A2 LL - CUPCAKES FEEDBACK ON EVERYBODY WINS AND ALL MUST HAVE PRIZES

Recast text

 

• Over 95% of your recast text must come directly from the article
• Only add new information to make the content fit the specific genre
• Keep to the exam time table.
• 40 minutes to read, annotate, plan, write and edit/correct the recast text. Spend 20 minutes reading, annotating, planning, write and editing/correcting the recast commentary
• Aim to write 340 words for the recast text
• Include as many relevant points from the source text as you can. I suggest between 10 - 20 key points
• As you plan and write your recast text consider a range of language features that you can include in your commentary
• Take time to write clearly, simply and accurately
• A variety of sentence length is good but consider that long and complex sentences can become confusing and short simple sentences can become boring. If you are making points from the source text I recommend you use short simple sentences. 

 

The Commentary

 

• If you don't include a recast commentary you lose 15 marks
• Aim to write 300 words for the commentary
• Mention in detail at least 15 different language and literary features
• Make sure you address immediately audience, purpose and genre in your commentary
• Always comment on the impact of language features on your recast audience / reader

What to do next

 

• Make sure you read, annotate and make notes on all main points in the articles.
• Write recast questions set on this blog, moodle and the exam board.
• I will mark work that you hand in to me
• Come to every lesson between now and the exam on Friday 17 June in the morning. Confirm these details from official sources. I may have made a mistake.

A2 LL - CUPCAKES AN ANSWER TO EVERYBODY WINS AND ALL MUST HAVE PRIZES

Below is an example of a recast text and recast commentary based on the question for the article Everybody Wins and All Must Have Prizes by 

Recast task

Good evening friends.


We have watched our children over the years grow and play and learn together. And we have fed each other's children, we have protected them, we have loved them like they were our own children. Our own sons and daughters. But today these children are facing the greatest danger to their - young and innocent lives.


That danger comes from our own government. Our children's futures are being put at risk by people who should be nurturing and protecting them. But instead they are being  diminished and condemned.


It is clear to me that current education policy is destroying our education system. And I am calling upon you all to make a stand and take immediate action to heal and restore this country's education system to its former glory.

Firstly the government has adopted the rigid, narrow minded and ridiculous idea that academic achievement is the single most valuable way of measuring intelligence. By stating this, the government ignores and rejects any other forms of intelligence or alternative ways of measuring it. 


For example the government has rejected the apprenticeship programme and other vocational training courses. 

Secondly the ultimate aim of current education policy is to have 50% of the population educated to degree level. To reach this absurd target it aims to admit many more working class students into higher education. This may sound heroic, noble and socially just but in reality it is destroying fundamental principles of education and does not truly serve anybody.

The government is going to achieve this goal in a number of ways.

Firstly it will confine the concept of failure to the dustbin of failed educational theory. And in doing this it will also destroy the concept of excellence and high achievement. The exam system will be designed to create a dull, grey, featureless soulless stodgy body of teenagers.

It will achieve this by lowering admissions grades for working class students in failing schools.

In making failure extinct this government is devaluing the education system in this country. It is making achievement meaningless.It is attacking one of the most fundamental pillars on which our civilization has been built over thousands of years. An education system that was once the envy of the world.

Therefore I call upon you all today to write to your local member of parliament and urge them to do everything in their power to safeguard the future for our children and our country. 

320 words

Commentary

I used a number of techniques in this passionate speech to address this concerned audience of parents of children that have grown up together, since the children were babies. I urge them to help change damaging government educational policy.

The use of first and second person  pronouns such as 'I', 'their', 'you' and the possessive personal pronoun 'our' are all used to address and engage the listening audience. Their use helps create a sense of unity and conveys authority and power for the cause. The second person pronoun 'you' is also a direct address and again is used to engage specifically a listening group. Listening audiences respond intuitively to this kind of direct appeal. 

My purpose in the speech was to inform and persuade the listeners to take immediate action to change educational policy. Facts are communicated through short, simple declaratives with added premodifiers  to add detail and authority. For example, 'the government has adopted the rigid, narrow minded and ridiculous idea...' Here the list of three - a rhetorical device - is used to persuade the audience of the justice of this position. Lists of three are also powerful ways of communicating to a listening audience rather than a reading one.I also used emotive lexis as a way of communicating this position. Abstract nouns such as,'failure', 'excellence' and 'achievement' are used to create a positive and powerful emotional response from the audience. 

