igcse writing portfolio

8/15/2019 IGCSE Writing Portfolio

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Singapore International School, Hong KongEnglish DepartmentS3 and S4

Writing

Portfolio

Name:

Class:


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Objectives

• o enco!rage "o! to en#o" $riting more

• o ens!re "o! are $riting in a $ide %ariet" of te&t t"pes for di'erent

a!diences and p!rposes• o ma(e "o! more a$are of $riting as a process

• o enco!rage "o! to share

• o enco!rage "o! to plan, draft, e%al!ate and redraft

• o gi%e "o! o$nership o%er "o!r o$n $riting

• o learn )etter time management

• o de%elop the independent learning s(ills "o! need for I*DP and

)e"ond•

Your Portfolio

+ - .ing *inder

• Keep it in "o!r English classroom /or according to "o!r teacher0s

instr!ction1

• Keep all "o!r $riting, planning, notes and drafts and store in the

ring )inder /incl!ding class assessments that "o! do1• -lso (eep stim!l!s for "o!r $riting 2 collect things that inspire "o!

• Keep "o!r $riting organised in date order or tas( order

• Do not (eep other material in "o!r $riting portfolio s!ch as

$or(sheets and hando!ts -ltho!gh "o! might $ant to create a section formodels of te&t t"pes and stim!l!s te&ts

• his is "o!r $riting portfolio 2 don0t $ait to )e told to do some

$riting .eg!larl" plan, ma(e notes and draft 2 the more "o! $rite themore "o! $ill impro%e

- folder in 5oogle Dri%e

• 6o!r teacher $ill create a class folder and a folder named 7Writing

Portfolios0

• Inside the 7Writing Portfolio0 folder create a folder and name it $ith

"o!r s!rname and 8rst name /or register name1

• 9n the sharing settings ma(e s!re the folder is shared $ith "o!rEnglish teacher onl"

• If "o! $ish "o! can share indi%id!al doc!ments $ith classmates, )!t

onl" tr!sted ones his is for feed)ac( onl"


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What doesit mean:

Wh" $asit $ritten:

Ho$ is$ritten:

3 - note)oo(Ha%e a special $riting note)oo( that "o! can carr" aro!nd $ith "o! so it isal$a"s read" to note do$n ideas $hen inspiration hits

Essential Questions

Process Writing

he res!lt of this process $ill )e Publishing

3


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4


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9ther terms "o! $ill hear )eing !sed:

Generating Ideas 2 Note ta(ing, mindmapping, )rainstorming, #ottingdo$n, 8nding inspiration, gathering, collecting, disc!ssing

Structuring 2 planning, ordering, paragraphing, designing

Drafting - $riting, composing

Re-vieing 2 editing, redrafting, re%ising, re$or(ing

!ocusing 2 editing, paring do$n, c!tting

Evaluating 2 assesessing, self assessing, peer assessing, gi%ing feed)ac(

"e#t "$%es

-d%ertisement

-nal"sis

-ppeal

*iograph"

*log

*roch!re;lea


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Writing for Di'erent P!rposes

•

o arg!e, pers!ade, ad%ise• o inform, e&plain, descri)e

• o anal"se, re%ie$, comment

• o imagine, e&plore, entertain

ARGUE, PERSUADE = point of view, expressing an opinion

Argue

• Make several, separate, clear key points

• Examples/facts/opinions/= support

New point=new paragraph=clear first sentence

Rhetorical questions/alliteration/triples

• Use !e" to involve rea#er

• $umour/counter%ar&ument/repetition

Persuade

Must convince your reader

Several, separate, persuasive reasons

Try shoc and/or hu!our

• Use !e"/"us"/"our" to involve rea#er

• R'etorical (uestions/alliteration/triples

"N#$RM, "NSTR%&T, '(P)A"N, *'S&R"+' = give details, instructions,elaborate upon or help clarify something

"nfor!

Must clearly tell your reader so!ething

• A##ress t'e rea#er #irectly usin& you"

• )est or#er for your info* = P+A

• Para&rap's* +inks -et!een para&rap's*

"nstruct

)anguage should e si!ple

• Sentences s'oul# -e s'ort, !it' no unnecessary steps inclu#e#

• .Must an# .Must not are often use#

• 0r#er or c'ronolo&y is crucial


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Explain

• Must clearly s'o! or #emonstrate

• Develop t'e #etail in your explanation

• Use examples to illustrate your points

• 1areful step%-y step or#er

• Para&rap's must -e arran&e# sensi-ly

Descri-e

Try to paint a picture with words

• Use five senses2 Si&'ts* Soun#s* Smells* 3ouc'* 3aste*

• 4nvent similes an# metap'ors

• Use -est #escriptive voca-ulary

• Use a#5ectives an# a#ver-s

ANA)-S', R'."' = a considered response

Analyse

-ou should e thining0 1ow2 hy2 'ffect2

%sually in the present tense

• 3'ir# person2 may-e first if personal opinion

• 6oca-ulary t'at offers a 5u#&ement e7&72 .involvin&, .en&a&in&

Revie!

Show strengths and weanesses of so!ething

&ontains analysis/evidence/3udge!ent

%sually in the third person 4not 5" thin 678

• 1onnectives 8 e7&7 as a result/'o!ever/ conse(uently/t'erefore/alt'ou&'

• Usually in t'e present tense

"MA9"N', '(P)$R', 'NT'RTA"N = fiction / original or creative writing

9ou may -e aske# to !rite a story2 in !'ic' case you !ill 'ave to invent 7 :irst of all,rea# t'e (uestion or instructions carefully to see !'at is re(uire#7 3'en construct a

simple plan to ensure you stay on track7

hen writing a story, you !ight lie to follow this si:;stage structure0

• )e&innin&2 catc' rea#ers attention

• 4ntro#uce a pro-lem2 trou-le of some kin#

• Gat'er pace2 tension mounts/complications

•

1risis2 peak of action an# tension• A#5ustment2 cool it/'int at en#in&


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• Resolution2 put t'in&s ri&'t*/final t!ist*

• Remem-er all of t'is !it' t'e mnemonic2 )4G 1AR

A fe! a##itional tips2

• 9ou may c'oose to !rite in t'e past tense7 1'eck t'at t'is stays consistent

t'rou&'out #irst or third person2 4chec instructions8< &hec that this stays

consistent throughout

• 9ou mi&'t -e a-le to c'oose !'ere or !'en

• 3ry to create tension/atmosp'ere

• 6ary your sentences in strate&ic places or use a com-ination of #ifferent

types of sentences !'ere appropriate an# for effect

Use t'ou&'tful/interestin& voca-ulary

Evaluation

6o!r teacher $ill gi%e "o! chec(lists and other reso!rces to help $ithe%al!ation, that are speci8c to certain te&t t"pes Ho$e%er, remem)er that"o! can

&reate Your On !eedbac' Sheet

6o!0%e recei%ed some feed)ac( he )est scenario is that the feed)ac(is !sef!l, helpf!l, and practical It inspires "o! to get to $or( right a$a"

he s(" opens, the hallel!#ah chor!s pla"s and "o! (no$ e&actl" ho$ tomo%e for$ard

This does not always happen<

In fact it rarel" happens =or man" $riters, the reaction $hen the" getfeed)ac( is What do I do with this? What do I do now?

Avoid this y creating your own feedac sheet<

Don0t hand "o!r $riting to a friend $ith a Tell me what you think! 5i%e"o!r a!dience direction 5i%e "o!r reader conte&t 5i%e "o!r reader aspeci8c #o) as the" read "o!r $riting Not onl" is this going to ma(e iteasier on "o!r respondent /most times if a respondent fails to gi%efeed)ac( or gi%es !seless feed)ac( it0s )eca!se the" ha%e no idea $hereto start1, it0s going to gi%e "o! a clear pict!re of $hat0s $or(ing, $hat0snot and $here "o! need to p!t "o!r foc!s d!ring re$rites

he =eed)ac( form is di%ided into t$o parts


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P-. 9NE

+ -ns$er this B!estion: Where are "o! $ith this draft

Is this a frst drat? Have you been working on it or a week or a month? Are you happy with what you’ve written? Are you rustrated? What do youwant to aomplish with this piee o writing? et your reader knowe"atly where you are with the drat#

Eg: his is m" second draft of he Waiting .oom I0%e )een $or(ing on itfor three $ee(s I reall" lo%e m" )eginning )!t str!ggle a lot $ith the endI $ant this stor" to reall" hit the readers I $ant them to )e da@ed $henthe" 8nish it

5i%e the reader a #o)

Instead o asking $What do you think?% give a speif &ob to yourrespondent# 'ive them ()* thing to aomplish as they read your writing#

Ask them + $Do "o! thin( the ending is satisf"ing, $h" or $h" not% Askthem + $Is the main character is lo%ea)le or hard to connect to Askthem + $Did "o! get the plot t$ist ,ome up with ()* thing you want

your respondent to answer#

P-. W9

In Part t$o "o!0re going to a%oid as(ing for li(es and disli(es hese are

opinions and the"0re s!)#ecti%e !st )ecome someone li(es "o!r $or(doesn0t mean it can0t )e impro%ed and #!st )ecomes someone disli(es"o!r $or( doesn0t mean it has %al!e Instead as( "o!r respondent forImpressions and F!estions

+ Impressions are important )eca!se the" tell "o! $hat sta"s $ith thereader It co!ld )e a moment, an image, a character, a tone, a line ofdialog!e What resonates -s( "o!r respondent for to 3 Impressions

