Click on the link below to download Alan Thomas’s AQA A ENGA3 / ENGA4 Language Change within Language Explorations Guide.

Language Change within Language Explorations Guide.docx

This 121-page editable guide, written by a very experienced A Level English Language teacher, should prove helpful. It’s in Word (.docx) format, if you can only open Word (.doc) format files use the link below to convert it.

Microsoft Office Compatibility Pack for Word, Excel, and PowerPoint File Formats

We’ve also included a PDF version to help with printing.

• Aspens.ppt

Binary Opposition

The way a text creates and shapes its reader’s interpretation to develop both meaning and feeling can be fruitfully and subtly analysed by means of binary opposition. Despite its apparent complexity, this method can easily be understood by students of varying levels and ability from GCSE upwards. It can allow them to create subtle analyses of texts of the kind that can fulfil the requirements of the highest grade bands.

The theory works from the premise that many words and phrases have, as Steve Campsall terms it, their...

Mary Shelley’s Frankenstein subtitled ‘The Modern Prometheus’ is one of the most famous novels of the Gothic genre.  Frankenstein was an offshoot of a ghost-story writing project proposed by Byron in 1816. Mary Shelley’s explanation of how she came to write this novel is used in the introduction to the 1831 edition of Frankenstein: ‘I busied myself to think of a story… One which would speak to the mysterious fears of our nature and awaken thrilling horror.’

Shelley’s decision to ‘awaken thrilling horror’ can be seen,...

1984 Film Artwork by Shepard Fairey

Areas to focus on in Part 3:

• Chapter 1 | Winston’s imprisonment in the Ministry of Love; its description at the opening of the chapter and its contrast with conventional images of love; the lack of emotion Winston shows in relation to his mother now; Winston’s love for Julia stated as fact and then it disappears.
• Chapter 2 | Winston clings to O’Brien; Winston’s love for O’Brien; the death of love in Winston; the betrayal by Julia.
• Chapter 3 | Love...

1984 Film Artwork by Shepard Fairey

Areas on which to focus in Part 2:

• Chapter 1 | Julia’s first message to Winston and his response; their meeting in the crowd at Victory Square.
• Chapter 2 | Winston and Julia meet and consummate their relationship.
• Chapter 3 | Winston and Julia meet several times; the discussion of Winston’s temptation to murder to ideologically orthodox wife, Katharine.
• Chapter 4 | Winston’s plans to use Mr Charrington’s shop as a place for him and Julia to meet; the...

1984 Film Artwork by Shepard Fairey

Love and Relationships in 1984

1984 is commonly studied at A Level and is often cited as a fine modern example of dystopian fiction. At the heart of the narrative lies a relationship between two characters: the protagonist, Winston Smith and his girlfriend and accomplice, known simply as Julia: this has both thematic and symbolic significance. In addition, Winston’s relationship with his mother, his colleagues, and O’Brien, and the relationship between the present and the past, are important, as well as...

AQA A Literature | Unit LITA4: ‘Literary Connections’

This novel can be chosen as a coursework text for this A2 unit.

Below is a summary of the AQA Assessment Objectives. The guide focuses on the techniques Fowles used when writing his novel, including what are called his ‘postmodern’ techniques. There are also two worked essay examples to show how you might achieve high marks in this unit.

The Assessment Objectives

It’s important thing to be aware of the assessment objectives for your piece of work or exam paper. If you know...

The topic of interaction could be huge, including concepts which are important in a range of sub-topics in linguistic study, including speech, general textual analysis and power.  Many A Level specifications do not require students to have considerable knowledge of studies into conversational behaviour, but only to use the terminology which arose out of that research (e.g. three-part exchange or initiation/response/feedback). This guide therefore covers a selection of broad and conceptual theories relating to speech and interaction, which...

This topic is concerned with how language stands for things in the real world and how language is able to affect our impressions of things in the real world.  There is therefore some overlap here with concepts such as language and thought and some power issues in language (NB: theories relating to the effect of power/status on interaction will be found in the guide to discourse, speech and pragmatics).  This whole topic is highly conceptual, requiring considerable engagement with theory.  Although some of this theory is not explicitly tested...

