LITERATURE IN ENGLISH

HIGHER 2 (Subject 9725) CONTENTS

Page

AIMS ASSESSMENT OBJECTIVES ASSESSMENT STRUCTURE APPENDIX A: POEMS AND SHORT PROSE SELECTED FOR EXAMINATION PURPOSES APPENDIX B: ASSESSMENT CRITERIA FOR PAPER 1 APPENDIX C: ASSESSMENT CRITERIA FOR PAPERS 25 APPENDIX D: EDITIONS USED FOR SETTING QUESTIONS

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9725 H2 LITERATURE IN ENGLISH (2012)

AIMS
To develop in students: 1. an appreciation of, and informed personal response to, Literature in English; 2. a love of reading, and the ability to read critically; 3. an understanding of the historical and cultural contexts for literary production; 4. an understanding of the nature and methods of literary study; 5. the interdependent skills of reading, analysis and communication; 6. effective, persuasive and appropriate communication of ideas.

ASSESSMENT OBJECTIVES
Candidates should be able to: 1. make an informed personal and critical response to the text/texts and account for their responses to texts; 2. demonstrate an understanding of how the literary context of the text informs their understanding of the text; 3. critically analyse and evaluate ways in which writers choices of form, structure and language shape meanings; 4. clearly communicate the knowledge, understanding and insights appropriate to literary study.

9725 H2 LITERATURE IN ENGLISH (2012)

ASSESSMENT STRUCTURE
One compulsory written examination of 3 hrs duration will be set. In addition, four elective papers, each comprising a written examination of 3 hrs duration, will be set. Candidates will choose one elective paper. ASSESSMENT MODE The Examinations are open book: candidates will be allowed to bring copies of their set texts into the examination room. a. Materials that can be taken into the examination room Only original texts (original published editions) should be taken into the examination room. Nothing else, including critical works or study notes of any kind, should be taken into the examination room. The use of dictionaries is not permitted. b. Underlining and highlighting of texts Only underlining, highlighting or the use of vertical lines in the margins is permitted. Nothing else should be written in the texts. Separate pieces of paper such as post-its and tape flags are not allowed. c. Folding and Flagging of Pages Any kind of folding or flagging of pages in texts (e.g. use of post-its, tape flags or paper clips) is not permitted.

QUESTION TYPES AND SPECIFICATIONS The questions in the examination focus on three areas of skill Response, Analysis and Comparison. (i) Response This is the candidates ability to respond to either an unseen text extract, or a passage from a set text. In doing so, candidates will demonstrate the ability to analyse both the formal and stylistic features of the extract (Assessment Objectives i and iii). This skill is assessed in Sections A, B and C of Paper 1, and Section A of the elective papers. For the elective papers, candidates will also demonstrate the ability to relate the extract to key features of the period or topic covered by the paper (Assessment Objective ii). Analysis This is the candidates ability to write a critical analysis of the set texts they have studied. In doing so, candidates will demonstrate an ability to make an informed personal and critical response to the text as a whole (Assessment Objectives i and iii). This skill is primarily assessed in Sections B and C of both Paper 1 and the elective papers. Comparison This is the candidates ability to critically compare and evaluate unseen texts (with regard to Paper 1) and the set texts they have studied (with regard to the elective papers). In doing so, candidates will demonstrate an ability to identify, compare and critically assess key features of each text (Assessment Objectives i, ii and iii). This skill is assessed in Section A of Paper 1. For each elective paper, this is assessed with appropriate reference to the literary features of the period or topic covered by the paper (Assessment Objective ii). This skill is assessed in Section B of the elective papers.

(ii)

(iii)

All of these types of questions will also require the candidate to organise and present information, ideas and arguments clearly and effectively (Assessment Objective iv). Their grammar, punctuation, and spelling will also be taken into account.

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PAPER 1: READING LITERATURE (3 hours) Paper 1 is a compulsory paper designed to give students broad exposure to literary study. The texts set will be texts of recognised importance and significance. Both H1 and H2 students offer this paper. Candidates will answer one question from each of the three Sections. All questions hold equal weight in the computing of marks for the paper (i.e. 33% each). Section A: Poetry Two questions will be set, primarily focusing on response and comparison skills (see Question Types and Specifications). Each question will require the candidate to respond to and critically compare two unseen poems. The candidate will answer one question. Section B: Prose In this section, the student will study one of the following prose texts: * * * * E.M. Forster: A Room with a View Jean Rhys: Wide Sargasso Sea Emily Bronte: Wuthering Heights J.M. Coetzee: Disgrace

Two questions will be set for each text, primarily focusing on analysis skills (see Question Types and Specifications). One question will be an essay question, the other will be a passage-based question. The candidate will answer one question on one text. Section C: Drama In this section, the student will study one of the following drama texts. * * * * Harold Pinter: The Birthday Party Oscar Wilde: The Importance of Being Earnest William Shakespeare: Richard III David Auburn: Proof

Two questions will be set for each text, primarily focusing on analysis skills (see Question Types and Specifications). One question will be an essay question, the other will be a passage-based question. The candidate will answer one question on one text.

* These texts will also be available in 2013 but only for CI3 and repeat JC2 candidates.