F!estions are important )eca!se the" gi%e "o! something to ans$er he" gi%e "o! a tas( to accomplish right a$a" hat means "o!0re not

sitting staring at "o!r feed)ac( $ondering $here to start 6o! ha%efor$ard motion -s( "o!r respondent for 3 B!estions

When "o! gi%e a draft to someone for feed)ac( incl!de "o!r %ersion ofthis =eed)ac( sheet *" doing so "o!0ll !p "o!r chances of getting that!sef!l, helpf!l and practical feed)ac( that $ill mo%e "o!r $or( for$ard

-dapted from: GWrite No$ 2 Create 6o!r 9$n =eed)ac( SheetG Write )owNp, nd We) + -!g +A Jhttp:;;$$$lindsa"2pricecom;pla"$riting;create2"o!r2o$n2feed)ac(2sheet;


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!(Qs

Will )$ English teacher )ar' all )$ riting*No We $ill read "o!r $riting, disc!ss it $ith "o!, gi%e "o! somead%ice on impro%ing Lnderstand that "o!r English teacher is not the onl"a!dience for "o!r $riting Sho$ it to others 2 parents, friends etc We arefoc!sing on the process as m!ch as the end res!lt

+o ill I be assessed* here $ill )e %ario!s assessment points thro!gho!t the "ear $hen "o! $ill)e reB!ired to s!)mit a piece of $riting for formal assessment his $ill )eat least once per term

+o )uch riting should I do*9ne 7read" for p!)lication0 piece e%er" t$o $ee(s *!t "o! can ne%er do

too m!ch $riting 6o! $ill )e gi%en some time in class to do free $riting

Who can give )e feedbac'*E%er"one Parents, friends, relati%es, online friends

+o ill the$ give )e feedbac'* he" can #!st tal( to "o! a)o!t it, or $rite a paragraph at the end of "o!r$or( Please don0t let them correct mista(es for "o! here is a feed)ac(form a%aila)le that "o! can gi%e to "o!r readers to 8ll in

+o ill I 'no ho to i)%rove a draft* he teacher $ill gi%e "o! the tools "o! need

+o often ill the teacher chec' )$ %ortfolio*-t least once e%er" t$o $ee(s

+o long should )$ riting be*-n" length 2 it depends on the te&t t"pe 6o!r teacher $ill gi%e "o!g!idance

+o )an$ drafts should I rite* 6o! can plan, re%ie$, e%al!ate, redraft as man" times as "o! $ish No$riting is e%er 8nished )!t at some point "o! $ill need to ma(e "o!r

$riting 7read" for p!)lication0

+o )an$ te#t t$%es should I tr$*-s man" as possi)le See the list in this )oo(let

Will I get e#tra credit for )$ riting %ortfolio* 6o! sho!ld )e $riting p!rel" for "o!r o$n satisfaction and the #o" ofgetting feed)ac( from others Ho$e%er $e $ill also a$ard ho!se points


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IG&SE English

In the rest of this )oo(let "o! $ill 8nd information speci8c to

reB!irements for the I5CSE co!rses 2 =irst >ang!age English andWorld >iterat!re *!t remem)er that "o!r $riting portfolio cancontain all (inds of $riting, not limited to this list

"e#t t$%es for IG&SE

World ,iterature

• Critical Essa"

• Empathic• Passage )ased;Lnseen response

!irst ,anguage English

• Narrati%e

• Descripti%e

• =ormal >etter

• Informal >etter• ?aga@ine article

• Ne$s report

• Speech

• .eport

• Diar"

• Inter%ie$;Dialog!e


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orld )iterature

he Critical Essa"

he 8nal essa" for the co!rse$or( portfolio needs to )e for S3 on M?asterHarold and the *o"sM or t$o short stories from MStories of 9!rsel%esM, andfor S4 on M?aster Harold and the *o"sM and t$o poems from o!r poetr"antholog", )!t feel free to practice on other te&ts 6o!r teacher $ill help"o! de%ise an appropriate B!estion on character, theme, st"le or anotheraspect of the te&t

6o! $ill )e e&pected to:

• !se B!otations to )ac( !p "o!r arg!ments

•

comment in detail on the a!thor0s !se of lang!age

here is no reB!irement to compare t$o te&ts

hat is a good critical essay2

=rom the CIE 4 World literat!re eacher 5!ide:

&haracteristics of successful critical essa$s

• ?aster" of detail demonstrated )" a $ide range of points and

te&t!al references

• Points made clearl" and de%eloped into a coherent arg!ment

• S!stained critical anal"sis in $hich points are clearl" s!)stantiated

)" means of $ell2selected and sometimes less o)%io!s, tho!gh

pertinent, references

• *rief, apt B!otations integrated $ith precise critical comment on the

$a"s in $hich lang!age, str!ct!re and form shape meanings and

e'ects

• - critical %oca)!lar" !sed economicall" and e'ecti%el"

• - con%incing and informed personal response $hich engages $iththe tas( directl" and con8dentl"

&haracteristics of ea' critical essa$s

• - fe$ scattered, !nconnected points

• ime $asted on co!rtes" introd!ctions /eg 7In this essa", I am

going to $riteO01

• 5eneralised points lac(ing de%elopment and clear foc!s, sometimes

la)o!red

• Pre%alence of !ns!)stantiated assertions and tendenc" to narrate

or s!mmarise rather than e&plore


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• Critical %oca)!lar" not !sed, or imperfectl" !nderstood, or !sed

$itho!t anal"sing e'ect

• .eliance on second2hand opinions /from teachers or st!d" g!ides1

and;or irrele%ant )ac(gro!nd material

-ccording to a Cam)ridge chief e&aminer:

&haracteristics of successful critical essa$s

• Wide range of rele%ant points and B!otations

• F!estions addressed directl"

• - con%incing and informed personal response

• *rief, pertinent B!otations and concise anal"tical comment

smoothl" integrated

• E&ploration of $riter0s e'ects: lang!age, str!ct!re and form

• Critical %oca)!lar" !sed e'ecti%el"

&haracteristics of ea' critical essa$s

• >ength" introd!ctions

• Lnnecessar" concl!sions

• F!estion ignored

• Semi2prepared;reg!rgitated essa"s

• 5eneral and;or repeated points

• Paraphrase and narrati%e rather than anal"sis

• >ac( of s!)stantiation /e%idence from the te&t1

• >ists of de%ices $itho!t e&ploration and anal"sis

Planning and *rafting your 'ssay

6o! $ill plan and $rite the 8rst draft of "o!r essa" d!ring class time

6o!r teacher is not allo$ed to mar(, correct or edit draft assignmentmaterial, therefore "o!r teacher $ill onl" gi%e general g!idance d!ring thedrafting phase

Planning

• >oo( at "o!r B!estion and identif" the (e" $ords

• .ead "o!r stories;poems again and )rainstorm some ideas that

ans$er "o!r B!estion

• =ind some B!otes 2 single $ords and phrases that help to ill!strate

these points

• Decide $hich stor";poem "o! $ill $rite a)o!t 8rst

•

?a(e a paragraph plan 6o!r essa" sho!ld )e str!ct!red )"ans$ering "o!r B!estion


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• It is easiest and most e'ecti%e to $rite a)o!t one stor" and then the

other as there is no reB!irement to compare the t$o

*rafting=oc!s on the e'ects of lang!age !sed Comment on str!ct!re and formDo not merel" list technical terms

Don0t forget:

Introduction

• Name the stories "o! $ill )e e&ploring and the names of the $riters

/f!ll name or s!rname1

• 5i%e a %er" )rief o%er%ie$ of the stories that is rele%ant to the

B!estion

• Write a thesis statement that )rie-N-I9N part is important

• ?a(e s!re "o! are e&plaining H9W the $riter sho$s something, not

$hat he sho$s

• Lse some literar" terms )!t don0t o%erdo it -l$a"s e&plain the

e'ect of literar" de%ices

• Write in the present tense

• Qar" "o!r %oca)!lar" hin( of s"non"ms for the $ord 7sho$s0 for

e&ample /see )elo$1

• Lse disco!rse mar(ers /see )elo$1• Write an eB!al amo!nt on each stor"

&onclusion

• hin( a)o!t the S9 WH- r!le

• Wh" did the $riters $rite these stories

• What meaning did "o! get from the stories

• What do these stories tell "o! a)o!t h!man )eings and the $orld

• What ha%e the stories ta!ght "o! a)o!t another c!lt!re or part of

the $orld

• hin( a)o!t $hat made "o! choose these t$o stories and $hat

ma(es them special


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• his is also good opport!nit" for comparison and personal response

• Ho$ do the t$o stories compare

• Which stor" do "o! 8nd more e'ecti%e

• Which is the most po$erf!l;realistic;mo%ing;descripti%e;s!rprising

etc and $h"

•

The #inal *raft 4Pulishing8

• + $ords /incl!ding B!otations1

• +pt

• imes Ne$ .oman

• +A spaced

• -t the top of the 8rst page $rite:

o "o!r name

o "o!r class

o the date

o the title;the B!estion "o! are ans$ering

o the title of the stories and names of the $riters /this can )e

incl!ded in the B!estion1

• -t the end of the essa":

o $ord co!nt

• itles of te&ts sho!ld )e in MB!otation mar(sM or italics

• .efer to the a!thor )" their s!rname /=!gald, *rad)!r", >a 5!ma

etc1

&ontents Re.uire)entsIntroduction

/one %aragra%h0

- t$%ical introd!ction sho!ld do the follo$ing:

