A2 LL - EXAM TIMETABLE

Below is a detailed exam timetable for FRIDAY 17 JUNE AM EXAM


SECTION B QUESTION - Recast text and recast commentary


9.30 - read and annotate source text and plan recast text
9.45 - write recast text
10.10 - plan and write recast commentary




SECTION A QUESTION - 3 way comparison


10.30 - read, annotate and plan
10.50 - write introduction
10.55 - write analysis of text 1
11.10 - write analysis of text 2 and compare with text 1
11.30 - write analysis of text 3 and compare with text 2 and text 1
11.50 - edit and correct
12.00 - exam ends

A2 LL - 3 WAY COMPARISON FEEDBACK ON CRISPS

Below are a couple of feedback points on the three way comparisons commentaries I marked on crisps.

• It is important to use only short quotations - either one word or a short phrase of about 5 - 7 words - for your analysis. 
• Copying out long quotations that you are not going to comment on in your analysis is a waste of precious time. You cannot afford the time to waste on copying out chunks of the source text especially if you are only going to make one point, or in most cases I've discovered none at all.
• That means you should only quote what you are explicitly going to comment on in detail in your commentary.
• For each quotation you use to support the point you want to make, aim to identify three different features and their intended effect on an audience - listener / reader
• Remember there is a danger that writing long quotations will probably result in writing short comments - identifying one language feature and only one effect. This is the wrong balance. Like the recast commentary you should be concise, detailed and packed with language features - at least 3 - and comment on the intended effects of them.Unlike the recast commentary, you must expand relevantly on the quotation. This means where possible show insight or sensitivity to the writer's or speakers attitudes and assumptions about the topic and / or make comparative points with the other texts. 
• If your quotation is longer than your comment you have the wrong balance.

• This is a real opportunity to show off your knowledge of language features and their effects. Don't skip or ignore features if you know they are there.
• As you read let your mind open up to the different frameworks available to you
• such as: spoken language features, language features and literary features - poetic and prosaic and rhetorical devices

• Before you begin writing it is a good idea to structure your commentary carefully. It won't take more than a couple of minutes and it will produce good results later.
• Choose which of the three texts you will use as the anchor text
• I think you should avoid using the transcript of spontaneous speech as the anchor text. Rule it out now.

• A poorly planned commentary can lead to repeating points - this is a waste of time
• It will make you ignore important points and analysis
• It will make your commentary over complicated and confusing
• Unplanned commentaries increase the chances of feelings of anxiety and panic among students and this will lead to chaotic, inaccurate and poorly expressed writing

• A planned commentary will help you feel calm and in control
• The exam marker will feel confident in you
• A planned commentary will help you organise your thoughts into a coherent and logical order
• It will enable you to concentrate on writing clearly and accurately
• Most importantly it will create a situation whereby you will be able to write full and detailed analytical points
• 
  

A2 LL - 3 WAY COMPARISON - CRISPS - AN EXERCISE

Below are some key quotations taken from last week's timed three way comparison on crisps. I've chosen them at random.

In pairs choose at least one quotation from each text and list as many language features you can identify in each quotation. Then decide on the intended effect on the audience.
Finally write up a detailed and concise paragraph that includes three of the language features and comment on the intended effect on the audience / readers.



Text A

"but but (.) but I rea::::lly don't see what the problem is"

"I didn't spend fifteen grand on a car just for little kids to go in it an leave (0.5) effin crisps on the back seat..."


Text B

"...the acidic tang, of the dust coating each brittle slice."

"So childish of him,this infatuation, so weak, so harmful..." 

"... a clammy  fragrance of frying fat and vinegar... "


Text C

"'But it's true, it's on the television,' I pleaded."

"...I'd open the crackly bag, poke my fingers right down into the crisps and pull out the bright blue twist of wax paper."

"Crisps were frowned upon, rather like baked beans, chips and Love Hearts."

"Crisps - light, salty, golden..."

A2 LL - EXAM DETAILS / LOCATION AND EXAM TIMETABLE

A2 ENGLISH LANGUAGE AND LITERATURE A
ELLA 3 - Comparative Analysis and Text Adaptation
EXAM DETAILS


Friday 17 June 9.30 - 12.00 Quins IG stand


Click here for a link to a map of the venue. However I recommend checking the route to the venue yourself before the exam date. The college usually produces a map for students. In the past these can be collected from reception. There are exam details posted around Glades as well as reception.


