ASAlevel English Literature B Preparing to teach Summer

Introductions: what contexts are we working in today? • How many of you are new to English Literature B? • How many of you are new teachers? • How many of you are doing AS? • How many of you have already decided to do tragedy for AS? How many are doing comedy? • Are any of you going to do both? • How confident are you about the specification at this stage (do you understand its philosophy, its broad structure, its detail)? • Have you chosen your set texts? • Has any planning already taken place in your centre? • What size of classes are you likely to be dealing with? Slide 2 Copyright © AQA and its licensors. All rights reserved

1. An overview of English Literature B and what it means for teaching 2. Co-teachability and Paper 1 for A-level and Papers 1 and 2 for AS: Aspects of tragedy and Aspects of comedy 3. A-level Paper 2: Elements of crime writing and Elements of political and social protest writing 4. Non-exam assessment (NEA) and other issues. Slide 3 Copyright © AQA and its licensors. All rights reserved

Objectives • To increase your understanding of English Literature B (AS and A-level) and its philosophy. • To discuss strategies for structuring the course. • To build your confidence for course preparation. • To provide guidance on meeting the assessment objectives and the demands of the specification: the examined units and the NEA. • To offer you some ideas about co-teaching opportunities. Slide 4 Copyright © AQA and its licensors. All rights reserved

Underlying principles for English Literature B • Key point 1: a focus on different ways in which texts can be read, connected and written about. • Key point 2: a focus on reading and writing about texts through the lens of Aspects of tragedy and Aspects of comedy. • Key point 3: a focus on reading and writing about texts through the lens of Elements of crime and Elements of political and social protest writing. • Key point 4: a focus on independent reading and thinking. • Key point 5: a focus on reading through the lens of critical ideas and literary theory. Slide 5 Copyright © AQA and its licensors. All rights reserved

Assessment objectives • AO 1: Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression. • AO 2: Analyse ways in which meanings are shaped in literary texts. • AO 3: Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received. • AO 4: Explore connections across literary texts. • AO 5: Explore literary texts informed by different interpretations. Slide 6 Copyright © AQA and its licensors. All rights reserved

Answer the question This is our mantra throughout the specification. You are teaching a specification which has a clear philosophy and many clearly defined ideas – nothing should come as a surprise. This means that students really must answer the question in all its details and requirements. The same is true whether we set the question or whether you do. Slide 7 Copyright © AQA and its licensors. All rights reserved

A-level: specification at a glance Component 1: Aspects of tragedy or 40% • 3 tasks • 75 marks – 25 marks per task Aspects of comedy • 2 hours and 30 minutes Written Paper • closed book Component 2: 40% Elements of crime writing or Elements of political and social protest writing • 3 tasks Written Paper • open book Component 3: Theory and independence 20% NEA Slide 8 • 75 marks – 25 marks per task • 3 hours • 2 tasks, each 1250 -1500 words • 50 marks – 25 marks each • moderated by AQA Copyright © AQA and its licensors. All rights reserved.

The significance of closed book: teaching implications You will need to: • ensure that students know their texts really well, especially the Shakespeare text that they will be using for Sections A and B • help students to learn quotations and how to use them • help students to use close references • help students to range broadly across the text to make wise comments in the construction of their arguments (these may be of a general nature). Slide 9 Copyright © AQA and its licensors. All rights reserved

The significance of closed book: teaching implications AO 2 and AO 3: • • • Comments about authorial methods and contexts must not be bolted on to answers; they need to be relevantly integrated into students’ arguments and discussions. Students are likely to make more telling comments about structural and organisational issues and voices and settings than about lexical items. Opportunities to write about language and other methods will emerge from quotations. Slide 10 Copyright © AQA and its licensors. All rights reserved

The significance of open book: teaching implications You will need to: • ensure that students know their texts really well so that they can use them to focus on specific passages for detailed discussion • help students to know how to select quotations from their texts and be accurate • help students to range broadly across the text to select passages wisely in the construction of their arguments • alert students to the dangers of malpractice. NB students must have clean copies of their texts in the examination. Slide 11 Copyright © AQA and its licensors. All rights reserved