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ELECTIVE PAPERS Papers 2 to 5 are elective papers. In addition to Paper 1, H2 students offer one paper from Papers 2 to 5. Papers 2 and 3 are period-based papers, each focusing on a period of literary writing. Papers 4 and 5 are topic-based papers, each focusing on a topic of literary significance. Each elective paper will be offered for three to four years and then replaced. For all the H2 papers, candidates should be capable of commenting on the stylistic and literary features of the texts in their discussion of unseen extracts and texts studied. In other words, the ability to appreciate the text in and of its own right is assessed, alongside the ability to demonstrate knowledge of the literary context. Candidates will answer three questions in the elective paper they have chosen: In Section A, they will answer one question from a choice of two on an unseen text extract from the period or topic that is the focus of the paper. This question will focus primarily on response and analysis skills (see Question Types and Specifications). In Section B, they will answer one Comparison question from a choice of two. The question will require them to compare two texts they have studied and will focus primarily on comparison and analysis skills (see Question Types and Specifications). In Section C, they will answer one question, primarily focusing on analysis skills (see Question Types and Specifications) from a choice of eighteen. The questions set for the topic-based papers will be related to some aspect of the topic studied. Questions on the period-based papers will deal with any aspect of the text studied. Two questions will be set on each of the texts below. Candidates must not use the same texts in Section B and Section C. PAPER 2: THE ENGLISH RENAISSANCE 15581660 (3 hours) This paper focuses on writing in English from the years 1558-1660. The student will study three of the following texts: * * * * * * * * * Thomas Nashe: The Unfortunate Traveller Francis Bacon: The Major Works William Shakespeare: Sonnets William Shakespeare: Hamlet George Herbert: The Complete English Poems John Donne: The Complete English Poems Christopher Marlowe: The Jew of Malta Cyril Tourneur: The Revengers Tragedy Ben Jonson: The Alchemist

PAPER 3: CONTEMPORARY BRITISH LITERATURE: 1980PRESENT (3 hours) This paper examines a range of recent British writing. The student will study three of the following texts: * * * * * * * * * Ian McEwan: Amsterdam Ali Smith: The Accidental Julian Barnes: England, England Clare Morrall: Astonishing Splashes of Colour Louise Page: Golden Girls and Real Estate Hanif Kureishi: Borderline and Birds of Passage David Hare: Skylight and Amys View Tony Harrison: Selected Poems Liz Lochhead: The Colour of Black and White

* These texts will also be available in 2013 but only for CI3 and repeat JC2 candidates.

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PAPER 4: POST-COLONIAL LITERATURE: ASIAN WRITING (3 hours) This paper examines post-colonial literary issues vis--vis texts written by Asian writers. The student will study three of the following texts: * * * * * * * * * Anita Desai: In Custody Christine Suchen-Lim: A Fistful of Colours Jhumpa Lahiri: Interpreter of Maladies V.S. Naipaul: A House for Mr Biswas Timothy Mo: Sour Sweet Ruth Prawer Jhabvala: Heat and Dust Arthur Yap: The Space of City Trees Kuo Pao Kun: Two Plays by Kuo Pao Kun: The Spirits Play Lloyd Fernando: Scorpion Orchid

Descendants of the Eunuch Admiral and

PAPER 5: WOMEN IN LITERATURE (3 hours) This paper explores the presentation of women in literature over a range of periods. The student will study three of the following texts: * * * * * * * * * Daniel Defoe: Moll Flanders Thomas Hardy: Tess of the D'urbervilles Marilynne Robinson: Housekeeping D.H. Lawrence: Women in Love Jeanette Winterson: Oranges Are Not The Only Fruit Carol Ann Duffy: Selected Poems Emily Dickinson: The Complete Poems William Shakespeare: The Taming of the Shrew Caryl Churchill: Top Girls

* These texts will also be available in 2013 but only for CI3 and repeat JC2 candidates.

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AREAS OF STUDY The study of Literature at H2 level should be seen as a process of critically examining texts. In addition to the study of inherent stylistic features of texts, students should also explore the specific contexts that led to the production of these texts, as well as how readers and audiences relate to the texts. Students should engage with texts at various cognitive and affective levels. As the study of Literature covers multiple aspects which may not always be easily demarcated, the following areas of study are broad indications of the ground that could be covered in the course of teaching Literature. (i) Literary Features These include: The definition of a genre, the individual form of the text and its stylistic features. Study of how these features are used by authors, and to what effect, in the various texts, seen and unseen, that students encounter. Text and Context An appreciation of how the texts studied relate to the contexts in which they were created, including social, cultural and historical contexts. Exploration of the ideologies and assumptions in the texts. A more informed interrogation of the text can be made when students are aware of the events and ideas that predominated during the period in which these texts were created. How texts relate to movements in artistic creation at a particular point in time. The study of literary forms is relevant here. For example, it is useful for students reading a sonnet written by a Romantic poet to have an understanding of the general features of the Romantic movement as well as knowledge of how the sonnet form has developed in Literature in English up to that point. Language Use Proficiency in the use of the English language in both a functional and literary sense. Study of language use at the grammatical, lexical and structural levels. Examination of elements of style, such as register, figurative language, rhythm and language patterns. Understanding of the effects of the use of language to create meaning by writers from the word level right through to discourse levels.

(ii)

(iii)

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SPECTRUM OF SKILLS Candidates should be equipped with the following skills: (i) (ii) (iii) (iv) An ability to make an informed personal response to the text(s) and account for their responses. An ability to understand and comment on the ways in which the historical and cultural backgrounds of text and author inform the meaning of the text. An ability to analyse and evaluate critically the ways in which writers choices of form, structure and language shape meanings. An ability to communicate clearly knowledge, understanding and insights appropriate to literary study.

Skills (i) Make an informed and critical personal response to the text(s) and account for their responses to texts.

Examples Develop an informed personal response Make connections between their own ideas and experiences and those in the text Reflect critically on the development of their own informed response Comment on the ways in which both content and form shape the readers response Demonstrate knowledge of ways in which a text invites the reader to respond Demonstrate knowledge of some key social, cultural and historical influences in the creation of texts Comment on ways in which characters, viewpoints, and situations convey the social conventions, beliefs and attitudes of individuals and groups in a particular society Identify and interpret the ideas, viewpoints and values expressed in a text Understand literary influences and traditions and the notion of reader, text and author Understand the elements of literary genres Analyse literary form including structure, setting, character, conflict, plot, methods of characterization, themes Analyse stylistic devices including voice, persona, symbolism, irony, mood and tone Analyse the use of language including register, diction, tone, imagery, rhythm in a text Recognise imaginative or dramatic techniques for creating effects Present a sustained interpretation supported by appropriate and detailed references to the text(s) Present an evaluative/critical comparison and make connections between two or more texts Demonstrate an ability to write effective literary essays to convey their knowledge and understanding of, and insight into the texts Show an ability to use appropriate literary terms in their responses Present a clear and coherent argument in support of their ideas

(ii)

Demonstrate an understanding of how the literary context of the text informs their understanding of the text.