+ -ddress the (e" $ords of the B!estion and gi%e a )rieo%er%ie$ of "o!r response

Identif" the (e" aspects of character; theme;st"le that"o! $ill foc!s on in "o!r essa"

3 5enerate and arg!ment;thesis /don0t #!st descri)e1

E#a)%le1

Discuss the role and signi2cance of Yasuo in theSound Of Waves

?ishima presents 6as!o as a $ea(, detesta)le and

some$hat ridic!lo!s character -longside Chi"o(o, he isthe antagonist in the no%el and ser%es as an o)stacle toShin#i0s and Hats!e0s lo%e a'air His sel8sh and a)!si%e


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)eha%io!r in the no%el contrasts sharpl" $ith Shin#i0s%irt!o!s )eha%io!r h!s he acts as a foil to Shin#i, hislac( $ea(ness and of %irt!e highlighting Shin#i0s %irt!eand strength =!rthermore, it co!ld )e asserted that 6as!o /$ho is strongl" associated $ith the cit" in the

no%el1 s"m)olises $hat ?ishima percei%ed to )e thecorr!pting in

od$

Develo%3%rove3argueeach of the as%ects$ou have identi2ed inthe introduction b$using detail fro) thete#t4

/2ve or )ore%aragra%hs0

- t$%ical )od" paragraph sho!ld follo$ the PQ&, for)

• "o%ic Sentence1 ?a(e a point NEQE. )egin aparagraph $ith a B!otation

• Quotation1 5i%e e%idence to s!pport the point Lsein%erted commas and em)ed the B!otation

• &o))ent3(nal$sis1 Comment on the e'ect of the

B!otation -nal"se the lang!age

• ,in'- >in( )ac( to the B!estion

E&ample:

?ishima introd!ces the reader to the character of 6as!o)" dra$ing attention not onl" to his $ealth and stat!s,)!t also his arrogance He $rites, 7"o!ng as he $as, healread" (ne$ the secret of gi%ing himself importance0

Ho$e%er, the descriptions of his 7fat0 )od" and 7craft"0e"e)ro$s create a grotesB!e image and a slightl"moc(ing tone, s!ggesting his arrogance is misplaced?oreo%er, he reference to 6as!o0s 7red comple&ion0perhaps foreshado$s his imminent and h!miliating fallfrom grace In this $a", ?ishima immediatel"esta)lishes him as an !ndisciplined, decepti%e and!ns"mpathetic character, partic!larl" $hen contrasted$ith the far more h!m)le and admira)le Shin#i

&onclusion

/one %aragra%h0

- t$%ical concl!sion sho!ld do the follo$ing:

+ S!mmarise "o!r main arg!ment and highlight "o!rmost important points

5i%e a 8nal personal opinion a)o!t $hat the readerlearns a)o!t the setting, characters, and ideas

':e!plar


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+o do Sea)us +eane$ and 5oni6a (lvi e#%lore the i)%act of lifechanging events through language in 5id-ter) rea' andPresents fro) )$ (unts in Pa'istan res%ectivel$*

In ?id2term *rea( and in Presents from m" -!nts in Pa(istan,Seam!s Heane" and ?oni@a -l%i )oth end!re impactf!l e%ents Heane"loses his )rother in a car accident $hile -l%i str!ggles to reconcile t$oclashing c!lt!res =eeling detached, )oth poets change their perspecti%eson e%ents and people and !ndergo an identit" crisis, altho!gh in di'erent$a"s

In ?id2term *rea(, the poet emphasi@es that his )rotherMs death hasaltered his perspecti%e on life His father is said to MTha%eU al$a"s ta(enf!nerals in his strideM: $hen someone passed a$a" his father did not shedtears Heane" $o!ld ha%e loo(ed !p to him as a strong person $ho co!ldprotect the famil" he !se of past tense s!ggests that his father no$)eha%es di'erentl" and the persona has lost a constant Mtr!thM relating tohis identit" Not onl" is Heane" Ms fatherMs Mcr"ingM, !nsettling him as his

parent no$ appears $ea(, )!t this reaction also introd!ces the idea thate%er"one is %!lnera)le $hen the" lose their dearest person -dditionall",Heane" Ms perspecti%e on his home changes It is no longer a place ofcomfortand sec!rit" When Heane" entered the ho!se, Mthe )a)" cooed andla!ghed and roc(ed the pramM he repetition of MandM creates a


19/57

a)o!t its appearance )!t not h is reaction !pon seeing it )eca!se he isn!m)ed With reference to h i s )rotherMs )od " as Mthe corpseM, animpersonal description, he detaches himself from realit" as he does not$ish to admit it is his )rotherMs 9n the )od", Heane" notices Ma popp")r!ise on the left temple no ga!d" scars, the )!mper (noc(ed him clearM

he persona mimics a coroner, inspecting the )od", )!t again $ith an!nemotional tone Comparing the )r!ise to a


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into her s!rro!ndings Ne%ertheless, )eing !na)le to )ring o!t the )est ofher original c!lt!re ma(es her feel insec!re No$, she can onl" connect toher heritage %ia her memor" and imagination, as sho$n in the 8nalstan@a

*oth poets str!ggle to 8nd their rightf!l place in their s!rro!ndingsIn M?id2term *rea(M, Heane" mentions he hears M$hispers informingstrangers TheU $as the eldestM He cannot identif" $hom the" are comingfrom, $hich is !nner%ing he personi8cation creates a threateningimpression $here he is the foc!s of the %isitors and feels o%er$helmed -lso, $hen the old men stand !p to sha(e Heane"Ms hand, MThe isUem)arrassedM He is s!rprised $hen he, )eing a school)o", is treated li(ean ad!lt )eca!se he does not (no$ ho$ to react lt con%e"s hisapprehensi%eness of the ne$ sense of responsi)ilit" the death of his)rother has gi%en him He m!st no$ sho$ greater strength than that of achild $ithin the famil", and perhaps ta(e care of the famil"

In Presents from m" -!nts in Pa(istan, -l%i is also conf!sed MTSheUtried to glimpse TherselfU in the miniat!re glass circlesM: the am)ig! it" of

her reiterar" de%ices s!ch as imager",am)ig!it" and metaphor, the poets e&press their personasM internalfeelings in relation to their e&ternal )eha%io!rs

"eacher7s &o))ent4;A

- percepti%e and con%incing response sho$ing a clear critical!nderstanding .esponds $ith insight, indi%id!alit" and


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shoes of a Caribbean man to describe her memories of the island which us her beautiful and

unforettable moment in time. In ‘Composed upon !estminster "ride# $eptember %# &'()’#

!illiam !ordsworth uses mainly siht imaery to describe his e*perience of standin on

!estminster "ride and lookin out to +ondon.

Nichols creates an e*traordinary and memorable moment of the Caribbean by

describin the memories she had on the island# while +ondon is described as a loomy and

borin place. Nichols’s speaker misses the Caribbean a lot# but has to stay in +ondon to work

in order to make a livin. ,he speaker dreams of how wonderful the Caribbean island is

throuh the contrast of two places# the Caribbean and +ondon. ,he sea in the Caribbean

island is described as ‘blue surf’# to compare it with the ‘rey’ +ondon. ,he words ‘surf’ and

‘sound’ that is found in the first stan-a which describes the waves on the island# and actually

echoes the actual noise that waves make as they beat aainst the shore. $he also personifies

the sun by sayin it is ‘surfacin defiantly’. ,he word ‘defiantly’ means resistance# so the poet

is tryin to tell her readers that the island man does not want to be woken up from his sweet

dream# but has to# so he unwillinly leaves his dream with hesitation.

Nichols further creates the beautiful moment in time by describin the Caribbean

island as a place of security in the first stan-a. ‘,he steady breakin and wombin’ suests to

the readers that the Caribbean island is a place of comfort# and a security of place of birth.

Nichols uses a word ‘wombin’ to describe the sound of waves on the island. ‘!omb’ is home

to everyone# and is also a place of safety. ,herefore the word ‘wombin’ indicates a

comfortable feelin and a sense of security. ,he word ‘his’ is used very often throuhout the

poem to show emphasis of the sense of security and home. In the second stan-a of the poem#

Nichols continues to develop the island man’s dream by portrayin the island as a paradise#

where everythin is rela*in and laid back. $he uses ‘wild seabirds’ to describe the island as a

stron# hard# untamed natural environment. ‘is small emerald island’ is used to describe the

Caribbean# and from the description of his home makes it sound like a paradise# describin

the lovely moments in the Caribbean. ,he metaphor is covered with reen trees# and it is very

precious to the island man. ,his emphasises the richness of the veetation and nature in theCaribbean island# showin a beautiful and unforettable moment in time.

"esides ‘Island Man’# ‘Composed upon !estminster "ride# $eptember %# &'()’ also

shows a moment in time. It’s poet# !ordsworth# uses siht imaery to describe his lovely

e*perience of standin on the !estminster "ride in +ondon and lookin out to the city. e

transforms +ondon into a fabulous place by writin a /etrarchan sonnet. In the poem# he

describes how wonderful it is durin the Industrial 0evolution. e first e*presses his feelins

of the city by sayin that there is nothin that shows ‘more fair’ on Earth than the wonderful

siht he is seein on the bride. /eople who are ‘dull’ are those who 1ust pass by and do not

stop to look at the ma1estic view. +ondon is also described as a calm and 2uiet place in the


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mornin. ‘,he beauty of the mornin3 silent# bare’ In reality# most cities like +ondon# are

noisy places# but !ordsworth portrayed the city as a silent place# displayin a peaceful

moment in time.

