ENGLISH LANGUAGE AND LITERATURE 7707/1

A-level ENGLISH LANGUAGE AND LITERATURE 7707/1 Paper 1 Telling Stories Mark scheme June 2024 Mark schemes are prepared by the Lead Assessment Writer and considered, together with the relevant questions, by a panel of subject teachers. This mark scheme includes any amendments made at the standardization events which all associates participate in and is the scheme which was used by them in this examination. The standardizations process ensures that the mark scheme covers the students’ responses to questions and that every associate understands and applies it in the same correct way. As preparation for standardization each associate analyses a number of students’ scripts. Alternative answers not already covered by the mark scheme are discussed and legislated for. If, after the standardisation process, associates encounter unusual answers which have not been raised they are required to refer these to the Lead Examiner. It must be stressed that a mark scheme is a working document, in many cases further developed and expanded on the basis of students’ reactions to a particular paper. Assumptions about future mark schemes on the basis of one year’s document should be avoided; whilst the guiding principles of assessment remain constant, details will change, depending on the content of a particular examination paper. No student should be disadvantaged on the basis of their gender identity and/or how they refer to the gender identity of others in their exam responses. A consistent use of ‘they/them’ as a singular and pronouns beyond ‘she/her’ or ‘he/him’ will be credited in exam responses in line with existing mark scheme criteria. English Language and Literature Mark Scheme Aims How to Mark When you are marking your allocation of scripts your main aims should be to: • recognise and identify the achievements of students • place students in the appropriate mark band and in the appropriate part of that mark scheme (high, low, middle) for each Assessment Objective • record your judgements with brief notes, annotations and comments that are relevant to the mark scheme and make it clear to other examiners how you have arrived at the numerical mark awarded for each Assessment Objective. Approach It is important to be open minded and positive when marking scripts. This specification is underpinned by the belief that the best form of literary criticism is rooted in a rigorous and precise application of concepts and methods from language study. This means that although vague and impressionistic terms like ‘imagery’ and ‘tone’ are unhelpful, there will be occasions where students might be drawing on different areas of linguistics, or on different ideas about classifying language. They therefore may use a term that is different from what an examiner might normally expect but it is in the spirit of this specification that we accept a range of ideas and approaches as long as they are grounded in precise descriptive analysis. Assessment Objectives This component requires students to: AO1: Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology and coherent written expression AO2: Analyse ways in which meanings are shaped in texts AO3: Demonstrate understanding of the significance and influence of the contexts in which texts are produced and received AO4: Explore connections across texts, informed by linguistic and literary concepts and methods AO5: Demonstrate expertise and creativity in the use of English to communicate in different ways. Level of response marking instructions Level of response mark schemes are broken down into levels, each of which has a descriptor. The descriptor for the level shows the average performance for the level. There are marks in each level. Before you apply the mark scheme to a student’s answer read through the answer and annotate it (as instructed) to show the qualities that are being looked for. You can then apply the mark scheme. Step 1 Determine a level Start at the lowest level of the mark scheme and use it as a ladder to see whether the answer meets the descriptor for that level. The descriptor for the level indicates the different qualities that might be seen in the student’s answer for that level. If it meets the lowest level then go to the next one and decide if it meets this level, and so on, until you have a match between the level descriptor and the answer. With practice and familiarity you will find that for better answers you will be able to quickly skip through the lower levels of the mark scheme. When assigning a level you should look at the overall quality of the answer and not look to pick holes in small and specific parts of the answer where the student has not performed quite as well as the rest. If the answer covers different aspects of different levels of the mark scheme you should use a best fit approach for defining the level and then use the variability of the response to help decide the mark within the level, ie if the response is predominantly level 3 with a small amount of level 4 material it would be placed in level 3 but be awarded