A2 LL - THE ENGLISH ARISTOCRACY - EXAMPLE QUESTION

Read the source material which follows and answer both questions:

Text A is from an article entitled [The English Aristocracy] by [Nancy Mitford]
It was first published in [Encounter Magazine in 1955].

You  [are contributing to a tourist guide to class and social change in England and are responsible for the section of the tourist guide concerning who is the aristrcracy and speech in the upper middle class and middle class.

Your audience will consist of [largely of tourists from other countries who speak English fluently.]

You should adapt the source material, using your own words as far as possible. Your [text]
should be approximately 300 – 400 words in length.

In your adaptation you should:

• use language appropriately to address purpose and audience

• write accurately and coherently, applying relevant ideas and concepts.

(25 marks)

AND

Question 3

Write a commentary which explains the choices you made when writing your guide
commenting on the following:

• how language and form have been used to suit audience and purpose

• how vocabulary and other stylistic features have been used to shape meaning and
achieve particular effects.

You should aim to write about 150 – 250 words in this commentary.

(15 marks)

A2 LL - CUPCAKES NEW CLUSTER - POWER

Here is a new cluster of Cupcakes articles.

Power

On the American Invasion of Inchon, Korea The English Aristocracy Putting her Best Face on a Murky Business A Watergate Diary

Please read and make relevant notes on Nancy Mitford's The English Aristocracy. We'll read and prepare this article this week beginning 2 March.

I expect that we will also prepare Putting her Best Face on a Murky Business by Eleanor Mills during the same week.

I'll post exam style questions for these texts.

Text A is an extract from an article entitled [The Promoters of War Mania] by [Emma Goldman]. It was first published in [Mother Earth] in [March 1917].

Read the source material [from the beginning of the article to ‘feed the fires of war’ on page 5]. Then answer both questions that follow:

You  [have been asked to contribute to a podcast for a history magazine’s website, exploring different countries’ attitudes to World War I You are responsible for the section dealing with the USA. Produce the text examining the resistance to involvement].

You should adapt the source material, using your own words. Your [podcast] should be approximately 300 – 400 words in length.

In your adaptation you should:

• use language appropriately to address purpose and audience

• write accurately and coherently, applying relevant ideas and concepts.

(25 marks)

·         She wants people to protest against American involvement in the 1^st WW.

·         There are powerful interest groups profiting from the war and therefore wants it to continue.

·         Americans disengaged by the seriousness of this issue, very passive and default to authority.

·         Cost of living gone up and living standards gone down, because exports of military hardware and agriculture goods to Europe have increased.

·         War is perceived as ‘criminal’ and these groups are acting immorally.

·         If president was really serious and committed to ‘peace’, he would have followed a different course of action, by stopping exports and ruled out American involvement in the war.

·         War in Europe is like’ hell on earth’ and the decision to stay out of it would have been much more beneficial.

·         If America goes to war it should be expected that cities would be invaded or bombed.

·         Business, industrialists and American bankers are investing and speculating on the lives of human beings. She describes it not only as ‘immoral’ but ‘criminal’ on an international scale.

    There were a variety of responses to the American involvement in the war. However the dominant response was that American citizens should become involved in the war in Europe. Living was an important element.

 

A2 LL RECAST FORMAT - EXAMPLES OF PODCASTS

It is possible that in the exam you may be required to write a podcast.

I think it is useful to consider a podcast as a discreet digital audio broadcast that can be downloaded onto a computer and stored to keep.

This may take a variety of formats. For example a monologue or a form of dialogue probably in the form of an interview.

It will be up to you to decide which format is most suitable for the recasting task.

I think it is best to consider your text as a script for a podcast either as a monologue or interview dialogue. Consider that your main purpose will be to inform and entertain. But do not rule out the possibility of persuasive or imperative writing.

Click here for a link to examples of Radio 4's programme, The Today Programme podcasts.

A2 LL COURSEWORK ESSAY HAND IN

A2 ENGLISH LANGUAGE AND LITERATURE 

COURSEWORK DEADLINE HAND IN ESSAY

 FOR MODULE 1, 2 AND 6
 

TAUGHT BY DAVID LOFFMAN

 Wednesday 25 February

 11.20 – 1.30 in 1D7

Click here for the checklist to make sure you have everything needed to hand the essay in properly.

