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AS/A2

English Literature B

Student Guide

A-LEVEL STUDENT HANDBOOK

CONTENTS PAGE

| | |
|What we Expect of A-Level Students |3 |
|Overview of the AS and A2 Course |4 |
|Assessment Objectives |5 |
|AS Marking Criteria |6 |
|A2 Marking Criteria |7 |
|Selecting and Studying Texts |8 |
|Approaching Essays – coursework |9 |
|Punctuation Guide |11 |
|Glossary of Literary Terms |12 |
|Reading List |13 |
|Independent Learning Project (Year 11 into Year 12) |18 |

AQA English Literature B

Specification and other resources can be found at:

http://web.aqa.org.uk/qual/gce/english/eng_lit_b_materials.php?id=02&prev=02

AS LEVEL ENGLISH LITERATURE COURSE

What We Expect of A-Level Students

← Be interested and show enthusiasm for the subject

← Be proactive: ← Read widely from booklists given to enrich and broaden knowledge and understanding ← Go to the theatre, listen to arts programs on TV/radio, read reviews ← Share independently gained knowledge/insights with the class ← Undertake independent wide reading and research (including internet and library resources). Always note down bibliographical details to acknowledge sources in essays/exams ← Ask for help whenever necessary; not the due date of an essay/the morning of an exam

← Put in at least SIX hours of private study per week on: ← Preparation for class ← Homework ← Essay research, planning, writing ← Exam practice questions ← Revision

← Be thoroughly prepared for all lessons and for assessments: ← Pre-read the next section of the text before the lesson ← Read commentaries and textual notes before the lesson ← Make notes on what you have read; jot down questions, ideas, queries ← Think about how the text relates to your assessment

← Take an active part in lessons, contributing to verbal and online discussion forums, questioning the text, and being prepared to lead group discussions. You may be asked to present a seminar.

← Prepare coursework thoroughly: ← Read class reading list ← Read focus text ← Research widely ← Be aware of critical commentary ← Create a detailed essay plan ← Draft thoroughly, playing attention to structure ← Edit meticulously, for content and language ← Be prepared to restructure and rewrite your work thoroughly
OVERVIEW OF THE AS AND A2 COURSE

Unit 1: Aspects of narrative Assessed by exam The aim of this unit is to introduce candidates to the central position of narrative in the ways in which literary texts work. The term narrative is taken in a broad sense here, involving many different aspects of literary representation, with particular focus on how narratives are constructed by authors, and the different ways in which they can be responded to by readers. Texts studied: The Great Gatsby, F. Scott Fitzgerald (purchase this text) The Curious Incident of the Dog in the Night-time, Mark Haddon (purchase this text) Christina Rossetti, poems from the AQA anthology (provided) Alfred, Lord Tennyson, poems from the AQA anthology (provided)

Unit 2: Texts and genres: Tragedy Assessed by coursework The aim of this unit is to introduce candidates to aspects of genre. As used here, the term refers both to a type of text described by its form, in this case drama, and a further sub-categorisation by content and method. For the first three years of this specification the dramatic genre to be studied will be tragedy. This unit also addresses the compulsory requirement of the study of at least one Shakespeare play. Texts studied: William Shakespeare’s ‘Hamlet’ or ‘Othello’ (purchase this text) Sophocles’ ‘Antigone’ (purchase this text)

Unit 3: Texts and Genres Assessed by exam The aim of this unit is to develop ideas on the significance of genre which have been established during the AS course. Texts will be grouped within two broad categories: Elements of the Gothic and Elements of the Pastoral. Individual texts will be explored and evaluated against some of the commonly accepted principles of the chosen genre, and three texts (or more) will be compared as representatives of that genre. Texts studied: Geoffrey Chaucer, ‘The Pardoner’s Tale’ (purchase this text) Christopher Marlowe, ‘Doctor Faustus’ (A-text) (purchase this text) Mary Shelley, Frankenstein (purchase this text)

Unit 4: Further and Independent Reading Assessed by coursework There are a number of aims to this unit. The first is to introduce candidates to the study of a wide range of texts, some of which may be of their own choosing. The second is to introduce candidates to different ways of reading texts for study, including independently. The third is to introduce candidates to some critical ideas, and for these ideas to be applied with discrimination to literary text. Texts studied: The AQA Critical Anthology (provided) Class choice of one from a selection of texts (purchase this text) Student’s choice of two from a selection of texts (purchase these texts)
ASSESSMENT OBJECTIVES

AO1:
Articulate creative, informed and relevant responses to literary texts, using appropriate terminology and concepts, and coherent, accurate written expression. Candidates: ➢ communicate wide knowledge and understanding of texts ➢ Present relevant responses using appropriate terminology to support informed interpretations ➢ Structure and organise writing well ➢ Communicate content and meaning through expressive and accurate writing

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AO2:
Demonstrate detailed critical understanding in analysing the ways in which structure, form and language shape meaning in texts. Candidates: ➢ identify relevant aspects of structure form and language ➢ Explore through critical analysis how writers use specific aspects to shape meaning ➢ Generally use specific references to texts to support their responses

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AO3:
Explore connections and comparisons between different literary texts, informed by interpretations of other readers. Candidates: ➢ Explore connections and points of comparison between literary texts ➢ Communicate clear understanding of the views expressed in different interpretations or readings

[pic]

AO4:
Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received. Candidates: ➢ Communicate understanding of the relationships between literary texts and their contexts ➢ Comment appropriately on the influence of culture, text type, literary genre or historical period on the ways in which literary texts were written and were – and are – received