Please confirm the above details through official sources. The information above is my understanding of the situation. I may have got the details wrong.


Quins is a short for the Harlequins Rugby Union. Exams are held at the Stoop Stadium in some of the hospitality areas. The Stoop Stadium is about a 15 walk from the back of the college. However with all the demolition work going on access to the exam venues will different than in past years.


Make absolutely sure you know where the exam venue is and know the route well before the morning of the exam.


The address for the stadium is:


Twickenham Stoop Stadium
Langhorn Drive
Twickenham
Middlesex
TW2 7SX


So lets move on and consider again your exam timetable.


9.30 read section b question 2 [sometimes identified as 2i]

• read the question, read the extract, annotate and make relevant notes on the extract, plan your recast text, write and edit recast text

10.10 begin work on section b question 3 [or sometimes referred to as 2ii]

• plan your recast commentary, write and edit the recast commentary

10.30 begin work on section a question

• 10.30 - 10.50 read the question carefully, read, annotate and make relevant notes on all three texts, plan your answer
• 10.50 - 11.50 write you 3 way comparison commentary
• introduction - 5 minutes
• anchor text a - 20 minutes
• text b with comparison to text a - 20 minutes
• text c with comparisons to text a and b - 20 minutes
• conclusion - 5 minutes

A2 LL - MODEL INTRODUCTION FOR THE RIVERS 3 WAY COMPARISON

All three texts are linked by the subject of rivers. Text C is a highly literary autobiography. It is both informative and entertaining. McGrath describes the River Cam's location then describes its sluggish flow. The second half of the extract focuses on an anecdote where he walked along the bank of the Cam with his girlfriend. He saw his first Kingfisher. The audience will be educated, quite sophisticated and cultured. They maybe tourists or know McGrath's work. Like text C, text A presents the River Fleet as a place of beauty. This text is a transcript of spontaneous speech that involves a short series of adjacency pairs between friends. Where speaker A sets the agenda by asking speaker B about his experience of fishing on the Fleet. He uses four interrogative utterances to do this. This text is private. The primary audience are the two speakers. It is informative, persuasive and entertaining. Unlike text A and C text B is fictional. The poem is in the form of a dramatic monologue. The first person narrator is the voice of the river itself. The river is male, unattractive, old but still powerful. Despite describing himself as beautiful the river is unattractive and dangerous. His attitudes towards people are dark and sinister. Its audience may be people who like Stevie Smith's poetry, people who know and love the river Mimram or who like the natural world. Its main purpose is to entertain.


240 words

A2 LL 3 WAY COMPARISON FEEDBACK ON RIVERS

• In your introduction you need to do more than just repeat what has already been established in the exam question. For each text you must - as a summary or overview
• identify audience, purpose[s], genre, specific topic - this might be plot or narrative description and attitude towards the topic
• make general comparative points between all three texts
• Once you have established a point there is no need to establish it again with another example. Move on with your commentary.
• I recommend only using short, relevant quotations that contain language features to comment on. However if you do use long quotations then you really must analyse it fully. I'd suggest commenting on 3 - 5 language features and effects.
• Really make a significant point of the 1st person narrative of the poem. First person narratives are biased and selective in their vision of the situation. First person narratives of objects and things gives life to the object, makes it appear human - it uses language.
• It's not enough to write only one thing about a quotation. Aim to write at least 3 relevant and appropriate points about a language feature.
• Don't ignore the first half of text C. There are lots of observations and language features to identify here.
• In your analysis of rivers consider both elemental and sensuous language in all three of the texts.
• You absolutely must revise spoken language features and terms. Look at transcripts of spontaneous speech and observe the function of spoken language features. Revise key terms.
• There will be a variety of reasons why non-fluency features are used in a transcript of spontaneous speech. Consider the context of the transcript to help decide what is motivating  

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 - RADIO DOCUMENTARY SCRIPT - SOME KEY FEATURES

Voices
I recommend using between 2 or 3 voices maximum for your short script. This will create variety and this will be interesting to any listeners - your audience. It's also a commentary opportunity to show that you are aware of the genre convention of radio broadcasts.