This topic is concerned with the study of differences between male speech and female speech. The guide to Language and Power will cover theories relating to the representation of gender in language and concerns about sexist language. Some specifications put these together under the topic of ‘gender’ whilst others treat them separately. Specifications including Variation as a topic of study often include gender as one possible variable. The topic has been treated separately here since there has been so much work carried out in this area,...

This topic is concerned with changes to the English Language over time.  In different specifications, students are asked to compare and analyse texts from different periods, to trace the usage of a word or phrase, and/or to discuss how and why language changes, and how people react to those changes.

Studying change is therefore concerned with three main questions:

• How has the English language changed over its history?

This is largely an AO1 concern, dealing with the particulars of usage in terms of lexis, semantics, grammar and (possibly)...

The following guide would be useful for AQA LITB1, Aspects of Narrative but also for many other A level (and GCSE) units, where Hardy’s poems might be studied.

• Neutral Tones
• The Darkling Thrush
• ­At Castle Boterel
• ­The Voice
• ­Drummer Hodge
• ­In Church
• ­The Oxen

To many, Hardy is a genius, worthy of the highest respect as a technician in his poetry: a poet able to move his readers deeply often by his portrayal of ordinary people and events, both rendered special by the manner of his telling; to others, his technical ability is never...

Associated Resources

• Blake - Innocent Sweep.ppt
• Blake - Experience Sweep.ppt
• Blake - Holy Thursday.ppt

Introducing William Blake

Abstract

The course discussed in these notes is designed as a short course of enrichment and development of skills of poetry analysis based in a personal response to pairs of poems from the Songs of Innocence and Experience.

It is not designed to cover too many of the poems, but rather to spark interest and enthusiasm.

It can be used as part of a cross-curricular activity and benefits from a high level of...

Context

This poem was written in 1938, just before Yeats’ death.

Structure

The poem is written as a conversation between the man and an echo. It is composed of rhyming couplets which is the simplest rhyme form.

Stanza 1

The word ‘Alt’ is a rocky fissure at Knocknarea, County Sligo. The phrase ‘broad noon has never lit’ suggests a dark, secluded place.  This is an alliterative phrase ‘shout a secret to the stone’ ; ‘shout’ suggests a public declaration but by shouting at ‘the stone’ the man keeps his secret while making...

Context

This poem was written in 1927. The people mentioned in the title are Eva Gore-Booth (1870-1926) and Constance Markiewicz (nee Gore-Booth) (1868-1927). They were childhood friends of Yeats.

Structure

The poem has 3 stanzas with 10 or 12 lines. There is no regular rhyme scheme in the poem which may reflect the fact that Yeats is writing about friends; this is a personal poem and not the place for the formal or structured.

Stanza 1

‘Lissadell’ is a late Georgian house, home of the Gore-Booths, in County Sligo. The description...

Context

This poem was written after a visit by Yeats in his capacity as a Senator to St Otteran’s School, Waterford in 1926. The school was run on Montessori principles.

Structure

The poem is 8 stanzas long with 8 lines per stanza. It is also written in ottava rima, a verse form Yeats used in Sailing to Byzantium. The subject matter is appropriate for this verse form – the changing face of man and mortality.

Stanza 1

Yeats walks through the school in the company of Mother Philomena who ran the school. He lists the children’s activities...

Context

This poem can be seen in reference to The Second Coming; it describes a moment that represented a change of era in Yeats’ model of gyres. But where Yeats’ poem The Second Coming represents the end of modern history, Leda and the Swan represents something like its beginning; the rape of Leda by Zeus resulted in the birth/hatching of Clytemnestra, Helen, Castro and Polydeuces (Castor and Polydeuces were war gods) and this brought about the Trojan War which in turn brought about the end of the ancient mythological era and the birth of...

Context

This poem was written in 1926 and first published in 1928. Yeats wrote in a draft script for a 1931 BBC broadcast:

I am trying to write about the state of my soul, for it is right for an old man to make his soul, and some of my thoughts about that subject I have put into a poem called Sailing to Byzantium. When Irishmen were illuminating the Book of Kells, and making the jewelled ‘croziers’ in the National Museum, Byzantium was the centre of European civilization and the source of its spiritual philosophy, so I symbolize the...