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AS MARKING CRITERIA

AO1 Articulate creative, informed and relevant responses to literary texts, using appropriate terminology and concepts, and coherent, accurate written expression AO2 Demonstrate detailed critical understanding in analysing the ways in which structure, form and language shape meanings in literary texts AO3 Explore connections and comparisons between different literary texts, informed by interpretations of other readers AO4 Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received

|MARKS |CRITERIA |
|Band 1 (0 – 5 |AO1 |quality of writing hinders meaning |
|marks) |AO1 |unclear line of argument/not always relevant |
| |AO2 |very limited discussion of how form and structure shape meanings |
| |AO2 |very limited discussion of how aspects of language shape meanings |
| |AO3 |little sense of connections between texts through concept of tragedy |
| |AO3 |little understanding of different interpretations of texts |
| |AO4 |very limited understanding of ways of contextualising ‘tragedy’ |
| |AO4 |very limited awareness of other contextual factors |
|Band 2 (6 – 10 |AO1 |some use of critical vocabulary despite technical weakness |
|marks) |AO1 |simple attempt at structuring argument/usually relevant with some focus on task |
| |AO2 |some awareness of how form and structure shape meanings |
| |AO2 |some awareness of how aspects of language shape meanings |
| |AO3 |some connections made between texts through concept of tragedy |
| |AO3 |some reference to different interpretations of texts/ some textual support |
| |AO4 |some consideration of ways of contextualising ‘tragedy’ |
| |AO4 |some consideration of other relevant contextual factors |
|Band 3 (11 – 15|AO1 |use of some critical vocabulary and generally clear expression |
|marks) |AO1 |some structured argument though not sustained/ relevant with focus on task |
| |AO2 |consideration of some features of form and structure and how these features shape meanings |
| |AO2 |consideration of some aspects of language and how these aspects shape meanings |
| |AO3 |consideration of connections between texts through concept of tragedy |
| |AO3 |consideration of different interpretations of texts, with general textual support |
| |AO4 |consideration of ways of contextualising ‘tragedy’ as a dramatic genre |
| |AO4 |consideration of a range of other contextual factors with specific links between context/texts/tasks |
|Band 4 (16 – 20|AO1 |use of accurate critical vocabulary and clear argument expressed accurately |
|marks) |AO1 |relevant with clear focus on task / informed knowledge and understanding of texts |
| |AO2 |consideration of how specific features of form and structure shape meanings |
| |AO2 |consideration of how specific aspects of language shape meanings |
| |AO3 |detailed consideration of connections between texts through concept of tragedy |
| |AO3 |clear consideration of different interpretations of texts with apt supportive references |
| |AO4 |examination of ways of contextualising ‘tragedy’ as a dramatic genre |
| |AO4 |examination of a range of other contextual factors with specific, detailed links between context/texts/task |
|Band 5 (21 – 25|AO1 |use of appropriate critical vocabulary and well structured argument expressed accurately |
|marks) |AO1 |relevant with sharp focus on task/ detailed knowledge and understanding of texts |
| |AO2 |exploration of several features of form and structure with evaluation of how they shape meanings |
| |AO2 |exploration of several aspects of language with evaluation of how they shape meanings |
| |AO3 |detailed and evaluative discussion of connections between texts through concept of tragedy |
| |AO3 |clear consideration of different interpretations of texts with evaluation of their strengths and weaknesses and with significant |
| | |supportive references |
| |AO4 |detailed exploration of ways of contextualising ‘tragedy’ as a dramatic genre |
| |AO4 |detailed exploration of a range of other contextual factors with specific, detailed links between context/ texts/task |
|Band 6 (26 – 30|AO1 |use of appropriate critical vocabulary and technically fluent style/ well structured and coherent argument |
|marks) | |always relevant with very sharp focus on task and confidently ranging around texts |
| |AO1 |exploration and analysis of key features of form and structure with perceptive evaluation of how they shape meanings |
| |AO2 |exploration and analysis of key aspects of form and structure with perceptive evaluation of how they shape meanings |
| | |detailed and perceptive understanding of issues raised in connecting texts through concept of tragedy |
| |AO2 |perceptive consideration of different interpretations of texts with sharp evaluation of their strengths and weaknesses and with excellent|
| | |selection of supportive references |
| |AO3 |excellent understanding of ways of contextualising ‘tragedy’ as a dramatic genre |
| |AO3 |excellent understanding of a range of other contextual factors with specific, detailed links between context/texts/task |
| | | |
| |AO4 | |
| |AO4 | | A2 MARKING CRITERIA

AO1 Articulate creative, informed and relevant responses to literary texts, using appropriate terminology and concepts, and coherent, accurate written expression AO2 Demonstrate detailed critical understanding in analysing the ways in which structure, form and language shape meanings in literary texts AO3 Explore connections and comparisons between different literary texts, informed by interpretations of other readers AO4 Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received