231 words

A2 LL - 3 WAY COMPARISON - AN INTRODUCTION TO INSECTS QUESTION

Below is my example we all did in class of an introduction to a three way comparison commentary.


A good introduction will include overview comments on each text that cover:

• audience - list of profile features of target audience - A
• purpose - primary / secondary purpose to either inform, persuade, instruct or entertain - P
• genre - identify novel, non fiction, transcript of spontaneous speech - G
• topic - identify narrator and summary of plot or specific subject - T
• attitude - Briefly comment on the attitude presented towards the topic - ATT
• comparison - make general comparative / contrasting observations between texts - C
• frameworks - list dominant language, literary, spoken language features - F

All three texts are linked by the topic INSECTS. [Text A is a novel.] [Its purpose is to entertain.] It 
                                                                                                 G                                             P                               
 uses a first person narrator and [begins with a woman enjoying thinking about bees that have   
                                                                                                              ATT   T
 settled in the structure of her home.] Text B is an extract from a [humorous travel book.] In
                                                                                                                                                       G
 the extract [the  author contemplates the annoyance of midges in Scotland.]  [It is entertaining 
                                                                                       T            ATT                                                        P
 and informative.] Text C is a [transcript of spontaneous speech.] [Unlike] text A and B its [audience
                                                                                 G                                         C                                            A
is private.] [However like] text A and B its [purpose is to entertain and also inform.] [It is made up 
                             C                                                                                 P
of two gory anecdotes about insects.] [The two written texts are highly literary] and use such 
                        ATT                T                                               G
features as [imagery, characterisation and rely on setting; whereas text C uses pauses, false starts 
                                                                               F
and elongations] to help create [drama and suspense for the audience].
                                                                 ATT                  A

A2 LL - 3 WAY COMPARISON - FEEDBACK ON PARENTS QUESTION

• Adopt a formal academic register in your answer.
• Be concise and detailed in your answer.
• Use a wide range of literary, linguistic and spoken terms
• Avoid long quotations - only quote a word or a phrase.
• If you use quotations you must comment on them in detail by referring specifically to audience, purpose, genre, topic and attitudes to the topic.
• Do this by identifying language features, making comparative points to other texts and comment on the effects on an audience / reader.
• Avoid repeating the same point again and again
• Avoid description.
• Concentrate on analysis.
• Be careful if you decide to analyse a text chronologically. This can very easily become descriptive
• Use the introduction to introduce audience, purpose, genre, topic and attitude to the topic of each text.
• Avoid quotations in the introduction
• List a range of the literary, linguistic and spoken terms used in your commentary
• You are not required to make value judgements or consider how well a writer or speaker has addressed the topic. Assume the writer or speaker has done this well.

A2 LL - CUPCAKES QUESTION - THE FALL OF THE BERLIN WALL BY ANN LESLIE

Text B is from a report by Ann Leslie written for the Daily Mail at the time of the fall of the Berlin Wall in 1989.


Imagine you are the East German border guard who was on duty on the night described by Ann Leslie. Write a letter to your brother in which you describe the events and your thoughts and feelings about what happened.


You should use and 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)


Click here for a link to a news report on the fall of the Berlin Wall

IB ENGLISH SL - A BASIC GLOSSARY

Literary terms Explanation

Allegory
Allegory is a rhetorical device that creates a close, one-to-one comparison. An allegorical comparison of 21st century Britain to a hive might point out that Britain and the hive have queens, workers and soldiers.

Burlesque
Satire that uses caricature.

Colloquial
Colloquial language is the informal language of conversation.

Denouement
The culmination or result of an action, plan or plot.

Diatribe
An impassioned rant or angry speech of denunciation.

Empiricism
As a philosophy empiricism means basing knowledge on direct, sensory perceptions of the world. Empirical means seeking out facts established by experience not theory.

Foreground
To emphasise or make prominent.

Form
The type of literary expression chosen by an author

Genre
A more precise definition of the different literary forms. There are general categories, such as poetry, drama, prose. There are specific categories within these larger divisions, so a sonnet is a specific genre within the larger genre of poetry.

Hyperbole
The use of exaggeration for effect: ‘The most daring, prodigious, death-defying feat attempted by man or woman in all human history!’

Intertextuality
A term describing the many ways in which texts can be interrelated, ranging from direct quotation or echoing, to parody.

