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GCE JUN 2006 : (AS 1) The Study of Poetry Written after 1800 and the Study of Twentieth-Century Dramatists

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ADVANCED SUBSIDIARY (AS) General Certificate of Education 2006 English Literature Assessment Unit AS 1 Module 1: The Study of Poetry Written after 1800 and the Study of Twentieth-Century Dramatists ASL11 assessing [ASL11] MONDAY 12 JUNE, MORNING TIME 2 hours. INSTRUCTIONS TO CANDIDATES Write your Centre Number and Candidate Number on the Answer Booklet provided. Answer two questions. Answer one question from Section A and one question from Section B, each on a different text. INFORMATION FOR CANDIDATES The total mark for this paper is 60. All questions carry equal marks, i.e. 30 marks for each question. Quality of written communication will be assessed in all questions. You should have with you your copies of the prescribed texts for this examination. ASL1S6 804 Read all of this page first carefully Section A The Study of Poetry Written after 1800 Answer one question from this section. In Section A of this examination you will be marked on your ability to show detailed understanding of the ways in which writers choices of form, structure and language shape meanings (AO3) show understanding of the contexts in which literary texts are written and understood (AO5i). This means that in your answers, you must show an understanding of the methods a poet uses such as form and structure, language (including imagery) and tone, and relate your comments on methods to the point of the question show a knowledge of the type of context mentioned in the question and apply it relevantly. ASL1S6 804 2 [Turn over 1 Dickinson: Selected Poems Answer either (a) or (b) (a) By looking closely at Because I could not stop for Death and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Dickinson uses to explore the theme of death from a New England perspective. In your answer, consider relevant contextual information about Dickinson s experience of life and death in New England the ways in which the form and structure of the poems contribute to Dickinson s exploration of the theme of death from a New England perspective Dickinson s language (including imagery) and tone in exploring the theme of death from a New England perspective. N.B. Equal marks are available for your treatment of each poem. (b) By looking closely at Safe in Their Alabaster Chambers and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Dickinson uses to write about the religious ideas of nineteenth-century New England. In your answer, consider relevant contextual information about the religious ideas of nineteenth-century New England the ways in which the form and structure of the poems contribute to what Dickinson has to say about the religious ideas of nineteenth-century New England Dickinson s language (including imagery) and tone in writing about the religious ideas of nineteenth-century New England. N.B. Equal marks are available for your treatment of each poem. ASL1S6 804 3 [Turn over 2 Frost: Selected Poems Answer either (a) or (b) (a) By looking closely at Two Look at Two (from the volume West-Running Brook, 1928) and with reference to one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Frost uses to explore the individual s relationship to nature in rural New England. In your answer, consider relevant contextual information about rural New England the ways in which the form and structure of the poems contribute to Frost s exploration of the individual s relationship to nature in rural New England Frost s language (including imagery) and tone in exploring the individual s relationship to nature in rural New England. N.B. One quarter of the marks for this question are available for your treatment of the poem which you select for reference. (b) By looking closely at After Apple-Picking (from the volume North of Boston, 1914) and with reference to one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Frost uses to present the individual living and working in a rural New England setting. In your answer, consider relevant contextual information about living and working in rural New England the ways in which the form and structure of the poems contribute to Frost s presentation of the individual living and working in a rural New England setting Frost s language (including imagery) and tone in presenting the individual living and working in a rural New England setting. N.B. One quarter of the marks for this question are available for your treatment of the poem which you select for reference. ASL1S6 804 4 [Turn over 3 Heaney: Opened Ground Answer either (a) or (b) (a) By looking closely at The Ministry of Fear (from the volume North, 1975) and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Heaney uses to explore the relationship between the two communities in Northern Ireland. In your answer, consider relevant contextual information about the divided society of Northern Ireland the ways in which the form and structure of the poems contribute to Heaney s exploration of the relationship between the two communities in