a mark near the top of the level because of the level 4 content. Step 2 Determine a mark Indicative content in the mark scheme is provided as a guide for examiners. It is not intended to be exhaustive and you must credit other valid points. Students do not have to cover all of the points mentioned in the Indicative content to reach the highest level of the mark scheme. Annotating scripts It is vital that the way you arrive at a mark should be recorded on the script. This will help you with making accurate judgements and it will help any subsequent markers to identify how you are thinking, should adjustment need to be made. To this end you should: • use the relevant emarker2 annotation commenting on the answer’s relationship to the Assessment Objectives • write a summative comment at the end for each Assessment Objective Please do not make negative comments about students’ work or their alleged aptitudes; this is unprofessional and it impedes a positive marking approach. Distribution of Assessment Objectives and Weightings The table below is a reminder of which Assessment Objectives will be tested by the questions and tasks completed by students and the marks available for them. Assessment Objective AO1 AO2 AO3 AO4 Total Question 1 15 15 10 40 Questions 2–9 10 10 15 35 Questions 10–17 15 10 25 100 Annotating scripts Please use the following annotations: Emarker2 symbol Use of symbol GEN COP COR REP To be used in the body of the response to show where a language feature, concept or method has been selected and exemplified where textual evidence is not given or where terminology has been used imprecisely terminology used incorrectly The following to be used in the margins for use in Section B to show where reference has been made to a different point in the prose text for use in Section C to show where reference has been made to another poem to show where meaning / interpretation is engaged with thorough discussion where connections have been made between the texts in Section A genre context of production context of reception representation (section A only) mode (section A only) reference to writer’s crafting (sections B & C) used for summative comments for all AOs but use a separate one per AO (please use 3 boxes for AO1 + comment, AO2 + comment, AO3 + comment for Section A) Assessment Objectives (Question 1) Section A The AOs assessed in these questions are AO1, AO3 and AO4 (AO1 15 marks, AO3 15 marks, AO4 10 marks). How the Assessment Objectives apply to Section A AO1: Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology and coherent written expression. In order to compare and contrast how the writers and speakers present Paris, students are assessed on meeting three distinct strands: Strand One: applying concepts and methods Awarding at the different levels (Levels 1–5) will be based on the selection of language levels relevant to the texts (rather than any hierarchical judgements about the language levels themselves) and the quality of discussion of the patterns and effects of these. Strand Two: use of terminology Awarding at the different levels (Levels 1–5) will be based on the level of accuracy and precision in using terminology. Strand Three: expression and presentation of ideas Awarding at the different levels (Levels 1–5) will be based on the ability to present ideas academically with development of ideas and the overall structural organisation of the answer to compare and contrast how the writers and speakers in these extracts present Paris. AO3: Demonstrate understanding of the significance and influence of the contexts in which texts are produced and received. This relates to students’ ability to explore the significance and the influence of contextual factors on the production and reception offered by different genre and text types, and examine why writers and speakers choose to communicate using various forms. In order to compare and contrast how the writers and speakers present Paris, students are assessed on meeting three distinct strands: • factors associated with mode • the use of particular genre conventions • the influence of contextual factors (production and reception). Students’ considerations of all these three contextual strands will help determine both the level they are awarded and where within that level they are placed. (The balance of comments for each strand will depend on the nature of the texts themselves.) AO4: Explore connections across texts, informed by linguistic and literary concepts and methods This relates to the students’ ability to make connections between texts, exploring their similarities and differences in the light of how the writers and speakers present place. In order to compare and contrast how the writers and speakers present Paris, students are assessed on meeting three distinct strands: • making connections • text coverage • comparing representations. Section A – Remembered Places Total for this section: 40 marks AO1: Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology and coherent written expression AO3: Demonstrate understanding of the