The significance of open book: teaching implications AO 2 and AO 3: • Comments about authorial methods and contexts must not be bolted on to answers; contexts and methods need to be relevantly chosen and integrated into students’ arguments and discussions • Students are likely to make more telling comments about structural and organisational issues and voices and settings than about lexical items. • Opportunities to write about language and other methods will emerge from quotations. NB students must have clean copies of their texts in the examination. Slide 12 Copyright © AQA and its licensors. All rights reserved

AS: specification at a glance Component 1: Literary genres Aspects of tragedy or Aspects of comedy (drama) 50% • 50 marks – 25 marks per task • 1 hour 30 minutes • closed book Written Paper Component 2: Literary genres Aspects of tragedy or Aspects of comedy (prose and poetry) Written Paper Slide 13 • 2 tasks: one on Shakespeare and one on a different play 50% • 2 tasks: one on poetry and one on prose • 50 marks – 25 marks per task • 1 hour 30 minutes • open book Copyright © AQA and its licensors. All rights reserved.

Aspects of tragedy and Aspects of comedy Slide 14 Copyright © AQA and its

Content and skills for A-level Paper 1 and AS Students read and explore aspects of a mainstream literary genre. There are two study options: Aspects of tragedy OR Aspects of comedy. The central focus is on genres which continue to evolve from an ancient past and look forward. Students study three texts for A-level: • one Shakespeare play • a second drama text • one further text. (One of the two further texts must have been written pre– 1900). Students study four texts for AS: • one Shakespeare play • a second drama text on Paper 1 • one prose text • one poetry text on Paper 2. (AS students could do Paper 1 and 2 on different genres). Slide 15 Copyright © AQA and its licensors. All rights reserved

Content and skills for A-level Paper 1 and AS Key to the paper is that students understand study ‘aspects’. There is a choice of interesting texts, including a digital poetry anthology. Students learn how to read and write for closed book exams. Slide 16 Copyright © AQA and its licensors. All rights reserved

Text choices for A-level Paper 1: Aspects of tragedy Texts for Section A and Section B questions: • Othello – Shakespeare • King Lear – Shakespeare. Texts for Section C questions – 1 drama text plus one other, one of which must be pre 1900 *: • Death of a Salesman – Miller • Richard ll – Shakespeare* • Tess of the D’Urbervilles – Hardy* • The Great Gatsby – Fitzgerald. • Keats Selection – ‘La Belle Dame Sans Merci’, ‘Isabella or The Pot of Basil’ ‘Lamia’, ‘The Eve of St Agnes’. * • Poetry Selection: Tragedy - Extract from The Monk’s Prologue and Tale, extract from Paradise Lost, ‘Tithonus’, ‘Jessie Cameron’, ‘The Death of Cuchulain’, ‘The Convergence of the Twain’, ‘Death in Leamington’, ‘Out, out –’, ‘Miss Gee’. Slide 17 Copyright © AQA and its licensors. All rights reserved.

Text choices for AS Paper 1: Aspects of tragedy Texts for Section A questions Paper 1 – Shakespeare for the passage-based task: • Othello – Shakespeare • King Lear – Shakespeare. Texts for Section B questions Paper 1 – drama: • Death of a Salesman – Miller • Richard ll – Shakespeare • A Streetcar Named Desire – Williams. Slide 18 Copyright © AQA and its licensors. All rights reserved

Text choices for AS Paper 2: Aspects of tragedy Texts for Section A questions Paper 2 – poetry: • Keats Selection – ‘La Belle Dame Sans Merci’, ‘Isabella or The Pot of Basil’ ‘Lamia’, ‘The Eve of St Agnes’ • Poetry Selection: Tragedy – Extract from The Monk’s Prologue and Tale, extract from Paradise Lost, ‘Tithonus’, ‘Jessie Cameron’, ‘The Death of Cuchulain’, ‘The Convergence of the Twain’, ‘Death in Leamington’, ‘Out, out –’, ‘Miss Gee’ • Hardy Selection (17 poems). Texts for Section B questions Paper 2 – prose: • Tess of the D’Urbervilles – Hardy * • The Great Gatsby – Fitzgerald • The Remains of the Day – Ishiguro. Slide 19 Copyright © AQA and its licensors. All rights reserved

