A2 LL - CUPCAKES CLUSTER - PERSONAL EXPERIENCE

Below is another cluster of Cupcakes articles we will be working on over the next couple of weeks. We'll identify the key features of Ten Days in the Madhouse and Fat is Ugly from this cluster. I'll post possible recasting questions by Monday 1 December.

Prepare Ten Days in the Madhouse for one of the exam lessons next week. See below.

Personal Experience

Ten Days in the Madhouse The Summer I Left Childhood was White Fat is Ugly Through the Pain Barrier

Ten Days in the Madhouse is quite a long article. We'll probably look at it in two sections.
The first section will be from the opening on page 99 to 'a glass of milk and a soda cracker' on page 102. The second section will be from page 102, 'All the windows in the hall were open', to the end of the article on page 105.

IB ENGLISH - BATTER MY HEART

William Holman Hunt

A2 LL - EXTRA COURSEWORK POEM - Personal Helicon

Personal Helicon

By Seamus Heaney

As a child, they could not keep me from wells
And old pumps with buckets and windlasses.
I loved the dark drop, the trapped sky, the smells
Of waterweed, fungus and dank moss.

One, in a brickyard, with a rotted board top.
I savoured the rich crash when a bucket
Plummeted down at the end of a rope.
So deep you saw no reflection in it.

A shallow one under a dry stone ditch
Fructified like any aquarium.
When you dragged out long roots from the soft mulch
A white face hovered over the bottom.

Others had echoes, gave back your own call
With a clean new music in it. And one
Was scaresome, for there, out of ferns and tall
Foxgloves, a rat slapped across my reflection.

Now, to pry into roots, to finger slime,
To stare, big-eyed Narcissus, into some spring
Is beneath all adult dignity. I rhyme
To see myself, to set the darkness echoing.

A2 LL - EXTRA COURSEWORK POEMS - Acquainted with the Night

Acquainted with the Night


By  Robert Frost  

I have been one acquainted with the night.
I have walked out in rain—and back in rain.
I have outwalked the furthest city light.

I have looked down the saddest city lane.
I have passed by the watchman on his beat
And dropped my eyes, unwilling to explain.

I have stood still and stopped the sound of feet
When far away an interrupted cry
Came over houses from another street,

But not to call me back or say good-bye;
And further still at an unearthly height,
One luminary clock against the sky

Proclaimed the time was neither wrong nor right.
I have been one acquainted with the night.

A2 LL - HOMEWORK 3 WAY COMPARISON BIRDS - SET WEEK BEGINNING 24 NOV DUE WEEK BEGINNING 8 DEC

TASK

Write a three way comparison commentary on the question handed out to you on the linked subject of birds.

We will spend two lessons preparing for the task.

You should spend no longer than 1 hour to write up the commentary at home.

DEADLINE

MOD 2 WED 10 DECEMBER

MOD 1 AND MOD 6 FRIDAY 12 DECEMBER

IB ENGLISH IOP - SONNET PRESENTATIONS

Below is a draft list of the sonnets you have shown an interest in presenting to the rest of the class. However you can see that there are some problems with it. It may be that I did not correct any changes we made in class. Please confirm with me what sonnet you will be presenting.

Thanks

David

Diana - Michaelangelo - V & VI
Tristan - Frost
Martin - Ozymandias
Janira - Michaelangelo - Dante
Sophie - St Vincent Millay - 'What lips my lips have kissed and where and why'
Lorenz - Larkin
Natasha - Milton
Mathieu -
Nicolo - Dante - La Vita Nouva
Max - Rilke - 3
Marina - The Windhover

IB ENGLISH - OTHELLO - ACT 2 SUMMARY,

OTHELLO PLOT SUMMARY Act 2

2, 1: Landing stage in a Cyprus port. Cassio, Iago + Desdemona + Emilia, Othello arrive in 3 separate ships after long sea crossing in middle of violent storm (metaphor for trouble and disorder). Cassio welcomes Desdemona as semi-divine (highly poetic register). Desdemona, worried for Othello’s safety, talks to Iago who makes sexual jokes (veiled insults) about women. His aside (lines 164-173) shows his view of Cassio’s courtesy to Desdemona. Othello arrives, greets Desdemona, suggesting he’s happier now than he will ever be (dramatic irony). Turks now drowned and war over. Iago persuades Roderigo that Desdemona will soon be bored with Othello, that she and Cassio are lovers and that he should provoke Cassio to violence, bringing Cassio’s demotion. Iago’s second soliloquy (lines 277-303) tells us he suspects both Othello and Cassio of adultery with Emilia and describes plot to discredit Cassio and send Othello mad.