Northern Ireland Heaney s language (including imagery) and tone in exploring the relationship between the two communities in Northern Ireland. N.B. Equal marks are available for your treatment of each poem. (b) By looking closely at Follower (from the volume Death of a Naturalist, 1966) and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Heaney uses to explore a traditional way of life within his native community. In your answer, consider relevant contextual information about aspects of traditional rural life in Northern Ireland the ways in which the form and structure of the poems contribute to Heaney s exploration of a traditional way of life within his native community Heaney s language (including imagery) and tone used in exploring a traditional way of life within his native community. N.B. Equal marks are available for your treatment of each poem. ASL1S6 804 5 [Turn over 4 Hopkins: Selected Poems Answer either (a) or (b) (a) By looking closely at God s Grandeur and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Hopkins uses to present his personal attitudes to God the Father and Christ. In your answer, consider relevant contextual information about the religious views and beliefs which influenced Hopkins poetry the ways in which the form and structure of the poems contribute to Hopkins presentation of his personal attitudes to God the Father and Christ Hopkins language (including imagery) and tone in presenting his personal attitudes to God the Father and Christ. N.B. Equal marks are available for your treatment of each poem. (b) By looking closely at Pied Beauty and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Hopkins uses to present his idea of inscape that is, the individual, unique qualities of places, people and things. In your answer, consider relevant contextual information about Hopkins idea of the individual, unique qualities of places, people and things the ways in which the form and structure of the poems contribute to Hopkins presentation of his idea of the individual, unique qualities of places, people and things Hopkins language (including imagery) and tone in presenting his idea of the individual, unique qualities of places, people and things. N.B. Equal marks are available for your treatment of each poem. ASL1S6 804 6 [Turn over 5 Smith: Selected Poems Answer either (a) or (b) (a) By looking closely at Not Waving but Drowning and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Smith uses to explore loneliness in the twentieth-century individual s personal life. In your answer, consider relevant contextual information about the sorts of loneliness which the twentieth-century individual encounters the ways in which the form and structure of the poems contribute to Smith s exploration of loneliness in the twentieth-century individual s personal life Smith s language (including imagery) and tone in exploring loneliness in the twentieth-century individual s personal life. N.B. Equal marks are available for your treatment of each poem. (b) By looking closely at The Jungle Husband and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Smith uses to present relationships between males and females in mid-twentiethcentury England. In your answer, consider relevant contextual information about the nature of relationships between males and females in mid-twentieth-century England the ways in which the form and structure of the poems contribute to Smith s presentation of relationships between males and females in mid-twentieth-century England Smith s language (including imagery) and tone in presenting relationships between males and females in mid-twentieth-century England. N.B. Equal marks are available for your treatment of each poem. ASL1S6 804 7 [Turn over 6 Thomas: Selected Poems Answer either (a) or (b) (a) By looking closely at The Gypsy and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Thomas uses to explore his sense of the uniqueness of English country people before World War 1. In your answer, consider relevant contextual information about English country people before World War 1 the ways in which the form and structure of the poems contribute to Thomas exploration of the uniqueness of English country people before World War 1 Thomas language (including imagery) and tone in exploring the uniqueness of English country people before World War 1. N.B. Equal marks are available for your treatment of each poem. (b) By looking closely at Adlestrop and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Thomas uses to express his response to rural England in the early twentieth century. In your answer, consider relevant contextual information about rural England in the early twentieth century the ways in which the form and structure of the poems contribute to Thomas expression of his response to rural England in the early twentieth century Thomas language (including imagery) and tone in expressing his response to rural England in the early twentieth century. N.B. Equal marks are available for your treatment of each poem. ASL1S6 804 8 [Turn over 7 Yeats: Selected Poetry Answer either (a) or (b) (a) By looking closely at The Municipal Gallery