Text choices for A-level Paper 1: Aspects of comedy Texts for Section A and Section B questions: • The Taming of the Shrew – Shakespeare • Twelfth Night– Shakespeare Texts for Section C questions – 1 drama text plus one other): • • • She Stoops to Conquer– Goldsmith The Importance of Being Earnest– Wilde Emma– Austen Small Island– Levy The Nun’s Priest’s Tale – Chaucer Poetry Anthology: Comedy – ‘The Flea’, ‘A Satirical Elegy on the Death of a Late Famous General’, ‘Tam o’ Shanter’, ‘Sunny Prestatyn’, ‘Not my Best Side’ • ‘My Rival’s House’, ‘Mrs Sisyphus’. Slide 20 Copyright © AQA and its licensors. All rights reserved

Text choices for AS Paper 1: Aspects of comedy Texts for Section A questions Paper 1 – Shakespeare for the passage-based task): • The Taming of the Shrew – Shakespeare • Twelfth Night – Shakespeare. Texts for Section B questions Paper 1 – drama: • She Stoops to Conquer – Goldsmith • The Importance of Being Earnest – Wilde • Educating Rita – Russell. Slide 21 Copyright © AQA and its licensors. All rights reserved

Text choices for AS Paper 2: Aspects of comedy Texts for Section A questions Paper 2 – poetry: • The Nun’s Priest’s Tale – Chaucer • Poetry Anthology: Comedy – ‘The Flea’, ‘A Satirical Elegy on the Death of a Late Famous General’, ‘Tam o’ Shanter’, ‘Sunny Prestatyn’, ‘Not my Best Side’, ‘My Rival’s House’, ‘Mrs Sisyphus’ • Betjeman Selection (18 poems). Texts for Section B questions Paper 2 – prose: • Emma – Austen • Small Island – Levy • Wise Children – Carter. Slide 22 Copyright © AQA and its licensors. All rights reserved

A-level: structure of Paper 1 • 2 hours 30 minutes • 75 marks • 40% of total marks. • 3 sections: • Section A: One passage-based question on a Shakespeare text (25 marks) • Section B: One essay question on a Shakespeare text (25 marks) • Section C: One essay question linking two other texts (25 marks). Slide 23 Copyright © AQA and its licensors. All rights reserved

Example question: Section A (i) Section A: passage-based question (no choice of passage): Extract printed from the beginning of Act 1 scene ii of Othello. Read the extract below and then answer the question: ‘Explore (a) the significance (b) of this extract to the tragedy (c) of the play as a whole. Remember to include in your answer relevant analysis of Shakespeare’s dramatic methods (d). ’ (a) AO 1 will be hit as the students explore through their writing, using appropriate concepts and terminology (b) Significance takes students into an exploration of meanings and a consideration of the contextual factors that arise from the passage – AO 2, AO 3, AO 4 and AO 5. Slide 24 Copyright © AQA and its licensors. All rights reserved.

Example question: Section A (ii) Section A: passage-based question (no choice of passage): Extract printed from the beginning of Act 1 Scene (ii) of Othello. Read the extract below and then answer the question: Explore (a) the significance (b) of this extract to the tragedy (c) of the play as a whole. Remember to include in your answer relevant analysis of Shakespeare’s dramatic methods (d). (c) In writing about aspects of tragedy in the extract and the wider play, students will be connecting with the tragic genre which comes from their study of this genre – AO 4 (d) The invitation to address AO 2 and understand that the play’s construction leads to meanings being made. Slide 25 Copyright © AQA and its licensors. All rights reserved.

Example question: Section B: conventional essay question (choice of two on each text): King Lear (tragedy): ‘Cordelia’s death is the shocking climax of cruelty in Shakespeare’s exploration of evil*. ’ To what extent do you agree with this view? Remember to include in your answer relevant comment on Shakespeare’s dramatic methods. Twelfth Night (comedy): ‘Twelfth Night delights in the folly of misrule*. ’ To what extent do you agree with this view? Remember to include in your answer relevant comment on Shakespeare’s dramatic methods. *Given quotation to debate containing key aspects of comedy or tragedy Slide 26 Copyright © AQA and its licensors. All rights reserved.