(iii)

Critically analyse and evaluate ways in which writers choices of form, structure and language shape meanings.

(iv)

Clearly communicate the knowledge, understanding and insights appropriate to literary study.

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APPENDIX A

Poems and Short Prose Selected for Examination Purposes

Candidates should study the following:

PAPER 2: THE ENGLISH RENAISSANCE 15581660

Francis Bacon: Major Works New Atlantis The Advancement of Learning (Book 1) Essays (1625): Of Truth Of Revenge Of Love Of Cunning Of Discourse.

William Shakespeare: Sonnets 1: From fairest creatures we desire increase... 2: When forty winters shall besiege thy brow... 15: When I consider every thing that grows... 16: But wherefore do you not a mightier way...? 17: Who will believe my verse in time to come...? 18: Shall I compare thee to a summers day? 19: Devouring Time, blunt thou the lions paws... 20: A womans face, with Natures own hand painted... 29: When in disgrace with Fortune and mens eyes... 30: When to the sessions of sweet silent thought... 33: Full many a glorious morning have I seen... 40: Take all my loves, my love, yea, take them all... 41: Those pretty wrongs that liberty commits... 42: That thou hast her, it is not all my grief... 53: What is your substance, whereof are you made...? 55: Not marble nor the gilded monuments... 60: Like as the waves make towards the pebbled shore... 64: When I have seen by Times fell hand defaced... 71: No longer mourn for me when I am dead... 73: That time of year thou mayst in me behold... 74: But be contented. When that fell arrest... 87: Farewell! thou art too dear for my possessing... 93: So shall I live, supposing thou art true... 94: They that have power to hurt and will do none... 97: How like a winter hath my absence been... 99: The forward violet thus did I chide... 110: Alas, tis true I have gone here and there... 111: O, for my sake do you with Fortune chide... 116: Let me not to the marriage of true minds... 129: Th expense of spirit in a waste of shame... 130: My mistress eyes are nothing like the sun... 134: So now I have confessd that he is thine... 135: Whoever hath her wish, thou hast thy will... 138: When my love swears that she is made of truth... 144: Two loves I have, of comfort and despair...

9725 H2 LITERATURE IN ENGLISH (2012) George Herbert: The Complete English Poems from The Church The Sacrifice The Reprisal The Agony Redemption Easter-Wings Prayer (1) Love (1) Love (2) The Temper (1) The Temper (2) Jordan (1) The Church-Floor The Windows Humility Denial The World Vanity (1) Virtue The Pearl. Matthew 13:45 Man Life Charms and Knots Mortification Misery Jordan (2) The Quip Dialogue Peace Mans Medley Artillerie The Collar The Pulley The Flower Aaron The Forerunners Discipline A Wreath Death Heaven Love (3).

John Donne: The Complete English Poems from Songs and Sonnets: Air and Angels The Anniversary The Apparition The Canonization The Ecstasy The Expiration The Flea The Funeral The Good Morrow The Indifferent Lovers Infiniteness from Verse Letters: The Storm The Calm from Divine Poems Divine Meditations: Sonnet 7 (At the round earths imagined corners) Sonnet 10 (Death be not proud ) Sonnet 13 (What if this present were the worlds last night?) Sonnet 14 (Batter my heart, threepersoned God) Sonnet 18 (Show me dear Christ, thy spouse) Good Friday, 1613. Riding Westward Hymn to God my God, in my Sickness A Hymn to God the Father Loves Growth A Nocturnal upon S. Lucys Day, being the shortest day The Prohibition The Relic Song (Go, and catch a falling star) Song (Sweetest love, I do not go) The Sun Rising Twickenham Garden A Valediction: forbidding Mourning.

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PAPER 3: CONTEMPORARY BRITISH LITERATURE: 1980PRESENT

Tony Harrison: Selected Poems from The School of Eloquence ONE On Not Being Milton The Rhubarbarians I, II Study Me Tarzan Wordlists I, II, III Classics Society National Trust Them & [uz] I, II Working Cremation TWO Book Ends I, II Next Door I, II, III, IV Long Distance I, II Flood Clearing I, II Illuminations I, II, III Turns Punchline Changing at York Marked With D A Close One Testing the Reality The Effort Bye-Byes Blocks Jumper Bringing Up Timer Fire-eater Background Material THREE Self Justification Divisions I, II Lines to my Grandfathers I, II The Earthen Lot Dichtung und Wahrheit Art & Extinction: 1. The Birds of America i. John James Audubon ii. Weeki Wachee iii. Standards 2. Loving Memory 3. Looking Up 4. Killing Time 6. tArk Facing North A Kumquat for John Keats The Lords of Life The Fire-Gap Following Pine Cypress & Cedar

Liz Lochhead: The Colour of Black and White I The Man in the Comic Strip In the Black and White Era The New-married Miner The Baker II Clothes III A Night In IV Epithalamium The Bride The Redneck The Bridegroom V Two poems on characters suggested by Bram Stokers Dracula 1. Lucys Diary 2. Renfields Nurse VI From Five Berlin Poems: aquarium I aquarium 2 VII Good Wood Papermaker Warpaint and Womanflesh The Journeyman/Paul Cezanne on Mont Sainte Victoire VIII Year 2K email epistle to Carol Ann Duffy, Sisterpoet & friend of my Youth Black and White Allsorts Hell for Poets In the Beginning The Ballad of Mary Shelleys Creature Lady of Shalott Advice to Old Lovers My Way

