment practice. Hence our division of 2 components on Paper One, and 3 components on Paper Two. In that it is again best practice to equally weight all components – it inevitably means that Paper 2 has to be for a longer assessment period. We recognise that this will provide some students with an additional degree of challenge, and so will work with schools and colleges to see how best we can support preparation in this area. Slide 7 Copyright © AQA and its licensors. All rights reserved.

Assessment Objective 1 This AO requires textual references as part of the way that students will need to demonstrate their ability to analyse texts. The closed book nature of the examination is a key aspect, and one that we are keen to support – hence our use of extracts in 4 out of the 5 components. Accordingly, our assessment strategy supports use of direct quotations some of the time – for example in working with the extract, or where students may know popular quotations from parts of the text - but not necessarily all of the time. 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. We will continue to work with schools to develop more exemplar responses that will indicate the different ways that textual reference can be achieved in successful responses. Slide 9 Copyright © AQA and its licensors. All rights reserved.

Assessment Objective 2 In our assessment both AO1 and AO2 are equally worth 40% - this is what we believe is at the heart of English Literature – response to text, and use of references and analysis of writer’s craft. We always assess them together and we always give them equal weighting. Slide 10 Copyright © AQA and its licensors. All rights reserved.

Assessment Objective 3 We assess AO3 on all texts except the unseen component at the end of Paper 2. In doing so we don’t over-weight responses to AO3 on any one text. We have seen the effects of this in the past as it can lead to generic historical and overly social based responses to questions rather than responses that are rooted in the literary aspects of the text. So on a 30 mark question for example the marks are 12 for AO1, 12 for AO2, and 6 for AO3. We think that this more fairly and helpfully reflects the relative importance of the three AOs – that a student’s reading and understanding of a text should be rooted in the text itself as a window into its context. Again, more work will be done here to exemplify how a range of responses and approaches can successfully do this. Slide 11 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.” Whilst comparison is not a discrete AO, DfE criteria requires that all exam boards allocate a specific weighting to it within their assessment strategies. We achieve this weighting through two tasks on Paper 2 – the response to studied poetry, and the response to unseen texts in the final component. 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. A key aspect of appeal here is the way that we have consciously crafted both questions to follow a similar pattern of design – in effect supporting teaching and learning across both components. Once students develop insight and approaches to extract to whole responses, they can apply their learning to both components – something that will provide coherence to the whole paper, and ensure that they can perform equally well on both of their studied texts. We are keen to further support this feature of the paper through exemplification of teaching and learning – using resources, schemes of work and filmed classroom sequences as part of a commitment to teach offer with us. 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 in the same way. Question strategy is the same across the two text types to support teaching and learning and give students a degree of confidence and familiarity. 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. The specimen paper, which can be downloaded from our website, shows the range of ways that we achieve this through each choice of Shakespeare play. Slide 18 Copyright © AQA and its licensors. All rights reserved.

Shakespeare GCSE English Literature set texts from 2015
We have consulted with a range of subject stakeholders and schools to offer a range of plays which includes tragedy, comedy, history and mixed genre. We are keen to maintain a degree of continuity and familiarity with popular text choices – as well as look to offer some new and exciting choices. Text choice will always be a key aspect of any vibrant and coherent learning opportunity for students. As such we feel that our selection here provides a number of options for course development . That each can be selected as a discrete text for study because in itself, it provides students with an engaging insight into Shakespeare’s work. Or that a choice of text can support a thematic approach to course content, linking with the choice of 19th century novel and studied poetry for example – developing insights into love, power, gothic traditions, hero and villain, ambition, conscience or any other potential areas for study. 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. This question is explored in detail in the sample examiner’s commentary that can be downloaded from our website - the full version of the commentary that looks at all question types across both papers is also freely available as part of a commitment to teach offer. It is important to look at the question alongside the mark scheme. It will be holistically marked in order to reward students for a range of responses. Note how firstly the question provides an extract as a starting point – this is where, in a closed book context, we would expect students to focus on detailed analysis of language and technique. It has a premise, or proposed interpretation within the question which challenges students to consider the view-point – confident students can either support the premise, and or contest it. In referencing out to the whole text, students will need to cite areas of the text, and be selective within the writing time available to focus on key moments in detail rather than risk trying to cover too much and become superficial or narrative in their response. We will provide more exemplification and guidance about the detail and degree of referencing that strong responses will require. 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. The arrows and notes show how the question addresses the AOs. 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. See note to arrow that has been added. 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. Critically, this arrow points out the reference to context as an integral part of the question. Here the notion of power and femininity is within the premise of the question. It is all about the nature of Shakespeare’s characterisation of Lady Macbeth that students can explore through the text. It therefore avoids the risk of arbitrary or generic discussions of social and historical 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. We recognise that studying 19th Century novels increases the challenge and demand of the reading within the specification. Yet there is much within them that can still reach out to readers today and appeal to a modern context. Our question strategy deliberately mirrors the one used with Shakespeare texts in order to support students in building up confidence and familiarity when approaching texts of this nature. Slide 24 Copyright © AQA and its licensors. All rights reserved.