Example question: Section C + TASK 1 Section C: conventional essay question on two texts (choice of two questions): ‘In comedic literature, humour is primarily provided by the uncultivated behaviour and speech of the lower social classes. ’ To what extent do you agree with this view in relation to two texts you have studied? Remember to include in your answer relevant comment on the ways the writers have shaped meanings. Task: where does this hit the assessment objectives? Slide 27 Copyright © AQA and its licensors. All rights reserved.

AS: structure of Paper 1 • 1 hour 30 minutes • 50 marks • 50% of total marks. • Two sections: • Section A: one passage-based question on a Shakespeare text from the Section A list (25 marks) • Section B: one essay question on a different drama set text from the Section B list (25 marks). Slide 28 Copyright © AQA and its licensors. All rights reserved.

Example question AS Paper 1: Section A: passage-based question (no choice of passage): Extract printed from the beginning of Act 2 scene (i) of The Taming of the Shrew. Explore (a) the significance (b) of the aspects of dramatic comedy (c) in the following passage to the play as a whole. You should consider the following in your answer: • the contrast between Katherine and Bianca • stage action • other relevant aspects of dramatic comedy (b). (a) Explore is the way students will reveal the quality of their writing and their arguments. In exploring they should use appropriate critical terminology (AO 1) (b) Bullet points for AS students to help them to scaffold their answers and focus on ‘significance’, thereby hitting AO 2, 3, 4, and 5 (c) Reference to dramatic comedy signalling the need to focus on the play as drama and inviting students to access AO 4 as they connect with the wider comedic genre. Slide 29 Copyright © AQA and its licensors. All rights reserved.

Example question AS Paper 1: Section B: conventional question (one question provided on each of the three plays): Educating Rita – Willy Russell (Comedy): Explore the view that the play is more about educating Frank than educating Rita. Remember to include in your answer relevant comment on Russell’s dramatic methods. Death of a Salesman – Arthur Miller (Tragedy): Explore the view that Willy’s tragic isolation is caused largely by Linda’s failure to understand him. Remember to include in your answer relevant comment on Miller’s dramatic methods. Slide 30 Copyright © AQA and its licensors. All rights reserved.

AS: structure of Paper 2 • 1 hour 30 minutes • 50 marks • 50% of total marks • 2 sections: • Section A: one essay question on poetry set text (25 marks) • Section B: one essay question on prose set text (25 marks). Slide 31 Copyright © AQA and its licensors. All rights reserved.

Example question: Section A – poetry Section A: conventional essay question including an extract (one question available on each text): Explore the view that poets writing in the tragic tradition always convey a deep sense of sadness. You must refer to ‘The Death of Cuchulain’ and at least one other poem. In your answer you need to analyse closely the poets’ authorial methods and include comment on the extract below. From ‘The Death of Cuchulain’ Again the fighting sped, But now the war rage in Cuchulain woke, And through the other’s shield his long blade broke, And pierced him. “Speak before your breath is done. ” “I am Finmole, mighty Cuchulain’s son. ” “I put you from your pain. I can no more. ” While day its burden on to evening bore, With head bowed on his knees Cuchulain stayed; Then Concobar sent that sweet-throated maid, And she, to win him, his grey hair caressed: In vain her arms, in vain her soft white breast. Slide 32 Copyright © AQA and its licensors. All rights reserved.

Example question: Section B – prose (i) Section B: conventional essay question (one question available on each text): Small Island – Andrea Levy: Explore (a) the view that Queenie’s (b) narrative voice (c) always (d) amuses the reader (e). Remember to include in your answer relevant analysis of Levy’s authorial methods (c). (a) As students explore they will be organising their writing and using appropriate terminology AO 1 (b) In writing about Queenie’s narrative voice students will be engaging with gender, narrative and social contexts AO 3 (c) Students will be targeting AO 2 when they write about Levy’s authorial methods and narrative voice. Slide 33 Copyright © AQA and its licensors. All rights reserved.

