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GCE JAN 2007 : (AS 1) The Study of Poetry Written after 1800 and the Study of Twentieth-Century Dramatists

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ERRATUM NOTICE General Certificate of Education (Advanced Subsidiary) English Literature Module AS1 (ASL11) Centres studying - Mamet: Glengarry Glen Ross Friday 19 January, Morning Notice to Invigilator Before the start of the examination the following should be read to candidates. Please turn to page 18 of your question paper. Go to the extract in the shaded box. (Pause) This reads: The extract begins at the start of Act Two Scene One with the stage direction, Please amend to read: The extract begins a few lines into Act Two Scene One with the stage direction, Repeat Go to the extract in the shaded box. (Pause) This reads: The extract begins at the start of Act Two Scene One with the stage direction, Please amend to read: The extract begins a few lines into Act Two Scene One with the stage direction, Please make this change now. This is the end of the announcement. ADVANCED SUBSIDIARY (AS) General Certificate of Education January 2007 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] FRIDAY 19 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. ASL1W7 2359 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. ASL1W7 2359 2 [Turn over 1 Dickinson: Selected Poems Answer either (a) or (b) (a) By looking closely at I heard a fly buzz when I died and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Dickinson uses to challenge ideas of the soul that were commonly held in New England in Dickinson s time. In your answer, consider relevant contextual information about religious attitudes held in New England and Dickinson s own religious views the ways in which the form and structure of the poems contribute to Dickinson s challenging of the ideas of the soul that were held in New England in Dickinson s time Dickinson s language (including imagery) and tone in challenging the ideas of the soul that were commonly held in New England in Dickinson s time. N.B. Equal marks are available for your treatment of each poem. (b) By looking closely at I felt a Funeral in my Brain and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Dickinson uses to explore her experience of personal desolation. In your answer, consider relevant contextual information about Dickinson s experience of personal desolation the ways in which the form and structure of the poems contribute to the exploration of Dickinson s experience of personal desolation Dickinson s language (including imagery) and tone in presenting her experience of personal desolation. N.B. Equal marks are available for your treatment of each poem. ASL1W7 2359 3 [Turn over 2 Frost: Selected Poems Answer either (a) or (b) (a) By looking closely at An Old Man s Winter Night (from the volume Mountain Interval, 1916) and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Frost uses to explore old age in rural New England. In your answer, consider relevant contextual information about features of rural New England life the ways in which the form and structure of the poems contribute to Frost s exploration of old age in rural New England Frost s language (including imagery) and tone in exploring old age in rural New England. N.B. Equal marks are available for your treatment of each poem. (b) By looking closely at Neither Out Far nor In Deep (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 those who struggle against the desolate world of rural New England. In your answer, consider relevant contextual information about the difficulties of rural New England life the ways in which the form and structure of the poems contribute to Frost s exploration of the experience of those who struggle against the desolate world of rural New England Frost s language (including imagery) and tone in exploring the experience of those who struggle against the desolate world of rural New England. N.B. Equal marks are available for your treatment of each poem. ASL1W7 2359 4 [Turn over 3 Heaney: Opened Ground Answer either (a) or (b) (a) By looking closely at Keeping Going (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 explore the difficulties of individuals living in communities affected by sectarian conflict. In your answer, consider relevant contextual information about communities affected by sectarian conflict the ways in which the form and structure of the poems contribute to Heaney s exploration of the difficulties of individuals living in communities affected by sectarian conflict Heaney s language (including imagery) and tone in exploring the difficulties of individuals living in communities affected by sectarian conflict. N.B. Equal marks are available for your treatment of each poem. (b) By looking closely at The Grauballe Man (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 influence on him of the wider world beyond his home. In your answer, consider relevant