significance and influence of the contexts in which texts are produced and received AO4: Explore connections across texts, informed by linguistic and literary concepts and methods This rewards students’ ability to apply concepts and methods from integrated linguistic and literary study to literary and non-literary material. AO1 also rewards the ability to maintain an academic style throughout the essay. This relates to students’ ability to explore the significance and the influence of contextual factors on the production and reception offered by different genres and text types, and examine why writers and speakers choose to communicate using various forms. This relates to the students’ ability to make connections between texts, exploring their similarities and differences in the light of how the writers and speakers represent place. Level/Mark Students are likely to: Level/Mark Students are likely to: Level/Mark Students are likely to: Level 5 13–15 Select language levels with sustained relevance and evaluation of patterns. Apply a range of terminology accurately. Express ideas with sophistication and sustained development. Level 5 13–15 Offer a perceptive account. Evaluate: • the different factors associated with mode • the use of particular generic conventions • the influence of contextual factors on production and reception of the extracts. Level 5 9–10 Make sophisticated and perceptive connections. Covers extracts evenly. Evaluate: • ideas about how individuals and societies are framed and represented • in detail the ways in which the extracts are similar and different. MARK SCHEME – A-LEVEL ENGLISH LANGUAGE AND LITERATURE – 7707/1 – JUNE 2024 Level 4 10–12 Select language levels purposefully and explore some patterns. Apply terminology relevantly and mainly accurately. Express ideas coherently and with development. Level 4 10–12 Offer a clear account. Analyse: • different aspects of mode • genre conventions of the different extracts • how the production and reception of the extracts are motivated by contextual factors. Level 4 7–8 Make sound and occasionally perceptive connections. Covers extracts evenly. Analyse: • ideas about how writers and speakers represent places, societies and people • a number of ways in which the extracts are similar and different. Level 3 7–9 Select language levels and explain some features. Apply terminology with some accuracy. Present ideas with some clear topics and organisation. Level 3 7–9 Offer some consideration. Explain: • aspects of mode • more obvious genre conventions • the contexts in which the extracts were produced and received. Level 3 5–6 Make some connections. Covers extracts reasonably evenly. Explain: • more obvious points about representation • some ways in which the extracts are similar and different. Level 2 4–6 Select language levels with incomplete development and identify some features. Apply terminology with more general labels. Level 2 4–6 Offer generalised awareness. Describe: • some features of speech and writing • genre conventions with some limited awareness Level 2 3–4 Make limited connections. Covers extracts unevenly. Describe: • some simple points about representation Communicate ideas with some organisation. • with limited awareness the contexts in which extracts were produced and received. • some simple points on how the extracts might be similar and different. Level 1 1–3 Show limited awareness of language levels but may describe some features. Describe language features without linguistic description. Present material with little organisation. Level 1 1–3 Offer little discussion. Identify: • basic points on speech and writing • basic ideas about conventions of genre • some basic ideas about production and reception. Level 1 1–2 Make very few (if any) connections. Covers extracts unevenly. Identify: • isolated, basic points about representation • very few (if any) ways in which the extracts might be similar and different. 0 Nothing written about the extracts. 0 Nothing written about the extracts. 0 Nothing written about the extracts or only one extract considered. Instructions to examiners: When determining a Level/Mark for AO4 you should consider whether the answer has dealt with both extracts evenly. An answer with uneven coverage cannot be placed above Level 2. By uneven we mean a significant imbalance in favour of one of the extracts. An answer that only deals with one extract should not be given any credit for AO4. Indicative content: Q1 Read Text A and Text B printed below and on the Insert. Compare and contrast how the writers of Text A and Text B express their ideas about the Pompidou Centre in Paris. You should refer to both texts in your answer. [40 marks] AO1: Text A: • writer’s subjective viewpoint on the Pompidou Centre anchored in first person pronoun: I • predominantly declarative mood states the writer’s opinions: There’s hardly any place to sit and no focal point • Bryson’s negative opinions on the Pompidou Centre emphasised in the simple declarative and underlined in the opening indefinite pronoun and final adjective: Everything