|MARKS |CRITERIA |
|Band 1 (0 – 5 |AO1 |quality of writing hinders meaning |
|marks) |AO1 |unclear line of argument/not always relevant |
| |AO2 |very limited discussion of how form and structure shape meanings |
| |AO2 |very limited discussion of how aspects of language shape meanings |
| |AO3 |little sense of connections between texts |
| |AO3 |little understanding of different interpretations of texts |
| |AO4 |very limited understanding of contexts of reception |
| |AO4 |very limited understanding of possible contexts of production |
|Band 2 (6 – 10 |AO1 |some use of critical vocabulary despite technical weakness |
|marks) |AO1 |simple attempt at structuring argument/ usually relevant with some focus on task |
| |AO2 |some awareness of how form and structure shape meanings |
| |AO2 |some awareness of how aspects of language shape meanings |
| |AO3 |some connections made between texts |
| |AO3 |some reference to different interpretations of texts/ some textual support |
| |AO4 |some consideration of contexts of reception |
| |AO4 |some consideration of possible contexts of production |
|Band 3 (11 – 15|AO1 |use of some critical vocabulary and generally clear expression |
|marks) |AO1 |some structured argument though not sustained/ relevant with focus on task |
| |AO2 |consideration of some features of form and structure and how these features shape meanings |
| |AO2 |consideration of some aspects of language and how these aspects shape meanings |
| |AO3 |consideration of connections between texts |
| |AO3 |consideration of different interpretations of texts, with general textual support |
| |AO4 |consideration of contexts of reception |
| |AO4 |consideration of possible contexts of production |
|Band 4 (16 – 20|AO1 |use of accurate critical vocabulary and clear argument expressed accurately |
|marks) |AO1 |relevant with clear focus on task/ informed knowledge and understanding of texts |
| |AO2 |consideration of how specific features of form and structure shape meanings |
| |AO2 |consideration of how specific aspects of language shape meanings |
| |AO3 |detailed consideration of connections between texts |
| |AO3 |clear consideration of different interpretations of texts with apt supportive references |
| |AO4 |examination of contexts of reception |
| |AO4 |examination of possible contexts of production |
|Band 5 (21 – 25|AO1 |use of appropriate critical vocabulary and well structured argument expressed accurately |
|marks) |AO1 |relevant with sharp focus on task/ detailed knowledge and understanding of texts |
| |AO2 |exploration of several features of form and structure with evaluation of how they shape meanings |
| |AO2 |exploration of several aspects of language with evaluation of how they shape meanings |
| |AO3 |detailed and evaluative discussion of connections between texts |
| |AO3 |clear consideration of different interpretations of texts with evaluation of their strengths and weaknesses and with significant |
| | |supportive references |
| |AO4 |detailed exploration of contexts of reception |
| |AO4 |detailed exploration of possible contexts of production |
|Band 6 (26 – 30|AO1 |use of appropriate critical vocabulary and technically fluent style/ well structured and coherent argument |
|marks) | |always relevant with very sharp focus on task and confidently ranging around texts |
| |AO1 |exploration and analysis of key features of form and structure with perceptive evaluation of how they shape meanings |
| |AO2 |exploration and analysis of key aspects of form and structure with perceptive evaluation of how they shape meanings |
| | |detailed and perceptive understanding of issues raised in connecting texts |
| |AO2 |perceptive consideration of different interpretations of texts with sharp evaluation of their strengths and weaknesses and with excellent|
| | |selection of supportive references |
| |AO3 |excellent understanding of contexts of reception with detailed links between context/text/task |
| |AO3 |excellent understanding of possible contexts of production with detailed links between context/text/task |
| | | |
| |AO4 | |
| |AO4 | |
SELECTING AND STUDYING TEXTS

In AS, you will select texts to focus on in the exam;

In A2, you will select your own texts to study for coursework.

When selecting texts, you should look at:

➢ Enjoyment

➢ Technical interest of the text – structure, narrative voice, characterisation, presentation of events

➢ Depth, themes, issues and ideas presented or explored

➢ Questions given in the exam (in AS)

➢ Areas for comparison with other texts (at A2)

APPROACHING A TEXT

On the first reading:

1. It’s a good idea to approach the text without too much background information. This means that you can interpret the text in your own way, without being influenced by others’ opinions of it. Make note of what stands out to you, in terms of:

o Characterisation o Themes, issues and ideas o Structure o Language

2. Then consider the context of writing: where and when? By whom? Might the author’s biography be relevant/significant/useful? Do they have an agenda?

3. Then consider the critical reception and consider how different critical theorists might interpret the text and its possible meanings; ie how might different readers interpret the meaning of the text differently?

On the second reading:

This time, consider the areas in which you are most interested and read for information. You need to consider possible essay questions, either for exam or coursework. If you are doing the text for coursework, ideally by this point you will have chosen one already.

Gather evidence for AO2, 3 & 4.

APPROACHING ESSAYS

➢ Interpreting the question – some possible essay questions and a breakdown of their meaning

➢ Finding out what you need to know (marking criteria) – add marking criteria/link to AQA page; apply criteria to a piece of writing from last year’s students

➢ Collating evidence – there are two kinds of evidence – quotations from the text itself, which you can use to analyse for language and to support your interpretation; and quotations from critics who have interpreted the text, which you can use to support your own interpretation. You need to make sure that you don’t use a critic to make your point, but to support it once you have made it. (don’t forget to keep page numbers, in case you need to go back and find the context later); critical comments (ie either on the text itself, or explaining a critical position – don’t forget to note the publication details and page numbers); reviews; ways of using evidence (eg in a sentence)

➢ Organising ideas and designing the structure Once you have gathered your evidence, you need to spend some time considering how you can usefully organise your information to answer the question. The big mistake people make at the point is to start writing their essay – but you don’t really know what you want to say yet! The organisation of your information will make or break your essay. It may or may not be in chronological order as it appears in the text, but it’s vital to have a logical structure.

➢ Writing Break your plan of the development down. Leave your introduction and conclusion for the moment. You need to know what exactly you want to say about the text. Try – really hard – to sum up your entire thesis (argument) in no more than 2 sentences. This is called a thesis statement.

Now write your essay plan, using the thesis statement as your starting point. The idea is that the whole essay – every sentence and every paragraph – is working to justify your thesis.

[pic] Once your plan is in place, check that you have evidence to support each point. Ideally, every paragraph should address AO2 and AO3; AO4 should be included where possible Double-check that your plan is structured logically, building from more general points towards a deep conclusion. Now start writing. Open your introduction with your thesis statement.