!ordsworth adds on to his e*perience by describin the surroundin that is around

him. ,he ma1ority of the cities in the world are polluted# particularly durin the Industrial

0evolution. ‘4ll briht and litterin in the smokeless air.’ +ondon is polluted and foy#

especially durin that time period# but !ordsworth uses siht imaery to portray the city as a

‘smokeless’ place# increasin the loveliness of the moment in time. ,he poet further uses

personification and some irony to describe his e*perience. !ordsworth writes about the

sunrise as a ‘he’# personifyin the sun as a male# and that !ordsworth had never seen

somethin that shone as beautifully before. ,he sun also ave the impression to the readers

that nothin is as calm as the sunrise in +ondon# which is ironic# because +ondon is enerally

a bustlin and busy city. e also personifies 0iver ,hames# illustratin the way it flowed. ,he

river lides ‘at his own’ pace# ivin it freedom# tellin us readers that +ondon is a free city#

addin beauty to the poet’s e*perience. Early in the mornin# people are still usually asleep#

so the city also seems to be ‘asleep’. ouses are also personified as people who are sleepin#

because houses do not sleep# it is the people who are the ones that should be asleep. ,he poet

ends ‘Composed upon !estminster "ride# $eptember %# &'()’ by sayin the heart of the city

is still ‘lyin still’. ,his hints that the mornin in +ondon is the beauty of the city. It shows the

2uietness of the city# and it also develops the lovely moment in time !ordsworth had on the

bride.

Grace Nichols and !illiam !ordsworth of ‘Island Man’ and ‘Composed upon

!estminster "ride# $eptember %# &'()’ had certainly described a moment in time within

their poems. "oth the poets include +ondon in their poems# but have different views of the

city that was e*pressed in their poems. Nichols describes +ondon as dull and unwelcomin in

‘Island Man’# while in ‘Composed upon !estminster "ride# $eptember %# &'()’#

!ordsworth describes how marvellous the city is.


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No ans$er ; Ins!Vcient to meet the criteria for *and


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&ritical .ocaulary

sho$ impl" s!ggest infer ill!strate

demonstrate portra" con%e" re


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di'erence, another distinction, other$ise, after all, instead, !nli(e,opposite, to oppose, in opposition to, %ers!s, against

"o e)%hasise or to intensif$-)o%e all, after all, indeed, chie


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?ore tone $ords

satiric$himsicaldramaticlearnedinformati%e!rgentcon8dento)#ecti%ediVdentironicfact!alrestrainedelegiac

disdainf!ll!g!)rio!scandidpedanticindignant)antering


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Words that descri)e lang!age

#argon colloB!ial e&act poetic%!lgar arti8cial s"m)olic moralisticschola

rl"

detached simple slang

insipid emotional

8g!rati%e idiomatic

precise

pedantic )om)astic pict!resB!e

esoteric

e!phemistic

a)str!se homesp!n

plain pretentio!s

grotesB!e o)sc!re

literal sens!o!s concrete e&act


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3

)iterary Ter!inology

(llegor$- s"m)olic narrati%e in $hich the s!rface details impl" a secondar"meaning -llegor" often ta(es the form of a stor" in $hich the charactersrepresent moral B!alities he most famo!s e&ample in English is ohn*!n"anMs PilgrimMs Progress, in $hich the name of the central character,Pilgrim, epitomi@es the )oo(Ms allegorical nat!re Ka" *o"leMs stor"G-stronomerMs WifeG and Christina .ossettiMs poem GLp2HillG )oth containallegorical elements(lliteration

he repetition of consonant so!nds, especiall" at the )eginning of $ordsE&ample: G=etched fresh, as I s!ppose, o' some s$eet $oodG Hop(ins, GInthe Qalle" of the El$"G(ntagonist- character or force against $hich another character str!ggles Creon is-ntigoneMs antagonist in SophoclesM pla" -ntigoneX eiresias is theantagonist of 9edip!s in SophoclesM 9edip!s the King(sideWords spo(en )" an actor directl" to the a!dience, $hich are not GheardG)" the other characters on stage d!ring a pla" In Sha(espeareMs 9thello,Iago %oices his inner tho!ghts a n!m)er of times as GasidesG for the pla"Msa!dience

(ssonance he repetition of similar %o$el so!nds in a sentence or a line of poetr" orprose, as in GI rose and told him of m" $oeG WhitmanMs GWhen I Heard the>earnMd -stronomerG contains assonantal GIMsG in the follo$ing lines: GHo$soon !nacco!nta)le I )ecame tired and sic(, ; ill rising and gliding o!t I$anderMd o' )" m"selfG&haracter-n imaginar" person that inha)its a literar" $or( >iterar" characters ma")e ma#or or minor, static /!nchanging1 or d"namic /capa)le of change1 InSha(espeareMs9thello, Desdemona is a ma#or character, )!t one $ho isstatic, li(e the minor character *ianca 9thello is a ma#or character $ho is

d"namic, e&hi)iting an a)ilit" to change&haracteri6ation he means )" $hich $riters present and re%eal character -ltho!ghtechniB!es of characteri@ation are comple&, $riters t"picall" re%ealcharacters thro!gh their speech, dress, manner, and actions .eaderscome to !nderstand the character ?iss Emil" in =a!l(nerMs stor" G- .osefor Emil"G thro!gh $hat she sa"s, ho$ she li%es, and $hat she doesChor!s- gro!p of characters in 5ree( traged" /and in later forms of drama1, $hocomment on the action of a pla" $itho!t participation in it heir leader isthe choragos SophoclesM -ntigone and 9edip!s the King )oth contain ane&plicit chor!s $ith a choragos ennessee WilliamsMs 5lass

?enagerie contains a character $ho f!nctions li(e a chor!s&li)a#

he t!rning point of the action in the plot of a pla" or stor" he clima&represents the point of greatest tension in the $or( he clima& of ohnLpdi(eMs G- Y P,G for e&ample, occ!rs $hen Samm" B!its his #o) as acashier&o)ed$- t"pe of drama in $hich the characters e&perience re%ersals of fort!ne,!s!all" for the )etter In comed", things $or( o!t happil" in the endComic drama ma" )e either romantic22characteri@ed )" a tone of toleranceand genialit"22or satiric Satiric $or(s o'er a dar(er %ision of h!mannat!re, one that ridic!les h!man foll" Sha$Ms -rms and the ?an is aromantic comed"X Che(ho%Ms ?arriage Proposal is a satiric comed"&o)ic relief

he !se of a comic scene to interr!pt a s!ccession of intensel" tragicdramatic moments he comed" of scenes o'ering comic relief t"picall"parallels the tragic action that the scenes interr!pt Comic relief is lac(ingin 5ree( traged", )!t occ!rs reg!larl" in Sha(espeareMs tragedies 9nee&ample is the opening scene of -ct Q of Hamlet, in $hich a gra%edigger)anters $ith Hamlet

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he Empathic

In the empathic tas( "o! are reB!ired to e&plore a speci8c momentthro!gh the e"es of one partic!lar character in a pla" or short stor" -s$ell as sho$ing (no$ledge of the incident concerned, depending on thepartic!lar tas( it ma" )e helpf!l if "o! demonstrate some a$areness of$hat has led !p to it 6o!r identi8cation $ith the character might also )econditioned )" "o!r a$areness of $hat happens to the character later inthe pla" or short stor" /if that is appropriate to the tas(1, tho!gh this $illpro)a)l" not )e referred to speci8call" hro!gh "o!r response, "o! aree&pected to demonstrate detailed (no$ledge of the te&t and thecharacterX )!t this tas( is not an in%itation merel" to re2tell a stor"

-n empathic tas( is designed also to test "o!r !nderstanding andinterpretation of a character and that character0s !s!al responses, and $illma(e inferences a)o!t $hat s;he might )e thin(ing or feeling a)o!t a

partic!lar sit!ation

5ood ans$ers $ill )e conditioned )" an o%erall !nderstanding of the $a"the character )eha%es in the te&t as a $hole

&haracteristics of successful e)%athic tas's

• Detailed (no$ledge demonstrated )" a $ide range of te&t!al

reference or echoes of the te&t

• - $ell2crafted and s!stained insight into the character at the

speci8ed moment

•

he ass!mption of a compellingl" a!thentic %oice and %ie$point forthe character

• - con%incing and informed personal response $hich engages $ith

the tas( directl"

• It $ill )e $ritten in the 8rst person

• It $ill sho$ a comprehensi%e (no$ledge of the te&t and of the

partic!lar character0s role in it, )!t $ill not merel" tell the stor"

• It $ill con%incingl" interpret the character0s li(el" reactions to a

speci8ed e%ent

• It $ill )e $ritten in a s!ita)le and con%incing st"le

&haracteristics of ea' e)%athic tas's

• Kno$ledge and de%elopment of points s(etch"

• Kno$ledge of onl" a short part of the te&t sho$n

• .esponse not rooted in the detail of the te&t too m!ch !nfo!nded

creati%it"

• >ittle or no appreciation of characterisation

• - %oice lac(ing in a!thenticit"