In this scene, look at Iago’s lexis and imagery describing sexual activity (lines 215-241). Look also at his soliloquy, which describes his plot and introduces the idea of jealousy.


2, 2: Very short. Othello orders celebration of peace and marriage: 11pm curfew.

2, 3: Unspecified Cyprus place. Othello puts Cassio in charge for evening. Cassio admits to Iago he cannot tolerate alcohol. Iago’s third soliloquy (lines 44-59) spells trouble. Iago gets Cassio drunk, sets up Roderigo to attack him and privately tells Montano that Cassio is alcoholic. Montano advises him to tell Othello. Iago pretends to want to cure Cassio. Cassio attacks Roderigo and Montano. Othello arrives, asks what’s happened, gets no reply and angrily asks Iago for explanation. Iago pretends to defend Cassio, but actually blames him entirely. Othello demotes Cassio. Cassio, feeling unworthy, turns to Iago for advice. Iago tries to persuade him reputation is unimportant and advises him to ask Desdemona’s help. Iago’s fourth soliloquy (lines 326-352) describes how he will poison Othello against Cassio and Desdemona to destroy everyone. His short fifth soliloquy (lines 371-377) tells us he’s going to involve Emilia.


In this scene, look carefully at Iago’s persuasive techniques in blaming Cassio (lines 214-240).

Look at his advice to Cassio on ‘reputation’ (lines 259-269) and compare it to the advice to Roderigo on ‘virtue’ in Act 1 scene 3 (lines 316-329).

Look also at the lexis and imagery in his 4th soliloquy – a mixture of religious, sexual and satanic semantic fields – as well as structuring the rest of the plot.


Key speeches from Act 2

 · 2, 1: 215-241 + 249-261 (prose): Iago persuades Roderigo that Cassio is Desdemona’s lover


· 2, 1: 277-303 (verse): Iago’s 2nd soliloquy – suspects Othello and Cassio


· 2, 3: 163-243 (verse): long interactions between Iago, Othello, Cassio and Montano - Iago explains the fight


· 2, 3: 255-324 (prose): interactions between Iago and Cassio – Cassio fears he is unworthy + Iago advises him to plead with Desdemona


· 2, 3: 326-352 (verse): Iago’s 4th soliloquy – plot to destroy Desdemona


· 2, 3: 359-end of scene (verse): (includes Iago’s 5th soliloquy) Iago senses victory + describes how he’ll manipulate Emilia 


Key extracts

· 2, 1 249-end of scene: Iago constructs the plot

· 2, 3 198-243: Iago’s deceitful nature

· 2, 3 304-352: Iago’s deceitful nature

A2 LL - HOMEWORK SET WEEK BEGINNING 24 NOV DUE WEEK BEGINNING 1 DEC - CUPCAKES QUESTION - THE SOCIAL ASPECTS OF BIRTH CONTEROL

HOMEWORK DUE

MOD 2 WED 3 DECEMBER

MOD 1 AND MOD 6 FRIDAY 5 DECEMBER

TASK

Read the source material which follows and answer both questions:

Text A is from an article entitled [The Social Aspects of Birth Control] by [Emma Goldman]. It was first published in [Mother Earth volume 11, issue 2].

You are a [a feminist activist - male or female.]

Using the source material, write the text [of a speech to persuade adult general members of the public to support and join the campaign for the introduction of birth control.]

You should adapt the source material, using your own words as far as possible. Your talk
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 speech
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 TWO PARAGRAPHS

Below are two paragraphs where I have taken the notes referred to in an earlier post and I've written them up as full paragraphs.

Can you identify the different sections of analytical and comparative paragraphs here?



Heaney presents the land as a place of work. The poem Follower is set on Heaney's family farm where he grew up. He describes his father working the land in the opening of the poem where he says

'His eye
Narrowed and angled at the ground,
Mapping the furrow exactly.’

His father's work is emphasized here by the dominance of verbs, such as, 'narrowed', 'angled', and 'mapping'. These pre-modifiers are used to add detail and dynamic action to the scene being described. Readers are drawn in by the energy and detail of the description.

Similarly Frost also presents the land as a place of work. Although in the poem After Apple Picking Frost presents the reader with an image of exhaustion and weariness after an intense period of harvesting apples.