➢ Acknowledging sources: You should provide reference information for all sources outside the text, including books, articles and online information. The easiest way to do this is as follows: o After using a quotation, put the author’s name and page number in brackets, eg:

Martel’s message can be summed up through Pi’s statement that ‘The spirit, above all else, counts’ (Martel, p.167).

o Then add the text that you have quoted from to your bibliography, giving the following details: Author’s surname, author’s first name, title, publisher, place of publication, date of publication, eg:

Martel, Yann, ‘Life of Pi’, Canongate Books Ltd, UK, 2002

Your bibliography should be in alphabetical order by author’s surname.

➢ Checking Use the marking criteria as a guide when checking your work; you are aiming for the highest band, so use that criteria as your benchmark. You need to double-check that you have addressed AO2, 3 & 4. AO1 is very important at this point; make sure that your language is not only grammatically correct, but is also very precise. You are aiming to make your meaning very clear and easy to understand – clarity is much more important than getting fancy words in.

➢ Re-drafting Go through and make the improvements you have marked when checking you essay; you might also consider moving points around if your structure isn’t quite working yet. This can make a huge difference, so don’t be afraid to take everything apart and put it back together again.

➢ Checking Double-check that your whole essay: o Addresses all the AOs; o Addresses the question; o Is structured in a sensible and logical way; o Is clear and easy to understand o Is within the word limit o Acknowledges all sources in your essay, both in text and in a bibliography o Meets the marking criteria

➢ Submitting Make sure that: o Your name is on your coursework o You have a bibliography o You have recorded your page number o If you have trouble meeting a deadline for any reason, you need to address this problem as early as possible. Extensions are given for valid reasons only; disorganisation is not one. If you get stuck, I’m more than happy to help, but you need to make sure that you come and ask. Do NOT leave it till the last minute to do so!
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Glossary:

Evidence (literary)

Feminism

Ideology

Imperial

Interpretation

Irony

Literary theory/critical theory

Marginalised

Marxism

Metaphor

The Other

Patriarchy

Paradigm

Postcolonialism

Subvert

Thesis

Thesis statement

A-LEVEL READING LIST PRE-TWENTIETH CENTURY NOVELS

Jane Austen Pride and Prejudice Sense and Sensibility Emma Northanger Abbey Persuasion Mansfield Park

Anne Brontë The Tenant of Wildfell Hall

Charlotte Brontë Jane Eyre Villette Shirley

Emily Brontë Wuthering Heights

John Bunyan Pilgrim’s Progress

Wilkie Collins The Woman in White The Moonstone

Arthur Conan Doyle All the Sherlock Holmes stories: ‘The Hound of the Baskervilles’, ‘The Sign of Four’, ‘The Speckled Band’, ‘A Study in Scarlet’, ‘The Professor Challenger Stories’

Daniel Defoe Robinson Crusoe Journal of the Plague Year Moll Flanders

Charles Dickens Great Expectations Oliver Twist David Copperfield Little Dorrit Hard Times The Old Curiosity Shop Our Mutual Friend Nicholas Nickleby A Tale of Two Cities Dombey and Son Martin Chuzzlewit A Christmas Carol The Pickwick Papers

Foydor Dostoevsky Crime and Punishment

Alexandre Dumas The Three Musketeers The Man in the Iron Mask

George Eliot The Mill on the Floss Silas Marner Adam Bede Middlemarch Felix Holt Daniel Deronda

Gustave Flaubert Madam Bovary

EM Forster Howard’s End A Room with a View Passage to India Maurice

Elizabeth Gaskell Mary Barton North and South Cranford

Thomas Hardy Under the Greenwood Tree Far from the Madding Crowd Tess of the D’Urbervilles The Mayor of Casterbridge The Return of the Native Jude the Obscure The Trumpet Major

Henry James Portrait of a Lady The Bostonians The Golden Bowl

DH Lawrence Sons and Lovers Women in Love Lady Chatterley’s Lover The Rainbow Short stories

Herman Melville Moby Dick

Samuel Richardson Pamela

Walter Scott Ivanhoe Rob Roy

Mary Shelley Frankenstein

Antony Smollett Clarissa

Robert Louis Stevenson Treasure Island Kidnapped Catriona The Master of Balantrae

Jonathan Swift Gulliver’s Tales A Tale of a Tub

William Thackeray Vanity Fair

Leo Tolstoy Anna Karenina War and Peace

Anthony Trollope The Warden Barchester Towers Barchester Chronicles

EARLY TWENTIETH CENTURY NOVELS

RD Blackmore Lorna Doone

Truman Capote Breakfast at Tiffanys

Kate Chopin The Awakening

Daphne du Maurier Rebecca The Glass Blowers Jamaica Inn

Henry Fielding Tom Jones Joseph Andrews

F Scott Fitzgerald The Great Gatsby Tender is the Night

Graham Greene Brighton Rock

Ernest Hemmingway For Whom the Bell Tolls The Old Man and the Sea

James Joyce Portrait of the Artist as a Young Man Dubliners

Franz Kafka The Trial

Harper Lee To Kill a Mockingbird

George Orwell 1984 Animal Farm

JD Salinger The Catcher in the Rye

Evelyn Waugh Brideshead Revisited A Handful of Dust Decline and Fall Vile Bodies

HG Wells The War of the Worlds The Time Machine Kipps The History of Mr Polly The Shape of Things to Come The Invisible Man