• Lncertaint" a)o!t the moment speci8ed

.oice

3+

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Pro)a)l" the most diVc!lt aspect of the tas( to tac(le, the degree ofs!ccess in creation of a %oice $ill demonstrate the degree to $hich "o!ha%e engaged $ith the character and responded to the literar" B!alities of the $or( he st"le adopted m!st )e s!ita)le to the character In aSha(espeare te&t, for e&ample, it $o!ld )e inappropriate for anaristocratic character to spea( in o%er2colloB!ial lang!age, or for one ofthe 7lo$er0 characters to spea( in a partic!larl" re8ned $a" /*!tcandidates are ne%er e&pected to tr" to reprod!ce 7Sha(espearian0English, for e&ample1 ho!gh it is not generall" appropriate to B!otedirectl" from the te&t in in%erted commas in ans$ering a tas( of this sort,ans$ers are li(el" to )e enhanced )" the !se of partic!lar t!rns of phrasenormall" !sed )" the character

-n empathic tas( $ill !s!all" )e $ritten to a form!la as follo$s:

• 6o! are Tcharacter &U loo(ing )ac( o%er "o!r e&periences at TOU

Write "o!r tho!ghts

• 6o! are Tcharacter &U #!st after "o! ha%e paid a %isit to Tcharacters "

and @U Write "o!r tho!ghts

• -t the end of the pla" $e are told that TOU Imagine "o! are

Tcharacter &U and ha%e )een as(ed a)o!t this )" Tcharacter "U What

do "o! sa" to him

• 6o! are Tcharacter &U $aiting to meet Tcharacter "U for the 8rst time

Write a)o!t $hat "o! are thin(ing

• 6o! are Tcharacter &U at the end of the stor", #!st after Te%ent @U has

happened Write "o!r reactions

• 6o! are Tcharacter &U at the end of Scene , and are $riting "o!r

report to Tcharacter "U on $hat has happened and ho$ "o! feela)o!t it Write the report

• 6o! are Tcharacter &U at the end of Scene 3, #!st after Tcharacter "U

has left the stage Write "o!r tho!ghts

• 6o! are Tcharacter &U o%erhearing Tcharacter "U0s speech to the

others a)o!t "o! Write "o!r tho!ghts

• 6o! are Tcharacter &U at point in the stor" $hen Te%entU, and are

$riting the letter to Tcharacter "U in $hich "o! comment on

TincidentU Write "o!r letter

• 6o! are Tcharacter &U after ha%ing )een instr!cted to TOU Write

"o!r tho!ghts• =or more speci8c tas(s see "o!r teacher or the M+A Stories of

9!rsel%es St!d" 5!ide for St!dentsM

•

':e!plar 4Ro!eo and ?uliet8

You are "$balt just after $our uncle ,ord &a%ulet has ordered $outo behave $ourself at the ball and leave the disguised Ro)eoalone4 Write $our thoughts4

3

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!st one so!nd of his %oice and I (ne$ he $as a ?ontag!e 6es, that %illain,sla%e, $retched )o": .omeo I cannot )elie%e m" !ncle called him a7gentleman0-nd that people here, in Qerona thin( of him as a $ell )eha%ed and good2mannered )o" He does not deser%e that respect

Ho$ dare he come to o!r part" !nin%ited With that mas( on, he act!all"tho!ght I $o!ld not recognise him I can smell a ?ontag!e from a milea$a" -nd if it $as not for m" !ncle, I $o!ld ha%e (illed him then andthere I do not thin( (illing him is a sin Instead it is m" d!t" He came tomoc( o!r cele)rations herefore it is dishono!ra)le for me to #!st let himgo

I do not !nderstand $h" m" Lncle does not agree $ith me -m I the onl"one $ho sees thro!gh all this It does not matter $hether he ma(estro!)le or not d!ring the feast His mere prescence alread" sho$ed hiscontempt He $as la!ghing at !s He $as r!ining o!r great name

7Cap!let0

I don0t (no$ ho$ m" Lncle fo!nd this tolera)le, $hile I $as #!st a)o!t toe&plode $ith anger -ll I $anted to do $as to 8ght o' the shame .omeo$as p!tting !pon or ho!sehold )!t instead m" !ncle called me insolent?" Lncle, so )linded )" the cele)rations $as !na)le to see $hat $as rightand $rong

-nd e%en no$, I am sha(ing to hold all the f!r" and rage $ithin me I $illlet this anger acc!m!late $ithin m" )od" I $ill car%e it into m" heart Imight ha%e let him go this time )!t ne&t time, I promise, he $ill not )eallo$ed to $al( a$a" $ith s!ch ease He $ill regret I $ill ma(e him pa"

for the shame he has )ro!ght to o!r ho!sehold

&o))entar$ he candidate ass!mes an appropriate %oice and $ea%es echoes of thete&t into the ans$er: for e&ample, 7that %illain, sla%e, $retched )o"0 and 7Ido not thin( (illing him is a sin0 She sho$s good (no$ledge and!nderstanding of the character: for e&ample, his sense of isolation in )eingthe onl" one to o)#ect to .omeo, his o)session $ith famil" hono!r, and hisrage )oth at .omeo and at the in#!stice of Cap!let0s re)!(e It is a %er"competent and conscientio!s ans$er, tho!gh lac(s the e&tra degree ofs!)tlet" and insight, and sophistication of st"le that a top ans$er $o!ld

sho$?ar(: *and

':e!plar >

You are "$balt just after $our uncle ,ord &a%ulet has ordered $outo behave $ourself at the ball and leave the disguised Ro)eoalone4 Write $our thoughts4

He shall )e end!red I shall not end!re a %illain s!ch as he, .omeo, a

?ontag!e He has made a moc(er" of the ho!se of Cap!let, attending o!rfeast as tho!gh he $as in%ited, as tho!gh he )elonged I shall t!rn on

33

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.omeo as he made m" !ncle t!rn on me Ho$ )lind m" !ncle is, to not seethis foe p!rposel" comes here to scorn at o!r solemnit"

Ho$ sic( it ma(es me, to hear that Qerona )rags of him He is a ?ontag!e,of no more $orth than a dog, in the street ?" s(in cra$ls #!st loo(ing athim ?" hand "earns for m" rapier If I had it here it $o!ld )e )!t amoment )ef ore I dro%e it deep into his heart and str!c( him dead

.omeo is follo$ed $ith the name of ?ontag!e and ne%er )efore ha%e $enot dra$n o!r longs$ords and rapiers to 8ght someone of that ho!se ?"!ncle does not reali@e that in fact, he onl" ma(es a fool of himself and of!s, the more $orth" Cap!lets I cannot tolerate this ins!lt to m" name.omeo has soiled o!r nameX and onl" !nder the protection of m" !ncledoes he li%e right at this moment

.omeo is a %illain - shamef!l %illain, If I cannot ma(e a m!tin" amongthese g!ests, then I $ill ma(e one on the street O a challenge he

co$ard sho!ld hide $ith shame if he does not accept o the ho!se of dogsI $ill send a letter =or life or death he m!st 8ght and I $ill ma(e s!re it isdeath he chooses

I feel m"self sha(ing $ith anger .omeo is to )lame *" m" life he $illaccept m" challenge I am no princo&, no goodman )o" I am ")alt, Princeof Cats and I shall ne%er stop li%ing !p to this name With $hat littlepatience I ha%e, I $ill $ait for this re%enge .omeo $ill pa" for his ins!lt$ith his life, it0s a certaint" that I s$ear on the name and ho!se ofCap!let

&o))entar$ he ans$er )egins %er" strongl", $ith a direct echo of the te&t: 7He shall)e end!red0, and later 7this foe p!rposel" comes here to scorn at o!rsolemnit"0 he candidate is integrating the act!al lang!age of the pla"seamlessl" into the monolog!e he strength of feeling attri)!ted to ")altis con%incing and the lang!age s!ita)l" %iolent

he ideas are $ell de%eloped and there is a sense of ")alt $or(ingthro!gh his intention to e&act re%enge here are also all!sions to earliere%ents s!ch as the confrontation $ith ?erc!tio: 7I am no princo&, nogoodman )o"0, $hich are made to contri)!te to the strength of his feelingsto$ards .omeo he ans$er $as #!dged to e&hi)it all the characteristics of a top )and ans$er

?ar(: *and +

'!pathic Assess!ent &r iteria

*and+

h s!stains an entirel" con%incing %oice

*and

+

sho$s a detailed appreciation of character rooted in thete&t, and s!stains an engagingl" con%incing %oice

*and3 ++ sho$s a clear !nderstanding of character rooted in thete&t and s!stains a largel" a!thentic %oice

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+*and4

++A+4

sho$s !nderstanding of character and te&t, incl!dingsome of the deeper implications and !ses s!ita)lefeat!res of e&pression

*andA

+3+++

sho$s some !nderstanding of character and te&t and)egins to ass!me a %oice appropriate to the character

*and

+

sho$s a )asic !nderstanding of character and te&t

*and

A

sho$s a fe$ signs of !nderstanding of characters0tho!ghts or feelings

*and

4

3

sho$s limited !nderstanding of characters0 tho!ghts or

feelings

No ans$er ; Ins!Vcient to meet the criteria for *and

3A

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36/57

Passage )ased;!nseen response

his form of $riting is %er" similar to a critical essa" )!t the foc!s is ondetailed anal"sis of an e&tract from the te&t or a poem, and "o! $ill needto practice timed $riting

World >iterat!re E&am e&t imePaper /Lnseen1 Prose e&tract or poem + ho!r +A min!tes

Paper 3 /Set e&t1 S3: E&tract from ano%el /*al@ac and the>ittle ChineseSeamstress1 or a poem/Songs of 9!rsel%es1S4: E&tract from ano%el /*al@ac and the