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PAPER 4: POST COLONIAL LITERATURE ASIAN WRITING

Arthur Yap: The Space of City Trees from Only Lines location one road panchor garden episode expansion coming up, flowers old house at ang siang hill in passing readjustment from Five Takes fire off kim seng bridge the send-off almost still-life recurrent imagery minimum excavation from Commonplace black & white everythings coming up numbers some friends dog-eared new year 75, Leeds commonplace the coffee house, cockpit hotel similes configuration from Down the Line shipwreck down the line late-night bonus traffic sights i think (a book of changes) 2 mothers in a hdb playground fiscal ear from Man Snake Apple still-life v man snake apple dinosaurs exchanges alternation paraphrase paired stills cianjur

PAPER 5: WOMEN IN LITERATURE

Carol Ann Duffy: Selected Poems from Standing Female Nude Girl Talking Lizzie Six Education for Leisure I Remember Me Whoever She Was Dear Norman Standing Female Nude Shooting Stars from Selling Manhattan Dies Natalis The Dummy Recognition Lovesick The Virgin Punishing the Infant Big Sue, and Now Voyager Foreign Correspondents Warming her Pearls Miles away from The Other Country Originally In Mrs Tilschers Class Liar Girlfriends River The Way My Mother Speaks from Mean Time Brothers Stafford Afternoons The Good Teachers Small Female Skull The Grammar of Light Valentine Close Prayer

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9725 H2 LITERATURE IN ENGLISH (2012) Carol Ann Duffy: Selected Poems (continued) from The Worlds Wife Mrs Midas Mrs Lazarus Mrs Aesop Queen Kong

Emily Dickinson: The Complete Poems A poor torn heart a tattered heart I had some things that I called mine Your riches taught me Poverty After great pain, a formal feeling comes Twas the old road through pain I dreaded that first Robin, so, A Solemn thing within the Soul Better than Music! For I who heard it He touched me, so I live to know It was not Death, for I stood up If you were coming in the Fall The Soul has Bandaged moments I started Early Took my Dog I had no cause to be awake One Crucifixion is recorded only I measure every Grief I meet My period had come for Prayer Heaven has different Signs to me I prayed at first, a little Girl I had been hungry all the Years We talked as Girls do I cried at Pity not at Pain It troubled me as once I was One need not be a Chamber to be Haunted Life is what we make it I sometimes drop it, for a Quick Because I could not stop for Death Precious to Me She still shall be Let Us play Yesterday My Life had stood a Loaded Gun Severer Service of Myself Nature, the gentlest Mother is, Struck, was I, not yet by Lightning Were Thou but ill that I might show thee My Triumph lasted till the Drums Dear March come in I never hear that one is dead Proud of my broken heart, since thou didst break it Rearrange a Wifes affection!

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APPENDIX B: ASSESSMENT CRITERIA FOR PAPER 1

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Section A

Band Descriptors

Notes on Implementation of Band Descriptors The descriptors are intended as a guide to the likely characteristics of work in a particular mark band. It is not expected that all the listed characteristics will be present or that they will exist in equal proportions. It is essential that examiners exercise flexibility in mapping the descriptors to the work they are assessing. Examiners approach to the assessment of work should always be positive, based on what the candidate has written and never on what she/he has not written. In other words, work should not be penalised for failure to make points or adopt critical approaches and styles predetermined by examiners. However, where a candidates execution of his/her chosen approach involves significant errors or omissions, these will be noted and will legitimately influence the mark awarded. The descriptors do not list every possible literary feature that may be identified by candidates, but candidates will be rewarded for detailed comment on language, form and style such as: structure, genre, diction, syntactical devices, register, imagery, tone, rhythm, rhyme, linguistic patterns and dramatic qualities.

2225 Very good work, showing discrimination and sometimes originality, in making an informed personal and critical response to the poems Compares the two poems skilfully, and perhaps in original ways, moving between them with ease Engages with the poems through detailed close analysis Analyses with skill and discrimination ways in which writers uses of poetic form, structure and language creates the meanings of the poems Evaluates the effects of the writers use of form, style and language with a mature judgement and clear focus on the question and key issues Develops a seamless, coherent response to the question Uses quotation, paraphrase and critical terminology appositely and economically Work in this band responds sensitively, perceptively and personally to the poems; it is often subtle, concise and sophisticated, with a style that is fluent and gives economic expression to complex ideas; at the upper end this work may be elegant and allusive

1821 Proficient work, making an informed personal and critical response to the poems Compares the two poems appropriately and skilfully Engages with the poems through close analysis Analyses with skill ways in which writers uses of poetic form, structure and language create the meanings of the poems

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Evaluates the effects of the writers use of form and style and language with constant reference to the question Develops a coherent response to the question Uses quotation, paraphrase and some critical terminology appositely Uses a style that is always clear, mostly fluent, capable of giving accurate expression to complex ideas

1417 Competent work, making an informed critical response to the poems with some personal response Compares the two poems in appropriate ways, though may discuss them separately at times Makes a close analysis of the poems, at times simply following line by line Analyses ways in which writers uses of poetic form, structure and language create the meanings of the poems Evaluates the effects of the writers use of form and style and language Develops a structured response to the question Uses quotation, paraphrase and some critical terminology accurately and mostly appositely Uses an effective style that is able to communicate clearly knowledge and understanding of the poems and the issues raised by poem and question, with only occasional lapses

