AQA-LITB1

41 Pages·2013·0.28 MB·English

Version 1.0

General Certificate of Education (A-level)
January 2013

English Literature B LITB1
(Specification 2745)
Unit 1: Aspects of Narrative

Mark Scheme
Mark schemes are prepared by the Principal Examiner and considered, together with the
relevant questions, by a panel of subject teachers. This mark scheme includes any
amendments made at the standardisation events which all examiners participate in and is the
scheme which was used by them in this examination. The standardisation process ensures
that the mark scheme covers the students’ responses to questions and that every examiner
understands and applies it in the same correct way. As preparation for standardisation each
examiner 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,
examiners encounter unusual answers which have not been raised they are required to refer
these to the Principal 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.

Further copies of this Mark Scheme are available from: aqa.org.uk

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Mark Scheme – General Certificate of Education (A-level) English Literature B – LITB1 – January
2013

Marking the scripts – basic principles

MARK BAND DESCRIPTORS
Band 6 evaluation
Band 5 analysis
Band 4 explanation
Band 3 some understanding
Band 2 some awareness
Band 1 very little grasp

1 Examiners first need to place answers in the appropriate Mark Band by referring to the
relevant grid in the mark scheme. Answers placed at the top of the band will hit all
descriptors; answers at the lower end of the band will hit only one; careful judgements
need to be made about marks in the middle of the range and which descriptors have
been met. There will be occasions when an answer hits descriptors in different bands; in
such cases, the ‘best-fit’ model applies.

2 Examiners must remember that the mark bands are not equivalent to grades: grades are
decided by the awarding committee at the end of each session.

3 Questions are framed to test the AOs, so if candidates answer the question, then the
criteria can be followed.

4 Examiners should be prepared to use the full mark range and not ‘bunch’ scripts in the
middle for safety. Top marks are attainable if candidates could not be expected to do
more in the time and under the conditions in which they are working.

5 Examiners should always be prepared to mark positively. Although the mark scheme
provides some indicators for what candidates are likely to write about, examiners should
be willing to reward what is actually there – provided of course, that it is relevant to
the question being asked.

6 Examiners should remember that there are no right answers. Candidates’ views which
are relevant, well-argued and supported by appropriate textual evidence must receive
credit whether the examiner agrees with the views or not. It is important to try to remain
flexible if a candidate introduces unusual or unorthodox ideas.

7 Examiners should try to avoid making snap judgements too early before the whole
answer has been read. Some candidates begin tentatively but go on to make relevant
points.

8 Examiners should remember that length and quality are not synonymous. Some brief
answers may be relevant and concise. Equally, long answers may be diffuse and
repetitive.

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Mark Scheme – General Certificate of Education (A-level) English Literature B – LITB1 – January
2013

9 If answers are short or incomplete, examiners can only reward what is there and assess
accordingly. Some further credit may be given to answers finished in note form.

10 Examiners must remember that AO1 tests more than technical accuracy. Here is AO1
as it is printed in full in the specification.

Articulate creative, informed and relevant responses to literary tests, using
appropriate terminology and concepts, and coherent, accurate written expression.

11 Examiners should remember that annotation is directed solely to senior examiners.

12 Examiners must remember that in this Unit, AO3 is addressed by connections between
texts. Direct comparison is not required in this unit; it is tested in Unit 4. Connections do
not need to be explicit but are implicit through the consideration of the relevant aspect of
narrative, and through answering the question.

13 Examiners should remember that the terms form, structure and language relate to the
way AO2 has been officially sub-divided. These terms, however, have to be seen as
fluid and interactive, so please give careful consideration to how candidates have
applied them.

14 In Section B, answers should address three texts ‘substantially’. ‘Substantial’ is not
synonymous with length; any discussion which is insightful and exploratory will be
regarded as substantial.

Marking the scripts – annotation

15 The marks awarded for each question should be placed on the right hand side at the end
of the answer. This mark should then be transferred to the appropriate part(s) of the
front cover sheet of the script.