>ittle ChineseSeamstress1 or a shortstor" /Stories of9!rsel%es1

4A min!tes

%nseen

"i)ing

• 3 min!tes reading the B!estion and deconstr!cting it

• + mins reading and annotating the passage

• AA min!tes $riting essa"

It is e&tremel" !sef!l to address the )!llet points )eca!se these are the(e" areas for e&planation

-s( "o!r teacher for some past papers and e&emplars

Tips on tacling the passaged ased questions in Paper @

*efore "o! start, chec( the foc!s of the B!estion/s1, then highlight or!nderline rele%ant details /$ords;phrases, rather than )ig ch!n(s1

co%ering (e" rele%ant parts of the e&tract

It0s !sef!l to as( "o!rself $h" this partic!lar e&tract has )een chosen: itma" )e a t!rning point in the stor", or it ma" re%eal something ne$ orsigni8cant a)o!t a character, for e&ample his co!ld )e a starting pointfor "o!r ans$er

hen, esta)lish an o%er%ie$, s!mming !p $hat "o! $ill sa" in the rest of"o!r ans$er, clearl" addressing the B!estion =oc!s is reall" importanthere 6o! need to position "o!rself and ma(e clear $hat "o!r point of %ie$is: as long as "o! )ac( !p $hat "o! sa" $ith e%idence from the te&t, "o!rinterpretation is li(el" to )e %alid

3


37/57

*e speci8c for e&ample, if the B!estion is a)o!t ho$ the $riter createsmood and atmosphere, sa" straight a$a" $hat the mood and atmosphereis, or if it is a)o!t a character, ma(e a clear point a)o!t the character inB!estion

ac(le the (e" areas of the e&tract, selecting and highlighting detailD9N0 =9.5E HE FLESI9N ?a(e s!re "o! go right to the end of thee&tract there $ill )e a good reason $h" it starts and ends $here it does

If it0s rele%ant, "o! ma" ma(e )rief reference to other parts of the te&t 2 top!t the e&tract in conte&t )!t "o!r main concern is the e&tract Don0t,$hate%er "o! do, treat the e&tract as an !nseen /it ma(es the reader$onder $h" the" are there1

Don0t get so ca!ght !p )" anal"sing the detail that "o! neglect thecontent $hat is act!all" going on in the e&tract

.E?E?*E. H- E-CH P-SS-5E *-SED FLESI9N SH9L>D -KE 69L-*9L 4A ?INLES 9 C9?P>EE

':e!plar 4Ani!al #ar!8

+o does Orell8s riting here vividl$ conve$ the relationshi%beteen the %igs and the other ani)als* Re)e)ber to su%%ort$our ideas ith details fro) the stor$4

9r$ell demonstrates in this passage that the pigs ha%e no$ ass!med

complete control o%er the other animals his is done mainl" thro!gh theirs!perior intellect )!t also in other $a"s

=irstl", he sho$s this )" al$a"s incl!ding an element of do!)t in the otheranimals0 minds =or e&ample, it states that Clo%er tho!ght she co!ldremem)er as opposed to: she co!ld remem)er his demonstrates thatshe B!estions her o$n mind and is therefore eas" to manip!late It is this!ncertaint" that the pigs !se to )end them to their $ill -s Clo%er is !na)leto concl!si%el" demonstrate that she is correct, the pigs ha%e thead%antage herefore this is 9r$ell0s $a" of sho$ing that the pigs can re2$rite e%ents to s!it themsel%es, as the" ha%e done here $ith the =o!rth

Commandment

Perhaps a more re%ealing insight into their relationship is gi%en )" theclear di'erences in intelligence =or e&ample, 9r$ell #!&taposes the pigs0)rains against the fact that the animals are !na)le to read hisill!strates the fact that the" are intellect!al opposites and that this ca!sesthe pigs to ass!me the position of the r!ling class 9r$ell also sho$s thatthe pigs0 s!perior intelligence means that the" can manip!late the animals$itho!t them )eing a$are of it =or e&ample, SB!ealer still referring tothem as comrades, the ill!sion is gi%en that the" are still eB!alHo$e%er, this is clearl" far from )eing tr!e herefore 9r$ell is sho$ingthe ease $ith $hich intellect!als can manip!late those less intelligent

than themsel%es

3


38/57

9r$ell adds to this )" pointing o!t that e%en ?!riel, $ho $e (no$ is a)leto read to an e&tent, can onl" read $ith some diVc!lt" his sho$s thate%en the more intelligent animals are far less so than the pigs hiscements the a!thorit" of the pigs and helps 9r$ell con%e" their t"rannicalr!le

9r$ell also points o!t ho$ Napoleon0s a!thorit" means the pigs0 r!lecannot )e challenged he fact that he has a title ma(es him appearmore prestigio!s and therefore harder to oppose he !se of the name>eader to descri)e him also helps )rain$ash the other animals into)elie%ing the" m!st s!pport him herefore it ma(es them mores!)missi%e

Napoleon0s a!thorit" is f!rther emphasised )" his s!pport from *o&er*o&er0s slogans are incredi)l" dangero!s and )" sa"ing this is the !s!al$a" in $hich he reacts, 9r$ell sho$s the reader that *o&er $ill ne%erB!estion Napoleon his is s!pported )" the !se of the $ord al$a"s in

Napoleon is al$a"s right, as this sho$s a constant ref!sal to challengehim herefore 9r$ell sho$s *o&er0s )lind acceptance of the pigs0a!thorit" Whilst *o&er is onl" one animal, his lac( of action is highl"rele%ant 9r$ell has ta(en care to introd!ce him earl" as the admirationof e%er"one and enormo!s Hence, he co!ld easil" incite a re)ellionsho!ld he choose to Ho$e%er, as he dismisses all of Napoleon0s fa!lts,this helps ens!re the pigs0 total domination of the animals

-nother $a" 9r$ell sho$s the relationship is thro!gh the lang!ageemplo"ed )" SB!ealer SB!ealer is clearl" the most capa)le tal(er andthe reader has )een informed pre%io!sl" that he can t!rn )lac( into$hite herefore his a)ilit" to manip!late the animals is clear *" !sing

man" rhetorical B!estions, s!ch as -nd $h" not, SB!ealer challengesthe animals and reminds them of their inferior stat!s D!e to their afore2mentioned minimal intelligence, the animals cannot arg!e )ac( 9r$ellhere !ses SB!ealer to sho$ ho$ comple& lang!age can conf!se othersinto s!)mission SB!ealer !ses $ords s!ch as repose $hich are almostcertainl" !n(no$n to the other animals his forces them to recognise thepigs as cle%erer than them and therefore pre%ents them from retaliating

herefore 9r$ell sho$s ho$ manip!lation of lang!age gains the pigsa!thorit"

SB!ealer also stops an" dissent completel" )" reminding them of the

common enem": ones hro!gh doing this he is !niting them all andthreatening them $ith the one thing the" dread most -s this arg!ment is!sed to #!stif" all the pigs0 actions, the reader is a$are of its a)s!rdit"

herefore, 9r$ell is sho$ing ho$ threats can )e !sed o%er and o%er tos!)d!e arg!ments

9r$ell also sho$s %er" s!)tl" that the pigs are still !sing force to controlthe farm SB!ealer is attended )" O dogs, $hich sho$s that he hasprotection he dogs are clearl" an allegor" for the arm" herefore 9r$ellis sho$ing the reader that the pigs are maintaining po$er )" instilling fearin the animals his is an e'ecti%e method as the dogs are initiall" !sed todri%e o!t Sno$)all herefore, animals $ill )e intimidated )" them and )e

o)edient to the pigs

3


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In concl!sion, 9r$ell has sho$n that the pigs dominate the farm thro!ghconsistent manip!lation of the other animals *" eliminating an"possi)ilit" of the animals challenging their r!le, the pigs ha%e e'ecti%el"s!)d!ed their opposition 9r$ell sho$s this thro!gh comparing theirintelligenceX he creates a terrif"ing relationship

&O55E9"(RY his response co%ers all the )ases It foc!ses closel" onthe B!estion and some points sho$ sophisticated critical perceptionX fore&ample, the disc!ssion of *o&er0s faith in Napoleon and conseB!entremo%al as a threat to the pigs0 dictatorship -spects of 9r$ell0s lang!ageare sensiti%el" considered - top *and + response

The assessment criteria is the same as for the critical essa" on page U

3


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9arrative

=or I5CSE p!rposes, follo$ these r!les /=or "o!r o$n $riting there

are no r!les1:Word length: 3A24A $ords

See MStories of 9!rsel%es St!d" 5!ide for St!dentsM for moredetailed ad%ice

his tas( tests $riting assessment o)#ecti%es W+ to WAW+ artic!late e&perience and e&press $hat is tho!ght, felt andimaginedW seB!ence facts, ideas and opinionsW3 !se a range of appropriate %oca)!lar"

W4 !se register appropriate to a!dience and conte&tWA ma(e acc!rate !se of spelling, p!nct!ation and grammar

5eneral Criteria Speci8c criteria 2 narrati%e*and + ++2+3 W+: Content is comple&,

sophisticated and realisticW: 9%erall str!ct!re issec!re and the constit!entparts $ell )alanced andcaref!ll" managed

he plot is con%incing $ithelements of 8ction s!ch asdescription,characterisation and clima&,and $ith cogent detail