1013 Satisfactory work, making a response to the poems that shows sound knowledge and some personal response Makes some comparison of the two poems, but tends to discuss them separately Analyses the poems in a line-by-line fashion Makes some analysis of ways in which writers uses of form, style and language create the meanings of the poems Responds mainly in terms of narration of the main features of the poems with some attempt at evaluation of the effects of the writers use of form, style and language possibly with some misunderstanding Responds to the question set most of the time though with some digression; assembles relevant points into a simply structured response Makes use of quotation, and paraphrase and may use some critical terminology, with some misunderstanding Uses a basic style that is able to communicate knowledge and understanding of the poems and the issues raised by poem and question, with only occasional obscurity
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69 Uneven work, making a response to the poems that shows some understanding Discusses both poems but does not develop the comparison Makes appropriate references to writers uses of poetic form, structure and language with some analysis of the ways in which they create the meanings of the poems Makes some attempt at evaluation of the effects of the writers use of form, style and language possibly with some misunderstanding Responds to the question set at first, but tends to digress Assembles points rather than analyses, tending to list points and make general assertions Makes some use of paraphrase or quotation; limited reference to critical terminology Uses a simple style, or possibly an over-complex style that succeeds most of the time in communicating knowledge and understanding of the poems

15 Some attempt to hold to poems and question, showing a simplistic approach to the task The work is often brief, undeveloped, and exists as a series of points rather than as a line of argument Expression is simple, technical errors are recurrent, and the work relies on narrative rather than analysis, although description is sometimes valid

0 To be awarded only where there is no evidence of any knowledge of, or response to the poems

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Sections B and C Notes on Implementation of Band Descriptors

Band Descriptors

The descriptors are intended as a guide to the likely characteristics of work in a particular mark band. It is not expected that all the listed characteristics will be present or that they will exist in equal proportions. It is essential that examiners exercise flexibility in mapping the descriptors to the work they are assessing. Examiners approach to the assessment of work should always be positive, based on what the candidate has written and never on what she/he has not written. In other words, work should not be penalised for failure to make points or adopt critical approaches and styles predetermined by examiners. However, where a candidates execution of his/her chosen approach involves significant errors or omissions, these will be noted and will legitimately influence the mark awarded. The descriptors do not list every possible literary feature that may be identified by candidates, but candidates will be rewarded for detailed comment on language, form and style such as: structure, genre, diction, syntactical devices, register, imagery, tone, rhythm, rhyme, linguistic patterns and dramatic qualities.

2225 Very good work, showing discrimination and sometimes originality, in making an informed personal and critical response to the text Analyses with skill and discrimination ways in which writers uses of form, structure and language create the meanings of the text Evaluates the effects of the writers use of form, style and language with a mature judgement and clear focus on the question and key issues Develops a seamless, coherent argument relevant to the question Demonstrates sophisticated understanding of the literary context of the text in terms of period/theme/genre/historical context Supports with detailed, pertinent reference to the text, using quotation, paraphrase and critical terminology appositely and economically Work in this band responds sensitively, perceptively and personally to the question set; is often subtle, concise and sophisticated, with a style that is fluent and gives economic expression to complex ideas; at the upper end this work may be elegant and allusive

1821 Proficient work, making an informed personal and critical response to the text Analyses with skill ways in which writers uses of form, structure and language create the meanings of the text Evaluates the effects of the writers use of form, style and language with constant reference to the question Develops a coherent argument relevant to the question
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Demonstrates, where relevant, a good understanding of the literary context of the text in terms of period/theme/genre/historical context Supports with detailed, pertinent reference to the text, using quotation, paraphrase and some critical terminology appositely Uses a style that is always clear, mostly fluent; able to give accurate expression to complex ideas 1417 Competent work, making an informed critical response to the text with some personal response Analyses ways in which writers uses of form, structure and language create the meanings of the text Evaluates the effects of the writers use of form, style and language Develops a structured response to the question Demonstrates a sound understanding of the literary context of the text in terms of period/theme/genre/historical context Supports with appropriate reference to the text at times too much or too little, using quotation, paraphrase and some critical terminology accurately and mostly appositely Uses an effective style that is able to communicate clearly knowledge and understanding of the text and the issues raised by text and question, with only occasional lapses 1013 Satisfactory work, making a response to the text that shows sound knowledge and some personal response Makes some analysis of ways in which writers uses of form, structure and language create the meanings of the text Responds mainly in terms of narration of the main features of the text with some attempt at evaluation of the effects of the writers use of form, style and language possibly with some misunderstanding Responds to the question set most of the time within a simple structure though with some digression into generality Demonstrates at times, some awareness of the literary context of the text in terms of period/theme/genre/historical context Supports some points with appropriate reference to the text, using quotation and paraphrase mostly accurately perhaps uses some critical terminology, with some misunderstanding Uses a basic style that is able to communicate knowledge and understanding of the text and the issues raised by text and question, with only occasional obscurity

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69 Uneven work, making a response to the text that shows knowledge of the text Makes appropriate references to writers uses of form, structure and language with some analysis of the ways in which they create the meanings of the text Makes some attempt at evaluation of the effects of the writers use of form, style and language possibly with some misunderstanding Responds to the question set at first, but tends to digress and lacks structure May demonstrate at times, some awareness of the literary context of the text in terms of period/theme/genre/historical context, but without understanding of how this relates to the individual text Supports some points with reference to the text; relies mostly on assertion, with repetition; uses quotation and paraphrase at times, possibly not wholly accurate, at too great a length and without discrimination Uses a simple style, or possibly an over-complex style that succeeds most of the time in communicating knowledge and understanding of the text

15 Some attempt to hold to text and question showing a simplistic approach to the task The work is often brief, undeveloped, and exists as a series of points rather than as a line of argument Expression is simple, technical errors are recurrent, and the work relies on narrative rather than analysis, although description is sometimes valid

