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GCE JAN 2009 : (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 January 2009 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] THURSDAY 22 JANUARY, 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. 4276 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. 4276 2 [Turn over 1 Dickinson: Selected Poems Answer either (a) or (b) (a) By looking closely at The reticent volcano keeps and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Dickinson uses to explore her attitude to the New England society in which she lived. In your answer, consider: relevant contextual information about Dickinson s attitude to the New England society in which she lived the ways in which the form and structure of the poems contribute to Dickinson s exploration of her attitude to the New England society in which she lived Dickinson s language (including imagery) and tone in exploring her attitude to the New England society in which she lived. N.B. Equal marks are available for your treatment of each poem. (b) By looking closely at There came a wind like a bugle and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Dickinson uses to explore her sense of being at the mercy of mysterious, violent forces in the world. In your answer, consider: relevant contextual information concerning Dickinson s ideas about mysterious, violent forces in the world the ways in which the form and structure of the poems contribute to Dickinson s exploration of her sense of being at the mercy of mysterious, violent forces in the world Dickinson s language (including imagery) and tone in exploring her sense of being at the mercy of mysterious, violent forces in the world. N.B. Equal marks are available for your treatment of each poem. 4276 3 [Turn over 2 Frost: Selected Poems Answer either (a) or (b) (a) By looking closely at Desert Places (from the volume A Further Range, 1936) and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Frost uses to explore the experience of loneliness and isolation in rural New England. In your answer, consider: relevant contextual information about loneliness and isolation in rural New England the ways in which the form and structure of the poems contribute to Frost s exploration of loneliness and isolation in rural New England Frost s language (including imagery) and tone in exploring the experience of loneliness and isolation in rural New England. N.B. Equal marks are available for your treatment of each poem. (b) By looking closely at The Subverted Flower (from the volume A Witness Tree, 1942) 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 experience of men and women in rural New England. In your answer, consider: relevant contextual information about the lives of men and women in rural New England the ways in which the form and structure of the poems contribute to Frost s exploration of the experience of men and women in rural New England Frost s language (including imagery) and tone in exploring the experience of men and women 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. 4276 4 [Turn over 3 Heaney: Opened Ground Answer either (a) or (b) (a) By looking closely at Punishment (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 past events in an attempt to understand the present. In your answer, consider: relevant contextual information about past and present events the ways in which the form and structure of the poems contribute to Heaney s exploration of past events in an attempt to understand the present Heaney s use of language (including imagery) and tone in exploring past events in an attempt to understand the present. N.B. Equal marks are available for your treatment of each poem. (b) By looking closely at Tollund (from the volume The Spirit Level, 1996) and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Heaney uses to express his responses to the changing situation in his native place. In your answer, consider: relevant contextual information about the changing situation in Heaney s native place the ways in which the form and structure of the poems contribute to Heaney s exploration of the changing situation in his native place Heaney s use of language (including imagery) and tone in exploring the changing situation in his native place. N.B. Equal marks are available for your treatment of each poem. 4276 5 [Turn over 4 Hopkins: Selected Poems Answer either (a) or (b) (a) 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 distinctive ideas about the world of nature. In your answer, consider: relevant contextual information about Hopkins distinctive ideas about the world of nature the ways in which the form and structure of the poems contribute to Hopkins presentation of his distinctive ideas about the world of nature Hopkins use of language (including imagery) and tone in presenting his distinctive ideas about the world of nature. N.B. Equal marks are available for your treatment of each poem. (b) 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 Father and Son. In your answer, consider: relevant contextual information about Hopkins religious views and beliefs the ways in which the form and structure of the poems contribute to Hopkins presentation of his personal attitudes to God Father and Son Hopkins use of language (including imagery) and tone in presenting his personal attitudes to God Father and Son. N.B. Equal marks are available for your treatment of each poem. 4276 6 [Turn over 5 Smith: Selected Poems Answer either (a) or (b) (a) By looking closely at I rode with my darling and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Smith uses to explore her sense of distance from the society of her time. In your answer, consider: relevant contextual information about the society of her time the ways in which the form and structure of the poems contribute to Smith s exploration of her sense of distance from the society of her time Smith s use of language (including imagery) and tone in exploring her sense of distance from the society of her time. N.B. Equal marks are available for your treatment of each poem. (b) By looking closely at Cool as a Cucumber