Revisited (from the volume New Poems, 1938) and with reference to one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Yeats uses to present famous people of his day. In your answer, consider relevant contextual information about the famous people whom Yeats presents in the poems the ways in which the form and structure of the poems contribute to Yeats presentation of famous people of his day Yeats language (including imagery) and tone in presenting famous people of his day. N.B. One quarter of the marks for this question are available for your treatment of the poem which you select for reference. (b) By looking closely at Easter 1916 (from the volume Michael Robartes and the Dancer, 1921) and with reference to one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Yeats uses to explore changes in Ireland in his own lifetime. In your answer, consider relevant contextual information about changes in Ireland in Yeats lifetime the ways in which the form and structure of the poems contribute to Yeats exploration of changes in Ireland in his own lifetime Yeats language (including imagery) and tone in his exploration of changes in Ireland in his own lifetime. N.B. One quarter of the marks for this question are available for your treatment of the poem which you select for reference. ASL1S6 804 9 [Turn over BLANK PAGE ASL1S6 804 10 [Turn over Read all of this page first carefully Section B The Study of Twentieth-Century Dramatists Answer one question from this section. In Section B of this examination you will be marked on your ability to respond with knowledge and understanding to literary texts of different types and periods (AO2i) articulate independent opinions and judgements, informed by different interpretations of literary texts by different readers (AO4). This means that in your answers, you must write about the plays as plays, showing a close knowledge of the text in the evidence you give to support or illustrate your comments develop an argument expressing your views on a statement about the play given at the beginning of the question. ASL1S6 804 11 [Turn over 8 Bolt: A Man for All Seasons Answer either (a) or (b) (a) In the world of politics, as depicted in the play, individuals do not matter. Using the extract given below* as a starting point and with reference to other appropriately selected parts of the play, construct an argument in response to the above statement. In your argument, consider the two bullet points below in coming to your own conclusions: reasons for thinking that in the world of politics, as depicted in the play, individuals do not matter reasons for thinking that in the world of politics, as depicted in the play, individuals do matter. * The extract begins about three or four pages from the end of Act One, and opens with, CROMWELL: Get sure. (Resumes pacing.) No it s not like that, it s much more a matter of convenience, administrative convenience. It goes on to the end of Act One. N.B. One quarter of the marks for this question are available for your use of the extract. ASL1S6 804 12 [Turn over (b) In responding to political issues, Margaret shows herself to be too much like her father for her own good. Using the extract given below* as a starting point and with reference to other appropriately selected parts of the play, construct an argument in response to the above statement. In your argument, consider the two bullet points below in coming to your own conclusions: reasons for thinking that, in responding to political issues, Margaret shows herself to be too much like her father for her own good reasons for thinking that, in responding to political issues, Margaret does not show herself to be too much like her father for her own good. * The extract begins about two-thirds of the way into Act Two and about seven pages before the beginning of MORE s trial with, MARGARET: Good morning, Father. It ends about three pages later with, MORE: There ll be no trial, they have no case. Do this for me I beseech you? N.B. One quarter of the marks for this question are available for your use of the extract. ASL1S6 804 13 [Turn over 9 Friel: Making History Answer either (a) or (b) (a) In the play, Archbishop Lombard is an entirely unsympathetic character. Using the extract given below* as a starting point and with reference to other appropriately selected parts of the play, construct an argument in response to the above statement. In your argument, consider the two bullet points below in coming to your own conclusions: reasons for thinking that, in the play, Archbishop Lombard is an entirely unsympathetic character reasons for thinking that, in the play, Archbishop Lombard is not an entirely unsympathetic character. * The extract begins about five or six pages from the beginning of Act 1 Scene 1 with the stage direction, (O DONNELL is a very young man in his early twenties . . .) It ends two or three pages later with Lombard s speech beginning, I m not sure that truth is a primary ingredient . . . N.B. One quarter of the marks for this question are available for your use of the extract. ASL1S6 804 14 [Turn over (b) The play emphasises the importance of truth in making