contextual information about wider influences on Heaney the ways in which the form and structure of the poems contribute to Heaney s exploration of the influence on him of the wider world beyond his home Heaney s language (including imagery) and tone in exploring the influence on him of the wider world beyond his home. N.B. Equal marks are available for your treatment of each poem. ASL1W7 2359 5 [Turn over 4 Hopkins: Selected Poems Answer either (a) or (b) (a) By looking closely at The Starlight Night and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Hopkins uses to present his views, as a Jesuit priest, about the relationship between God Father and Son and the world of nature. In your answer, consider relevant contextual information about Hopkins as a Jesuit priest the ways in which the form and structure of the poems contribute to Hopkins presentation of his views, as a Jesuit priest, about the relationship between God Father and Son and the world of nature Hopkins language (including imagery) and tone in presenting his views, as a Jesuit priest, about the relationship between God Father and Son and the world of nature. N.B. Equal marks are available for your treatment of each poem. (b) By looking closely at I Wake and Feel the Fell of Dark and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Hopkins uses to present his feelings of distress and religious doubt. In your answer, consider relevant contextual information about Hopkins experiences of distress and religious doubt the ways in which the form and structure of the poems contribute to Hopkins presentation of his feelings of distress and religious doubt Hopkins language (including imagery) and tone in presenting his feelings of distress and religious doubt. N.B. Equal marks are available for your treatment of each poem. ASL1W7 2359 6 [Turn over 5 Smith: Selected Poems Answer either (a) or (b) (a) By looking closely at Scorpion and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Smith uses to explore the themes of ageing and death in the modern world. In your answer, consider relevant contextual information about Smith s experience of the ageing and death of those close to her the ways in which the form and structure of the poems contribute to Smith s exploration of the themes of ageing and death in the modern world Smith s language (including imagery) and tone in exploring the themes of ageing and death in the modern world. N.B. Equal marks are available for your treatment of each poem. (b) By looking closely at The Frog Prince and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Smith uses to challenge the usual twentieth-century ways of thinking about personal identity. In your answer consider relevant contextual information about Smith s views on personal identity in the twentieth century the ways in which the form and structure of the poems contribute to Smith s challenge to the usual twentieth-century ways of thinking about personal identity Smith s language (including imagery) and tone in challenging the usual twentiethcentury ways of thinking about personal identity. N.B. Equal marks are available for your treatment of each poem. ASL1W7 2359 7 [Turn over 6 Thomas: Selected Poems Answer either (a) or (b) (a) By looking closely at This is no Case of Petty Right or Wrong and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Thomas uses to explore patriotism in the early years of World War I. In your answer, consider relevant contextual information about patriotic attitudes in the early years of World War I the ways in which the form and structure of the poems contribute to Thomas exploration of patriotism in the early years of World War I. Thomas language (including imagery) and tone in exploring patriotism in the early years of World War I. N.B. Equal marks are available for your treatment of each poem. (b) By looking closely at The New Year and one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Thomas uses to present the early twentieth-century English countryman. In your answer, consider relevant contextual information about conditions in early twentieth-century rural England the ways in which the form and structure of the poems contribute to Thomas presentation of the early twentieth-century English countryman Thomas language (including imagery) and tone in presenting the early twentiethcentury English countryman. N.B. Equal marks are available for your treatment of each poem. ASL1W7 2359 8 [Turn over 7 Yeats: Selected Poetry Answer either (a) or (b) (a) By looking closely at The Wild Swans at Coole (from the volume The Wild Swans at Coole, 1919) and with reference to one other appropriately selected poem, and making use of relevant contextual information, examine the poetic methods which Yeats uses to reflect on his life and personal relationships. In your answer, consider relevant contextual information about Yeats life and personal relationships the ways in which the form and structure contribute to Yeats reflections on his