Meta
From the Greek meaning ‘above or beyond’. Metaphysics’ is ‘above’ or ‘beyond’ physics. ‘Meta’ is often used in compound words: metatext, metatheatre, etc. These words usually describe moments when a text goes beyond its own fictionality or makes readers/audience aware of the conventions of its fiction. An aside could be described as a ‘metatheatrical’ event. The audience offstage hear words the audience onstage cannot hear. Brecht’s alienation effect (Verfremdungseffekt), where a character suddenly addresses the audience directly, breaking the convention that the characters on stage do not notice the audience during a play, is a metatheatrical effect.

Metaphor
A comparison that creates a direct correspondence ‘society is a hive’ unlike a simile.

Modernism
The name given to experiments carried out in poetry, prose, and art from around 1920-1939. The relationship of Modernism with tradition is frequently complex but the appearance of a Modernist work is usually aggressively different to that of an older text. Often spelt with a capital: ‘Modernism’, ‘Modernity’ to distinguish the word from ‘modern’ meaning ‘up to date’.

Narrator/narrative voice
A narrator or a narrative voice conveys a story. Sometimes the narrator’s presence is emphasised, as in the ‘Dear Reader’ convention employed by Charlotte Bronte’s Villette (1853). This is called a first person narrative. Sometimes the story is told by an unseen author, as in George Orwell’s 1984 (1949). This is called a third person narrative. Some stories are told by an unreliable narrator. In these tales readers are expected to work out that the person who tells the story is biased, partial or mistaken in the views they put forward. The narrator of Kazuo Ishiguro’s The Remains of the Day (1989) is a narrator of this kind. By contrast the omniscient narrator maintains a god-like view of the story in order to provide shaping and commentary. This is the viewpoint usually adopted by George Eliot (1819-80) in her novels.

Oxymoron
Language device where two opposite words or meanings are used side by side e.g. ‘sour sweet’.

Parody
The reducing of another text to ridicule by hostile imitation.

Pathetic Fallacy
The use of setting, scenery or weather to mirror the mood of a human activity. Two people having an argument whilst a storm breaks out is an example. The technique is used to make sure the feelings of readers or audience are moved. See pathetic.

Poetic Justice
A literary version of the saying ‘hoist with his own petard’. The trapper is caught by the trap in an example of ironic but apt justice. Despite the word ‘poetic’, examples usually turn up in texts which are narrative and not necessarily poems.

Point of View/viewpoint
These words look as though they should be interchangeable but this is not always the case. A point of view is an opinion; a viewpoint can also be the foundation on which an opinion is based or, literally, a place from which a view can be enjoyed.

Postmodernism
A complex term. Postmodern texts tend to be aware of their own artifice, be filled with intertextual allusions, and ironic rather than sincere.

Reportage
Literally means reporting news but in literary criticism the word often means the inclusion of documentary material, or material which purports to be documentary, in a text. Mrs Gaskell’s Mary Barton (1848) contains documentary details about life in the Manchester slums that Mrs Gaskell observed first hand.

Satire
A destructive reduction of an idea, image, concept or text. It can employ exaggeration, mimicry, irony or tone.

Semantics
The study of how words create meaning.

Semantic field
The area of language from which a text draws most of its tropes.

Signifier/Signified
According to Ferdinand de Saussure (1857-1913) meaning is created by the partnership of signifier (the indicator) and signified (the indicated). Together they make up a sign. Later semanticists and Postmodernists have questioned if the sign is as simple as Saussure’s ideas imply.

Simile
A comparison introduced with ‘like’ or ‘as’: ‘society is like a hive’.

Stream of Consciousness
The removal of conventional sentence structures and grammar in an attempt to imitate the free flow of thoughts. Virginia Woolf’s Mrs Dalloway (1925) and To the Light House (1927) are examples.

Symbol
A symbol is more independent than a metaphor and less specific than an allegory. Where both metaphors and allegories have precise meanings or are ways of explaining a complex concept, symbols are often elusive in their exact meaning. The lighthouse of Virginia Wolf’s To the Lighthouse (1927) is frequently seen as symbolic but opinions differ as to what it might represent.

Symbolism
The process of creating or detecting symbols within a work. Sometimes critics will talk of a text symbolising a larger concept or idea, irrespective of the author’s intention. Many critics have interpreted T .S. Elliot’s The Waste Land (1922) as symbolising post-WWI Britain, though Elliot always discouraged such an interpretation.

Text
A Postmodernist concept designed to eradicate distinction between literary genres. Some forms of Postmodernism collapse all types of human experience, including history, into text.