Context

The poem was written in 1919 in the aftermath of the First World War. Richard Ellman and Harold Bloom suggest the text refers to the Russian Revolution of 1917. Bloom argues that Yeats takes the side of the counter-revolutionaries and the poem suggests that reaction to the revolution would come too late. Early drafts also included such lines as: “And there’s no Burke to cry aloud no Pitt,” and “The good are wavering, while the worst prevail.” (Wikipedia)

Yeats intended The Second Coming to describe the current historical moment –...

Context

This poem was written as a reaction to the Easter Rising of 23-29 April 1916.

It was written in September 1916 when Yeats was staying with Maud Gonne MacBride at Les Mouettes, Calvados. In it he records his reactions to the Easter Rising in Dublin, when the city centre was occupied by a force of around 700 members of the Irish Republican Brotherhood, led by Patrick Pearse, and members of the Citizen Army, led by James Connolly. They held out for 6 days – 15 of their leaders were sentenced by courts martial and executed between 3rd...

Context

This poem was first published in 1916. The Fisherman is presented as the ‘ideal man’ with his country skills; he is also a symbol for Ireland – where Yeats believes the ideal man ‘exists’. It draws a contrast between Yeats’ ‘ideal Irishman’ and the real man of his contemporary Ireland. Yeats was a skilled fly fisherman and used this knowledge to develop the character of the fisherman.

Structure

The poem is written as a single stanza with a regular ABAB rhyme scheme, 3 stresses per line.

The word ‘him’ refers to...

Context

This poem was first published in 1919. It is widely believed to be a tribute to Major Robert Gregory, the only child of Lady Gregory; he joined the Royal Flying Corps in 1916 and was shot down in 1918 over Italy.

Structure

This is a 16 line poem written in iambic tetrameter (4 quatrains of alternating rhymes). The title reflects the reality of life for airmen in WWI. This may have happened to many people fighting during wars: they know their death is approaching but there is little they can do about it. There is no real sense of...

Context

This poem was first published in 1917 when Yeats was 52 in a collection of the same name. The setting is in Coole Park, Galway, the home of Lady Gregory. Lady Gregory was a patron and friend of Yeats and he first visited her home in 1897.

Structure

The poem has 5 stanzas each 6 lines long and is written roughly in iambic pentameter; 1st & 3rd lines = tetrameter, 2nd, 4th & 6th lines trimester, 5th line pentameter. Pattern of stresses 434353. This is very precise and links with the precision of the subject matter – events are...

Context

This poem was published in 1914 at the start of World War One. It is about remorse over failure in love and the fear that this remorse will continue after death as a purgatorial punishment. This could be said to have links with the ‘guilt’ which is felt particularly by Irish Catholics. Some commentators have said that the failed love was for Maud Gone, but it doesn’t really matter for the readers’ understanding of the poem.

Structure

This poem is 1 stanza long, a total of 12 lines. There is a regular rhyme scheme with all the...

Context

This poem was first published, unsurprisingly, in 1913 and was inspired by the dispute over the Lane art gallery in Dublin; Hugh Lane wished to present his collection of French paintings to Dublin but there was disagreement about whether the City should provide or pay for a gallery to house them.

Structure

4 stanzas, 8 lines in each. The last 2 lines of each stanza form the refrain. A regular rhyme scheme is used which shows the control that Yeats’ displays in much of his poetry.

Stanza 1

The use of ‘you’ means the Irish people...

Context

First published in 1886 when Yeats was 21. This poem is set in County Sligo where Yeats spent part of his childhood; some actual locations mentioned illustrate Yeats’ fond reminiscing about his childhood – Yeats has a tendency to romanticise childhood.

The poem also illustrates Yeats’ interest in Irish mythology – the story of a child abducted by ‘faeries’. This feeds into many cultures’ fears of loss of children; also the story of changeling children (a human child abducted and replaced with faery child).

There is a...

William Butler Yeats

Yeats was born into a strongly Protestant family in 1865 in the Irish and largely Roman Catholic city of Dublin; Yeats was the son of Susan Pollexfen and John Butler Yeats; his mother was a member of a wealthy milling and shipping family; his father was originally a barrister but later followed his other son into painting.

He was educated at Godolphin School, Hammersmith and High School, Dublin. He studied at School of Art, Dublin and developed an interest in mystic religion and the supernatural. Yeats identified himself...