16 In addition to giving a mark, examiners should write a brief comment on how the mark
has been arrived at. These comments are likely to mirror the appropriate mark band
descriptors but comments must not be mechanical. Examiners need to describe
candidate performance. Examiners must write comments after each answer. Please
remember that scripts can now go back to candidates, so although your audience is a
senior examiner, you must express your views temperately.

17 The following symbols can be used when marking scripts:

 tick for a good point, idea, reference etc
 tick in brackets for a potentially good point, not fully made
 underlining for an error in fact or expression
 D when a candidate is describing content
 R for repetition
 I for irrelevance
 ? for when meaning is not clear.

Please do not use your own private systems, as these will mean nothing to senior
examiners. If in doubt about what to use, refer directly to the marking criteria.

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Mark Scheme – General Certificate of Education (A-level) English Literature B – LITB1 – January
2013

Section A - odd numbered questions

Performance Typical answers might be characterised by the following
AO
Descriptors descriptions
 several points fully developed and evaluated; structure/voice
evaluation of how evaluated; excellent illustration integrated into the answer
Band 6
AO2 the author’s narrative
(19-21)
methods work  integrated evaluation of the story and authorial method
 several points fully developed and analysed; likely to be good
analysis of how the analysis of structure/voice; well-illustrated in connection with
Band 5
AO2 author’s narrative the answer
(15-18)
methods work
 very good sense of the writer constructing the story
 several points clearly developed and explained; likely to be
explanation of how some explanation of structure/voice; clear illustration in
Band 4
AO2 the author’s narrative connection with the answer.
(11-14)
methods work
 clear explanation of how the writer constructs the story
 some points developed; points likely to be more than just
some
language; development is likely to be straight-forward with
understanding of
Band 3 some illustration with some connection with the answer
AO2 how the author’s
(7-10)
narrative methods
 beginnings of a connection between authorial method and the
work
story
 some features identified; possibly some vague or simple
some awareness of illustration; or 1 or 2 points identified with some
Band 2 how the author’s discussion/some simple illustration
AO2
(4-6) narrative methods
work  some awareness of the over-arching story with some
awareness of the writer’s craft
 1 or 2 points mentioned; likely to be at word level; possibly
very little grasp of
some vague or simple illustration
Band 1 how the author’s
AO2
(1-3) narrative methods
 some bits of plot or character are mentioned
work
 nothing written or writing which has nothing to do with text or
task
0 marks

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Mark Scheme – General Certificate of Education (A-level) English Literature B – LITB1 – January
2013

Section A - even numbered questions

Typical answers might be characterised by the
AO Performance Descriptors
following descriptions
AO1 sophisticated expression; excellent  argument or debate is likely to be coherently
use of critical vocabulary; technically structured and sustained; the question is likely
fluent writing; sophisticated shaped to be fully integrated; argument is likely to be
argument relevant to the task noticeable for its depth and perception
Band 6 evaluation of an interpretation or  a view or views are explored in depth,
(19-21) AO3 interpretations with excellent textual argument driven through to its conclusion;
support textual support is likely to be excellently
evaluation of relevant contextual selected and integrated
AO4 factors  context is likely to be perceptively evaluated
as part of the argument
AO1 confident and assured expression;  argument or debate is likely to have a shape
appropriate use of critical vocabulary; and purpose; several points are likely to be
generally fluent and accurate assured well developed and explored
argument relevant to the task  a view or views are developed with some
Band 5
analysis of an interpretation or depth; textual support is likely to be very well
(15-18)
AO3 interpretations with well chosen chosen and wide ranging
textual support  context is likely to be analysed and integrated
analysis of relevant contextual factors into the argument
AO4
AO1 accurate expression; clear use of  a clear consistent line of argument is likely;
critical vocabulary; accurate writing; several points are likely to be developed with
clear argument relevant to the task some depth
Band 4 AO3 explanation of an interpretation or  a view or views are clearly developed and
(11-14) interpretations with clear textual explained; textual support is likely to be
support relevant and appropriately chosen
AO4 explanation of relevant contextual  context will be clear within the argument
factors
AO1 generally clear expression; some use  writing is likely to be focused with several
of critical vocabulary; generally points developed in a fairly straightforward
accurate writing; argument developing way; argument may not be consistent
relevant to the task  a view or views are developed in a simple
Band 3
AO3 some understanding of an way; textual support is likely to be integrated
(7-10)
interpretation or interpretations with and relevant but not always consistent
textual support  context as set up in the question is likely to be
AO4 some understanding of relevant in focus
contextual factors
AO1 simple writing; some awareness of  some words from the question are likely to be
critical vocabulary; may be technical discussed, but writing is unlikely to be
weakness; some sense of argument detailed/there may be some drifting
with some relevance to the task  a view or views are mentioned in relation to
Band 2
some awareness of an interpretation the argument; there is likely to be textual
(4-6)
AO3 or interpretations with some reference support but it may not be integrated or
to the text carefully chosen
some awareness of relevant  context may be hazy but there will be the
AO4 contextual factors beginnings of relevance
AO1 quality of writing hinders meaning;  a word or two from the question is likely to be
little sense of argument with little included in the writing; argument unlikely to be
relevance to the text shaped
Band 1 AO3 very little grasp of an interpretation  some vague writing about the text with little
(1-3) or interpretations; little reference to connection to the task
the text  context as set up in the question is likely to be
AO4 very little grasp of contextual factors absent; there may be irrelevant contextual
material
 nothing written or writing which has nothing to
0 marks
do with text or task