*and 2+ W+: Content de%elopssome interesting andrealistic feat!res in parts of the $ritingW: Writing is orderl", and)eginnings and endingsare satisfactoril" managed

he plot incorporates someinteresting feat!res, )!t notconsistentl" so: the readerma" )e a$are of the creationof s!spense and a sense ofclima&

*and 3 2 W+: Content isstraightfor$ard $ith ideas,feat!res and images that

satisfactoril" address thetas(X some opport!nitiesfor de%elopment are ta(enW: 9%erall str!ct!re iscompetent and somesentences are $ellseB!enced

he plot is straightfor$ardand cohesi%e $ith someidenti8cation of feat!res s!ch

as character and setting

*and 4 A2 W+: Content consists ofrele%ant ideas that are)rie


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too long or too short to )ee'ecti%e

*and A 324 W+: Content is simple, andthepresentation of ideas and

e%ents ma" onl" )epartiall" credi)leW: 9%erall str!ct!re isrecognisa)le, tho!ghparagraphing isinconsistent andseB!ences of sentencesinsec!re

he plot is a simple narrati%ethat ma" consist of e%entsthat are onl" partiall"

credi)le or $hich arepresented $ith partial clarit"

*and +2 W+: Content is inconsistentinrele%ance, interest andclarit"W: Str!ct!re is freB!entl"!nclear, re%ealing a limitedgrasp of p!rpose

he plot lac(s coherence andnarrates e%entsindiscriminatel"

*and W+: Content is rarel"rele%ant and there is littlematerialW: he str!ct!re isdisorderl"

he plot is hard to follo$ andis onl" partiall" rele%ant

Content and Str!ct!re


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':e!plar

?!d Deep, thic( m!d It s!rro!nded me, it sti


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his is a po$erf!l response as it e%o(es the sense of )eing trappedin )oth a ph"sical and emotional $a" as the soldier hears the enem"coming, "et desires to escape from the horrors s!rro!nding him-ltho!gh it has a narrati%e str!ct!re, there is a strong descripti%efoc!s thro!gho!t he details are immediate and po$erf!l at times,

s!ch as 7fear cl!ng to me li(e a $eeping child0 and the 7deep )ar(sof soldiers e%er"$here0 he clima& is e&tremel" $ell handled and$or(s $ell as a release from the )!ild !p of tension and horri8cs!rro!ndings he sense of a!dience is strong thro!gho!t, altho!gh in a )id to(eep a contin!!m of detail and emotion, there are a co!ple ofinstances of sentence control errors

?ar(: + /content and str!ct!re1 Z + /st"le and acc!rac"1*and +

':e!plar >

-s the" loo(ed in the mirror the" $ere ama@ed to 8nd t$ocompletel" di'erent people smiling )ac( at them he geneticalteration had $or(ed perfectl" on the t$o fresh2faced recr!its,changing their DN- to that $hich $as deemed s!ita)le )" theH!man -rm" heir smiles $ore o' as B!ic(l" as the anaesthetic did,and )oth men no$ realised $hat the" had )ecome no longerindi%id!als, )!t templates, onl" recognisa)le as di'erent )" the

di'ering n!m)ers )randed !pon their sho!lders

Pri%ate *+ $as still feeling the after2e'ects of the treatment as he$as carted into the ad#acent room and his ser%ice !niform $as)eing 8tted ro!ghl" onto him His mind $andered to the past, to atime )efore his name $as a letter follo$ed )" three n!m)ers, to atime $hen he $as Harr" Elson, a farmer )ac( on his home$orld heda" $as hot and la@", and his )ea!tif!l, fair2haired $ife $as)ec(oning him inside from the )right "ello$ corn8eld as the golden2orange s!n faded in the s(" He remem)ered a helicopter, and amilitar"2loo(ing man greeting him Something a)o!t a $ar against a

race from far a$a", something a)o!t inter%ening after a ne!tralplanet had )een in%aded, something a)o!t doing his d!t"E%er"thing after that )l!rred and mi&ed together in a s$irl of colo!r

Pri%ate *+ $o(e !p from his da"dream to 8nd himself gripping acom)at ri


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-fter a )rief pa!se, the order came

Drop

he helicopter side2door $as i(e the retreating tide, Harr" slo$l" lost conscio!sness and anothern!m)er B!ietl" faded a$a"

Commentar" his is an e&cellent piece of $riting and an e&ample of a 8rst classnarrati%e completed !nder e&am conditions he initial B!otation)lends in )ea!tif!ll" to a f!t!ristic setting in $hich men ha%e)ecome 7templates, onl" recognisa)le as di'erent )" the di'eringn!m)ers )randed !pon their sho!lders0 .eferring to 7a stream ofred on his arm0 and 78ring )lindl" at dim spec(s0 e'ortlessl"!nderlines the fact that the soldier, and the others, do not recognise$hat the" are doing as the" are no$ non2h!man =lash)ac( is)ea!tif!ll" handled and is !sed again as a str!ct!ral de%ice to )ring

the d"ing 7ro)ot0 soldier )ac( to a happier, h!man time and pro%idean e&cellent, $ell tho!ght o!t ending he $riting is sophisticated, cle%er and %irt!all" error free?ar(: +3 /content and str!ct!re1 Z + /st"le and acc!rac"1*and +

Descri%tive

=or I5CSE p!rposes, follo$ these r!les /=or "o!r o$n $riting thereare no r!les1:

=oc!s on a place or a moment in time


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Write in the present tenseLse as man" senses as possi)le and appropriateLse imager" 2 metaphor, simile and personi8cationNo dialog!e=oc!s on interesting %er)s, ad#ecti%es and ad%er)s

Change of foc!s )!t not change of time /%er" short time span ofmin!tes1Create an atmosphere thro!gh $ell chosen and appropriate dictionNo


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is !nited in hilarit", all eagerl" scanning the three2h!ndred or morepeople for the g!ilt" part" he c!lprit /a min!te, "ear se%en )o"1stands ne&t to the o'ending pile of )ro(en china and, as se%eral ofthe older st!dents )egin to $hoop, proceeds to

the hole in the gro!nd fails to appear for him as it has failed soman" others in similar sit!ations and he is left at the merc" ofh!ndreds of delighted teenagers

=inall", the "ells s!)side, B!elled )" steel" glances from se%eral ofthe teachers, and the" are replaced )" the omino!s tinn" chime ofthe )ell, forcing all the children o!t into the merciless rain

&o))entar$ his st!dent con8dentl" f!l8ls the reB!irements of the descripti%etas( he indi%id!al scenes are $ell o)ser%ed and the $hole piece isstr!ct!red aro!nd a sensi)le time frame SSPS aspects are handled$ith ass!rance and the %oca)!lar" is e&tensi%e his $or( is a )and+

Other te#t t$%es

Word length: A23A $ords /=or I5CSE e&am p!rposes, not "o!ro$n $riting1

!or)al ,etter

E&emplar /see =>E Paper !ne 1

Dear ?r and ?rs Do"le,

I recentl" spent a fe$ nights at "o!r hotel, the 7Shamroc( Hotel0 andI m!st confess that I fo!nd m" time there e&tremel" en#o"a)le

I $as !ne&pectedl" charmed )" the !niB!e and indi%id!alatmosphere in the hotel, right from its eccentric )!t $elcomingappearance to the li%liness created )" the n!mero!s animals thereIt $as, $hat I thin( e%er"one $o!ld consider, a m!ch2neededde%iation from the norm of )oring, formal hotels I $as partic!larl"ta(en )" the great shingle roof, littered $ith odd trin(ets and )itsand pieces


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=!rthermore I feel it m" d!t" to commend "o! on li%ing !p to thesign on "o!r front door, $hich o'ers accommodation to )oth manand )east at lo$est ratesNot onl" $as m" sta" fantasticall" ine&pensi%e, )!t I thoro!ghl"en#o"ed the presence of the %ario!s animals and the familiar sight of

the fo$l in p!rs!it of grasshoppers in front of the )ar door, or thegoat that stood )" the tro!gh, ne%er failed to )ring a smile to m"face, not to mention the mother hen and her precio!s chic(s, nestednear the co!ch Indeed, I recall e&periencing a profo!nd connectionto nat!re, one that is not so easil" fo!nd in the other hotels of thestate his $as not onl" d!e to the interiors of the hotel, )!rsting$ith animal and h!man life, )!t also )eca!se of its tranB!il andsecl!ded location -ltho!gh con%enientl" close to *allarat it stillmanaged to retain an atmosphere of calm and B!iet $hich pro%idedan escape from the constant h!stle and )!stle of e%er"da" life

I $ill also carr" $ith me al$a"s, fond memories of the interestingfol(, the li(es of $hich I ha%e ne%er seen )efore, farmers from fara$a" and the li(e -nd not to forget o!r charming landlord Do"le osee him am)ling a)o!t in his good nat!red manner and a pair ofstin(ing tro!sers, hand2made for him )" his $ife, reall" added ato!ch of h!mo!r to m" da" and I than( "o! for that

I m!st also than( "o! again and commend "o! on the tr!l" one2of2a2(ind ser%ice "o! pro%ided it is one that an" tra%eller, $ho $ishes toe&perience the #o"s of an !ncon%entional atmosphere li(e that of

the 7Shamroc( Hotel0 m!st tr" o!t

6o!rs sincerel",

Content: +WritingX 45rade: -]

he $riting in B!estion + $as pleasantl" enco!raging in a formalletter to ?r and ?rsDo"le he co!rteo!s, appreciati%e tone to the letter $as maintained

thro!gho!t and nicel" echoed the eccentricit" of the hotel and itso$ners he opening $as )rief, )!t the conte&t $as B!ic(l"esta)lished as that of a single person passing )", not a famil" on anann!al holida" he st"le hardl" crea(ed at all, and the lettercomforta)l" assimilated details in three main areas the )!ildings,the animals and the people