Virginia Woolf To the Lighthouse Mrs Dalloway Orlando The Waves

MODERN NOVELS

Martin Amis London Fields Money

Maya Angelou I Know Why the Caged Bird Sings

Andrea Ashworth Once in a House on Fire

Kate Atkinson Behind the Scenes at the Museum

Margaret Atwood Cat’s Eye

Iain Banks The Wasp Factory

Pat Barker Regeneration

A S Byatt Possession

Jung Chan Wild Swans

Bruce Chatwin On the Black Hill

JM Coetzee Disgrace Waiting for Barbarians

Jim Crace Quarantine

Seamus Deane Reading in the Dark

Louis de Bernières Captain Corelli’s Mandolin

Roddy Doyle Paddy Clarke Ha Ha Ha

William Faulkner As I Lay Dying

Sebastian Faulks Birdsong

John Fowles The French Lieutenant’s Woman A Maggot The Collector

Romesh Gunesekera Reef

David Guterson Snow Falling on Cedars

Nick Hornby High Fidelity About a Boy Juliet, Naked

Kazuo Ishiguro The Remains of the Day

Arthur Koestler Darkness at Noon

Milan Kundera The Unbearable Lightness of Being

Ian McEwan Atonement

Toni Morrison Beloved

Michael Ondaattje In the Skin of a Lion The English Patient

Charles T Powers In the Memory of the Forest

Annie Proulx Shipping News

Arundhai Roy The God of Small Things

Salman Rushdie Midnight’s Children

Vikram Seth A Suitable Boy

Two Lives

Jane Smiley A Thousand Acres

Zadie Smith White Teeth

Dava Sobel Longitude

Graham Swift Waterland

Meera Syal Anita and Me

Alice Walker The Colour Purple

Jeanette Winterson Oranges are not the Only Fruit

Tom Wolfe Bonfire of the Vanities

Independent Learning Project – Year 11 into Year 12

The very first text you will study for your Unit One exam on “Aspects of Narrative” is a novel called The Great Gatsby by F.Scott Fitzgerald. In order to prepare to study this novel, please read Ernest Hemingway’s memoir of his life in the 1920’s which is entitled A Moveable Feast. Once you have read Hemingway’s account of his early life in Paris, you will need to answer the following question:

Essay Title: What does Ernest Hemingway’s memoir, A Moveable Feast reveal to the reader about the life and times of F.Scott Fitzgerald? (1000 words)

Success Criteria

|Band 1 (0 – 5 |AO1 |quality of writing hinders meaning |
|marks) |AO1 |unclear line of argument/not always relevant |
| |AO3 |little sense of connections between texts through concept of tragedy |
| |AO3 |little understanding of different interpretations of texts |
| |AO4 |very limited understanding of ways of contextualising what life was like in the 1920s |
| |AO4 |very limited awareness of other contextual factors |
|Band 2 (6 – 10 |AO1 |some use of critical vocabulary despite technical weakness |
|marks) |AO1 |simple attempt at structuring argument/usually relevant with some focus on task |
| |AO3 |some reference to different interpretations of texts/ some textual support |
| |AO4 |some consideration of ways of contextualising what life was like in the 1920s |
| |AO4 |some consideration of other relevant contextual factors |
|Band 3 (11 – 15|AO1 |use of some critical vocabulary and generally clear expression |
|marks) |AO1 |some structured argument though not sustained/ relevant with focus on task |
| |AO3 |consideration of different interpretations of texts, with general textual support |
| |AO3 |consideration of ways of contextualising what life was like in the 1920s |
| |AO4 |consideration of a range of other contextual factors with specific links between context/texts/tasks |
|Band 4 (16 – 20|AO1 |use of accurate critical vocabulary and clear argument expressed accurately |
|marks) |AO1 |relevant with clear focus on task / informed knowledge and understanding of texts |
| |AO3 |detailed consideration of connections between texts through concept of what life was like in the 1920s |
| |AO3 |clear consideration of different interpretations of texts with apt supportive references |
| |AO4 |examination of ways of contextualising what life was like in the 1920s |
| |AO4 |examination of a range of other contextual factors with specific, detailed links between context/texts/task |
|Band 5 (21 – 25|AO1 |use of appropriate critical vocabulary and well structured argument expressed accurately |
|marks) |AO1 |relevant with sharp focus on task/ detailed knowledge and understanding of texts |
| |AO3 |detailed and evaluative discussion of connections between texts through concept of the ‘roaring twenties’ clear consideration of |
| |AO3 |different interpretations of texts with evaluation of their strengths and weaknesses and with significant supportive references |
| | |detailed exploration of ways of contextualising what life was like in the 1920s |
| |AO4 |detailed exploration of a range of other contextual factors with specific, detailed links between context/ texts/task |
| |AO4 | |
|Band 6 (26 – 30|AO1 |use of appropriate critical vocabulary and technically fluent style/ well structured and coherent argument |
|marks) | |always relevant with very sharp focus on task and confidently ranging around texts |
| |AO1 |detailed and perceptive understanding of issues raised in connecting texts through concept of “roaring twenties” perceptive consideration|
| |AO3 |of different interpretations of texts with sharp evaluation of their strengths and weaknesses and with excellent selection of supportive |
| |AO3 |references |
| | |excellent understanding of ways of contextualising what life was like in the 1920s |
| |AO4 |excellent understanding of a range of other contextual factors with specific, detailed links between context/texts/task |
| |AO4 | |

----------------------- This means social, cultural and historical factors

❖ Social, cultural and historical context of writing ❖ Social, cultural and historical context of reading

This means how the reader infers meaning/interprets the text

❖ Literary theories and critical perspectives ❖ Reader response/personal perspective and the question of the writer’s authority ❖ Contexts of reading – historical perspectives/the reception of a text

(NB – much of AO3 may overlap with AO4)

This means writing a text: how the writer creates meaning

❖ Form – the type of text, the conventions available and how they are employed ❖ Structure – the organisation: organisation of events/information; divisions of the text at whole-text, section and sentence level ❖ Language – word choice and language techniques

This means how you write:

❖ Structuring your essays o Introduction o Development o Conclusion ❖ Structuring a paragraph and including AO2, 3 & 4 ❖ Sentence structures, punctuation, word choice ❖ Being specific

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...I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't Know I Don't...