‘My long two-pointed ladder's sticking through a tree
Toward heaven still,’

This farm land is working land and this is emphasised by the use of two pre-modifiers 'long two pronged'. Nouns not verbs dominate this quotation and this conveys a static scene rather than Heaney's verbs that convey action. This is reinforced by the adverb 'still' that communicates stasis and inaction.

Frost also introduces the powerful religious noun ‘heaven’. This alongside apple trees, brings connotations of the Garden of Eden, suggesting perhaps the work of harvesting is holy, spiritual, and good. And may bring to mind Jacob's dream in a heavy sleep of a ladder extending to heaven recorded in Genesis.

The single use of the verb ‘sticking’ is used only to present equipment that has not been put away after the work has been done. This is used to reinforce the idea of tiredness. Readers are lulled by the nouns and the static scene here.

322 - words including quotations

299 - words excluding quotations

A2 LL - DETAILED PLAN

DETAILED ESSAY PLAN

DEADLINE

MOD 1 – FRIDAY 12 DECEMBER

MOD 2 – THURSDAY 18 DECEMBER

MOD 6 - TUESDAY 9 DECEMBER

On the deadline I’ll be conducting 1:1 interviews with every student to check and sign off your detailed plan for the 2500 word coursework essay.

A detailed essay plan will include

 

·         A series of paired bullet points. Each paired bullet point represents an analytical / comparative paragraph

o   Each paired bullet point must contain a key topic that will address a feature of the main essay question – a topic sentence in note form

o   The quotation you are going to use as evidence to support the main topic sentence

o   And two or three notes showing how the quotation can be used to support the topic sentence.

§  Identify language and or literary features

§  Comment on the effect of the feature on readers

·         The second paired bullet point will analyse the same key topic from the second writer you are using for your essay.

·         Make analytical comments as above

·         And then make comparative / contrasting comments with the first text writer

 

I expect to see a detailed plan of more than 4 paired paragraphs and probably no more than 8 paired paragraphs.

Here is an example of a paired paragraph

A paired paragraph – detailed notes

Paragraph 1 – Nature – farm field land managed and used for work – livelihood quote from Follower – Heaney   ‘His eye Narrowed and angled at the ground, Mapping the furrow exactly.’   Third person, personal pronoun ‘His’ is used to emphasise the narrator as an observer / onlooker   Detailed descriptive writing – two pre-modifiers  - ‘Narrowed and angled’ and post-modifier adverb – ‘exactly’ used to emphasise skill and proficiency of father   The noun ‘furrow’ – the land shaped and sculptured for the purpose of work. Technical language

Paragraph 2 – Nature – farm orchard land managed and used for work – livelihood quote from After Apple Picking – Frost   ‘My long two-pointed ladder's sticking through a tree Toward heaven still,’   First person possessive personal pronoun, ‘My’ – indicates ownership   Also detailed descriptive writing as Heaney – two pre-modifiers ‘long two-pointed ladder’   Use of a verb ‘sticking’ denotes action but combined with the adverb ‘still’ this is a static scene where work has finished but equipment not put away   ‘heaven’ – powerful Christian religious lexis, perhaps suggests Garden of Eden, the work of harvesting is holy, spiritual, good. Perhaps suggests death.   Both Frost and Heaney present the land as a place of work, the work is focussed on in detail and use similar techniques

A2 LL - GEORGIA O'KEEFFE - ARTICLE

This is not the easiest article to read. Didion is a sophisticated writer and writes generally quite complex sentence structures, uses low frequency lexis and combines a variety of different writing styles, for example autobiographical and biographical writing. I'm afraid there are a number of articles with similar levels of complexity.

Below is a brief structure of the article to help you identify the main points.

Introduction - autobiographical comments about Didion and her daughter

O'Keeffe and the art world

Her fans and contemporaries

The art establishment

Some biographical details - sketchy from childhood to star watercolours

A2 LL - CUPCAKES - GEORGIA O'KEEFFE QUESTION

Read the source material which follows and answer both questions:

Text A is from an article entitled [Georgia O’ Keeffe] by [Joan Didion]
It was first published in The White Album. 

You are [preparing an exhibition of 20^th century women’s art and have been asked to write an introduction of Georgia O’Keeffe’s life on an exhibition board at the entrance of the exhibition.]

Using the source material, write the [text for the introduction]
Your audience will consist of [general members of the public]
You should adapt the source material, using your own words as far as possible. Your [introduction] 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 text introduction 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)

IB ENGLISH - OTHELLO - IAGO SOLILOQUY AND INTRODUCTION TO ACT 2

TASK 1

In groups read and consider Iago's soliloquy at the end of Act 1.