#or!al )etter Structure

+ 9pening


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/-ddress "o!r letter to Dear Z the name or #o) title of the person"o! ha%e )een as(ed to $rite to, then start a ne$ line for theopening paragraph N* -ltho!gh it is good practice to teach ande&pect st!dents to p!t dates and addresses on formal letters, and tosign them appropriatel", these are not reB!ired and not re$arded in

the e&am1

Paragraph +: Introd!ction

/Wh" are "o! $riting 5i%e the general aim and minim!minformation onl", eg to complain, appl", reB!est, disagree, and anindication of $hat "o! are responding to eg a recent holida" or aletter in last $ee(0s ne$spaper1

3 Paragraph : Details of sit!ation

/5i%e pre%io!s histor" of e%ent or "o!r )ac(gro!nd or e&perienceSa" $hat happened e&actl" if "o! are ma(ing a complaint, or foc!sdirectl" on the te&t "o! are arg!ing $ith his section sho!ld incl!despeci8c data s!ch as names, dates, facts and details1

4 Paragraph 3: =!rther de%elopment

/5i%e f!rther s!pport to "o!r claim or reB!est S!mmarise thec!rrent sit!ation and$h" "o! sho!ld )e gi%en consideration eg other pro)lems $hichocc!red $ith "o!r holida" accommodation, ho$ $ell "o! f!l8l the #o) reB!irements1

A =inal paragraph: =!t!re action

/Sa" $hat "o! $ish to happen ne&t eg that "o! loo( for$ard to)eing called for inter%ie$ or e&pect to recei%e some compensationas soon as possi)le S!ggest, 8rml" )!t politel", $hat ma" happen if "o! do not recei%e a response to a complaint1


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e&emplar /see A -!nt Pegg1

Dear Parents,

-fter recei%ing the in%ite, I cannot descri)e to "o! ho$ %er"pri%ilidged I felt to 8nall" ha%e the opport!nit" of spending some%al!a)le time $ith "o!r children

Ho$e%er, $hen I arri%ed at "o!r home I immediatel" realised theenormit" of the tas( It is a goo) #o) I $as prepared for this,other$ise I $o!ld hate to thin( ho$ %er" di'erentl" "o!r children$o!ld ha%e )eha%ed thro!gho!t the $ee(

I do not !nderstand $h" children of this age $o!ld $ant to treateach other so )adl" I ha%e to admit, I had some tro!)le on the 8rstda" stopping them from 8ghting $ith each other, or gra))ing oneanotherI soon fo!nd the sol!tion to this pro)lem, as I al$a"s do he (e" topre%enting them from harming each other $as to promoteteam$or(, and I $as a)le to do this )" (eeping them )!s" andocc!pied at all times We all (no$ ho$ m!ch ho!se$or( there is todo, so from da" one I reB!ested all hands on dec( and I $as %er"pleasantl" s!rprised to see them all get on $ith the $or(, $itho!t asingle complaint he" $ere a tremendo!s help $hen it came tocoo(ing and cleaning he" )ecame so foc!sed and concentrated on

$hat the" $ere doing, it $as almost as if the" had lost the a)ilit" tocomm!nicate $ith each other I also )elie%e that the" )ene8ttedgreatl" from the ed!cational programme I introd!ced altho!gh onone occasion the" did plan a great escape, )!t again I $ase&pecting something li(e this to happen and $as a)le to deal $ith it

I am delighted to sa" that as the $ee( progressed, the children)ecame less %iolent to$ards each other and )ecame more a$are oftheir tas(s and ho$ to approach them I $as fort!nate eno!gh tosee signi8cant impro%ements in the form of the coo(ing, thecleaning and their treatment of each other and also of me It seems

as tho!gh the" realised that m" e&pectations $ere simpl" going to)e )ene8cial to them and the" accepted this gracef!ll"

Ho$e%er, I am slightl" disappointed in "o! as parents as I feel thatthe" are treated $ith too m!ch respect and not eno!gh discipline Ifit $asn0t for m" $atchf!l e"e, $ho (no$s $here the" co!ld ha%edisappeared o' to, on o!r trip to to$n

his coming $ee( I plan to catch !p on all of the ho!se$or( I $as!na)le to compete this last $ee( here is a ho!se to clean, a

garden to (eep in tact and animals to feed I also plan to pa" "o! a%isit, and see ho$ the children are getting on


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6o!rs sincerel",-!nt Pegg

he letter de%elops ideas relating to the 8rst t$o )!lletsX the thirdsection is $ea(er, ho$e%er, )eing )rief and %ag!e, and there is littlereference thro!gho!t to speci8c detail he B!alit" of the $riting ishigh: it is


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9es Re%ort

Ne$s .eport Str!ct!re

Headline

+ Ne$s E%ent

/What When Where Who1

*ac(gro!nd

/Wh" pre%io!s histor", lead2!p to this e%ent, ca!ses1

3 .eport of act!al ne$s e%ent

/detailed acco!nt of $hat happened and $hat is still happening1

S!)2Heading /short phrase, B!otationX optional1

4 F!otations

/participants, $itnesses, police, hospital etc1

A =!t!re

/conseB!ences, in%estigations, predictions1


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!or)al Re%ort

=ormal .eport Str!ct!re

+ E&planation of sit!ation

/5i%e some indication of $hat "o! are reporting on and $hat thecirc!mstances are: it co!ld )e presenting 8ndings to a committeeafter e%al!ation options, gi%ing a $itness acco!nt of an e%ent,gi%ing e%idence after monitoring a process eg a st!dent on a$ee(0s $or( e&perience he person rece%ing the report is someonein a!thorit" in an oVcial position, and the st"le m!st re


56/57

o!r 8rm0X 7-ltho!gh there ha%e )een man" school trips o%er the lastfe$ "ears, it $as !nanimo!sl" agreed that this $as the )est)eca!se of the attracti%eness of the destination and the remar(a)leteam spirit amongst the gro!p01

5aga6ine (rticle

TInsert pdfU

Dialogue3Intervie

E&emplar

Headteacher: >ets consider $hat these st!dents ha%e said I m!stlet the 5C (no$ toda" $hich 8nalist $e ha%e chosen I am sorr" to

ha%e left it so late )!t I ha%e )een e&tremel" )!s", "o! m!st forgi%eme: Dep!t": 9f co!rse Headteacher, and I am also f!ll" a$are of"o!r dilema, there reall" is some sti' competition this "ear and ofco!rse onl" one can )e chosen Head: 6es it0s s!ch a shame Soan"$a", onto o!r 8nalists I m!st sa" Didier has reall" impressedme, he loo(s strong and athletic and is of co!rse %er" pop!lar $iththe other )o"s, )eing foot)all captain "o! (no$ -nd loo( here hesa"s he has alread" )een part of an acti%it" gro!p for )o"s, lighting8res and 8shing for food and shelter )!ilding, all %er" importantcriterea from the 5C lea


57/57

p!t !p a good arg!ment then in the tropical conditions it co!ld )eB!ite heated )et$een her and other girls, altho!gh she sa"s she canstop arg!ments, and "es, she doesn0t li(e the )!gs and sna(es, thisco!ld pro%e a h!ge $ea(ness in the #!ngle I thin( $e m!st thin(caref!ll" Dep!t": 9f co!rse headteacher, %er" tr!e 9(a", shall $e

ha%e a loo( at o!r 8nal candidate Head: 6es "es, of co!rse Kim isit 6es here $e are -H- No$ $o!ld "o! loo( at this, I li(e the loo(of this, an all ro!nd achie%er, I m!st sa" I li(e the idea of that, againgood $ith people, thats important Kim also li(es o!tdoors and roc(clim)ing, not onl" that )!t she has done her 8rst aid co!rse, %er"good - good in%entor, good good, sho$s innitiati%e I thin(, and sheis alread" into rec"cling and the 75reener0 side of life, $hich is $hatthis is all a)o!t Dep!t": Do "o! )elie%e Kim sho!ld therefore $inthe competition, headteacher Head: /long pa!se1 6o! (no$, I thin(I do She seems to )e a )etter all ro!nd candidate than the othert$o, more important than )eing concentrated in one position I thin(Dep!t": I thin( "o!r right She does displa" more agrea)le B!alities,and does in fact 8t the criterea )etter: Head: Indeed Well I thin(thats a)o!t it then, I thin( $e ha%e co%ered e%er"thing, Kim shall$in the competition as she seems to )e the t"pe of person $hoco!ld )e easil" adapta)le as the leaang!age English Standards *oo(let+3 Section + here is a con%incing start to the dialog!e here as the%oices of the Headteacher and Dep!t" so!nd B!ite a!thentic hete&t is co%ered $ell, not #!st the more o)%io!s ph"sical 8tnessaspects, )!t the sense of representing the school and $hether

candidates $ill 8t in $ell sociall" $ith the other st!dents on thechallenge here are instances of so!nd inference and e%al!ation,and man" ideas are dealt $ith, )!t there is a sense that theresponse is r!shed $ith a lac( of control, at times, that detracts -lac( of f!ll stops and erratic control of sentence str!ct!re detractsfrom a li%el" and con%incing arg!ment ?ar(: /reading1 Z /$riting1

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