Yeats’s poems are studied for:

OCR English Literature AS Unit F661

Section A: Poetry 1800–1945

The focus of this section is the study of selected poems of one poet. Your students will need to answer one question on one poem of the poet studied and...

1. Specifications & Assessment Objectives

2. An Introduction

3. The Stolen Child

4. September 1913

5. The Cold Heaven

6. The Wild Swans at Coole

7. An Irishman Foresees His Death

8. The Fisherman

9. Easter 1916

10. The Second Coming

11. Sailing to Byzantium

12. Leda and the Swan

13. Among School Children

14. In Memory of Eva Gore-Booth and Con Markiewicz

15. The Man and the Echo

Edward Thomas and His Poetry

Edward Thomas is one of our most highly regarded war poets and yet in the popular imagination is perhaps less well-known; his work has attracted the highest critical acclaim.

Here are some comments:

Because all of his poetry was written after the outbreak of war, it is all, in an important sense, war poetry. Behind every line, whether mentioned or not, lies imminent danger and disruption. Andrew Motion

And from the foreword to the Collected Poems of Edward Thomas (1920)

His face was fair, long and rather...

Jane Eyre & AO2

Form, structure and language - is often considered to be the hardest Assessment Objective to cover in A level essays. In fact, all three of these in Jane Eyre contribute to the development of themes, characters and plot, so they should be form an integral part of any discussion of these. Integrating points about form, structure and language into other discussions is a better way of including them than constructing a paragraph specifically to address AO2. Here are some ideas about ways it can be tied in:

A paragraph about Jane...

Brontë uses extended passages of direct speech to tell Jane’s story. In some ways this acts as protection against Jane’s later knowledge intruding on her younger self. As a device it enables characters to speak for themselves; it enables the reader to see, for example, Rochester’s feelings about Jane when she herself cannot. Apart from her initial introduction of the Reeds, we do not usually rely on Jane’s assessment of anyone, instead being given the opportunity to judge for ourselves from their actions.

Many passages in the book...

Jane Eyre is set firmly in northern England, in five separate locations. The Reed house at Gateshead, Lowood School, Thornfield Hall, Moor House (the Rivers’ house) and Ferndean Manor, which is Rochester’s smaller, more rural home. Mary, Rochester’s housekeeper at Ferndean, gives Brontë the chance to demonstrate that her control of the Yorkshire dialect is as strong as Emily’s, who used it in so extensively in Wuthering Heights: ‘she’s noan faâl, and varry good-natured.’ The dialect emphasises the more rural and remote...

The plot has been constructed by Brontë in order to allow her to create not only an absorbing and suspenseful narrative, but also, of course, to allow her to explore several themes in interesting and often persuasive ways.

Love

Love is a strong theme throughout the novel, which is essentially a romance; it is also the aspect of the novel which is quintessentially Romantic, with a capital ‘R’, in that the love which Rochester and Jane share is an extreme emotion. Both of them confess to overpowering feelings which cloud their judgement,...

Jane Eyre

Brontë constructs the character of Jane as having been left as an orphan after her parents’ death through typhoid; Jane is initially brought up by her mother’s (dead) brother’s wife, along with their children. Her paternal family are apparently ‘poor’, and she does not know anything of them, until her aunt – on her deathbed – reveals a letter from her father’s elder brother, who has made his fortune, but who has no children to whom to leave it. Later she discovers the Rivers family – the children of her father’s...

Brontë’s choice of creating a novel narrated by a ‘first person autobiography’ narrator of Jane Eyre and ostensibly edited by ‘Currer Bell’ is a conceit that serves to heighten the identification between author and protagonist – and which adds effectively to the authenticity and authority of the narrator.

The character of Jane narrates her life with the knowledge that she herself would possess at the time, if she were a real woman, rather than foreshadowing the dramatic narrative or giving any hint of future events. The form is...

Jane Eyre was published in 1847 and was the first of Charlotte Brontë’s novels; it was written in the same year as her sister, Emily Brontë’s, only novel, Wuthering Heights.

Charlotte (born 1816), together with Emily and Anne, lived at Haworth Parsonage, in North Yorkshire, where between them, they created complicated make-believe worlds as children before growing up to write.

Their mother died when Charlotte was just five, and when she was only 9, she found herself the eldest child, looking after the family, including her brother and...