Example question: Section B – prose (ii) Section B: conventional essay question (one question available on each text): Small Island – Andrea Levy: Explore (a) the view that Queenie’s (b) narrative voice (c) always (d) amuses the reader (e). Remember to include in your answer relevant analysis of Levy’s authorial methods (c). (d) In engaging in the debate about whether Queenie’s narrative voice ‘always’ amuses the reader, students will be addressing AO 5. (e) As students are discussing the aspect of readers potentially always being amused, they will be connecting with the wider comedic aspect of how comedy affects audiences, inviting laughter and joy AO 4. Slide 34 Copyright © AQA and its licensors. All rights reserved.

Task 2 • Look at the question commentary on King Lear for A-level Paper 1. How could you use this in your teaching? • Look at the text overview for Twelfth Night. How could you use this in your teaching? Slide 35 Copyright © AQA and its licensors. All rights reserved

Task 3 Look at Student A’s response* to: ‘Othello’s virtue and valour ultimately make him admirable. ’ To what extent do you agree with this view? Remember to include in your answer relevant comment on Shakespeare’s dramatic methods. Does the student have good understanding of the tragic genre? *pages 14 -16 of session handout Slide 36 Copyright © AQA and its licensors. All rights reserved

Co-teaching opportunities: key points If your centre has made the decision that AS and A-level will both be taught together then there are key points to note: • AQA has ensured that the two courses can be taught together. • If students are taught togethere will inevitably be some restrictions on choices because of the different rules for AS and A-level. • Teachers will need to make sure that in selecting texts, both the A-level dates are covered and the major genre requirements for AS (there are no dates for AS). • With creative teaching and thinking it can work with benefits for both groups of students. Slide 37 Copyright © AQA and its licensors. All rights reserved.

Some ideas for managing: suggestion one All students will study: • one Shakespeare play for the passage-based question • one other drama text common to both set text lists • one prose text • one poetry text. One of the texts in bullets 2, 3 and 4 must have been written before 1900 to satisfy the A-level requirement and at least one of the prose and poetry texts must be common to both A-level and AS; if both are pre-1900 then A-level students will have a choice when they do the A-level exam at the end of Year 13. All students could then follow the AS course, enter the AS exam as a kind of mock and A-level students could fine-tune A-level exam technique while revising during Year 13. Slide 38 Copyright © AQA and its licensors. All rights reserved.

Some ideas for managing: suggestion two • Both groups of students will study 2 plays: one Shakespeare and one other drama common to both set text lists. • Both groups will study one novel common to both set text lists (to satisfy the requirement for AS). • Both groups will study one poetry text common to both set text lists (to satisfy the requirement for AS). • One text (other than Shakespeare) must have been written before 1900 to satisfy the A-level date rule. • The students are taught together, with A-level students aware that they are reading an extra text and will have different question types (which can be given during Year 12 or fine-tuned in Year 13). Slide 39 Copyright © AQA and its licensors. All rights reserved.

Some ideas for managing: suggestion two (continued) • A-level students will be studying an extra text which will widen and deepen their knowledge of the genre (there will be time for this given students will still only be studying 9 texts whereas they currently study 12). • Studying the extra text will satisfy Ofqual’s requirement for wider • Studying the extra text will help to build confidence as A-level students prepare for the NEA. • The extra text could well be poetry: teachers could use some of the poems at the start of Year 12 to introduce students to aspects of the genre and dip into them during the year. • The extra text could be taught to AS students at the end of Year 12 while A-level students are reading independently for the NEA. Slide 40 Copyright © AQA and its licensors. All rights reserved. reading.

Some ideas for managing: suggestion three • Both groups of students will study 2 plays: one Shakespeare and one other play common to both set text lists. • Both groups will study one novel (to satisfy the requirement for AS). • Both groups will study one poetry text (to satisfy the requirement for • Either poetry or prose could be from the wider AS text list. • One text (other than Shakespeare) must have been written before 1900 to satisfy the A-level date rule. • A-level students will be able to use the additional poetry or prose text from the AS set text list for NEA. Slide 41 Copyright © AQA and its licensors. All rights reserved. AS).