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Mark Scheme – General Certificate of Education (A-level) English Literature B – LITB1 – January
2013

Section A

Selected Poems – W.H. Auden

0 1 How does Auden tell the story in ‘O What Is That Sound’?

Authorial methods need to be related to the story being told in the poem.

Possible content:
 narrative perspective/voices: no narrative frame, immediacy of the two voices, unnamed
characters defined by what they say, subtle changes of tone, etc.
 setting: England, seems like rural England, importance of military background, seems to
be set in a previous century, etc.
 ballad, regular quatrain pattern, regular pattern of longer lines at the start of the stanzas
and a final shorter fourth line, regular abab rhyme scheme, two speaking voices, etc.
 chronology – present time: determined by the movement of soldiers coming ever closer
to the two speakers/ balanced question and answer format of alternating speakers
(seems like a female voice followed by a male’s), abandonment of one character at the
end, inconclusive ending, etc.
 use of urgent apostrophe of the female voice, archaic language, tender (sincere?) forms
of address, use of repetition, language of love and betrayal, use of the present participle,
use of detail, use of nouns, significance of the title, etc.

0 2 “We never step twice into the same Auden.” (Randall Jarrell)

How far do you agree that Auden’s narratives are always very different from each
other?

Possible content:
Some will agree and focus on
 the different subject matter
 the different plots
 the voices/ tones
 the characters
 the different forms
 the different ideologies

Comment can be on any of the poems in the current selection or the changed selection etc.

Some will challenge the question and focus on the view
 that the poems have similar themes of despair, love, death, etc.
 that Auden often uses the ballad form
 that there is a self-consciousness in all the poems
 that the poems are all obscure in one way or another
 that the poems are intellectual and political and perhaps predictable, etc.

Expect some candidates to see variation and similarities at the same time.
Accept any valid argument.
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Mark Scheme – General Certificate of Education (A-level) English Literature B – LITB1 – January
2013

Selected Poems – Robert Browning

0 3 Write about the ways Browning tells the story in lines 1 – 145 of ‘The Pied Piper of
Hamelin’.

Authorial methods need to be related to the story being told in this section of the
poem.