 Layout
Examiners are concerned primarily with the text of your script. They will focus most of their attention on the main body of the text. However a simple wide margin will enable you to write simple notes under a heading like 'Conventions / Speaker'  and then the main body of your text in the rest of the page.

Conventions
Consider such things as main presenter, witness / expert witness / member of the public, sound effects, direct address to the audience, title music, historic evidence - like past news bulletins or extracts of interviews,

 

Use one or a maximum of two sound effects in your recast text. Perhaps use one at the beginning and one at the end of your extract. Remember that you are being assessed on your use of written language; however one very clear way of getting marks is to identify the genre of a recast text. One straight forward way of achieving this is to adopt its layout and the conventions - a way in which something is usually done. By quoting the conventions of a recast text you will be preparing for a good commentary paragraph. For example

Conventions / Speaker	Text
Voice of invigilator announcing the start of an exam. Sound of shuffling students /  papers	The time is now 9.30 this exam lasts two and a half hours. You can turn over the question paper now
Jeremy Paxman – [Presenter]	Well it’s that time of year again where all over the country students are sitting their exams. I have with me in the studio today……..

Commentary extract

I used a recording of the start of an exam to draw the listener’s attention to the subject matter of the documentary. I wrote this declarative in note form because it’s part of the convention of radio script writing, ‘Sound of shuffling students /  papers’ to make the programme sound realistic and to add tension for the listeners. I thought the sound effects would draw their attention.

Have a look at the way sound effects are used in the example documentary script I’ve reproduced.

But remember not to spend very much time on the layout and conventions. It says in the assessment objectives, ‘Convincing use of form with sustained evidence of audience and purpose being addressed. ‘ The term ‘form’ here relates to layout and conventions. The references to ‘audience and purpose’ will be dealt with using language.

I think if you use the margin in the answer book of the exam to place conventions and speaker information , that would be enough.


Click here for a link to a radio documentary script. Notice the layout of the script is different from the one above. Perhaps you'd prefer to use this layout.

A2 LL - COMPARATIVE ANALYTICAL PARAGRAHS FOR THE BIRDS THREE WAY COMPARISON

Text A and text B both present birds as violent and aggressive. In text A the avocets are described as 'behaving like hooligans'. The anthropomophic use of 'hooligans' introduces a humour into the programme. The comparison emphasises the informal, conversational relationship between the presenters and their audience.

Text B presents the hawk as a powerful predator. His whole function is to kill, eat and maintain control of his environment. This is done in the fourth stanza. 'I kill where I please because it is all mine.' The repetition of the personal and possesive pronouns, 'I' and 'mine' is used to emphasise physical and mental power and strength. The verb 'kill' is shocking and reveals the brutality and cruelty of the hawk. It's a serious and sinister short simple declarative statement that contrasts with the light hearted presentation of the avocets.

 

UNIT 3 SECTION A

ANALYTICAL COMPARISON


Read the three texts on the following pages. These three texts are all about place.


Text A is the opening of the novel 1984 by George Orwell.
Text B is an extract from a non-fiction text.
Text C is a transcript of an adult talking about a recent holiday.


Compare texts A, B and C, analysing how the writers and the speaker communicate their impressions of the places they are writing about.


Your analysis should include a consideration of the following:

• The writer’s or speakers’ choices of vocabulary, grammar and style
• The relationships between texts and the significance of the context on language use.
(60 marks)

AS A2 LL - READING POETRY - SOME KEY QUESTIONS

Reading Poetry
Some Key Questions

Below are some key questions and prompt statements to help you reflect and analyse each poem we study.

·         Comment on the poetic voice of the poem.

 There maybe more than one voice – different voices may offer different perspectives on the themes raised. For example the voice maybe male, female, young, old, subjective, objective, detached, engaged. Is the voice angry, sad, joyful etc

·         What is the main subject of the poem?

The title of the poem may give you a clue to the poem’s subject. Make a note of the subject and consider how the subject is being presented. Be prepared for the presentation of the subject to change and develop through the poem. The subject maybe a character, an object, a location, etc

·         What happens in the poem?

Sometimes poems tell stories, they are narrative poems. And sometimes there are developments and time shifts that occur. Often poets include autobiography in their poetry and write about the past – sometimes using the present tense. Action, movement and stasis are important to consider.