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...personally. Use the following scale: 1 – Strongly Agree 2 – Agree 3 – Disagree 4 – Total Agree No | | | | | | 1. | I spend too much time studying for what I am learning | 1 | 2 | 3 | 4 | 2. | I usually try to study with the radio and TV turned on | 1 | 2 | 3 | 4 | 3. | My class notes are sometimes difficult to understand | 1 | 2 | 3 | 4 | 4. | When I get to the end of a chapter, I can’t remember what I’ve just read | 1 | 3 | 3 | 4 | 5. | I lose a lot of points on essay tests even when I know the material well | 1 | 2 | 3 | 4 | 6. | When my teachers assign papers I feel so overwhelmed that I can’t get started | 1 | 2 | 3 | 4 | 7. | I study enough for my test, but when I get there my mind goes blank | 1 | 2 | 3 | 4 | 8. | I rarely change my reading speed in response the difficulty level of the selection, or my familiarity with the content | 1 | 2 | 3 | 4 | 9. | I don’t know how to pick out what is important in the text | 1 | 2 | 3 | 4 | 10. | I usually seem to get the wrong material into my class notes | 1 | 2 | 3 | 4 | 11. | I can’t sit and study for long periods of time without becoming tire or distracted | 1 | 2 | 3 | 4 | 12. | I usually spend hours cramming the night before an exam. | 1 | 2 | 3 | 4 | 13. | I can’t keep up with my assignments, and then I have to cram the night before a test | 1 | 2 | 3 | 4 | 14. | I often...

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...cultural identities, self- representation, and to their values and beliefs have been noticeably respected at an international level. | 6.The world’s indigenous peoples do not share the same story of colonization. In the New World, white European colonizers arrived and settled on the land, disregarding the Indigenous people. | 7.Many countries have continued to tackle the problem of disadvantage and discrimination of the Indigenous all around the world | 8.Young people can ensure that the fight for Aboriginal and Torres Strait Islander Civil Rights continues….. not discriminating against anyone whose culture, race, religion, etc that is different to theirs. | Bibliography Australian Human Rights Commission. 2013. Discrimination: Know your rights Information for...

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...Sophocles' Oedipus is a perfect fit to Aristotle's Ideal Tragic Hero. Oedipus follows all of the rules, with a hamartia, an anagnorisis, and a peripeteia. The audience is introduced to the hamartia, or tragic flaw, of Oedipus early in the play. Oedipus believes he can dodge the oracle given to him at Delphi that he will kill his father and marry his mother. By leaving the city of Corinth and heading to Thebes, Oedipus thinks that he can outsmart the will that the gods have for him. However, the audience knows that one cannot run away from an oracle. The oracle will come true no matter what is done. Therefore, the hamartia of Oedipus is his belief that he can evade his oracle. Oedipus' anagnorisis, recognition, later comes when he is told that it was he who killed the former King Lauis and that he is, in fact, now married to his own mother. The city of Thebes had been searching for King Lauis' murderer in order to drive him out of Thebes to save the city from the plague. With this anagnorisis Oedipus is finally led to his peripeteia, or downfall. First of all, Oedipus is put to shame in front of his entire city because of his incestuous act of marrying his mother. But, more importantly, he realizes that he had not successfully avoided the oracle. In order to try to save himself he blinds himself. If he is not able to see the truth with his own eyes, he should not be able to enjoy the gift of sight. http://personal.monm.edu/ysample/aristotle.htm Oedipus follows ten of the points...

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...I - Giới Thiệu Như tiêu đề ạ, e xin lập hội này cho các ace tham gia.  Virtualpiano.net là 1 trang web giả lập đàn piano online với các âm khá đầy đủ  - Chơi đàn online http://virtualpiano.net/ - Hiện đã có phiên bản offline http://www.mediafire.com/?a83f99tuozv8m5t - FaceBook của hội https://www.facebook.com/groups/409001032477516/ Các phím đàn ứng với phím keyboarb như thế này | Ảnh đã được thu nhỏ. Vui lòng nhấn vào đây để xem kích thước thật 1024x768. | Một số bản nhạc mới nhất mà ace trọng hội thể hiện (các bản nhạc ra đời trong thời kì đầu khi hội mới thành lập ở gần cuối #2 nhé) Có khi nào rời xa - 2p42s - hoangtubot_bn: http://www.youtube.com/watch?v=gqitWK4NBdU Giấc Mơ Trưa - 1p08s - jumboo: http://www.youtube.com/watch?v=FY06hjp7lMM Do có rất nhiều người thik và cũn sd web này nên rất dễ bị Service Unavailable, khi đó mọi người chỉ việc f5 liên tục nhoé  Những người tham gia hội có thể là: - Ace muốn giết tgian  - Ace đang yêu đời muốn ngân nga nhạc = bàn phím  - Ace muốn biểu diển hù gái chơi tại các party nhỏ  - ... II - Sheet Nhạc Để cho thống nhất, từ bây h mọi người post sheet thì cố gắng tuân thủ những quy tắc sau cho dễ đọc, dễ học nhé  - Mỗi nốt viết cách nhau 1 dấu cách - Hợp âm (tức là đánh liền 1 lúc) thì không cách - Hết 1 câu thì cách ra 5 dấu cách Mọi người sưu tầm đc sheet thì edit rồi mới post nhé  Danh sách Sheet nhạc: 1. Beat It - Michel Jackson 2. Right here waiting - Richax Max 3. In The End (Intro)  ...