 

A2 LL CUPCAKES QUESTION ON THE PROMOTERS OF WAR MANIA

Question 2

Text A is an extract from an article entitled [The Promoters of War Mania] by [Emma Goldman]. It was first published in [Mother Earth] in [March 1917].

Read the source material [from the beginning of the article to ‘feed the fires of war’ on page 5]. Then answer both questions that follow:

You  [have been asked to contribute to a podcast for a history magazine’s website, exploring different countries’ attitudes to World War I You are responsible for the section dealing with the USA. Produce the text examining the resistance to involvement].

You should adapt the source material, using your own words. Your [podcast] should be approximately 300 – 400 words in length.

In your adaptation you should:

• use language appropriately to address purpose and audience

• write accurately and coherently, applying relevant ideas and concepts.

(25 marks)

AND

Question 3

Write a commentary which explains the choices you made when writing the text of your podcast commenting on the following:

• how language and form have been used to suit audience and purpose

• how vocabulary and other stylistic features have been used to shape meaning and
achieve particular effects.

You should aim to write about 150 – 250 words in this commentary.

(15 marks)

A2 LL - CUPCAKES QUESTION ON THE WAR IN PASSAIC

Read the source material which follows and answer both questions:
Text A is from an article entitled [The War in Passic - from 'The present Passaic strikes' on page 108 to the end of the text]by [Mary Heaton Vorce]

It was first published in [Nation in 1926].

 

[Produce a letter to your MP asking for the new law against night working to be repealed.]

You should adapt the source material, using your own words as far as possible. Your [letter]
should be approximately 300 – 400 words in length.

In your adaptation you should:

• use language appropriately to address purpose and audience

• write accurately and coherently, applying relevant ideas and concepts.

(25 marks)

AND

Question 3

 

Write a commentary which explains the choices you made when writing your [letter]
commenting on the following:

• how language and form have been used to suit audience and purpose

• how vocabulary and other stylistic features have been used to shape meaning and

achieve particular effects.

 

You should aim to write about 150 – 250 words in this commentary.

(15 marks)

A2 LL - CUPCAKES - NEW CLUSTER OF ARTICLES

We have now considered 17 articles in class from Cupcakes and Kalashnikovs.

Below is a new cluster of articles from the anthology. In preparation for studying The War in Passaic define and make brief notes on capitalism and consumerism.

Capitalism and Consumerism

The Promoters of the War Mania Report from Vietnam 1: The Home Program The War in Passaic Nickel-and –Dimed: On Not Getting By in America

IB ENGLISH SL - ANALYTICAL FRAMEWORKS

Below is a table containing the different analytical frameworks or approaches we discussed on Monday morning.

Actually we have been using them all year but I've collected them together here so you can get a perspective on how each approach works.

The first column titled Language Frameworks has evolved as a scientific approach to studying written texts and derives from Linguistics - the science of language. The second column titled Literature Frameworks has evolved as an artistic approach to studying literary texts. The third column has been added because it contains some relevant details about poetry that did not fit in elsewhere.

Each box contains an approach to studying a work of literature and includes some technical terms relevant to that approach.

In your presentations now and at the end of year presentation and commentary assessments, you will be expected to use a variety of analytical approaches.

 

Language Frameworks		Literature Frameworks			WRITTEN MODE
					POETRY – consider genre e.g. sonnet, ballad, lyric Form – iambic pentameter, blank verse, stanza, quatrain, free verse
GRAMMAR e.g. Verbs/adverbs: nouns - concrete, abstract, pronouns: adjectives, comparatives, superlatives		IMAGERY Visual images create strong vivid, life like mental impressions in a readers imagination e.g. metaphor, simile, personification			WRITING STYLE e.g. descriptive, dialogue, reflective, monologue, narrative – action
REGISTER e.g. Informal - colloquial, slang, accent, contractions, ellipsis, elision, expletives Formal- objective, unemotional, complete sentences, correct grammar, appropriate lexis		PHONOLOGY sound patterning creates harmony. Usually the effect is pleasing but can be used to create tension e.g. alliteration, rhyme, onomatopoeia, assonance, rhythm, sibilance			SENSUOUS LANGUAGE Language that draws on the five senses. This creates strong vivid evocations of place e.g. Sight = dark Sound = whisper Touch = smooth Taste = bitter Smell = rank
SYNTAX e.g. Sentence types complex, compound, simple Sentence functions declarative, interrogative, imperative, exclamatory Sentence structures Subject, object, main clause, subordinate clause		RHETORICAL DEVICES e.g. list of three, contrasting pair, direct address, repetition, emotive language, lists, emotive language, hyperbole			ELEMENTAL LANGUAGE Language that draws on the four elements. These elements are powerful natural forces and texts that contain such elements create powerful impressions on readers e.g. Earth = mountain, roots, cave Air = wind, still, Fire = burning, flame, Water = tides, frozen, flow
LEXIS e.g. denotations, connotations, simple, complex, emotive, rational, neutral, lexical field, low/high frequency, polysyllabic, monosyllabic