about it seemed wrong. • Bryson’s opinions about the Pompidou Centre reflected in the number of mental verb processes: guess, like, dislike, seemed • Pompidou Centre presented as being unattractive to look at in the choice of adjectives: weathered, faded and in the simile: like a child’s toy that has been left out over winter • Pompidou Centre presented as being too big for its location through the contrast in adjectives: overbearing, cramped • Bryson’s dislike of the Pompidou and buildings like it conveyed through personification: they are just showing off • Bryson’s mockery of the Pompidou Centre’s obvious calling attention to itself conveyed through imagined direct speech of its architect: ‘Look, I put all the pipes on the outside. Am I cute enough to kiss?’ • Bryson’s opinions about what the planners should have taken into consideration emphasised through modality: should do, should be • Bryson contrasts the Musée d’Orsay with the Pompidou in the juxtaposition of syndetic lists: crowded and confusing with space and light and majestic calm • the chaotic nature of the Pompidou conveyed in the simile: It’s like a department store on the first day of a big sale • personal opinions emphasised through informal register and use of parenthesis: – new to me, at any rate –; – no big clock or anything – • Bryson’s feelings about the Pompidou summed up by the final simple declarative and metaphor: It has no heart. Text B: • predominantly declarative mood and use of third person pronouns conveys a sense of objectivity about the Pompidou Centre: The Pompidou Centre disgusted some people when it opened in 1977. • unusual physical appearance of the Pompidou foregrounded in the idiomatic title: inside out and upside down • the unconventional appearance of the outside of the Pompidou conveyed in the simile: like a body with all its veins and nerves visible on the outside • dislike of the Pompidou presented as an attitude of the past through use of past tense: disgusted, thought it didn’t belong • current opinion presented as being more favourable, introduced through the fronted adverb Now and adjectival phrase: most popular MARK SCHEME – A-LEVEL ENGLISH LANGUAGE AND LITERATURE – 7707/1 – JUNE 2024 • favourable reactions to the Pompidou emphasised through alliteration: popular places in Paris and in the colloquial sub-heading: Loved to bits • humour in play on words in the sub-heading: Pompiwho? • speech bubbles and use of interrogative highlights reactions to the unusual aspects of the Pompidou Centre: Is that a factory? • positive image of the Pompidou conveyed through the semantic field of attraction: loved, popular, attracts • attractive features of the Pompidou conveyed in the sub-headings, for example, through the pre- modifying adjective and alliteration in: Fabulous Fountain • Pompidou Centre presented as having a lot to offer the visitor in the syndetic list and exclamatory: art museum, public library, cinema, performance halls, music institute and shops! • Pompidou Centre’s attractiveness to children conveyed in the anthropomorphism: I’m the firebird. I’m hot! ; I’m the serpent. Bite me! • text-image cohesion conveys the importance of the visual aspects of the Pompidou Centre. AO3: • genre conventions and affordances of autobiographical travel writing (Text A) • genre conventions and affordances of a travel guide for children (Text B) • written mode with high levels of literariness throughout the text (Text A) • multi-modal nature of the text combining visual images, less formal spoken features along with more crafted written features demonstrating a level of literariness (Text B) • primary purpose to entertain, secondary purpose to inform (Text A) • purpose to inform the audience about places of interest to visit in Paris but also to entertain (Text B) • wide audience of adults with an interest in travel writing and/or fans of Bryson (Text A) • audience of English-speaking children who will be visiting Paris (Text B) • the nationality of the writer as American and an observer of French culture (Text A) • the nationality of the writer as an Australian positioned both as an outsider to French culture but also knowledgeable about Paris (Text B). AO4: • similarities and differences in the representation of the physical appearance of the Pompidou Centre: writer of Text A dislikes it, writer of Text B presents it as unusual and interesting • similarities and differences in the representation of the refurbishment of the Pompidou Centre: Bryson emphasises how much this had cost, with disappointing results; Text B focuses on the need for renovation because it was so popular it had been worn out • similarities and differences in the way the writers present the busyness of the Pompidou Centre: Bryson stresses it is overcrowded; Text B emphasises its popularity • similarities and differences in the presentation of attractions at the Pompidou Centre and the area surrounding it • similarities and differences in the use of representation of speech: Bryson includes an imaginative and humorous direct speech from the