0 To be awarded only where there is no evidence of any knowledge of, or response to the text

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APPENDIX C: ASSESSMENT CRITERIA FOR PAPERS 25

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Section A

Band Descriptors

Notes on Implementation of Band Descriptors The descriptors are intended as a guide to the likely characteristics of work in a particular mark band. It is not expected that all the listed characteristics will be present or that they will exist in equal proportions. It is essential that examiners exercise flexibility in mapping the descriptors to the work they are assessing. Examiners approach to the assessment of work should always be positive, based on what the candidate has written and never on what she/he has not written. In other words, work should not be penalised for failure to make points or adopt critical approaches and styles predetermined by examiners. However, where a candidates execution of his/her chosen approach involves significant errors or omissions, these will be noted and will legitimately influence the mark awarded. The descriptors do not list every possible literary feature that may be identified by candidates, but candidates will be rewarded for detailed comment on language, form and style such as: structure, genre, diction, syntactical devices, register, imagery, tone, rhythm, rhyme, linguistic patterns and dramatic qualities. Candidates are to be rewarded for evidence of wider reading, though not penalised for the lack of any such evidence. 2225 Very good work, showing discrimination and sometimes originality, in making an informed personal and critical response to the text(s) Engages with the text(s) through detailed close analysis Analyses with skill and discrimination ways in which writers uses of form, structure and language create the meanings of the text(s) Evaluates the effects of the writers use of form, style and language with a mature judgement and clear focus on the question and key issues Develops a seamless, coherent response to the question Demonstrates sophisticated understanding of the literary context of the text in terms of period/theme/genre/historical context Uses quotation, paraphrase and critical terminology appositely and economically Work in this band responds sensitively, perceptively and personally to the text(s); it is often subtle, concise and sophisticated, with a style that is fluent and gives economic expression to complex ideas; at the upper end this work may be elegant and allusive 1821 Proficient work, making an informed personal and critical response to the text(s) Engages with the text(s) through close analysis Analyses with skill ways in which writers uses of form, structure and language create the meanings of the text(s) Evaluates the effects of the writers use of form and style and language with constant reference to the question Develops a coherent response to the question

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9725 H2 LITERATURE IN ENGLISH (2012)

Demonstrates, where relevant, a good understanding of the literary context of the text in terms of period/theme/genre/historical context Uses quotation, paraphrase and some critical terminology appositely Uses a style that is always clear, mostly fluent, capable of giving accurate expression to complex ideas 1417 Competent work, making an informed critical response to the text(s) with some personal response Makes a close analysis of the text(s), at times simply following line by line Analyses ways in which writers uses of form, structure and language create the meanings of the text(s) Evaluates the effects of the writers use of form and style and language Develops a structured response to the question Demonstrates a sound understanding of the literary context of the text in terms of period/theme/genre/historical context Uses quotation, paraphrase and some critical terminology accurately and mostly appositely Uses an effective style that is able to communicate clearly knowledge and understanding of the text(s) and the issues raised by text and question, with only occasional lapses 1013 Satisfactory work, making a response to the text(s) that shows sound knowledge and some personal response Analyses the text(s) in a line-by-line fashion Makes some analysis of ways in which writers uses of form, style and language create the meanings of the text(s) Responds mainly in terms of narration of the main features of the text(s) with some attempt at evaluation of the effects of the writers use of form, style and language possibly with some misunderstanding Responds to the question set most of the time though with some digression; assembles relevant points into a simply structured response Demonstrates at times some awareness of the literary context of the text in terms of period/theme/genre/historical context Makes use of quotation, and paraphrase and may use some critical terminology, with some misunderstanding Uses a basic style that is able to communicate knowledge and understanding of the text(s) and the issues raised by text and question, with only occasional obscurity 69 Uneven work, making a response to the text(s) that shows some understanding Responds to the question set at first, while tending to digress Makes appropriate references to writers uses of poetic form, structure and language with some analysis of the ways in which they create the meanings of the text(s)
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9725 H2 LITERATURE IN ENGLISH (2012)

Makes some attempt at evaluation of the effects of the writers use of form, style and language possibly with some misunderstanding Assembles points rather than analyses, tending to list points and make general assertions May demonstrate at times some awareness of the literary context of the text in terms of period/theme/genre/historical context, but without understanding of how this relates to the individual text Makes some use of paraphrase or quotation; limited reference to critical terminology Uses a simple style, or possibly an over-complex style that succeeds most of the time in communicating knowledge and understanding of the text(s)

15 Some attempt to hold to text and question, showing a simplistic approach to the task The work is often brief, undeveloped, and exists as a series of points rather than as a line of argument Expression is simple, technical errors are recurrent, and the work relies on narrative rather than analysis, although description is sometimes valid 0 To be awarded only where there is no evidence of any knowledge of, or response to the text

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9725 H2 LITERATURE IN ENGLISH (2012)

Section B

Band descriptors

Candidates must answer on different texts in Sections B and C and will not be rewarded for any overlap of material. In Section B, candidates must compare two texts, and must therefore give roughly equal weight to the two texts in their answer. Notes on Implementation of Band Descriptors The descriptors are intended as a guide to the likely characteristics of work in a particular mark band. It is not expected that all the listed characteristics will be present or that they will exist in equal proportions. It is essential that examiners exercise flexibility in mapping the descriptors to the work they are assessing. Examiners approach to the assessment of work should always be positive, based on what the candidate has written and never on what she/he has not written. In other words, work should not be penalised for failure to make points or adopt critical approaches and styles predetermined by examiners. However, where a candidates execution of his/her chosen approach involves significant errors or omissions, these will be noted and will legitimately influence the mark awarded. The descriptors do not list every possible literary feature that may be identified by candidates, but candidates will be rewarded for detailed comment on language, form and style such as: structure, genre, diction, syntactical devices, register, imagery, tone, rhythm, rhyme, linguistic patterns and dramatic qualities. 2225 Very good work, showing discrimination and sometimes originality, in making an informed personal and critical response to the texts Compares the two texts skilfully, and perhaps in original ways, moving between them with ease Analyses with skill and discrimination ways in which writers uses of form, structure and language create the meanings of the texts Evaluates the effects of the writers use of form, style and language with a mature judgement and clear focus on the question and key issues Develops a seamless, coherent argument relevant to the question Demonstrates sophisticated understanding of the literary context of the text in terms of period/theme/genre/historical context Supports with detailed, pertinent reference to the texts, using quotation, paraphrase and critical terminology appositely and economically Work in this band responds sensitively, perceptively and personally to the question set; is often subtle, concise and sophisticated, with a style that is fluent and gives economic expression to complex ideas; at the upper end this work may be elegant and allusive 1821 Proficient work making an informed personal and critical response to the texts Compares the two texts appropriately and skilfully Analyses with skill ways in which writers uses of form, structure and language create the meanings of the texts Evaluates the effects of the writers use of form, style and language with constant reference to the question Develops a coherent argument relevant to the question
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9725 H2 LITERATURE IN ENGLISH (2012)