history. Using the extract given below* as a starting point and with reference to other appropriately selected parts of the play, construct an argument in response to the above statement. In your argument, consider the two bullet points below in coming to your own conclusions: reasons for thinking that the play emphasises the importance of truth in making history reasons for thinking that the play emphasises the unimportance of truth in making history. * The extract begins about ten and a half pages before the end of the play with the stage direction, (O NEILL puts his untouched drink to the side.) It ends about two pages later with, O NEILL: I m asking you, man. Yes, damn it, I am pleading. Don t embalm me in pieties. N.B. One quarter of the marks for this question are available for your use of the extract. ASL1S6 804 15 [Turn over 10 McGuinness: Observe the Sons of Ulster Marching Towards the Somme Answer either (a) or (b) (a) The play shows no sympathy for Ulster Protestantism. Using the extract given below* as a starting point and with reference to other appropriately selected parts of the play, construct an argument in response to the above statement. In your argument, consider the two bullet points below in coming to your own conclusions: reasons for thinking that the play shows no sympathy for Ulster Protestantism reasons for thinking that the play does show sympathy for Ulster Protestantism. * The extract begins about four or five pages before the end of PART 2: INITIATION with the stage direction, (A loud roar. GEORGE ANDERSON and NAT MCILWAINE enter . . .) It ends about two pages later with the stage direction, (ANDERSON touches PYPER s right hand . . .) N.B. One quarter of the marks for this question are available for your use of the extract. ASL1S6 804 16 [Turn over (b) The friendship between Moore and Millen helps them towards a new understanding of their experiences in the war. Using the extract given below* as a starting point and with reference to other appropriately selected parts of the play, construct an argument in response to the above statement. In your argument, consider the two bullet points below in coming to your own conclusions: reasons for thinking that the friendship between Moore and Millen helps them towards a new understanding of their experiences in the war reasons for thinking that the friendship between Moore and Millen does not help them towards a new understanding of their experiences in the war. * The extract begins about three pages into PART 3: PAIRING with the stage direction, Lights up on the bridge. MILLEN and MOORE stand on one end . . . It ends two pages later with the stage direction, (MOORE takes another step onto the bridge . . .) N.B. One quarter of the marks for this question are available for your use of the extract. ASL1S6 804 17 [Turn over 11 Mamet: Glengarry Glen Ross Answer either (a) or (b) (a) Levene is an admirable character. Using the extract given below* as a starting point and with reference to other appropriately selected parts of the play, construct an argument in response to the above statement. In your argument, consider the two bullet points below in coming to your own conclusions: reasons for thinking that Levene is an admirable character reasons for thinking that Levene is not an admirable character. * The extract begins at the opening of Act One Scene One and ends nearly three pages later with, LEVENE: Yes. (Pause). I am. I m sorry to antagonize you. N.B. One quarter of the marks for this question are available for your use of the extract. ASL1S6 804 18 [Turn over (b) The salesmen in the play are victims of capitalism. Using the extract given below* as a starting point and with reference to other appropriately selected parts of the play, construct an argument in response to the above statement. In your argument, consider the two bullet points below in coming to your own conclusions: reasons for thinking that the salesmen are victims of capitalism reasons for thinking that the salesmen are not victims of capitalism. * The extract begins at the opening of Act One Scene Two and ends nearly two and a half pages later with, AARONOW: And it s not right to the customers. N.B. One quarter of the marks for this question are available for your use of the extract. ASL1S6 804 19 [Turn over 12 Pinter: Betrayal Answer either (a) or (b) (a) In the play, the characters accept betrayal as a fact of life. Using the extract given below* as a starting point and with reference to other appropriately selected parts of the play, construct an argument in response to the above statement. In your argument, consider the two bullet points below in coming to your own conclusions: reasons for thinking that the characters accept betrayal as a fact of life reasons for thinking that the characters do not accept betrayal as a fact of life. * The extract begins about two-thirds of the way into Scene One with, JERRY: What about Robert? It ends about five pages later with, JERRY: But he s my oldest friend. I mean, I picked his own daughter up in my own arms . . . N.B. One quarter of the marks for this question are available for your use of the extract. ASL1S6 