I will expect that your presentations on the sonnet will refer to the boxes Written Mode', 'Imagery', 'Phonology' and at least one box from 'Language Features'

IB ENGLISH - ANALYTICAL FRAMEWORKS

Below is a table containing the different analytical frameworks or approaches we discussed on Monday morning.

Actually we have been using them all year but I've collected them together here so you can get a perspective on how each approach works.

The first column titled Language Frameworks has evolved as a scientific approach to studying written texts and derives from Linguistics - the science of language. The second column titled Literature Frameworks has evolved as an artistic approach to studying literary texts. The third column has been added because it contains some relevant details about poetry that did not fit in elsewhere.

Each box contains an approach to studying a work of literature and includes some technical terms relevant to that approach.

In your presentations now and at the end of year presentation and commentary assessments, you will be expected to use a variety of analytical approaches.

Language Frameworks		Literature Frameworks			WRITTEN MODE
					POETRY – consider genre e.g. sonnet, ballad, lyric Form – iambic pentameter, blank verse, stanza, quatrain, free verse
GRAMMAR e.g. Verbs/adverbs: nouns - concrete, abstract, pronouns: adjectives, comparatives, superlatives		IMAGERY Visual images create strong vivid, life like mental impressions in a readers imagination e.g. metaphor, simile, personification			WRITING STYLE e.g. descriptive, dialogue, reflective, monologue, narrative – action
REGISTER e.g. Informal - colloquial, slang, accent,  contractions, ellipsis, elision, expletives Formal- objective, unemotional, complete sentences, correct grammar, appropriate lexis		PHONOLOGY sound patterning creates harmony. Usually the effect is pleasing but can be used to create tension e.g. alliteration, rhyme, onomatopoeia, assonance, rhythm, sibilance			SENSUOUS LANGUAGE Language that draws on the five senses. This creates strong vivid evocations of place e.g. Sight = dark Sound = whisper Touch = smooth Taste = bitter Smell = rank
SYNTAX e.g. Sentence types complex, compound, simple Sentence functions declarative, interrogative, imperative, exclamatory Sentence structures Subject, object, main clause, subordinate clause		RHETORICAL DEVICES  e.g. list of three, contrasting pair, direct address, repetition, emotive language, lists, emotive language, hyperbole			ELEMENTAL LANGUAGE Language that draws on the four elements. These elements are powerful natural forces and texts that contain such elements create powerful impressions on readers e.g. Earth = mountain, roots, cave Air = wind, still, Fire = burning, flame, Water = tides, frozen, flow
LEXIS e.g. denotations, connotations, simple, complex, emotive, rational, neutral, lexical field, low/high frequency, polysyllabic, monosyllabic

I will expect that your presentations on the sonnet will refer to the boxes Written Mode', 'Imagery', 'Phonology' and at least one box from 'Language Features'

IB ENGLISH - SONNET PRESENTATIONS

Here is the time table for students doing their presentations this week on Thursday 12 and Friday 13 February.


Here is the list of students that will do their presentation on Thursday 12 February

Diana - Michaelangelo - V & VI
Tristan - Frost
Martin - Shelly - Ozymandias
Natasha - Milton
Nicolo - Dante - La Vita Nouva


Here is the list of students that will do their presentation on Friday 13 February
Max - Rilke - 3
Marina - The WindhoverJanira - Michaelangelo - Dante
Sophie - St Vincent Millay - 'What lips my lips have kissed and where and why'
Lorenz - Larkin
Mathieu -