Demonstrates, where relevant, a good understanding of the literary context of the text in terms of period/theme/genre/historical context Supports with detailed, pertinent reference to the texts, using quotation, paraphrase and some critical terminology appositely Uses a style that is always clear, mostly fluent; able to give accurate expression to complex ideas 1417 Competent work, making an informed critical response to the texts with some personal response Compares the two texts in appropriate ways, though may discuss them separately at times Analyses ways in which writers uses of form, structure and language create the meanings of the texts Evaluates the effects of the writers use of form, style and language Develops a structured response to the question Demonstrates a sound understanding of the literary context of the text in terms of period/theme/genre/historical context Supports with appropriate reference to the texts at times too much or too little, using quotation, paraphrase and some critical terminology accurately and mostly appositely Uses an effective style that is able to communicate clearly knowledge and understanding of the texts and the issues raised by text and question, with only occasional lapses 1013 Satisfactory work, making a response to the texts that shows sound knowledge and some personal response Makes some comparison of the two texts, but tends to discuss them separately Makes some analysis of ways in which writers uses of form, structure and language create the meanings of the texts Responds mainly in terms of narration of the main features of the text with some attempt at evaluation of the effects of the writers use of form, style and language possibly with some misunderstanding Responds to the question set most of the time within a simple structure though with some digression into generality Demonstrates at times, some awareness of the literary context of the text in terms of period/theme/genre/historical context Supports some points with appropriate reference to the texts, using quotation and paraphrase mostly accurately perhaps uses some critical terminology, with some misunderstanding Uses a basic style that is able to communicate knowledge and understanding of the texts and the issues raised by text and question, with only occasional obscurity 69 Uneven work, making a response to the texts that shows knowledge of the texts Discusses both texts but does not develop the comparison Makes appropriate references to writers uses of form, structure and language with some analysis of the ways in which they create the meanings of the texts
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9725 H2 LITERATURE IN ENGLISH (2012)

Makes some attempt at evaluation of the effects of the writers use of form, style and language possibly with some misunderstanding Responds to the question set at first, tends to digress and lacks structure May demonstrate at times some awareness of the literary context of the text in terms of period/theme/genre/historical context, but without understanding of how this relates to the individual text Supports some points with reference to the texts but relies mostly on assertion, with repetition; uses quotation and paraphrase at times, possibly not wholly accurately, at too great a length and without discrimination Uses a simple style, or possibly an over-complex style that succeeds most of the time in communicating knowledge and understanding of the texts

15 Some attempt to hold to texts and question, showing a simplistic approach to the task The work is often brief, undeveloped, and exists as a series of points rather than as a line of argument Expression is simple, technical errors are recurrent, and the work relies on narrative rather than analysis, although description is sometimes valid

0 To be awarded only where there is no evidence of any knowledge of, or response to the text

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9725 H2 LITERATURE IN ENGLISH (2012)

Section C

Band descriptors

Candidates must answer on different texts in Sections B and C and will not be rewarded for any overlap of material. Notes on Implementation of Band Descriptors The descriptors are intended as a guide to the likely characteristics of work in a particular mark band. It is not expected that all the listed characteristics will be present or that they will exist in equal proportions. It is essential that examiners exercise flexibility in mapping the descriptors to the work they are assessing. Examiners approach to the assessment of work should always be positive, based on what the candidate has written and never on what she/he has not written. In other words, work should not be penalised for failure to make points or adopt critical approaches and styles predetermined by examiners. However, where a candidates execution of his/her chosen approach involves significant errors or omissions, these will be noted and will legitimately influence the mark awarded. The descriptors do not list every possible literary feature that may be identified by candidates, but candidates will be rewarded for detailed comment on language, form and style such as: structure, genre, diction, syntactical devices, register, imagery, tone, rhythm, rhyme, linguistic patterns and dramatic qualities.

2225 Very good work, showing discrimination and sometimes originality, in making an informed personal and critical response to the text Analyses with skill and discrimination ways in which writers uses of form, structure and language create the meanings of the text Evaluates the effects of the writers use of form, style and language with a mature judgement and clear focus on the question and key issues Develops a seamless, coherent argument relevant to the question Demonstrates sophisticated understanding of the literary context of the text in terms of period/theme/genre/historical context Supports with detailed, pertinent reference to the text, using quotation, paraphrase and critical terminology appositely and economically Work in this band responds sensitively, perceptively and personally to the question set; is often subtle, concise and sophisticated, with a style that is fluent and gives economic expression to complex ideas; at the upper end this work may be elegant and allusive

1821 Proficient work, making an informed personal and critical response to the text Analyses with skill ways in which writers uses of form, structure and language create the meanings of the text Evaluates the effects of the writers use of form, style and language with constant reference to the question Develops a coherent argument relevant to the question Demonstrates, where relevant, a good understanding of the literary context of the text in terms of period/theme/genre/historical context
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9725 H2 LITERATURE IN ENGLISH (2012)