architect; Text B includes speech bubble representation of speech from images of characters • similarities and differences in genre and mode: autobiographical travel writing in Text A; multi- modal travel guide for children in Text B • similarities and differences in purpose of texts: primary purpose to entertain, secondary purpose to inform (Text A); Text B is primarily to inform but also to entertain • similarities and differences in audience: Text A has a wide adult audience; Text B is aimed at children aged 7+ • both writers view Paris and the Pompidou Centre from an outsider’s perspective • any other connections that are linked by features and/or concepts • any other connections that are linked by narrative perspective and conventions. Section B Assessment Objectives (Questions 2–9) The AOs assessed in these questions are AO1, AO2 and AO3 (AO1 10 marks, AO2 10 marks, AO3 15 marks). How the Assessment Objectives apply to Section B AO1: Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology and coherent written expression. Students are assessed on meeting three distinct strands: Strand One: applying concepts and methods Awarding at the different levels (Levels 1–5) will be based on the selection of language levels relevant to the texts (rather than any hierarchical judgements about the language levels themselves) and the quality of discussion of the patterns and effects of these. It is useful to think about the distinction between a concept (an idea), a method (a tool for analysis) and a feature (a specific example) when assessing AO1. So, a student could be exploring characterisation (concept), using speech and thought presentation (method) and identifying different kinds of speech verbs (feature). Strand Two: use of terminology Awarding at the different levels (Levels 1–5) will be based on the level of accuracy and precision in using terminology. Strand Three: expression and presentation of ideas Awarding at the different levels (Levels 1–5) will be based on the ability to present ideas academically with development of ideas and the overall structural organisation of the answer. AO2: Analyse ways in which meanings are shaped in texts. In order to address this AO, students will need to: • demonstrate an understanding of the question focus by providing interpretations and through the selection of relevant parts of the text • demonstrate an understanding of narrative techniques and authorial craft. AO3: Demonstrate understanding of the significance and influence of the contexts in which texts are produced and received. In order to address this AO, students will need to: • demonstrate an understanding of their chosen novel as part of a wider literary genre and its associated conventions • demonstrate an understanding of the influence of contextual factors (social, historical, biographical, literary) on the production and interpretations of their chosen text. Students may address AO3 by discussing: • how the novel (and extract) might be considered to be from the fantasy genre (eg themes, characters, plot) • social, historical, political and literary influences on the production and reception of the novel (eg relevant points from the study of Sebold’s own reflections on the writing of the novel, gothic and feminist influences, ‘adversity’ narratives, relevant references to specific literary critical and non-academic readings from a variety of theoretical lenses and stances, any re-writings/adaptations). Section B – Imagined Worlds Total for this section: 35 marks AO1 Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology and coherent written expression AO2 Analyse ways in which meanings are shaped in texts AO3 Demonstrate understanding of the significance and influence of the contexts in which texts are produced and received This rewards students’ ability to apply concepts and methods from integrated linguistic and literary study to prose fiction, and specifically to the analysis of a specific narrative technique. AO1 also rewards the ability to maintain an academic style throughout the essay. This relates to students’ ability to examine the ways that meanings are shaped in their chosen text through the selection and exploration of relevant parts of the novel in response to a specific focus. This relates to students’ ability to explore their chosen novel as part of a wider literary genre (fantasy). It also rewards students’ ability to evaluate the influence of contextual factors (social, historical, biographical, literary) on the production and interpretation of their chosen text. Level/ Mark Students are likely to: Level/ Mark Students are likely to: Level/ Mark Students are likely to: Level 5 9–10 Select language levels with sustained relevance and evaluation of patterns. Apply a range of terminology accurately. Express ideas with sophistication and sustained development. Level 5 9–10 Offer a thorough and open-minded analysis by: • interpreting the question focus subtly • providing a perceptive interpretation • making careful selections from the text • including wholly relevant ideas. Provide perceptive accounts of how meanings are shaped by: • investigating closely narrative techniques • evaluating the writer’s craft through close analysis of details. Level 5 13–15 Offer a perceptive account. Evaluate: • aspects of the novel in relation to the fantasy genre • the use of particular genre conventions • the influence of contextual factors on the production and various interpretations of the novel. 