life and personal relationships Yeats language (including imagery) and tone in reflecting on his life and personal relationships. N.B. One quarter of the marks for this question are available for your treatment of the poem which you selected for reference. (b) By looking closely at An Irish Airman Foresees his Death (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 the theme of identity in a time of crisis. In your answer, consider relevant contextual information about Yeats ideas about national and personal identity the ways in which the form and structure of the poems contribute to Yeats exploration of the theme of identity in a time of crisis Yeats language (including imagery) and tone in exploring the theme of identity in a time of crisis. N.B. Equal marks are available for your treatment of each poem. ASL1W7 2359 9 [Turn over BLANK PAGE ASL1W7 2359 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. ASL1W7 2359 11 [Turn over 8 Bolt: A Man for All Seasons Answer either (a) or (b) (a) Richard Rich is a na ve young man who is led astray by others. 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 Richard Rich is a na ve young man who is led astray by others reasons for thinking that Richard Rich is not a na ve young man who is led astray by others. * The extract begins about four pages before the end of Act One with, RICH: Success? What success? It ends about two pages later with, RICH: Almost sure. N.B. One quarter of the marks for this question are available for your use of the extract. ASL1W7 2359 12 [Turn over (b) In the play, Sir Thomas More is a traitor to his king and country. 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 to his king and country reasons for thinking that, in the play, Sir Thomas More is not a traitor to his king and country. * The extract begins about ten pages from the end of Act Two with, NORFOLK (takes refuge behind a rigorously official manner): Sir Thomas More, you are called before us here at the Hall of Westminster to answer the charge of High Treason. It ends about two pages later with, MORE: The world must construe according to its wits. This Court must construe according to the law. N.B. One quarter of the marks for this question are available for your use of the extract. ASL1W7 2359 13 [Turn over 9 Friel: Making History Answer either (a) or (b) (a) Politics in the play has nothing to do with issues of right and wrong. 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 politics in the play has nothing to do with issues of right and wrong reasons for thinking that politics in the play has something to do with issues of right and wrong. * The extract begins about seven or eight pages into Act One Scene Two with, O NEILL: And how s the Queen s Marshal? It ends over two and a half pages later with, O NEILL: Mary wants to leave, Hugh. N.B. One quarter of the marks for this question are available for your use of the extract. ASL1W7 2359 14 [Turn over (b) Mabel does not win the audience s sympathy. 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 Mabel does not win the audience s sympathy reasons for thinking that Mabel wins the audience s sympathy. * The extract begins about two and a half pages before the end of Act One Scene One with the stage direction, He steers O DONNELL out in front of him . . . It ends about a page into Act One Scene Two with the stage direction, (There is an awkward silence. MABEL picks up her lacework.) N.B. One quarter of the marks for this question are available for your use of the extract. ASL1W7 2359 15 [Turn over 10 McGuinness: Observe the Sons of Ulster Marching Towards the Somme Answer either (a) or (b) (a) Ritual is important to the men s sense of identity. 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 ritual is important to the men s sense of identity reasons for thinking that ritual is not important to the men s sense of identity. * The extract begins about eight pages into PART 4: BONDING with, ANDERSON: Damn sadness. Something to make the blood boil. It ends about three pages later with, McILWAINE: Let it rest. It was only a game. N.B. One quarter of the marks for this question are available for your use of the extract. ASL1W7 2359 16 [Turn over (b) The men have convinced themselves of the reasons for fighting. 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 have convinced themselves of the reasons for fighting reasons for thinking that the men have not convinced themselves of the reasons for fighting. * The extract begins about two pages into PART 1: REMEMBRANCE with, PYPER: There is a type of man who invites death on himself. 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. ASL1W7 2359 17 [Turn over 11 Mamet: Glengarry Glen Ross Answer either (a) or (b) (a) Roma s behaviour is caused by fear, not confidence. 