·         What are the main themes or issues raised in the poem?

Although the subject of a poem maybe physical and material a poem will also engage with broader and more abstract set of concepts. Themes may occur explicitly or implicitly. Issues are usually clearly defined where the poet presents a conscious position on a subject.

·         Comment on the setting and context[s] of the poem.

An important element in poetry can be the poem’s setting. The immediate setting is the physical landscape that frames the subject of the poem. Poets use setting to develop the themes, subject and meaning of a poem. Contexts are broader and more abstract and may link to political, cultural, social and historical concerns. Contexts often involve the poet and the personal and societal

·         Comment on the structure and form of the poem.

Poems are usually highly organized texts. A poet will have worked and reworked their material to suit their purposes and to engage the reader.  The physical shape of the poem and the way it is presented on the page will help convey the poem’s meaning.

·         Response to the poem.

To consider all the above questions carefully and reflectively will help you develop an informed, sensitive, thoughtful, imaginative, analytical response to these poems. In turn this will help you enormously to write a good 1000 word essay.

What key language and literary features can you identify and what effect do these features have on a reader?

• What genre does the poem draw from? Consider whether the poem is largely descriptive, narrative, monologue, dialogue, abstract, physical, etc

• Generally poets use two different techniques to communicate to their readers. One is imagery – where poets appeal to the imaginations of their readers. For example; metaphor, simile, symbolism and personification. The other technique is phonology – where a poet uses sound to appeal to their readers. For example; alliteration, assonance, rhyme, onomatopoeia and repetition etc. Another unique feature of poetry is the use of form. At its most basic consider the shape of the poem on the page. Is there any specific pattern to them poem? Is the poem a ballad, a sonnet or lyric poem? Is it written in free verse? Consider such things as line length – iambic pentameters and tetrameters are two line structures. But also consider stanzas.

·         You should also consider such features as – grammar – the structures that exist within a sentence. For example identifying verbs, nouns and adjectives. Lexis – or vocabulary. Consider such things as simple or complex, emotive or neutral words. Also the denotations and connotations of words. Syntax – sentence structure. Consider such things as simple, compound or complex sentences. As well as declarative, interrogative, instructional and exclamatory sentences.  Rhetorical devices – are techniques designed to persuade a reader to a specific point of view. These techniques include repetition, comparative and contrasting pairs, lists and lists of three and direct address, etc. Register – is the relationship the poetic voice adopts towards the reader. This is established through using either formal or informal lexis.

 

• Identifying features in a poem will not enable you to get good grades in your assessments. It is vital that you link the features of a poem to the effects on you and a generalised reader. You may also be required to link the work you are studying to specific contextual references – these may be biographical or cultural. You may also be expected to refer to theoretical perspectives such as Marxism or Feminism.

 

One  2500 word essay comparing two poets on a comparative theme

AS A2 ENGLISH LANGUAGE AND LITERATURE - SOME SUMMER ACTIVITIES

If you are intending to continue into the second year of A Level English Language and Literature you might consider the following activities

Over the summer read and annotate the poems given out already, using the questions in the handout. If you don't have the anthology here are some links to relevant poems you may be studying next year.

Click here for a link to Daddy by Sylvia Plath
Click here for a link to London by William Blake
Click here for a link to Digging by Seamus Heaney
Click here for a link to Composed Upon Westminster Bridge by William Wordsworth
Click here for a link to Stopping by Woods on a Snowy Evening by Robert Frost
Click here for a link to Because I could not stop for death by Emily Dickinson

And click here for a list of key questions to use when exploring poems.

Over the summer you should read regularly and widely a range of non fiction texts such as good quality weekend broadsheet and tabloid newspapers. You should concentrate on the supplements and commentaries / columnists rather than the news sections.

Consider texts that are autobiographical, biographical, travel writing, eye witness, opinion and social / political commentaries.

As you read these newspaper sections consider how the writer addresses audience, purpose and genre - these are key concepts in the second year. Why not find out what they mean and how they are used in non fiction texts. Try and identify the conventions - another key concept in the second year of the course - used to present these different types of writing. And finally identify different language techniques and the effect of these on an audience.

Most importantly - have a great summer and enjoy your reading!