13 Level 4 7–8 Select language levels purposefully and explore some patterns. Apply terminology relevantly and mainly accurately. Express ideas coherently and with development. Level 4 7–8 Offer a good and secure analysis by: • interpreting the question focus relevantly • providing a clear and sound interpretation • making appropriate choices from the text • including ideas that are relevant. Offer a clear account of how meanings are shaped by: • exploring how narrative techniques contribute to meaning • examining the writer’s craft through close comment on some details. Level 4 10–12 Offer a clear account. Analyse: • aspects of the novel in relation to the fantasy genre • genre conventions • how the production and various interpretations of the novel are motivated by contextual factors. Level 3 5–6 Select language levels and explain some features. Apply terminology with some accuracy. Present ideas with some clear topics and organisation. Level 3 5–6 Offer some analysis by: • identifying the question focus straightforwardly • providing some valid interpretations • making some successful choices from the text • including ideas that are generally relevant. Show some awareness of how meanings are shaped by: • explaining some ways that narrative techniques contribute to meaning • discussing the writer’s craft through reference to some examples. Level 3 7–9 Offer some consideration. Explain: • aspects of the novel in relation to the fantasy genre • more obvious genre conventions • the contexts in which the novel was produced and has been interpreted. Level 2 3–4 Select language levels with incomplete development and identify some features. Apply terminology with more general labels. Communicate ideas with some organisation. Level 2 3–4 Offer a partially descriptive/analytical account by: • commenting generally on the question focus • providing general interpretative points • showing less certainty in selecting from the text • possibly including some irrelevant ideas. Show a partial or an emerging awareness of how meanings are shaped by: • commenting broadly on narrative techniques • making general observations about the writer’s craft with little comment on how meaning is conveyed. Level 2 4–6 Offer partial awareness. Describe: • aspects of the novel in relation to the fantasy genre • broad genre conventions • the contexts in which the novel was produced and has been interpreted. Level 1 1–2 Show limited awareness of language levels but may describe some features. Describe language features without linguistic description. Present material with little organisation. Level 1 1–2 Offer a brief or undeveloped account by: • describing the question focus • offering limited interpretation • making limited reference to the text • including irrelevant ideas. Show limited awareness of how meanings are shaped by: • labelling with little relevance to narrative techniques • making brief or no reference to the writer’s craft. Level 1 1–3 Offer limited discussion. Identify: • basic points on fantasy writing with limited or no relation to the novel • basic ideas about the conventions of genre • some basic ideas about production and interpretation of the novel. 15 0 Nothing written about the text. 0 Nothing written about the text. 0 Nothing written about the text. Instructions to examiners • When determining a Level/Mark for AO2 you should consider whether the answer includes selections from both the given extract and elsewhere in the novel. An answer that only includes selections from the set extract cannot be placed above Level 2. • If the candidate does not write about the set extract, you should treat this in the same way as if s/he had written only about the extract, ie an answer that does not include selections from both the extract and elsewhere in the novel cannot be placed above Level 2. Indicative content Q2: Read the extract printed below. This is from the section of the novel where Walton writes to his sister about his planned voyage to the North Pole. Explore the significance of characters’ ambitions in the novel. You should consider: • the presentation of characters’ ambitions in the extract below and at different points in the novel • the use of fantasy elements in constructing a fictional world. [35 marks] AO2 Students might refer to: AO1 Students might refer to: • extract – personal ambitions presented through the homodiegetic perspective of Walton in letter form • time scale as indication of dedication • Walton’s reflections on specific moment his ambitions began • excitement due to imminence of the task • Walton’s commitment to his personal goal • Walton’s perception of his own personal character • ambition presented