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 Roma s behaviour is caused by fear, not confidence reasons for thinking that Roma s behaviour is caused by confidence, not fear. * The extract begins at the start of Act Two Scene One with the stage direction, ROMA enters from the street. It ends about three pages later with, ROMA: My name is Richard Roma. N.B. One quarter of the marks for this question are available for your use of the extract. ASL1W7 2359 18 [Turn over (b) The salesmen s world is one of make-believe. 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 s world is one of make-believe reasons for thinking that the salesmen s world is not one of make-believe. * The extract begins about fifteen pages into Act Two Scene One with, LEVENE: I m eating her crumb cake . . . It ends about two pages later with ROMA s words to LEVENE, ROMA: That was a great sale, Shelly. N.B. One quarter of the marks for this question are available for your use of the extract. ASL1W7 2359 19 [Turn over 12 Pinter: Betrayal Answer either (a) or (b) (a) The view of marriage in the play is entirely negative. 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 view of marriage is entirely negative reasons for thinking that the view of marriage is not entirely negative. * The extract begins about five or six pages before the end of 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 . . . He watched me do it. N.B. One quarter of the marks for this question are available for your use of the extract. ASL1W7 2359 20 [Turn over (b) It is Robert and Jerry s passionate love of women which drives them to acts of betrayal. 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 Robert and Jerry s passionate love of women which drives them to acts of betrayal reasons for thinking that it is not just Robert and Jerry s passionate love of women which drives them to acts of betrayal. * The extract begins about two or three pages before the end of Scene Four with, EMMA: Why can t I watch and then take you both to lunch? It ends with the stage direction at the end of Scene Four, returns. He kisses her cheek. She responds. She breaks away, puts her head on his shoulder, cries quietly. He holds her. ROBERT N.B. One quarter of the marks for this question are available for your use of the extract. ASL1W7 2359 21 [Turn over 13 Shaffer: Amadeus Answer either (a) or (b) (a) Mozart is too silly to be taken seriously. 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 Mozart is too silly to be taken seriously reasons for thinking that Mozart is to be taken seriously despite his silliness. * The extract begins about sixteen pages into Act 1 with, MOZART: Miaouw! Miaouw! Miaouw! It goes on until the end of the scene with the stage direction, (Light change. The street scene fades.) N.B. One quarter of the marks for this question are available for your use of the extract. ASL1W7 2359 22 [Turn over (b) In the play, power triumphs over talent. 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, power triumphs over talent reasons for thinking that, in the play, talent triumphs over power. * The extract begins about eleven pages into Act 2, at the beginning of the section entitled AN UNLIT THEATRE. It goes on to the end of the scene with, JOSEPH (cheerfully): F tes and fireworks . . . Gentlemen, good afternoon! e N.B. One quarter of the marks for this question are available for your use of the extract. ASL1W7 2359 23 [Turn over 14 Williams: A Streetcar Named Desire Answer either (a) or (b) (a) The past prevents characters in the play from getting on with their lives. 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 past prevents characters in the play from getting on with their lives reasons for thinking that the past does not prevent characters in the play from getting on with their lives. * The extract begins about four pages before the end of Scene Nine with, MITCH (slowly and bitterly): I don t mind you being older than what I thought. It ends just over a page later with the stage direction, (There is a pause. MITCH stares at her dumbly.) N.B. One quarter of the marks for this question are available for your use of the extract. ASL1W7 2359 24 [Turn over (b) Blanche is responsible for her own destruction. 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 given below in coming to your own conclusions: reasons for thinking that Blanche is responsible for her own destruction reasons for thinking that Blanche is not responsible for her own destruction. * The extract begins about seven pages before the end of Scene Seven with, STANLEY: This is after the home-place had slipped through her lily-white fingers! It ends about three or four pages later with, STELLA: Yes, it was a pretty long time ago . . . 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 ASL1W67 2359 25 ASL1W7 ASL1W7 2359 26 [Turn over ASL1W7 2359 27 [Turn over S 3/06 2100 9-028-1 [Turn over

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Additional Info : Gce English Literature January 2007 Assessment Unit AS 1 Module 1: The Study of Poetry Written after 1800 and the Study of Twentieth-Century Dramatists
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