Transgressive
The crossing of a boundary of culture or taste, usually with a subversive intention. Vladimir Nabakov’s Lolita (1955) can be described as a transgressive text that challenges assumptions about sex, love, the age of consent and morality

Trope
Any of the devices (metaphors, similes, rhyme etc.) whereby art language differentiates itself from functional language.

Valorise
To invest with value.

Writing Back
A term which describes the appropriation of a text or genre and a rewriting in response. This is a technique frequently employed by Post-colonial writers or feminist writers. Rastafarianism reinterprets the Bible as text of black liberation; Margaret Atwood’s The Handmaid’s Tale (1985) rewrites the Bible to expose its anti-feminist implications.

IB SL - PAPER 2 SOME PAST QUESTIONS

1. 'Characters in a play are often motivated by strong passions or desires.' Compare and contrast plays you have studied in the light of this statement. Discuss, in each case, the dramatic effects created by the exploration of such motivation.


2. Compare and contrast the presentation of any three or four characters in plays you have studied. Say how, and how effectively, each character seems to you to further the dramatic force of the play in which he or she appears.


3. 'What do women and men really want?' Discuss the dramatic techniques through which similar or different desires of the genders have been expressed in plays you have studied, saying how the presentation of them creates an effect on the audience.


4. Plays which succeed with audiences must communicate some aspects of the thoughts and motivations of the characters. How far and by what means have dramatists in your study conveyed the interior lives of their characters?


5. All characters in plays are mouthpieces for their author. From a consideration of some characters from the plays you have studied, say how far you agree.


6. A necessary part of drama is not only to present conflict between the characters in a play, but also to create conflicts within each member of the audience. Compare and contrast two or three plays you have studied in the light of this comment.


7. Using two or three plays you have studied, compare the presentation of two or three characters [e.g. introduction, dramatic interactions with other characters], saying in each case how the presentation furthered the dramatists' purposes, and how it rewarded your study.


8. 'While the momentum of the play is carried by major characters, there is often a significant minor character who is a catalyst for change or enlightenment.' Compare the role of a significant minor character in in plays you have studied, showing how these characters contribute to the dramatic action.


9. 'People often act first and reflect afterwards'. In what ways have the connections between action and reflection been more and less important to the plays you have studied?


10. Human illusions have always been a powerful subject of plays, both tragic and comic. In what ways have the plays in your study considered this aspect of human behaviour and with what effects?


11. A play is often a complex web of conflicting emotions. Compare the ways in which playwrights in your study have presented emotional conflicts so as to make an impact on the audience.


12. 'In real life, we are frequently unsure of the motives behind the actions of our fellow human beings, but in a play we must be sure, or the character will become blurred.' In plays you have studied, compare how far and by what means dramatists have ensure that the audience will be very clear about the motives of significant characters.


13. Consider how dramatists make characters speak in plays you have studied, and say how the language and tone of these dialogues, conversations and monologues contribute to each play as a whole.


14. A drama critic recently drew attention to the 'threatening encounters' as a powerful feature of a new play. Discuss encounters [threatening or otherwise] in plays you have studied and consider them as features of the drama created in each case.


15. The audience's response to characters in drama is due, in part, to the relationships of these characters with others in the play. Compare the ways in which dramatists in your study use such interactions to present full and complex character portrayals to enhance the theatrical experience.


16. The 'past' of characters - their implied or recollected experiences - are often used by dramatists to enlarge and enrich character portrayal. Evaluate the use and the importance of characters' lives prior to the events of plays in your study to explain or complicate the events included in the plays.


17. Using plays you have studied, write an essay on the presentation of the relationships between male and female characters [or between characters of the same sex], giving some idea of the dramatic effects achieved by these means.


18. Isolation, either mental of physical, can lead to despair or enlightenment. In the plays you have studied, show how playwrights have used isolation of any kind to heighten the dramatic effects of their plays and develop their characters.


19. How far, and in what ways, do plays you have studied support the idea that communication between human beings is difficult or perhaps impossible?


20. How have plays you have studied presented 'what happens inside a human being' in dramatic terms?


21. One dramatist has maintained that theater ought to pursue a re-examination, not only of aspects of an objective external world, but also aspects of the inner worlds of human existence. What choices have been made in the plays you have studied to pursue one or the other, or both, of these aspects, and what theatrical techniques have been used to carry out this choice?


22. In achieving a strong dramatic effect, a playwright will sometimes work to elicit from the audience heights of admiration or depths of loathing for certain characters. Compare by what means different dramatists have have managed to construct such powerful characterisations and the effect of those on the play.