as a quest • the requirement to overcome difficulties and obstacles • intellectual capacity as a benefit to an ambitious character • academic fields associated with intellect and ambition • Walton’s pride balanced with modesty • the need of encouragement from others to achieve ambitions • any other interpretation(s) offered. • use of first person pronoun I and possessive determiner my to reflect inner thoughts and feelings • temporal phrase: six years • mental verb process: remember and noun phrase: the hour • abstract noun: undertaking pre-modified by adjective: present • preposition: about and infinitive verb: to proceed • mental verb processes: dedicated, devoted • possessive determiner: my and abstract noun fortitude • noun phrase: naval adventurer • collocation: long and difficult • semantic field of endurance: endured, hardship, demand, difficult, sustain • semantic field of physical suffering: cold, famine, thirst, want of sleep • syndetic list and parallelism in phrases: the study of mathematics, the theory of medicine, those branches of physical science • noun phrases: mathematics, medicine, physical science • modality in must own • adjective: proud, pre-modified by determiner: a little • semantic field of success: deserve, glory, valuable • exclamatory: Oh, that… affirmative! • metaphors: hopes fluctuate, spirits…depressed, raise the spirits of others • rhetorical question: Do I not deserve...? AO3 • 19th century ideas about discovery and travel • 19th century attitudes towards science and religion • Mary Shelley’s personal ambitions • the connection of travel writing to the gothic genre • the use of letter writing to explore fears and character flaws • quests as a convention of the fantasy genre • relevant references to literary critical and non-academic readings from a variety of theoretical stances. Possible choice of extracts are listed below. Examiners, however, must be prepared to credit other valid choices: The novel includes many possible extracts. Below are a few suggestions: • Letter 1 – Walton’s ambition to be a poet and reach the North Pole • CH2 – Victor’s longing to understand the physical nature of life • CH10 – monster’s ambitions to learn language. Indicative content Q3: Read the extract printed below. This is from the section of the novel where Victor Frankenstein learns of William’s death. Explore the significance of the character of Henry Clerval in the novel. You should consider: • the presentation of the character of Henry Clerval in the extract below and at different points in the novel • the use of fantasy elements in constructing a fictional world. [35 marks] AO2 Students might refer to: AO1 Students might refer to: • Clerval presented through Victor Frankenstein’s homodiegetic narrative • Clerval as a close observer of Victor Frankenstein’s life and misfortunes • Clerval’s deep affection for Victor • Victor’s dependency on Clerval and his reliability • Clerval as a supportive friend to Victor through attempts to help • Clerval’s keen interest in events • Clerval’s deep empathy • Clerval’s philosophical nature explored in the advice he gives to Victor • influence of religion on Clerval’s philosophy • Clerval’s passion in his reaction to William’s murder • Clerval’s assessment of the events as deplorable • any other interpretation(s) offered. • use of first person pronoun I and possessive determiner my to reflect inner thoughts and feelings • kinesics in verb processes: watched, observe, perceived • repetition of pre-modifying adjective and possessive determiner: my dear friend, my dear Frankenstein • Victor’s imperative: come with me...horses • verb process: endeavoured • interrogatives in direct speech: “are you to always be unhappy?”, “What do you intend to do?”, “what has happened?” • pre-modifying superlative in noun phrase: truest sympathy • exclamatory presented in direct speech: “Poor William!” • metaphor: tears also gushed • references to philosophical thought in proper nouns: Stoics, Cato • euphemism in metaphors: he now sleeps, at rest • complex sentence: Those maxims... to be urged • declaratives: the survivors are the greatest sufferers, time is the only consolation • noun phrase: angel mother • verbal verb process: exclaimed • juxtaposition in noun phrases: dear child, murderer’s grasp • negative: no consolation • abstract noun: disaster • adjective: irreparable. AO3 • 19th century attitudes towards philosophy • 19th century views on male friendships • Mary Shelley’s personal attitudes towards religion • gothic themes and images – death • literary references connected to the fantasy genre • relevant references to literary critical and non-academic readings from a variety of theoretical stances. Possible choice of extracts are listed below. Examiners, however, must be prepared to credit other valid choices: • CH2 – Henry Clerval’s ambitions • CH20 – Clerval’s letter to Victor • CH21 – Clerval’s death. Indicative content Q4: Read the extract printed below. This is from the section of the novel where Lucy Westenra describes to Mina the marriage proposals she has