A2 LL - RECAST FORMATS - DIARY

Diary

Definition: a book in which one keeps a daily record of events and experiences.

Synonyms: journal, memoir, chronicle, log, logbook, weblog, blog, vlog

Example 1

Tuesday 20 October 1942

Dearest Kitty,

My hands still shaking, though it’s been two hours since we had the scare. I should explain that there are five extinguishers in the building. The office staff stupidly forgot to warn us that the carpenter, or whatever he’s called, was coming to fill the extinguishers. As a result, we didn’t bother to be quiet until I heard the sound of hammering on the landing (across from the bookcase). I immediately assumed it was the carpenter and went to warn Bep, who was eating lunch, that she couldn’t go back downstairs. Father and I stationed ourselves at the door so we could hear when the man had left. After working for about fifteen minutes, he laid his hammer and some other tools on our bookcase (or so we thought!) and banged on our door. We turned white with fear. Had he heard something after all and did he now want to check out this mysterious looking bookcase?

It seemed so, since he kept knocking, pulling, pushing and jerking on it.

I was so scared I nearly fainted at the thought of this total stranger managing to discover our wonderful hiding place…

Extract from Anne Frank's diary

Example 2

28 May 1911

"A typical day starts at 8 for breakfast at 8.30 – tho’ some are always late…

For breakfast we have porridge, tea and coffee, bread and butter and some dish such as fried seal and bacon or scrambled ‘Tru-egg’. The porridge is excellent but as all 25 of us like it there is never quite enough.

Afterwards I start work immediately, which consists of cutting sections, learning German, using the microscope, writing the diary or reading books. When fine I go for a walk, but walks in the dark are most uninteresting. The others fill in their mornings in various ways. Sunny Jim and Charles are always busy with their meteorological gadgets, setting them up, repairing or taking them down. The ponies are regularly exercised when the weather permits.

Cherry puts in the day typing copy for the South Polar Times or building a stone-hut in which to flense sealskins. Bill is always sketching or painting and Teddy Evans has plenty of work with chart making and working up the summer’s surveying data. Ponting is regulalrly engaged in taking prints form negatives he made in the summer, or in taking flashlights.

Lunch is at 1.30 and consists of bread (or biscuit) and butter with potted meat, jam and cheese on alternate days, also tea and cocoa. Dinner is at 6.30 and is always a 3 course meal – soup, meat and pudding. After each of the meals a good many sit at the table smoking and talking for a long time. The table breaks up into 2 or 3 groups each with its own subject and there is a general buzz of conversation."

A diary page from Frank Debenham, an Australian on the British Antarctic Expedition 1910 to 1913

Diary writing conventions – tips

• Write a greeting / salutation – ‘Dear Diary’
• Use relevant date, a refer to place of writing
• Selectively use an informal register – ellipsis, elision, contractions, note form, colloquial lexis
• However be selective and make sure you refer to a number of these features in your commentary to show you understand the conventions of diary writing
• Address your future self - ‘Don’t ever forget that feeling of being part of a team.’  Include action / follow up points – ‘Tomorrow I’m going to take plenty of water with me.’
• You can also write more than one entry to the diary. But be very careful how you do this. Don't write more than 3 entries and be careful not to repeat the same information.

SOME FOLLOW UP WORK

DIARY - Read the example DIARY EXTRACTS above and identify conventions, key features, identify how the text addresses audience and purpose, uses genre conventions and creates specific effects from an audience.

KEY FEATURES - DIARY – private audience – future self / next day or years. Sometimes diary writer’s consider the possibility of their diary being published at some point in the future.
For the purpose of the exam – write a greeting salutation and a completing salutation to end. Use a selective informal register. Use selectively – ellipsis, elision, contractions, colloquial lexis, bullet points or note form – listing sentences. If you use informal register you MUST make sure you refer to this in your commentary with a variety of quotations / examples.  Refer to your future self and refer to follow up or action points. Rember the content of the source article is the primary information to be addressed.

 

CONVENTIONS – a way in which something is usually done –such as structure, layout, address heading[s] – see above.