What is Iago's purpose in this monologue?

How does Iago present Roderigo here?

How does Iago present Cassio?

How does Iago present Othello?

What does this soliloquy thell us about the character of Iago?

Comment on the language features in this speech.

What effect do they have on an audience?

TASK 2

Summarise Act 2 scene 1 pages 29 - 37

A2 LL - FEEDBACK ON THREE WAY COMPARISON

Below are some general feedback observations from the commentaries I've marked. Please read these in conjunction with the comments I've made on your work and the mark scheme posted elsewhere on this blog.

Remember this is the first three way comparison you have done and there is plenty of time to improve. This will happen through practice.

We will do one other 3 way comparison before Christmas.

• If you make an observation about a text you must support it with evidence - a quotation that you can comment on in detail.

• Write about the effects of language and literary features of each of the texts.

• Be concise! Cram as much relevant information into a sentence as you possibly can. For example instead of; 'In text A - an article we can see a variety of writing styles.' Rather, In text A - an autobiographical article about the writer and her relationship with food.'

• People use the term 'narrative' - it's generally used to refer to story telling and plot development.

• It's important to put quotations into context when you introduce a quotation.

• Instead of using the word 'word, use noun, adjective or verb etc.

• Be accurate in your writing. Use a formal academic register when writing your commentary.
• Avoid literary or rhetorical language yourself.
• Avoid clichés and hackneyed expressions
• Avoid contractions, slang or colloquialisms

• Always write using a wide margin on the left side of the page.

• Write a full, concise introduction to you commentary.

• 'Simile' not 'similie', 'writer' not 'writter', 'hyperbolic' hyperbolics'.
• Identify and use as many language and literary features as you can in the quotation you are analysing. 

• Use the recommended structure for your commentary.

• Be selective in the points you are going to make. You cannot write about everything. Choose comparative points to analyse.

• Plan your commentary before you write it.

A2 LL - EXAMPLE OF AN INTERVIEW IN A BROADSHEET

Click here for a link to an example of an interview in a broadsheet newspaper.

A2 LL - COURSEWORK ESSAY TITLES

A2 ENGLISH LANGUAGE AND LITERATURE
UNIT 4 COURSEWORK
SUGGESTED ESSAY TITLES


TASKSelect an essay title and the texts you will use to write your essay.

DEADLINE

I’ll discuss your titles with each one of you in the coursework lessons in the week beginning 17 November. Module 6 students the week beginning 24 November.

Thursday 20 November Mod 2

Friday 21 November Mod 1
Tuesday 25 November Mod 6

REMEMBER THE ESSAY MUST COMPARE TWO TEXTS* ON A COMMON THEME. ONE WRITER MUST BE A POET!

1 Compare the different ways in which your chosen writers present childhood experience in their work.


2 Compare the ways in which your chosen writers present isolated characters in their literature. 


3 Compare the variety of ways your chosen writers explore the use of settings in their literature. 


4 Compare the variety of ways in which your chosen writers present personal relationships in their texts.


5 Compare the ways your chosen writers use the narrative voice in their literary works.

6 Compare the variety of ways in which your chosen writers examine the theme of nature in their poetry.

7 Compare the ways your chosen writers use and present the past I their work.


8 Compare the ways your chosen writers create vivid experiences in their writing.


*A text is equal to TWO or THREE poems or ONE short story – you should draw your evidence from TWO or THREE relevant extracts from the short story.

AS LL - STREETCAR HOMEWORK

TASK

Imagine that Mitch has written a letter to his aunt after his date with Blanche in scene 6. In the letter he discusses his developing relationship with Blanche and his mother's response to it.

 

Give careful consideration to the language choices, form and style in order to convey a sense of Stella’s voice and her point of view.

DEADLINE

Wednesday 19 November

A2 LL - EVELINE - SOME PREPARATION QUESTIONS

A2 ENGLISH LANGUAGE AND LITERATURE
COURSEWORK TEXTS
EVELINE

Here are some study questions to help you analyse the story of Eveline in the light of the coursework essay titles.

What happens in the story of Eveline?

How could we structure the story of Eveline and what title would you give to each section?

How is Eveline presented in the story?

How is Eveline’s father presented in the story?

Comment on the use and function of settings in this story
Comment on the narrative voice paying special attention to the narrative perspective of the story.

What different writing techniques does Joyce use to tell the story of Eveline?

How does Joyce use symbolism in the story?

How does Joyce use setting in the story?