received. Explore the significance of romantic relationships between men and women in the novel. You should consider: • the presentation of romantic relationships between men and women in the extract below and at different points in the novel • the use of fantasy elements in constructing a fictional world. [35 marks] AO2 Students might refer to: AO1 Students might refer to: • romantic relationships presented through Lucy Westenra’s homodiegetic viewpoint in letter format • honesty as a feature of a successful marriage • women’s obligation to share information with their husbands • Lucy’s reflection that husbands expect equal honesty from their wives • Lucy’s reaction to her marriage proposals • marriage proposals presented as dramatic • women as excited and thrilled by proposals of marriage • romantic relationships guided by tradition • women as empathetic to men’s roles in romantic relationships • Lucy’s criticisms of other women’s approach to romantic relationships • use of first person pronouns I, me and possessive determiner my to reflect inner thoughts and feelings. • direct address: My dear • indefinite pronoun: everything • deontic modality: ought, should, must • preposition and adverbial in: except, of course, Jonathan • repetition of adjective: fair • adverb: certainly • idiom: it never…pours • triplet of exclamatory exhortations: Just fancy!, Isn’t it awful!, And three proposals! • repetition of number: three • noun phrase: old proverbs • mental verb process: feel • repetition of adjective: sorry pre-modified by idiomatic expression: really and truly • colloquial noun: fellows pre-modified by adjective: poor • exclamatory: Some girls are so vain! • mental verb process: despise • idiom: for goodness’ sake • mental verb process: imagining and pronoun: themselves • exaggeration in noun phrase: extravagant ideas • semantic field of hurt: injured, slighted • marriage presented as a respectable achievement for women • marriage presented as a goal for women • women’s view of marriage as sedate and respectable • married partners seen as possessions to both men and women • any other interpretation(s) offered. • intensifier: so and adjective: happy • semantic field of marriage: engaged, settled down, old married women • adverb: soberly • possessive determiners in : their wives, her husband. AO3 • attitudes towards marriage in 19th century • 19th century views on women’s roles • romance as a feature of the gothic horror genre • influence of other gothic novels • epistolary form as a popular 19th century genre • relevant references to literary critical and non-academic readings from a variety of theoretical stances. Possible choice of extracts are listed below. Examiners, however, must be prepared to credit other valid choices: • CHVII – Mina’s thoughts on the ‘new women’ and their possible attitudes to men and relationships • CHIX – Mina and Jonathan’s marriage • CHXIV – Van Helsing commends Mina to Jonathan. Indicative content Q5: Read the extract printed below. This is from the section of the novel where Dr Seward records Renfield’s night-time behaviour in his diary. Explore the significance of night-time events in the novel. You should consider: • the presentation of night-time events in the extract below and at different points in the novel • the use of fantasy elements in constructing a fictional world. [35 marks] AO2 Students might refer to: AO1 Students might refer to: • night-time events presented through Dr Seward’s homodiegetic narration • night-time as a setting for adventure and dramatic events • the unpredictability and suddenness of events at night-time • associations between night-time and the supernatural • night settings as a background for Dracula’s presence or arrival • Dracula’s physical appearance at night- time as non-human • Dracula’s intentions at night-time • the atmosphere of foreboding as a backdrop for night-time events • the feelings of impending doom or danger associated with night settings • the mysterious lure of the night for Dracula’s victims/behaviour of victims at night-time • violent events at night-time • night-time events as a common occurrence • night-time events as memorable • any other interpretation(s) offered. • use of first person pronouns I, me to reflect inner thoughts and feelings • noun phrase: night adventure • adjective: furious • epistemic modality: would and material verb process kill • repetition of adverb: suddenly • adjectives: silent, ghostly • symbolism in: moonlit sky • semantic field of the supernatural: deserted, ghostly, strange • spatial deixis: to the west • material verb process: flapping • pronoun: it • concrete noun: bat • plosive alliteration in noun phrase: a big bat • abstract nouns: way, intention • adverbials: straight on, bound for • epistemic modality: shall not and mental verb process: forget • indefinite pronoun: something • adjective: ominous • mental verb process: feel • semantic field of urgency: pressed, holding, efforts • determiner: another • adverbs: once more, again • negative modality: shall not and mental verb process: forget