19th century novels GCSE English Literature set texts from 2015
We feel that our choice offers appeal for every reader. Again, we consulted widely with stakeholders and teachers to make the final selection. Whichever text is selected, there is potential to access the highest levels of the mark scheme. We will not be prescribing set editions of the texts, other than the note that we have put on our website about the Frankenstein edition to reflect the fact that its revised version has a different ending. A series of KS4 reading guides for each text is currently in production and can be accessed over the next few months as part of our commitment to teach offer. We are also working with teachers to film episodes of them engaging with students to develop responses to “extract to whole” approaches to the texts – again, these will be available for first teaching in autumn 2015. 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. This next set of slides show an identical structure of assessment strategy to the one used with Shakespeare texts. This will build students’ confidence to approach extract to whole responses across both types of text. See arrows introduced on each slide to show where AOs have been targeted. This question is explored in detail and includes an exemplar student’s response in the full version of the examiner’s commentary that can be accessed as part of our commitment to teach offer. 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. Note that regulation determines that only a choice of either modern prose or modern drama texts can be assessed. Whilst regulation also allowed unseen texts to be of any genre, we will commit to these always being poetry in order to provide a greater degree of consistency and familiarity for students – in addition, there is clear opportunity here for teaching of section B to support and inform section C. Our rationale for two comparison activities on this paper: “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 is to have 2 comparisons as this recognises it as a higher order skill – In essence, we give students 2 goes at it and we hopefully reduce unnecessary pressure on unseen texts Our strategy builds on current familiarity when comparing studied poems We allow choice of poems in section B depending on students’ preferences The strategy allows teaching and learning in section B (and its resources) to support preparation for section C. 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 which reflects our consistent approach to Literature. Note again, the 4 marks for SPaG added for modern prose/drama component as the first question on the paper. 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. Here, the more open “essay-style responses appeal to all abilities – there is minimal reading demand and students will be able to call on prepared learning. On this component, there will always be a choice of two questions on each text to provide students with more of a safety net in a closed book context. We will, as with all the components, continue to work with schools to provide guidance and support about the nature of textual reference that will be needed to access the highest levels of the mark scheme. Slide 34 Copyright © AQA and its licensors. All rights reserved.

Modern prose GCSE English Literature set texts from 2015
As with all our set texts, we have consulted widely to make the final selection. Note: regulation requires these texts to be by writers from the British Isles. Where this allows, we have therefore included texts for continuity but also added new, and more contemporary ones, sometimes using texts that have proven popular on iGCSE specifications. Slide 35 Copyright © AQA and its licensors. All rights reserved.

Modern drama GCSE English Literature set texts from 2015
We will not be prescribing set editions of the texts, other than the note that we have put on our website about the Blood Brothers edition to reflect the fact that our preference is for the full musical script which has more depth to it for study at this level. 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. This question is explored in detail and includes a exemplar student response in the full version of the examiner’s commentary that is now available as part of our commitment to teach offer. The arrows show how the question is constructed to target the AOs. 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. The named poem printed on the exam paper provides a focus for students to apply close reading skills and textual analysis. Choosing their own poem for comparison allows students to write about the one they feel most confident writing about – as the poem referenced, this can include varying degrees of textual detail depending on the student’s abilities. 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. In addition to the consistent weightings set out here, this component assesses the majority of the requirement for comparison: We feel that this builds on existing good practice in the classroom Teachers are more familiar with comparison on taught poetry which enables students to develop a harder skill with taught material, thereby minimising the risk for them on the unseen aspect of the paper Also, in 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. 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 A choice of two clusters. This will enable a more coherent course construction based on possible thematic links if desired. Some poems are familiar from previous anthologies and some are new. Both clusters include representative romantic poets – though the question strategy does not have to always reference them every series. Clusters include a range of voices/perspectives/types and genders to develop different insights into the topic and theme. 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 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’. This question is explored in detail, with an exemplar student response in the full version of the examiner’s commentary that is available now as part of our commitment to teach offer. Students only need to select one cluster to write about. There will be one question on each cluster. The Paper will reproduce a named poem for them to compare with another of their choice from the cluster that they have studied. See the arrows which show how the question has been constructed to assess the AOs. 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’. 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’. 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’. 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. 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. We know that students currently do well on unseen poetry - this strategy builds on that success. The highest number of marks and weighting for the question is on the first part which treats the question almost as an unseen in line with the current approach. The second part of the question covers the requirement for comparison but for fewer marks and at a much lower weighting than on the section B component. 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. Note: No AO3 assessed here – We don’t believe that writing about context is fair on unseen texts and in timed conditions. We would have to give contextual information which would only increase the reading burden. 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] This question is explored in detail in the full version of the examiner’s commentary that can be accessed as part of our commitment to teach offer. Both unseen poems will be printed within the question paper. See the separate arrows for how the questions target the Aos. Note the allocation of marks and how this requires students to manage their time accordingly. 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] 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] Further scaffolding to support comparison. Focus on methods to highlight AO2. Slide 56 Copyright © AQA and its licensors. All rights reserved.