How it could work for tragedy if the 4 th text is used for NEA by A-level students Students study either King Lear or Othello and any of these combinations of texts: 1. Richard II and The Remains of the Day and either The Poetry Selection or Keats. OR 2. Richard II and either The Great Gatsby or Tess of the D’Urbervilles and the Hardy Selection. OR 3. Death of a Salesman and The Remains of the Day and the Keats Selection. OR 4. Death of a Salesman and Tess of the D’Urbervilles and the Hardy Selection. NB the text in red can be studied for the NEA by A-level students. Slide 42 Copyright © AQA and its licensors. All rights reserved.

How it could work for comedy if the 4 th text is used for NEA by A-level students Students study either The Taming of the Shrew or Twelfth Night and any of these combinations of texts: 1. She Stoops to Conquer and Wise Children and either The Poetry Selection or The Nun’s Priest’s Tale. OR 2. She Stoops to Conquer and either Emma or Small Island the Betjeman Selection. OR 3. The Importance of Being Earnest and Wise Children and either The Poetry Selection or The Nun’s Priest’s Tale. OR 4. The Importance of Being Earnest and either Emma or Small Island the Betjeman Selection. NB the text in red can be studied for the NEA by A-level students. Slide 43 Copyright © AQA and its licensors. All rights reserved.

Task 4 Select one of the suggestions for co-teaching the course and suggest how you could begin in September. You will need to identify: • the texts you will be using • what you will do in your first lessons • the kinds of task you could ask your students to do in the first few weeks. Slide 44 Copyright © AQA and its licensors. All rights reserved

A few ideas • Think about the value of using examples from current affairs to introduce students to Aspects of tragedy and Aspects of comedy (for example, wars, disasters, accidents, the misfortunes, misbehaviour or the fall of celebrity figures or politicians/ funny news stories, marriages, births, reunions, etc). • Think about how contemporary television drama can lead students into the genre, for example The Missing and Last Tango in Halifax. • youtube. com/watch? v=Oh. Ggk. Jkd. DGo • youtube. com/watch? v=r 8 g. Nc. N 0_HBE • youtube. com/watch? v=M 05 K 7 Ib 4 VV 8 Slide 45 Copyright © AQA and its licensors. All rights reserved

Cultural genres: Crime writing and Political and social protest writing Slide 46 Copyright ©

A-level: content and skills for Paper 2 • Students read and explore texts which contain elements of more modern cultural genres. • There are two study options: Elements of crime writing OR Elements of political and social protest writing. • The central focus is on genres which are influenced by culture and look backwards as well as forwards. • Students study three texts: one post-2000 prose text, one poetry text and one further text. At least one of the texts must have been written pre-1900. Students are also examined on an unseen text. • Key to the paper is that students understand study ‘elements’. • Students learn how to read and write for open book exams. • There is a choice of interesting texts, including a digital poetry anthology. Slide 47 Copyright © AQA and its licensors. All rights reserved.

Set texts for Elements of crime writing Post-2000 novel: Atonement – Mc. Ewan When Will There Be Good News – Atkinson Poetry text (+ pre-1900): The Rime of the Ancient Mariner – Coleridge ‘Peter Grimes’ – Crabbe; ‘My Last Duchess’, ‘Porphyria’s Lover’, ‘The Laboratory’ – Browning; ‘The Ballad of Reading Gaol’ – Wilde Hamlet – Shakespeare Oliver Twist – Dickens Brighton Rock – Greene The Murder of Roger Ackroyd – Agatha Christie. Slide 48 Copyright © AQA and its licensors. All rights reserved.

Set texts for Elements of political and social protest writing Post-2000 novel: Harvest – Crace The Kite Runner – Hosseini Poetry: Songs of Innocence and of Experience – Blake * Harrison: Selected Poems – ‘V’, ‘Them and [uz]’, ‘Divisions’, ‘Working’, ‘Marked with D’ Henry l. V Part I – Shakespeare * Hard Times – Dickens * A Doll’s House – Ibsen * The Handmaid’s Tale – Atwood NB one pre-1900 text must be chosen (marked*) Slide 49 Copyright © AQA and its licensors. All rights reserved.