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...NAME OF COLLEGE  UG IN DEPTT. OF  GERMANIC& ROMANCE  STUDIES    DYAL SINGH COLLEGE (M)  GARGI COLLEGE  GARGI COLLEGE  GARGI COLLEGE  GARGI COLLEGE  HINDU COLLEGE  I.P. COLLEGE  I.P COLLEGE  INSTITUTE OF HOME  ECONOMICS  JANKI DEVI MEMORIAL  COLLEGE  KALINDI COLLEGE  KALINDI COLLEGE  KALINDI COLLEGE  KALINDI COLLEGE  KAMLA NEHRU COLLEGE  KIRORI MAL COLLEGE  KIRORI MAL COLLEGE  KIRORI MAL COLLEGE  KIRORI MAL COLLEGE  KIRORI MAL COLLEGE  LADY SHRI RAM COLLEGE  NAME OF CANDIDATE  SOMYA PATHAK    YEAR  I  CATEGORY  GEN    2. 3. 4. 5. 6. 7. 8. 1623  1471  1466  430  1604  1506  1065  9. 886  10. 318  11. 1606  12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 1685  1627  1677  299  1436  1389  1071  912  514  427  1057  ARUSHI SRIVASTAVA  KHUSHBOO SHARMA  ANJALI VERMA  SHREYA  ZAINAB  AKANSHA  NONGMAITHEM  SUSHMITA DEVI  KAUSHIKI PARIHAR  DIKSHA SHAH  SUMAN  POOJA YADAV  ARCHANA  AYUSHI YADAV  GYANVI CHAUHAN  NIDHI TRIPATHI   HIMANSHI TALDA  PRAGYA BHARTI  ANSHU RAJ  SHRUTI MAJUMDAR  SUMAIYA TAQDEES  VAIBHAVI RAI  I  I  II  II...

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...The article “Apple’s New Organizational Structure Could Help It Move Faster”, which was found on businessinsider.com talks about how the company Apple had to change its business structure after the death of Steve Jobs and what the pros and cons of this new structure will be. Before the death of Steve Jobs, he was in charge of everything and he would be the one who would make the decisions in the company. After he passed away, the senior vice president of design Jony Ive is asking everyone in the company to collaborate with each other, something that never really happened when Steve Jobs was in charge. Everyone in the company is expecting delays because of the fact that everyone has to adjust to the company’s new structure but in the long run, they believe they can get more done by simply communicating with one another. In some certain circumstances, the company Apple was able to get more done when Steve Jobs made all of the calls because he didn’t need no one else’s approval. But since he was the only one making the decisions, he couldn’t handle everything that was going on in the company. In Chapter 11 and in class, we are taught that communication is key for a business as well as having a strong organizational structure that is understandable. Steve Jobs did not have a strong organizational structure so sometimes he would be productive and sometimes he would have delays. Being consistent is also key for a company because it shows everyone that you are able to manage a company...

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...Jack Wright: Dealing with External Pressures 9/28/2010 Arbelaez, Camilo Jack had done a good job paving the way for better governance, and board and management relations. He was ready to approach Sam in order to finalize true change in Mega’s board. However, Sam’s unfortunate death changed how Jack was to influence change. Not only his progress was put on hold, but now the financial world targeted Mega to see what it will do next or to take advantage of a mistake. Jack no longer controlled the pace of change. To a great extent, his efforts hinged on the direction the board was about to take. But there were more events that exposed Mega and the directors to external factors other than Sam’s death. The fact that the CEO had overstated the value of the work-in-progress inventories is a sign of poor financial control measurements. The audit committee should have had in place a mandated periodic inventory (every quarter) for all the subsidiaries. The integrity of the CFO comes in question because he did not warn the board or the audit committee. The over-reported findings were identified two months prior to the phone call and the CFO had not made any corrections. The stock value for Mega’s shares in the open market decreased from $35 to $24 per share. This decrease caused tension from the shareholders who all of a sudden saw the value of their investment decrease by 31.43%. To mitigate the pressure from shareholders, Jack and Mega should implement changes in...

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...the pitfalls. The second one is loaded terminology. People get many information and loaded terminology from newspapers and broadcast media. Some people think that all the government workers are “mindless bureaucrats”,and all the high profits are “obscene”. Those wrong opinions make people far away from success. The third one is fallacy of composition. People should jump our of their own world to see the whole economics, so that people could get a better view and make good decisions. People should not let the fallacy confuse them. The fourth one is post hoc fallacy. Sometimes, people think event A is the cause of event B because A precedes B. But not all the situation are the same. There is an example that the Great Depression. Many people don’t think that the weaknesses in the economy caused the Great Depression, they think the stock market crash caused it. People should not look at the whole situation to find the cause of an event.The last one is correlation. Many people think that if variable X increases and Y also increases, it is increases in X cause increases in Y. That is not always correct. X and Y are two conjoint things, they have correlation between them, but not causation. Those are five common pitfalls to avoid when people are applying the economics...

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...Chapter 15 Reform and American Culture Powerpoint Questions Instructions: Use the Powerpoint presentation, American Nation textbook pages 432-454, and your class notes to answer these questions. 1. What is Social Reform? (Slide 2) ________________________________________________________________________________________________________ 2. Define the term, predestination. (Slide 2) ________________________________________________________________________________________________________ 3. What did the Second Great Awakening stress? (Slide 3) ________________________________________________________________________________________________________ 4. What is a revival? (Slide 3) ________________________________________________________________________________________________________ 5. What is one political change in the country that encouraged reform? (Slide 4, See Political Origins on Chart) ________________________________________________________________________________________________________ 6. What did Dorothea Dix work hard to do? (Slide 5) ________________________________________________________________________________________________________ 7. What were debtors? (Slide 6) ________________________________________________________________________________________________________ 8. What was the Temperance Movement? (Slide 6) ________________________________________________________________________________________________________ 9. What...