804 20 [Turn over (b) In the play, we never learn anything of real significance about the characters. Using the extract given below* as a starting point and with reference to other appropriately selected parts of the play, construct an argument in response to the above statement. In your argument, consider the two bullet points below in coming to your own conclusions: reasons for thinking that we never learn anything of real significance about the characters reasons for thinking that we discover significant information about the characters. * The extract begins about three or four pages from the end of Scene Five with, EMMA: We re lovers. It goes on to the end of the scene. N.B. One quarter of the marks for this question are available for your use of the extract. ASL1S6 804 21 [Turn over 13 Shaffer: Amadeus Answer either (a) or (b) (a) Salieri s direct communications with the audience lessen its sympathy with him. Using the extract given below* as a starting point and with reference to other appropriately selected parts of the play, construct an argument in response to the above statement. In your argument, consider the two bullet points below in coming to your own conclusions: reasons for thinking that Salieri s direct communications with the audience lessen its sympathy with him reasons for thinking that Salieri s direct communications with the audience increase its sympathy with him. * The extract begins about a page into the section entitled SALIERI S APARTMENTS, NOVEMBER 1823. THE SMALL HOURS, near the beginning of Act I, with the stage direction, (He gets out of the wheelchair . . .) It goes on to the end of the section. N.B. One quarter of the marks for this question are available for your use of the extract. ASL1S6 804 22 [Turn over (b) The Viennese Court offers Mozart plenty of opportunities to develop his musical career. Using the extract given below* as a starting point and with reference to other appropriately selected parts of the play, construct an argument in response to the above statement. In your argument, consider the two bullet points below in coming to your own conclusions: reasons for thinking that the Viennese Court offers Mozart plenty of opportunities to develop his musical career reasons for thinking that the Viennese Court offers Mozart few opportunities to develop his musical career. * The extract begins about two pages into the second of the two sections entitled THE PALACE OF SCH NBRUNN, in Act I, with the stage direction, (The COURTIERS laugh politely. MOZART emits his high-pitched giggle . . .) It ends about three pages later with the stage direction, (He bows. The BARON goes. MOZART and SALIERI are left alone.) N.B. One quarter of the marks for this question are available for your use of the extract. ASL1S6 804 23 [Turn over 14 Williams: A Streetcar Named Desire Answer either (a) or (b) (a) In the play, New Orleans has no attractive qualities. Using the extract given below* as a starting point and with reference to other appropriately selected parts of the play, construct an argument in response to the above statement. In your argument, consider the two bullet points below in coming to your own conclusions: reasons for thinking that New Orleans has no attractive qualities reasons for thinking that New Orleans has some attractive qualities. * The extract begins about two or three pages into Scene One with, BLANCHE (with faintly hysterical humour): They told me to take a streetcar named Desire, and then transfer to one called Cemeteries and ride six blocks and get off at Elysian Fields! It ends about five pages later with, STELLA: Aren t you being a little intense about it? It s not bad at all! New Orleans isn t like other cities. N.B. One quarter of the marks for this question are available for your use of the extract. ASL1S6 804 24 [Turn over (b) In the play, Stella and Blanche prefer illusion to reality. Using the extract given below* as a starting point and with reference to other appropriately selected parts of the play, construct an argument in response to the above statement. In your argument, consider the two bullet points below in coming to your own conclusions: reasons for thinking that Stella and Blanche prefer illusion to reality reasons for thinking that Stella and Blanche do not prefer illusion to reality. * The extract begins about four pages into Scene Four with, BLANCHE: Listen to me. I have an idea of some kind. (Shakily she twists a cigarette into her holder.) It ends about four pages later with, STELLA: But there are things that happen between a man and a woman in the dark that sort of make everything else seem unimportant. N.B. One quarter of the marks for this question are available for your use of the extract. THIS IS THE END OF THE QUESTION PAPER ASL1S6 804 25 [Turn over ASL1S6 804 26 [Turn over ASL1S6 ASL1S6 804 27 [Turn over S 9/05 4200 302507(99) [Turn over

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Additional Info : Gce English Literature June 2006 Assessment Unit AS 1 Module 1: The Study of Poetry Written after 1800 and the Study of Twentieth-Century Dramatists
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