A-level: structure of Paper 2 • 3 hours • 75 marks • 40% of total marks • 3 sections for each option: Slide 50 • Section A: one compulsory question on an unseen passage (25 marks) • Section B: one essay question on a set text (25 marks) • Section C: one essay question which connects two texts (25 marks). Copyright © AQA and its licensors. All rights reserved.

Example question: Section A: unseen passage-based question (no choice of passage). Extract printed from Susan Hill’s A Question of Identity. ‘This extract is taken from the early part of Susan Hill’s novel, A Question of Identity (published in 2012). The witnesses have just given their evidence in a murder trial. The accused, Alan Keyes, has pleaded not guilty. Two crime reporters, Charlie Vogt and Rod Hawkins, are awaiting the verdict with every expectation of a conviction*. ’ Explore the significance of the crime elements in this extract. Remember to include in your answer relevant detailed analysis of the ways that Hill has shaped meanings. *The brief contextualisation of the passage Slide 51 Copyright © AQA and its licensors. All rights reserved.

Task 5 Look at the extract from Susan Hill’s A Question of Identity: • What might students write about here? • Take five minutes to select some elements of crime writing and think about what their significance might be. Slide 52 Copyright © AQA and its licensors. All rights reserved

Example question: Section B: conventional essay question (one question available on each text): Oliver Twist – Charles Dickens (from crime writing) ‘In Oliver Twist Dickens presents criminals as products of their society. ’ To what extent do you agree with this view? Remember to include in your answer relevant detailed exploration of Dickens’ authorial methods. Selected Poems – Tony Harrison (from political writing) ‘In his poetry Harrison is always critical of the ways in which social divisions are both constructed and maintained. ’ To what extent do you agree with this view? Remember to include in your answer relevant detailed exploration of Harrison’s authorial methods. Slide 53 Copyright © AQA and its licensors. All rights reserved.

Example question: Section C (i) Section C: Conventional essay question on two texts (choice of 2 questions): ‘Political and social protest writing often focuses on rebellion against those in power. ’ (a) Explore (b) the significance (c) of rebellion (d) as it is presented (e) in two (f) political and social protest texts you have studied. (a) The quotation which contains an element of political and social protest writing gives students a steer into the question. (b) While students are exploring they are investigating without preconceptions about the outcome. They will be organising their writing into a logical order and using appropriate terminology and concepts (AO 1). (c) The word ‘significance’ is an invitation to give access to AO 2, 3, 4 and 5. Students will be weighing up the potential contributions to how a text can be analysed. Slide 54 Copyright © AQA and its licensors. All rights reserved.

Example question: Section C (ii) Section C: Conventional essay question on two texts (choice of 2 questions): ‘Political and social protest writing often focuses on rebellion against those in power. ’ (a) Explore (b) the significance (c) of rebellion (d) as it is presented (e) in two (f) political and social protest texts you have studied. (d) The word ‘rebellion’ is an element of political and social protest writing and through exploring rebellion, students will be connecting with the wider genre (AO 4). (e) The use of the word ‘presented’ reminds students that the texts have been crafted and authorial methods have been deliberately chosen to shape meanings (AO 2). (f) Students have to write about two texts in this question and give substantial coverage to both. Slide 55 Copyright © AQA and its licensors. All rights reserved.

Task 6 Look carefully at the question commentary for the Political and social protest writing Section C question on rebellion. Think about how this could help you in your: • preparations for the Political and social protest Section C questions or • adapting the ideas here for Crime writing Section C. Slide 56 Copyright © AQA and its licensors. All rights reserved

Task 7 In pairs identify 3 key points that will be helpful in preparing

Task 8 • Look at the Crime writing package. • What use could you

A-level: NEA criteria • Students produce two pieces of work, each on a different literary text. • One of the texts must be poetry and one must be prose. • Each text must be linked to a different section of the AQA Critical anthology (Narrative Theory, feminist criticism, Marxist criticism, post-colonialism criticism, eco-criticism, literary value and the canon). • Word count for each piece of work: 1250 -1500. • One response will be conventional, the other could be re-creative or a further conventional response. • Students may not choose texts from any of the examination set text lists other than those indicated on the co-teachability slides. Slide 59 Copyright © AQA and its licensors. All rights reserved.