Jane Eyre Overview of Specifications & Assessment Objectives.pdf

1. ­Overview of Specifications & Assessment Objectives

2. Context

3. Form

4. Characters

5. Themes

6. Setting

7. Language

8. Writing about Jane Eyre

• March.ppt
• Old Man.ppt
• Tears.ppt
• The Glory.ppt
• Words.ppt
• As The Teams Head Brass.ppt
• But These Things Also.ppt
• Gone, Gone Again.ppt
• Lights Out.ppt
• Melancholy.ppt
• The Sun Used To Shine.ppt

The Duke, who left Vienna in secret and who has always shied away from the limelight, returns very much in public and in the open to bring judgement and justice – hence the trumpets, symbolic perhaps of the Last Judgement? This act is one very long scene and must obviously be studied in some depth by A level students. In contrast to the revelation of the Duke’s fallibility in Act 4, here he does take on something of the role of divine ruler.

He appears at first to disbelieve totally Isabella’s charge against Angelo, sharing with...

In a Shakespearian comedy, the audience would probably now expect the rest of the play to be the outworkings of the Duke’s plan followed by a happy ending usually involving at least one wedding (AO4). The events of Act 4 show this is not going to be the case in Measure for Measure.

The first part of the Duke’s idea goes to plan. Mariana agrees to co-operate and Isabella successfully pretends to Angelo that she will meet him (and sleep with him). However, time is running out for Claudio who is supposed to be executed by eight the...

A problematic section of the play in some ways where the themes are much closer to tragedy than comedy.

Scene 1

Contrast between Isabella’s expectations about her brother’s attitudes and the reality of prison and the fear of death!

Duke as Friar presents Claudio with the traditional Christian ‘consolation’ about death (a literature genre of the Renaissance AO4) which Claudio initially accepts with fortitude. However, Isabella’s hint that there could be a way of escape prompts Claudio’s vivid and emotional expression of his...

Scene 1

Escalus’ view – he appeals to Angelo to consider the possibility of his own weaknesses, a possibility Angelo will not recognise, lines 29-31

‘When I that censure him do so offend
Let mine own judgement pattern out my death
And nothing come in partial. Sir, he must die.’

In the following section, Escalus encounters Elbow, Froth and Pompey in his role as magistrate. Note how the two parts of scene 2 are parallel; Angelo’s attitude to Claudio in his judgement and condemnation of him and Escalus’ treatment of and...

Why teach ‘Measure for Measure’?

Measure for Measure is certainly not the easiest of Shakespeare’s dramas nor is it probably one of the most popular choices when teachers are thinking about AS and A2 level specifications; however, the degree of challenge involved in teaching it is easily matched by the degree of satisfaction in teaching it when you have got to grips with this intriguing play. Students really do enjoy reading this play!

Currently, the play is a choice for teaching on several AS specifications and as a choice for...

Click on the link below to download the resource.

Assessment of Presentations in Lang A2.doc

Hamlet: tragic hero?

Hamlet is usually regarded as the finest of Shakespeare’s tragedies, and one of the greatest tragedies ever written; however, it is frequently defined as ‘tragedy’ with little or no reference to tragic tropes, either Greek, Renaissance or later theories of tragedy, or with insufficient consideration of other useful theoretical approaches.

The aim of this teaching guide is to trace Shakespeare’s development of his eponymous hero through the play looking at aspects of language, form and structure as well as genre,...

Hamlet: tragic hero?

Hamlet is usually regarded as the finest of Shakespeare’s tragedies, and one of the greatest tragedies ever written; however, it is frequently defined as ‘tragedy’ with little or no reference to tragic tropes, either Greek, Renaissance or later theories of tragedy, or with insufficient consideration of other useful theoretical approaches.

The aim of this teaching guide is to trace Shakespeare’s development of his eponymous hero through the play looking at aspects of language, form and structure as well as genre,...

Hamlet: tragic hero?

Hamlet is usually regarded as the finest of Shakespeare’s tragedies, and one of the greatest tragedies ever written; however, it is frequently defined as ‘tragedy’ with little or no reference to tragic tropes, either Greek, Renaissance or later theories of tragedy, or with insufficient consideration of other useful theoretical approaches.

The aim of this teaching guide is to trace Shakespeare’s development of his eponymous hero through the play looking at aspects of language, form and structure as well as genre,...