23. Because a play is simply not words on a page, actions and gestures play a significant part in engaging the audience. Considering the plays you have studied, compare and evaluate the role of action and gesture in enhancing the central thrust of the play.


24. The interactions among characters in a drama is often associated with the acquisition, the holding or the loss of power. By what means and with what effects have plays in your study addressed power relations?


25. What part does fantasy play in the lives of the characters in plays you have studied; how is this fantasy presented and to what effect on the audience?


26. In every play there are characters who the audience regard as either essential or expendable. In plays you have studied, discuss why characters can be seen in either of these ways because of their relationship to the play's meaning.


27. In what ways do the plays you have studied dramatise either the depths to which human beings can sink or the ridiculousness of some human actions?


28. Discuss the extent to which, and the ways in which, each playwright's presentation of female characters differs from that of male characters, making clear effect in each play.


29. The playwright cannot depend, as does the novelist, on a narrative voice rounding out a a character by means of description and analysis. How are the personalities and views of characters effectively conveyed in the plays you have studied?


30. 'A play stands or falls on the dramatists' ability to create believable characters.' How far have you found this statement to be true in the plays you have studied?


31. Through an analysis of some of the characters in two or three plays you have studied, compare the ways in which the struggle between internal and external forces is presented.


32. How do characters and the choices they make contribute to meaning in two or three plays that you have studied?


33. The difference in a play between what is being said and what is being done can provide one focus of interest for the audience. In plays you have studied, by what means and to what effect have dramatists made good use of such differences?


34. 'Drama explains individuals, not relationships'. Paying close attention to how individuals and relationships are presented in two or three plays you have studied, say how far you find this statement to be true.


35. Drama is often the expression or investigation of power: characters can, at different moments in a play, be oppressors or victims, dominant or subservient, users and used. In terms of power and its effects, discuss three or four characters from the plays you have studied, and say what this power-play adds to the play as a whole.


36. Dramatic conflicts arise when dominant individuals or groups regard themselves as the norm against which others are to be measured. With reference to specific scenes from at least two plays you have studied, discuss the significance of such conflicts and how they are explored.


37. In plays a character who appears briefly, or who does not appear at all, can be a significant presence, contributing to action, developing other characters or conveying ideas. To what extent have you found this to be true of at least two plays you have studied?


38. 'Comedy exposes human weakness; tragedy reveals human strength'. How and to what extent does this claim apply to at least two plays you have studied?


39. A change in status of the characters in a play [a success, for example, or a loss or exposure] helps to convey the ideas and/or values of the dramatist. How and to what extent has change in status contributed in this way to at least two plays you have studied?


40. 'In drama there are more interesting roles for men than women'. Discuss to what extent you agree with this statement and what it is that makes a role interesting. Refer closely to at least two plays you have studied.


41. Consider the ways in which scene changes may highlight the development of characters and their relationships in two or three plays you have studied.

A2 LL - CUPCAKES - AN ANSWER TO BRIGET JONES'S DIARY QUESTION

Click here for a link to the question that this post is an answer to.

Recast text

SPEAKING TO SINGLETONS
There are some things for married couples to consider when speaking to single women in their 30’s.

INTRODUCTION
Despite huge advances in women’s equality and empowerment in modern British society, we can still find discrimination against a specific group of women. They are the Singletons. They are single, professional women in their 30’s. They are economically independent, well paid, own their own homes and are enjoying single life to the full. That is until their role and status is called into question.

FACTS - '1 in 3 marriages end in divorce'

Nations young men unmarriageable
1 in 3 marriages end in divorce
1 in 4 households are single
Most of the Royal family are single
Alternative ways to live one’s life

DON’T’S - 'have a little humility'

• Stop asking sensitive questions about a single person’s sex life. Asking personal questions can be mark of good friendship. However this is only proved in the quality of the answer you receive. Before you ask singletons, consider carefully how you would feel if you were asked such personal questions in public.

• Stop being self-satisfied about your marital status. There are many different ways to live as an adult in Britain today. You may think your life choices are the best that anyone could have. But have a little humility and accept that this is your opinion only.

• Don’t be patronising to single women. They are not children. In fact it is likely they are more informed and better read than married couples.

• Don’t force singles artificially together. It is best not to make the same assumptions or have expectations that you have on marriage and family. It can be awkward and uncomfortable to be paired off with random single people no matter how eligible you think they are.

• Don’t live vicariously through single people. Singletons have made a lifestyle choice. They are not a form of entertainment or an escape from your married enslavement – full of children, mortgages, home improvements or dull sex life. 