Supports with detailed, pertinent reference to the text, using quotation, paraphrase and some critical terminology appositely Uses a style that is always clear, mostly fluent; able to give accurate expression to complex ideas

1417 Competent work, making an informed critical response to the text with some personal response Analyses ways in which writers uses of form, structure and language create the meanings of the text Evaluates the effects of the writers use of form, style and language Develops a structured response to the question Demonstrates a sound understanding of the literary context of the text in terms of period/theme/genre/historical context Supports with appropriate reference to the text at times too much or too little, using quotation, paraphrase and some critical terminology accurately and mostly appositely Uses an effective style that is able to communicate clearly knowledge and understanding of the text and the issues raised by text and question, with only occasional lapses

1013 Satisfactory work, making a response to the text that shows sound knowledge and some personal response Makes some analysis of ways in which writers uses of form, structure and language create the meanings of the text Responds mainly in terms of narration of the main features of the text with some attempt at evaluation of the effects of the writers use of form, style and language possibly with some misunderstanding Responds to the question set most of the time within a simple structure though with some digression into generality Demonstrates at times, some awareness of the literary context of the text in terms of period/theme/genre/historical context Supports some points with appropriate reference to the text, using quotation and paraphrase mostly accurately perhaps uses some critical terminology, with some misunderstanding Uses a basic style that is able to communicate knowledge and understanding of the text and the issues raised by text and question, with only occasional obscurity

69 Uneven work, making a response to the text that shows knowledge of the text Makes appropriate references to writers uses of form, structure and language with some analysis of the ways in which they create the meanings of the text, Makes some attempt at evaluation of the effects of the writers use of form, style and language possibly with some misunderstanding Responds to the question set at first, tends to digress and lacks structure

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9725 H2 LITERATURE IN ENGLISH (2012)

May demonstrate at times, some awareness of the literary context of the text in terms of period/theme/genre/historical context, but without understanding of how this relates to the individual text Supports some points with reference to the text; relies mostly on assertion, with repetition; uses quotation and paraphrase at times, possibly not wholly nor accurately, at too great a length and without discrimination Uses a simple style, or possibly an over-complex style that succeeds most of the time in communicating knowledge and understanding of the text

15 Some attempt to hold to text and question, showing a simplistic approach to the task The work is often brief, undeveloped, and exists as a series of points rather than as a line of argument Expression is simple, technical errors are recurrent, and the work relies on narrative rather than analysis, although description is sometimes valid

0 To be awarded only where there is no evidence of any knowledge of, or response to the text

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9725 H2 LITERATURE IN ENGLISH (2012)

APPENDIX D: EDITIONS USED FOR SETTING QUESTIONS

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9725 H2 LITERATURE IN ENGLISH (2012)

Note:

These are not prescribed editions. However, centres may wish to consult this list before deciding which editions their candidates should purchase.

Paper 1:

Reading Literature Author

E.M. Forster Jean Rhys Emily Bront J.M. Coetzee William Shakespeare Oscar Wilde Harold Pinter David Auburn

Title of Book
A Room with a View Wide Sargasso Sea Wuthering Heights Disgrace Richard III

Publisher
Penguin Penguin Penguin Classics Vintage Alexander ed., HarperCollins 'New Mermaids', A & C Black Faber Faber

The Importance of Being Earnest The Birthday Party Proof

Paper 2:

The English Renaissance 15581660 Author

Thomas Nashe Francis Bacon William Shakespeare William Shakespeare George Herbert John Donne Christopher Marlowe Cyril Tourneur Ben Jonson

Title of Book
The Unfortunate Traveller and Other Works The Major Works

Publisher
Penguin 'Oxford World's Classics', Oxford Alexander ed., HarperCollins Alexander ed., HarperCollins Penguin Penguin 'New Mermaids' A & C Black 'New Mermaids', A & C Black 'New Mermaids' A & C Black

Sonnets

Hamlet

The Complete English Poems The Complete English Poems The Jew of Malta

The Revenger's Tragedy

The Alchemist

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9725 H2 LITERATURE IN ENGLISH (2012)

Paper 3:

Contemporary British Literature: 1980Present Author

Ian McEwan Ali Smith Julian Barnes Clare Morrall Louise Page Hanif Kureishi David Hare Tony Harrison Liz Lochhead

Title of Book
Amsterdam The Accidental England, England Astonishing Splashes of Colour Golden Girls and Real Estate Borderline and Birds of Passage Skylight and Amys View Selected Poems The Colour of Black and White

Publisher
Vintage Penguin Picador Tindal Street Press Methuen Faber Faber Penguin Polygon

Paper 4:

Post-Colonial Literature: Asian Writing Author

Anita Desai Christine Suchen-Lim Jhumpa Lahiri V.S. Naipaul Timothy Mo Ruth Prawer Jhabvala Arthur Yap Kuo Pao Kun

Title of Book
In Custody A Fistful of Colours Interpreter of Maladies A House for Mr Biswas Sour Sweet Heat and Dust The Space of City Trees Two Plays by Kuo Pao Kun: Descendants of the Eunuch Admiral and The Spirits Play Scorpion Orchid

Publisher
Vintage SNP International Flamingo Picador Vintage Longman SNP Editions SNP International

Lloyd Fernando

Times International

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Paper 5:

Women in Literature Author

Daniel Defoe Thomas Hardy Marilynne Robinson D.H. Lawrence Jeanette Winterson Carol Ann Duffy Emily Dickinson William Shakespeare Caryl Churchill

Title of Book
Moll Flanders Tess of the D'urbervilles Housekeeping Women in Love Oranges Are Not The Only Fruit Selected Poems The Complete Poems The Taming of the Shrew

Publisher
Penguin Penguin Faber Penguin Vintage Penguin Faber Alexander ed. Harper Collins Methuen Drama

Top Girls

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