Resources and support from AQA
Choosing the right qualification Draft specification Draft question papers and mark schemes Specification at a glance Summary of changes Documents to help you compare exam boards’ specifications 360° SUPPORT Results: reviewing and planning for improvement Enhanced Results Analysis Teacher support feedback meetings Examiner reports Candidate exemplars with examiner commentary Planning your course Teacher support launch events Teacher support preparing to teach events Schemes of work Guidance on teaching GCSE English Literature Assess: preparing for exams Specimen question papers and mark schemes Additional sample questions Candidate exemplars with examiner commentary Teaching your students Resources linked to topics in the specification and throughout the teaching year (plan, teach, assess, results) Command words used in exams Publisher textbooks and digital resources Direct access to subject teams We appreciate that any commitment to teach with AQA English is an important decision – and for that reason we are keen to set out our own commitment to schools and colleges as an on-going partnership throughout the lifecycle of the specification. We have uploaded on to our website, sample resources, including specimen papers, mark schemes, examiner commentaries and other supporting materials to help with decision making. In our autumn term edition of Voice magazine – we set in even more detail the full scope of what our support will look like. We are working with schools to develop a range of course plans to fit in with different cohort needs. These will be reinforced through events with schools – most notably Prepare to Teach sessions that will run in spring term 2015. In the way that we worked closely with teachers to develop the specification, we are now beginning to film teachers modelling examples of good teaching and learning – these will focus on the newest aspects of learning in order to provide reassurance and support. There will be a second set of specimen papers provided shortly after Christmas, and we hope that these will further help to demonstrate the fair and transparent assessment strategy that we have developed for our new specification. At the same time, we recognise how important it will be to support schools in reporting and monitoring progress throughout a new course in the lead-up to first assessment in 2017 – and so we will make freely available to all schools and colleges that commit to teach with us, training for markers so that every centre will have support in understanding, applying, and moderating the new standards. Linked to this will be support for mock assessments and greater clarity over how the new numerical grading system will apply. After the first live series in 2017, AQA will build on its current provision to help review and evaluate results - adding to our ERA and feedback processes. Slide 61 Copyright © AQA and its licensors. All rights reserved.

GCSE Literature resources
Commentary and student responses. Free printed anthologies for poetry and short stories. Expanded and evolved Digital Anthology. Comprehensive 19th century scheme of work for Key Stage 3. Study guides for 19th century set texts. Additional sample questions. Support with course planning. Network of subject advocates. Best practice schools. Sample resources have been made available, and will be added to over time, in order to help with a decision to commit to teach with us. Once a commitment to teach has been reached, we will send links to full versions of all resources which will then help with more detailed planning and provision. As this list sets out, we are in the process of supporting all aspects of implementation of the new specification – from planning and curriculum provision, through to teaching, learning and progress checking. Commentaries have been written by the senior examiner involved in development to explain our assessment strategy for each question, and show how pilot responses indicate areas for skills development. Our successful and popular digital anthology will be significantly expanded and evolved to make it an essential teaching and learning resource in the classroom – more details to follow in spring term 2015. We are currently developing reading guides for set texts in KS4, showing how new skills like extract to whole text assessment can work. We will provide a bank of exemplar texts for schools and colleges to work with in KS3 – showing the range and type of texts that will be used in a live series and which can be integrated into schemes of work or used as standalone units of work. As always, we will commit to providing extensive regional support, evolving our current field team of subject advisers into advocates to support the new examination process. These will work closely with newly appointed hub and best practice schools to share practice at a local level throughout the country. Slide 62 Copyright © AQA and its licensors. All rights reserved.

AQA resources Include: AQA website e-AQA secure key materials
ERA (Enhanced Results Analysis) training courses preparing to teach events publishers AQA family of businesses. Partnerships with publishers: Oxford University Press Cambridge University Press Harper Collins Other partnerships: Teachit Digital Theatre Plus Exampro Alfiecloud Slide 63 Copyright © AQA and its licensors. All rights reserved.

Contact points for more information and guidance
Customer Support Managers Teacher Support and CPD Managers AQA website: aqa.org.uk Please contact the English team at any time We have the largest and most experienced team of customer support advisers to answer your queries. Slide 64 Copyright © AQA and its licensors. All rights reserved.

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