Possible content:
 narrative perspective/voices: third person omniscient narrator, confident, jovial tone,
dramatic voice of the self-conscious story teller, direct address of the reader, use of the
sole surviving rat to tell the story of the other rats’ drowning, etc.
 setting: Hamelin town, town hall, Hamelin streets, river Weser, Rat-land home/ medieval
time period, focus on one day as the Piper strikes his bargain and removes the rats, etc.
 rhymed poem in numbered stanza sections – uneven pattern, jaunty rhythm, fast pace,
etc.
 linear chronology – story begins with a description of the location and time setting and
moves to the specific problem of the rats in Hamelin/ crisis of the people meeting in the
town hall and the Piper’s arrival and proposition/ stanza VII is where he pipes the rats to
their deaths with the exception of Julius Caesar who takes over the narration, thus
ending this section on a note of anticipation as readers await the reaction of the Mayor,
etc
 colloquial speech, use of dialogue, use of co-ordinating sentences, use of contractions,
use of names, significance of the title, descriptive detail, use of humour, use of contrast,
use of lists, use of repetition, etc.

0 4 How far would you agree with the view that although its subtitle is ‘A CHILD’s
STORY’, the poem is more of a political work?

Possible content:
Some will agree and focus on:
 the public unrest resulting from the infestation of rats and the lack of answers from the
authorities
 the display of wealth from those in power
 the people’s contempt for the Mayor and Corporation
 Browning’s satirising of the Mayor
 the ease with which those in power make promises
 the deceit of the Corporation when the Piper asks for his one thousand guilders
 the sneering reaction to the Piper (the working man perhaps)
 the crude attempt to pay him less
 the final desperation of the Corporation after the children are taken away
 the final authorial comment: ‘If we’ve promised them aught, let us keep our promise’, etc

Some will disagree and focus on:
 the use of simple language
 the sub- title
 the humour
 the simple moral for children
 the pantomimic subject matter
 the use of speaking rats
 the jolly rhythm
 the frequent use of the co-ordinator ‘and’
 the magical element, etc.
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Mark Scheme – General Certificate of Education (A-level) English Literature B – LITB1 – January
2013

Some may argue that the two ideas are not mutually exclusive.
Accept any valid debate/ argument.
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Mark Scheme – General Certificate of Education (A-level) English Literature B – LITB1 – January
2013

The Rime of the Ancient Mariner – Samuel Taylor Coleridge

0 5 Write about the ways Coleridge tells the story in Part 7 of the poem.

Authorial methods need to be related to the story being told in this section of the
poem.

Possible content:
 narrative perspective/ voices: use of mariner’s voice, the hermit, the Pilot and the Pilot’s
boy, use of omniscient narrator to end poem and complete the frame, etc.
 setting: ship, sea, Pilot’s boat, the dry land, the church/use of unspecified time period,
perhaps 17th century, use of day and night, reference to the next morning, etc
 ballad – reference might be made to how this section concludes the longer narrative
poem, the final stage of the story, seventh of seven parts, gothic/ supernatural/
moralistic/ religious/ adventure story genre, use of quatrains and the longer six-line
stanzas and their significance, etc.
 structurally this begins with a description of the hermit, leads to the climactic destruction
of the ship, ends with the account of the mariner’s lonely existence, his need to tell his
story and his moralising, final stanza is the effect of the story on the Wedding Guest, use
of rhyme and repetition to structure the narrative, use of patterns, circularity of the whole
poem, etc.
 simple language, use of voices, gothic imagery, religious references, dream language,
descriptive detail, figurative language, repetition, use of contrasts, use of dialogue, etc.

0 6 The Hermit asks the Mariner, “What manner of man art thou?”

Do you think that the poem as a whole offers an answer to this question?

Possible content:

Some will argue that the poem does offer an answer and focus on
 the mariner’s ordinariness, how he might represent everyman
 the mariner’s strangeness and his possible supernatural qualities
 his connections to Cain and the Wandering Jew
 his being an allegorical figure
 his being a sailor, an adventurer
 his being a mean-spirited figure who prevents an ordinary man from attending a wedding
and enjoying a feast
 his being a violator of nature
 the mariner as personified arrogance
 the mariner as a ‘fallen’ man, connected to Adam, etc.

Some will argue that the poem offers no single clear-cut answer. Several points above might
be used in the argument. Other comments might include

 how the poem defies analysis on every level, even to the nature of the Mariner
 how the interest of the poem is in the lack of clear-cut definition,
 how critics often want to pin down meaning when the poem frustrates or simply delights
readers at every reading, etc
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