DO’S - 'be cautious and thoughtful'

• Consider that being 30 and single is a vulnerable and delicate time in life. We don’t usually really know the circumstances that have led to a person being 30 and still unmarried. So it would be better to be cautious and thoughtful when talking to single women.

• Treat single women in their 30’s as intelligent, sensitive and caring human beings. Speak to them with great respect.

• Acknowledge that some women chose their careers or lifestyle over marriage

424 WORDS


Commentary


Audience
As this is a weekend newspaper, readers are generally more relaxed. They want to catch up on news issues covered in the week but also read material that is diverting and entertaining. As this is a broadsheet newspaper I expected readers to be well educated, professional and fairly sophisticated. I used low frequency lexis to reflect this with the phrases such as 'economically independent' and verb 'empowerment'.


Purpose
The main purpose of the guide is to be informative. I do this using short simple declaratives such as '1 in 3 marriages end in divorce'. There is also the intention to entertain and this is done using short simple imperatives. These orders are intended to be humorous - slightly ironic. Such as 'Don’t be patronising to single women'. I've also used repetition in the verb contraction 'Don't' This is done to emphasise the simplicity of the text.


Genre
I wrote this guide as an embedded article within a Sunday broadsheet newspaper. I used a simple and easy to read structure that included a main heading, sub heading and headings. The main heading uses alliteration to help make the guide pleasing and the headings include quotations from the text to make the text attractive to readers.
Each bullet point  begins with a short declarative statement. Such as 'Don’t live vicariously through single people.' This is followed up with longer more complex declaratives. Such as, 'They are not a form of entertainment or an escape from your married enslavement – full of children, mortgages, home improvements or dull sex life.' These add detail to the headline statements. I also used here asyndetic listing as a way of giving impressions of a life style rather than lengthy details.
I used the second person pronoun 'your' as a rhetorical device as a way of engaging and involving readers.


[284 WORDS]


8 quotations
19 language / literary terms

A2 LL CUPCAKES QUESTION - WHAT BECAME OF THE FLAPPERS BY ZELDA FITZGERALD

Read the source material which follows and answer both questions:
Text A is from an article entitled [What Became of the Flappers] by [Zelda Fitzgerald]
It was first published in [Mc Call’s Magazine in October 1925].


You [have been asked to contribute to US History Magazine. By writing an encyclopaedia style article on  the Flappers of the 1920’s.]

Using the source material [as a whole you should] adapt the source material, using your own words as far as possible. Your [encyclopaedia] entry 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 by 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)


Click here to see some Flappers doing their thing

A2 LL - CUPCAKES QUESTION - BRIDGET JONES'S DIARY

Read the source material which follows and answer both questions:

Text A is from an article entitled [Bridget Jones’s Diary]by [Helen Fielding]
It was first published in [The Independent in 1995].

You [have been asked to produce a guide to speaking to singletons for married people. It will be published in the Life and Style section of The Independent’s website]

Using the source material, write the text [of the guide]
Your audience will consist of [readers of The Independent website and married couples]

You should adapt the source material, using your own words as far as possible. Your [guide] 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
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)



You will find a helpful study guide on approaching the recasting question here and also in the course book. Details can be found here.


Click here for a clip from the film Bridget Jones's Diary

Click here for a clip from the film Bridget Jones's Diary

Click here for another clip from the film Bridget Jones's Diary






 

A2 LL - CUPCAKES QUESTION - JACQUELINE KENNEDY

Read the source material which follows and answer both questions:


Text A is from an article entitled [Jacqueline Kennedy] by [Katherine Ann Porter]

It was first published in [Ladies’ Home Journal in 1964].


You  [have been asked to script the introductory voiceover that will introduce a radio documentary about the life of Jacqueline Kennedy.]


You should adapt the source material, using your own words as far as possible. Your [script] 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 [script]
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)


Click here forr an extract of film footage on Jacqueline Kennedy

A2 LL - CUPCAKES QUESTION - EVERYBODY WINS AND ALL MUST HAVE PRIZES

Read the source material which follows and answer both questions:


Text A is from an article entitled EVERYBODY WNS AND ALL MUST HAVE PRIZES  by Melanie Phillips. It was first published in the Daily Mail in 2003.


Imagine you have been asked to script a speech urging parents to write to their MP to demand changes in educational policy.

Use the source material to produce the opening section of the speech.
Your audience will consist of concerned parents.
You should adapt the source material, using your own words as far as possible.
Your script 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)