A2 LL - MARKING SCHEME - ELLA 3 SECTION B - RECASTING TASK AND COMMENTARY

A2 LANGUAGE AND LITERATURE - INTEGRATED ANALYSIS AND TEXT PRODUCTION

MARKING GRID FOR A2 ENGLISH LANGUAGE AND LITERATURE:

Demonstrate expertise and creativity in using language appropriately for a variety of purposes and audiences, drawing on insights from linguistic and literary studies

The Recasting Task

AO4 (Marks out of 25)

Band 4 22-25	Responds confidently and at top of band originality and flair. Skilfully handled writing which is completely fit for purpose. Sophisticated use of language at top end. Cohesive writing that works at bottom end. Engaging style with very clear and convincing ideas of audience and purpose. Firm control of technical aspects. Range of appropriate material from source which works entirely within new text
19-21	Confident adaptation. Sustained use of appropriate style. Approaching fulfilment of aim. Content and style confidently selected for audience. Convincing use of form with sustained evidence of audience and purpose being addressed. Technically accurate. Confident choice of source material which is convincingly used.
Band 3 16-18	Clear grasp of task with clear stylistic shaping evident. Successful language use for audience and purpose approaching a sense of style. Competent writing with few technical flaws. Effective register with clear choice of language to address audience and purpose. Occasional stylistic lapses. Source material is carefully selected but may be off-beam.
13-15	Expression generally clear and controlled. Definite if inconsistent use of register. Suitable style adopted for task/genre. Some minor technical flaws. Awareness of audience and purpose but may not be totally consistent. Some stylistic lapses occur. Source material utilised competently but may miss some material in adaptation.
Band 2 10-12	Expression communicates ideas but lacks sophistication and flexibility. Some uncertainty about style; conscious if obvious shaping with a tendency to the simplistic at times. Some technical flaws but few basic errors. Audience and purpose not always wholly evident; reflected in choice of source material which may be partial or lacking in discrimination.
7-9	Style and approach not entirely convincing but there may be broad shaping for audience. Flaws in expression occur and there are likely to be frequent technical errors. May opt for over general approach which is not necessarily appropriate. Source material may be indiscriminately used.
Band 1 4-6	Superficial grasp of task; not secure and weak focus on audience and purpose. Details are not thought through. Intrusive errors with naïve expression likely to be evident; vocabulary may well be limited. Source material poorly used.
1-3	Occasional glimpses of appropriate style. Intrusive basic errors. Short and unsuitable answer with occasional use of source material. Frequent weaknesses of expression; major technical flaws. Brief writing with puzzling use of material or no use of source material.

MARKING GRID FOR

 The Commentary Task

Select and apply relevant concepts and approaches from integrated linguistic study, using appropriate terminology and accurate coherent written expression

AO1 (Marks out of 15)

Band 4 13-15	Use of framework(s) enhances and illuminates textual interpretation. Has a possible overview of the text through the framework(s). Engages closely with the purpose/ audience/meaning of the text; patterns fully appreciated. Possibly conceptual in use of framework(s). Fluent, cohesive writing
11-12	Coherent analysis through the framework(s); some thoughtful probing of features and patterns. Thoughtful engagement with text through framework(s) and details. Clear awareness of crafting evident through approach taken/framework(s) used. Fluent writing
Band 3 9 -10	Uses framework(s) to highlight reading. Describes significant features/patterns. Awareness of stylistic and linguistic features. Engages with text through explanation of features; possibly underdeveloped in places. Clear and appropriate writing
7 - 8	Uses a suitable framework(s). Evidence of some range. Sense of patterns may emerge in places; likely to be under-developed. May use different approaches for literary/linguistic study; able to distinguish between different features fairly accurately but may be unable to comment on effect of features. Sound writing
Band 2 5-6	Identification through framework(s) shows some of writer’s choices within the text. List-like but sound ideas. Broad comments on effects and stylistic points. Shows awareness of shaping of material but may do so in simplistic fashion. Broad comments
4	Simplistic. Attempts to use framework(s) but likely to be limited; identifies some points; limited appreciation of features and/or patterns; some awareness of the focus of the text, descriptive approach that does not discuss how language works. Limited writing
Band 1 3	Lack of coherence in selection of ideas; little apparent planning with probably no use of framework(s). Implicit views of language use; Very few relevant ideas. Writing contains many flaws. Ideas and expression likely to be naive and vocabulary limited Little awareness. Possible framework misconceptions. Weak writing
1-2	No apparent direction. Very basic. Persistent misuse of terms. Frequent technical weaknesses