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...Canon Inc. Goro Yoshida was born in Hiroshima; he worked as an apprentice in a company repairing and remodelling motion picture cameras and projectors in 1920. In those days a high-end camera was very expensive, thus not many people can afford it. But he had a chance to disassembling it due to his job requirement. When he disassembled it, he realised that the inside of the camera was not made of anything expensive. This made him unhappy because the cameras were sold at an exorbitant price but there is nothing expensive in it. Thus from there on, he was determined to create an affordable camera for everyone. Goro Yoshida, Saburo Uchida and Takeo Maeda started a small laboratory dedicated to making high-quality cameras in a simple apartment room in the Roppongi area of Tokyo in 1933. This was also an important stepping stone to the creation of Canon. The three succeeded in building the first prototype, which was named Kwanon after the Buddhist Goddess of Mercy. Then in 1935, Japan's first-ever 35 mm focal-plane-shutter camera, the Hanza Canon, was born, marking the origins of the Canon brand. Today, Canon has successfully become one of the giants in the production of photographic equipments. Their core products remained as digital, film cameras and lens production while they expend their business to camcorders, photocopiers, printers, scanners, projectors, calculators, binoculars and as well as their own ink cartridges. Canon has sales and marketing headquarters around the...

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...Summarize Current Situation 1. OHIP pays $25,000 per surgery Other hospitals only cost $15,000 per surgery 2. OHIP tries to pay less – rebursement/payment 3. UIHC is the only hospital which can do transplants and valve replacements 4. UIHC has the monopoly position in transplant and valve replacements but not in bypass 5. “Privatizing” hospital services Problems/Issues 1. Needs to know the actual cost for each procedure 2. The choice of cost driver (many alternatives provided) 3. Privatization (it means the hospitals can decide their own costs) 4. Payment by OHIC should go down in future Criteria: Costs should be reduced and profits should be increased (this is possible due to privatization) NOTE: Group A’s criteria is to minimize the costs of procedures. This is not right! The costs of ACTIVITIES should be REDUCED. Financial analysis: ABC data Put the tables in appendices- provide explanations for the summary (only the costs per surgery for each procedure) table Identify alternatives: * Address the problems identified * We cannot evaluate the pros and cons of ABC (Group A is wrong for this) * We need to use ABC data to address the problem So the Alternatives are (must be able to address the problem – Group A has only one alternative which is impossible to compare) 1) Negotiate with OHIP 2) Focus on transplant and valve replacements 3) Focus on bypass 4) Provide strong arguments with...

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...What's involved? In Academic Writing Task 1, you may be asked to describe: one or more graphs, charts or tables a diagram of an object, device, process or event. You have to include the most important points in the diagram. Some minor points or details may be left out. You should write in an academic or semi-formal/neutral style. You should spend no more than 20 minutes on this task. You must write at least 150 words and will be penalised if your answer is too short. While you will not be penalised for writing more than 150 words, you should remember that a longer Task 1 answer may mean that you have less time to spend on Task 2, which contributes twice as much to your Writing band score. You should remember that you will be penalised if what you write does not relate to the topic. You will also be penalised if your answer is not written as a whole piece of connected text (i.e. you must not use notes or bullet points). You will be severely penalised if your writing is plagiarised (i.e. copied from another source). You must write your answer on the answer sheet. What skills are tested? This task tests if you can give a well-organised overview of the visual information using language that is appropriate in its register and style. Depending on the task type, you will be assessed on your ability to: organise, present and possibly compare data describe stages of a process or procedure describe an object, event or sequence of...

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...stopped caring about the stupid people that only liked him for his looks. He decided to change his life, he moved back to his home town. He then reunited with his old best friend from high school; Jason. A few people were searching for a new roommate and Elliott took the place. When he moved in it turned out that one of his new roommates is Jason. HE IS LIKE DIEGO He doesn’t really know what to do in his life, he haven’t finished any university so he has no degree. He has no plans and is a bit anxious about his future but he doesn’t share his feelings. He is reserved and doesn’t like to talk about himself or his emotions, though he is still social and likes to hang out with people and talk, just not about himself. He is very sarcastic and kind of mean but in a funny way? Jason Graham Appearance: light brown hair, light skin, crooked nose, average sized dark brown eyes, average length ,average build, Age: 26? Jason just finished University. The problem is that he does not like his major/degree. He changes is job pretty often, most often he gets fired but he says it’s because he doesn’t know what to do in life. He is pretty lazy and not very...

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...Taylor Small 09-23-13 Lab Report: Determination of Alcohol Content Blame it on the Alcohol Objective: Boiling is a process familiar to anyone who has cooked pasta or brewed tea. As heat is applied to a pan of water, the temperature of the water increases until it reaches 100°C (212°F). At this temperature, additional heat causes the water to bubble vigorously as the liquid water is converted into gaseous water, or steam. Most organic liquids will behave in a similar fashion. On heating, the temperature of the liquid increases until the boiling point is reached. Additional heating causes the liquid to vaporize accompanied by vigorous bubbling of the liquid. The boiling point of a substance is a physical property of a substance and can be useful for characterizing that substance. The fact that different substances have different boiling points allows us to separate them. The process of heating a substance until it is vaporized, cooling the vapors, and collecting the condensed liquid is the basis of a commonly used purification technique called distillation. Method: The fractional distillation apparatus was set-up as shown in the illustration and was approved by the TA. 50 mL of wine was added into the flask along with boiling chips and the flask was then placed into the heating mantel. A flow of cold water was set-up to continuously run through the condenser and the variac box was set to 5. The temperature at the distilling head was measured and recorded for every mL...

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