COMMENT – on function[s] of the convention within the context of the diary

TEXT - Link to the private audience, purpose, genre, wider context, attitudes to topic[s]and topic[s]themselves
EFFECT – identify the intended effect of the CONVENTION on an audience / reader

LANGUAGE FEATURES – identify language and literary features common to DIARIES. Find a good quotation - short and contains strong language features - comment on these and show effects on readers.

FOLLOW UP

READ and become familiar with DIARY EXTRACTS. You will find many examples online. They are usually relatively short, accessible and on interesting topics.
Identify a 300 - 400 extract and identify conventions, language features, good quotations, make brief comments about function of the language feature and on effects on readers.

A2 LL - CUPCAKES RECAST TASK - DIARY

Read the source material and answer both questions:

Text A is from an article entitled [Report on the Fall of the Berlin Wall] by [Ann Lesley]. It was first published in the [Daily Mail in 1989].

Imagine that you are one of the students referred to by Ann Lesley in the text and produce a diary entry for this day, recording your thoughts and feelings on this historic occasion.
Adapt the source material, using your own words as far as possible. Your [diary] 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 [diary]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 - RECAST FORMATS - ENCYCLOPEDIA

A2 LANGUAGE AND LITERATURE
ELLA 3 COMPARATIVE ANALYSIS AND TEXT ADAPTATION
RECAST FORMATS - Encyclopedia

Definition: a book, set of books, optical disc, mobile device, or online informational resource containing articles on various topics, usually in alphabetical arrangement, covering all branches of knowledge or, less commonly, all aspects of one subject.

Example of short encyclopaedia entry
 
Migration is the process by which individuals, families, or groups move from one country of residence to work or settle in another. Originally used to refer to the temporary movement of people to find seasonal or longer-term employment, migration is now more commonly used to refer to a wide range of processes and phenomena that involve movement from one country to another for a variety of reasons. It is also common for individuals to migrate within a country as well as between two states, for example, between rural and urban areas. The academic study of migration therefore involves a wide range of phenomena, such as labor migration and types of forced migration.

Labor migration refers to the movement of individuals seeking employment in another
country. A number of trends have historically been associated with this term, among them the movement of rural populations to urban centres during the process of industrialization in Western Europe and the United States, the movement of indentured labor during the colonial period for the building of railways or mines, and contemporary migration of workers in hightech industries that require specialized knowledge and technical skills. Labor migration has also been actively encouraged within some economic areas, such as the European Union (EU),here citizens of member states are granted freedom of movement to work in other European countries.

Another prominent area of migration is that of forced migration. This term refers to the
migration of people who may be fleeing persecution, civil war, or humanitarian crises such as genocide; people who have been smuggled or trafficked; and those fleeing natural disasters, such as flood or famine. Forced migration is commonly used to refer to all these cases and is concerned with individuals as refugees, asylum seekers, or internally displaced people (IDPs) rather than as migrants. The right to asylum and refuge from instances of persecution and crisis is guaranteed under the 1951 Geneva Convention and is overseen by the UN High Commissioner for Refugees (UNHCR). Individual states and regional organizations such as the EU draw on UN conventions in formulating their own immigration and asylum policies. Individuals may also be forced to migrate within their own states and are referred to as IDPs. UNHCR estimates that twenty five million IDPs have been displaced by conflict, persecution, and humanitarian crises of various kinds.

Migration is sometimes used synonymously with immigration, but the two should not be
confused. Many different types of migration refer to more complex phenomena than the
process of leaving one country to settle in another.

421 words

SOME FOLLOW UP WORK

 

 

ENCYCLOPEDIA - Read the example  ENCYCLOPEDIA entry above and identify conventions, key features, identify how the text addresses audience and purpose, uses genre conventions and creates specific effects from an audience.

 

KEY FEATURES -ENCYCLOPEDIA  – generally public audience - may be specific for example newly married couples, children, parents etc. – may have range of purposes but mainly informative but may be persuasive and entertaining.  Read the question carefully to check this. 

 

CONVENTIONS – a way in which something is usually done –such as structure, layout, address heading[s] – see above.

 

COMMENT – on function[s] of the convention within the context of the diary

 

TEXT - Link to the private audience, purpose, genre, wider context, attitudes to topic[s]and topic[s]themselves

 

EFFECT – identify the intended effect of the CONVENTION on an audience / reader

 

LANGUAGE FEATURES – identify language and literary features common to DIARIES. Find a good quotation - short and contains strong language features - comment on these and show effects on readers.