and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Smith uses to explore the role of women in mid-twentieth-century society. In your answer, consider: relevant contextual information about the role of women in mid-twentieth-century society the ways in which the form and structure of the poems contribute to Smith s exploration of the role of women in mid-twentieth-century society Smith s language (including imagery) and tone in exploring the role of women in mid-twentieth-century society. N.B. Equal marks are available for your treatment of each poem. 4276 7 [Turn over 6 Thomas: Selected Poems Answer either (a) or (b) (a) By looking closely at As the Team s Head-Brass and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Thomas uses to present soldiers sufferings in World War One. In your answer, consider: relevant contextual information about soldiers sufferings in World War One the ways in which the form and structure of the poems contribute to Thomas presentation of soldiers sufferings in World War One Thomas use of language (including imagery) and tone in presenting soldiers sufferings in World War One. 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 present the English countryside in the early twentieth century. In your answer, consider: relevant contextual information about the English countryside in the early twentieth century the ways in which the form and structure of the poems contribute to Thomas presentation of the English countryside in the early twentieth century Thomas use of language (including imagery) and tone in presenting the English countryside in the early twentieth century. N.B. Equal marks are available for your treatment of each poem. 4276 8 [Turn over 7 Yeats: Selected Poems Answer either (a) or (b) (a) By looking closely at The Second Coming (from the volume Michael Robartes and the Dancer, 1921) and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Yeats uses to present his response to chaos in the twentieth century. In your answer, consider relevant contextual information about Yeats response to chaos in the twentieth century the ways in which the form and structure of the poems contribute to Yeats presentation of his response to chaos in the twentieth century Yeats use of language (including imagery) and tone in presenting his response to chaos in the twentieth century. N.B. Equal marks are available for your treatment of each poem. (b) By looking closely at The Wild Swans at Coole (from the volume The Wild Swans at Coole, 1919) and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Yeats uses to explore his ideas about death. In your answer, consider: relevant contextual information on Yeats ideas about death the ways in which the form and structure of the poems contribute to Yeats exploration of his ideas about death Yeats use of language (including imagery) and tone in exploring his ideas about death. N.B. Equal marks are available for your treatment of each poem. 4276 9 [Turn over BLANK PAGE 4276 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. 4276 11 [Turn over 8 Bolt: A Man for All Seasons Answer either (a) or (b) (a) In the play, every man can be bought. 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, every man can be bought reasons for thinking that, in the play, not every man can be bought. * The extract begins about five pages before the end of Act One with the words, CROMWELL: No ceremony, no courtship. Be seated. It ends about three pages later with, RICH (takes wine): Collector of Revenues isn t bad! N.B. One quarter of the marks for this question are available for your use of the extract. 4276 12 [Turn over (b) In the play, Sir Thomas More is a traitor. 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, Sir Thomas More is a traitor reasons for thinking that, in the play, Sir Thomas More is not a traitor. * The extract begins about twenty-one pages into Act Two with the words, MORE: I understand there are certain charges. It ends about three pages later with, CROMWELL: And to tell you that there never was nor never could be so villainous a servant nor so traitorous a subject as yourself! N.B. One quarter of the marks for this question are available for your use of the extract. 4276 13 [Turn over 9 Friel: Making History Answer either (a) or (b) (a) In the play, O Neill accepts 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, in the play, O Neill accepts betrayal as a fact of life reasons for thinking that, in the play, O Neill does not accept betrayal as a fact of life. * The extract begins about five pages into Act 2 Scene 2 with the stage direction, (He holds out his glass for HARRY to fill) HARRY: Sorry, Hugh. We re out of wine . . . It ends about two pages later with, O NEILL: Don t you believe in loyalty any more, Harry? N.B. One quarter of the marks for this question are available for your use of the extract. 4276 14 [Turn over (b) Making History is a play that is only interesting to those who have an awareness of the historical background. 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 is only interesting to those who have an awareness of the historical background reasons for thinking that the play is also interesting to those who have no awareness of the historical background. * The extract begins about four and a half pages before the end of Act One Scene Two with the stage direction, (He leaves. O NEILL goes to the desk and busies himself with papers . . .) It ends just over two pages later with the stage direction, (She is about to leave when she is arrested by the controlled passion of O NEILL s voice) N.B. One quarter of the marks for this question are available for your use of the extract. 4276 15 [Turn over 10 McGuinness: Observe the Sons of Ulster Marching Towards the Somme Answer either (a) or (b) (a) The audience finds Pyper shallow and unlikeable. 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 audience finds Pyper shallow and unlikeable reasons for thinking that the audience does not find Pyper shallow and unlikeable. * The extract begins at the start of PART 2: INITIATION It ends approximately two and a half pages later with the stage direction, (CRAIG begins to undress, PYPER watching him intently . . .) N.B. One quarter of the marks for this question are available for your use of the extract. 