Example task: conventional A conventional task drawing on the post-colonial section might be: ‘Forster has written A Passage to India in such a way that it is impossible to sympathise with any of the English characters as there is so little to redeem them. ’ Using ideas from the Critical anthology to inform your argument to what extent do you agree with this view? Slide 60 Copyright © AQA and its licensors. All rights reserved.

Example task: re-creative A re-creative task drawing from the sections on feminist theory and/or Marxist theory and/or narrative theory might be: Write a series of journal entries by Miss Kenton written at different points in the narrative of The Remains of the Day in which she reflects on her treatment by Stevens and others at Darlington Hall. Use ideas from the Critical anthology to inform your work and include a commentary explaining how you have explored ideas from feminist theory and/ or Marxist theory and/or narrative theory in your re-creative piece. Slide 61 Copyright © AQA and its licensors. All rights reserved.

Task 9 • Spend some time looking at the advice sheet for the NEA. • Think of a text (poetry or prose) for the re-creative piece or conventional piece and some area of the Critical anthology to connect it with. • What do you think would work well? Slide 62 Copyright © AQA and its licensors. All rights reserved

Task 10 (or homework task) • Look at the re-creative response* on Tennyson’s ‘Ulysses’. (Student B) • What has this student achieved? • Are there any issues you would like to raise about this piece? *pages 41 -43 of Session hand-out Slide 63 Copyright © AQA and its licensors. All rights reserved

Task 11 (or homework task) • Look at the conventional response* on A Clockwork Orange. (Student C) • What has this student achieved? • Are there any issues you would like to raise about this piece? *pages 44 -47 of Session handout Slide 64 Copyright © AQA and its licensors. All rights reserved

A-level and AS Literature resources • • Free printed anthologies for all poetry. Digital poetry anthology. Critical anthology for the NEA. Text commentaries on all set texts in relation to genre study. Support with course planning. Commentaries on how the different types of question might be approached. Advice sheet on how to prepare your own sample questions. Student responses and commentaries. Slide 65 Copyright © AQA and its licensors. All rights reserved.

Other resources • AQA English e-library with supporting digital resources • Teachit • The English Review & e. Magazine for text-based and approach-based articles • endorsed textbooks • direct contact to our subject team and access to our network of advisers to share best practice. Slide 66 Copyright © AQA and its licensors. All rights reserved.

AQA ongoing support and resources • AQA website: aqa. org. uk/7717 • Planning, Teaching and Assessment Resources • A-level English Literature B launch presentation video: http: //www. aqa. org. uk/subjects/english/as-and-a-level/englishliterature-b-7716 -7717/planning-resources • AQA’s secure website e-AQA: • Secure Key Materials (exam documents and teacher support materials for current and new specifications) • ERA (Enhanced Results Analysis). • Training courses including getting started, co-teaching AS and A-level effectively, feedback on exams. These will be listed on the AQA website later in the year: http: //www. aqa. org. uk/professional-development Slide 67 Copyright © AQA and its licensors. All rights reserved.

AQA approved textbooks • We only approve student textbooks (print and digital) – though see approved publishers’ websites for the full range of resources to support each specification. • Textbooks must be matched to the specification to be AQA approved. • Each approval process consists of a detailed 4 -stage review by our reviewers (ie senior examiners or Chairs). • Published textbooks which do not have the AQA approved badge are not ‘AQA approved’. Prior to publication publishers will advise that these books have entered the AQA approval process. • See the AQA website (All about us) for full details. Slide 68 Copyright © AQA and its licensors. All rights reserved

Contact points for more information and guidance • Customer Support Managers Email: English-gce@aqa. org. uk Tel: 01483 556115 • Teacher Support and CPD Managers Email: teachercpd@aqa. org. uk Tel no: 0161 957 3646 Slide 69 Copyright © AQA and its licensors. All rights reserved.