 

 

FOLLOW UP

 

READ and become familiar with ENCYCLOPEDIA EXTRACTS. You will find many examples online. They are usually relatively short, accessible and on interesting topics.

 

Identify a 300 - 400 extract and identify conventions, language features, good quotations, make brief comments about function of the language feature and on effects on readers.

 

 

 

A2 LL - RECAST FORMATS - LEAFLETS

A2 LANGUAGE AND LITERATURE
ELLA 3 COMPARATIVE ANALYSIS AND TEXT PRODUCTION
RECAST FORMATS - Leaflet

 

Defintion:a printed sheet of paper containing information or advertising and usually distributed free.

 

Synonyms: pamphlet, booklet, brochure, handbill, circular, flyer, handout, advertisement, bulletin, mailshot, bill, notice;

 

Example of a leaflet text

 

Christian Aid Work With HIV

 

We are committed to ensuring that wherever we work on HIV, we help ensure our partners' responses include addressing other related health risks, in particular malaria and tuberculosis.

 

We have 148 partners working on HIV in 40 countries who are brilliantly placed to incorporate a response to malaria, TB and other poverty-related health issues into their community-based structures.

 

A community-led response

 

The majority of our HIV partners are in sub-Saharan Africa, where HIV-related diseases are now the leading cause of death. Two-thirds are already working on other poverty-related diseases.

 

Most of our partners rely on networks of dedicated health volunteers who are able to assist those in their own communities. Often these are hard-to-reach communities with poor access to even basic health facilities.

 

For example, in Nigeria – where 300,000 children die of malaria every year – our partners working on HIV are also distributing long-lasting insecticide-treated mosquito nets.

 

The most vulnerable, including pregnant women, children under the age of five, people living with HIV and the elderly, receive these nets as a priority, but distribution also goes on to include all families in the areas where they work.

 

We also have numerous health programmes in Latin America and the Caribbean, Asia and the Middle East.

 

Our priorities in this area of our work are:

 

·         community-based HIV, malaria and TB prevention, care and support

 

·         working with leaders of all faiths to challenge HIV-related stigma and promoting HIV prevention

 

·         defending the human rights of people living with HIV

 

·         reaching out to youth in new and creative ways

 

·         support for orphans and vulnerable children affected by HIV and malaria

 

·         HIV work in fragile states, and in conflict and post-conflict areas.

  

Back in the UK and Ireland, we keep health issues high on the agenda of our supporters and donors through advocacy, campaigning, education and fundraising.

 

HIV and SAVE

 

Christian Aid supports the SAVE approach - originally developed by our African partner organisation ANERELA+ - as a way of working more effectively to prevent HIV infection.

 

SAVE provides a holistic way of preventing HIV. It incorporates the principles of the ABC approach  (Abstinence, Be faithful and Condom use) while also providing comprehensive information about other, non-sexual routes of HIV transmission and prevention, promoting support and care of those already infected and actively challenging HIV-related stigma and discrimination, discrimination and denial. Find out more about SAVE and how you can help support this work by donating money and volunteering on a regular basis. Contact………………….

SOME FOLLOW UP WORK

LEAFLETS  - Read the example LEAFLET above and identify conventions, key features, identify how the text addresses audience and purpose, uses genre conventions and creates specific effects from an audience.

KEY FEATURES - LEAFLETS  – public audience – often informative and persausive. Titles and sub titles, prose, bullet points, action points, imperatives

CONVENTIONS – a way in which something is usually done –such as structure, layout, address heading[s] – see above.

COMMENT – on function[s] of the convention within the context of the LEAFLET

TEXT - Link to the audience, purpose, genre, wider context, attitudes to topic[s]and topic[s]themselves

EFFECT – identify the intended effect of the CONVENTION on an audience / reader

LANGUAGE FEATURES – identify language and literary features common to LEAFLETS. Find a good quotation - short and contains strong language features - comment on these and show effects on readers.

FOLLOW UP

READ and become familiar with LEAFLETS. You will find many examples online. They are usually relatively short, accessible and on interesting topics.

Identify a 300 - 400 extract and identify conventions, language features, good quotations, make brief comments about function of the language feature and on effects on readers.