4276 16 [Turn over (b) The men remain unchanged by their experiences of 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 men remain unchanged by their experiences of war reasons for thinking that the men are changed by their experiences of war. * The extract begins approximately two and a half pages before the end of PART 3: PAIRING with the words, ANDERSON: Brethren of the true faith, fellow Orangemen . . . 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. 4276 17 [Turn over 11 Mamet: Glengarry Glen Ross Answer either (a) or (b) (a) As a salesman, Levene is as effective as Roma. 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, as a salesman, Levene is as effective as Roma reasons for thinking that, as a salesman, Levene is not as effective as Roma. * The extract begins about eighteen pages into Act Two, with the words, ROMA: You closed em today? It ends about three pages later with, LEVENE (nods): Go ahead N.B. One quarter of the marks for this question are available for your use of the extract. 4276 18 [Turn over (b) The salesmen do much to challenge the system that oppresses them. 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 do much to challenge the system that oppresses them reasons for thinking that the salesmen do little to challenge the system that oppresses them. * The extract begins about three and a half pages into Act One Scene Two with the words, MOSS: Look at Jerry Graff. He s clean, he s doing business for himself . . . It ends about two and a half pages later with, MOSS: Someone should stand up and strike back. N.B. One quarter of the marks for this question are available for your use of the extract. 4276 19 [Turn over 12 Pinter: Betrayal Answer either (a) or (b) (a) It is hard to sympathise with the characters in the play. 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 it is hard to sympathise with the characters in the play reasons for thinking that it is not hard to sympathise with the characters in the play. * The extract begins about seven pages into Scene Two with the words, JERRY: She told you . . . when? It ends about four pages later with, ROBERT: Yes. In the afternoons. N.B. One quarter of the marks for this question are available for your use of the extract. 4276 20 [Turn over (b) Jerry and Robert have a strong friendship. 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 Jerry and Robert have a strong friendship reasons for thinking that Jerry and Robert do not have a strong friendship. * The extract begins about five pages before the end of Scene Four with the words, ROBERT: When are we going to play squash? It ends about four pages later with, ROBERT: Well, let s play next week. N.B. One quarter of the marks for this question are available for your use of the extract. 4276 21 [Turn over 13 Shaffer: Amadeus Answer either (a) or (b) (a) In the play, Mozart is a ridiculous figure. 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, Mozart is a ridiculous figure reasons for thinking that, in the play, Mozart is not a ridiculous figure. * The extract begins about twenty-two pages into Act One, just over a page and a half into the section entitled THE PALACE OF SCH NBRUNN with the words, JOSEPH (to SALIERI): Charming . . . Comme d habitude! . . . (In the revised version of the play the extract begins about twenty pages into Act One, just over a page and a half into the section entitled THE PALACE OF SCH NBRUNN.) It ends about three pages later with, JOSEPH: Indeed, Baron. F tes and fireworks! . . . (In the revised version the extract ends about two and a half pages later.) N.B. One quarter of the marks for this question are available for your use of the extract. 4276 22 [Turn over (b) In the play, the Venticelli are no more than gossips. 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, the Venticelli are no more than gossips reasons for thinking that, in the play, the Venticelli are more than gossips. * The extract begins at the start of Act One. It ends about five pages later, at the end of the opening section. N.B. One quarter of the marks for this question are available for your use of the extract. 4276 23 [Turn over 14 Williams: A Streetcar Named Desire Answer either (a) or (b) (a) Stella and Blanche have very little in common. 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 have very little in common reasons for thinking that Stella and Blanche have some things in common. * The extract begins about four pages before the end of Scene Four with the words, Blanche: Stella, I can t live with him! You can, he s your husband. It ends about two pages later with, STella: I can t help your trembling if you insist on trembling! N.B. One quarter of the marks for this question are available for your use of the extract. 4276 24 [Turn over (b) Mitch is a gentle, sensitive 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 Mitch is a gentle, sensitive character reasons for thinking that Mitch is not a gentle, sensitive character. * The extract begins about five pages before the end of Scene Nine with the words, MITCH: (slowly and bitterly) I don t mind you being older than what I thought. 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. THIS IS THE END OF THE QUESTION PAPER 4276 25 [Turn over Permission to reproduce all copyright material has been applied for. In some cases, efforts to contact copyright holders may have been unsuccessful and CCEA will be happy to rectify any omissions of acknowledgement in future if notified. 935-038-1

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Additional Info : Gce English Literature January 2009 Assessment Unit AS 1 Module 1: The Study of Poetry Written after 1800 and the Study of Twentieth-Century Dramatists
Tags : General Certificate of Education, A Level and AS Level, uk, council for the curriculum examinations and assessment, gce exam papers, gce a level and as level exam papers , gce past questions and answer, gce past question papers, ccea gce past papers, gce ccea past papers

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