LL4 Teacher Guidance - WJEC

GCE TEACHER GUIDANCE 

ENGLISH LANGUAGE 

& LITERATURE LL4

LL4 Teacher Guidance 

Introduction 

This document is intended to offer guidance and support to teachers in 

preparing students for the first summer examination in summer 2010. 

There are 4 sections to this document: 

• The specification requirements for LL4 

• Preparing for the question paper with the revised rubric for Section B 

• Candidate responses to LL4 January 2010 

• Specimen Paper (revised March 2010) and assessment grid.

The specification requirements for LL4 

LL 4 – 30% Comparative Textual Analysis and Review (synoptic) 80 marks 

Section A: Comparative analysis of texts - 40 marks 

Relevant assessment objectives: AO1 AO2 AO3 

Candidates will be required to answer one compulsory question in this section. The 

question will require candidates to produce a detailed comparative analysis of three 

unseen texts of different genres, chosen from a range of types and periods. The 

focus of the analysis will be provided in the question. In their response to the 

question, candidates are expected to select and apply relevant linguistic and literary 

approaches from their integrated studies across the course as a whole. 

Section B: Reviewing approaches ('open' text – clean copy) – 40 marks 

Relevant assessment objectives: AO1 AO2 AO3 

Candidates will be required to answer one question in this section, from a choice of 

five. Each question will require a piece of extended writing designed to allow 

candidates to reflect on insights gained from integrated linguistic and literary study 

across the whole A level course. In preparation for this question, candidates are 

required to study one text from the list below: 

Charles Dickens: Hard Times (Penguin) 

Emily Bronte: Wuthering Heights (Penguin) 

George Orwell: Shooting an Elephant: and Other 

Essays (Penguin) 

ed. Ian Jack: The Granta Book of Reportage 

(Classics of Reportage) (Granta Books) 

Ted Hughes: Birthday Letters (Faber) 

T.S. Eliot: Selected Poems (Faber) 

A clean copy (no annotation) of the set text studied must be taken into the 

examination. 

Note: no other texts or material may be taken into the examination. 

The questions set will not be directly linked to the prescribed texts, but will invite 

discussion of aspects of integrated study which will involve detailed knowledge of 

these texts as well as comparative reference to at least one other text (literary/non- 

spoken/written) studied in the course as a whole or selected for wider 

literary, 

independent study. The selected prescribed text should be regarded as the ‘core’ 

text, and will require sustained reference and more detailed discussion than the 

text/texts discussed for comparative reference, which should be regarded as the 

‘partner’ text(s). 

Candidates are not required to quote from their partner texts, but if they wish to they 

may. 

Candidates should prepare for the following aspects of integrated study: 

• presentation of characters/people 

• themes e.g. family life, power, love

• narrative technique 

• influence of contextual factors in the production and reception of texts 

• importance of setting/location 

• language variation according to time, place, context 

• different readers’ or listeners’ interpretations of individual texts. 

Addressing the Assessment Objectives in LL4 Sections A and B 

The same weighting of assessment objectives applies to both sections of the paper: 

LL4 % AO1% AO2% AO3% 

SECTION A 30 (15) 6 (3) 12 (6) 12 (6) 

SECTION B 30 (15) 6 (3) 12 (6) 

12 (6) 

AS TOTAL LL4 60 (30) 12 (12) 24 (6) 24 (12) 

The notional distribution of marks for both sec tions is therefore: 

AO1: 8 marks AO2: 16 marks AO3: 16 marks 

This weighting is reflected in the tasks for both sections, as candidates should be 

equally engaged with analysing a range of texts, considering the significance of 

contextual factors and exploring relat ionships between the unseen texts in Section A 

and between the set text and other text(s) studied on the course in Section B: 

• select and apply relevant concepts and approaches from integrated linguistic 

and literary study, using appropriate terminology and accurate, coherent 

written expression (AO1); 

• demonstrate detailed critical understanding in analysing the ways in which 

structure, form and language shape meanings in a range of spoken and 

written texts (AO2); 

• use integrated approaches to explore relationships between texts, analysing 

and evaluating the significance of contextual factors in their production and 

reception (AO3).

Preparing for the LL4 Question Paper- revised rubric 

The LL4 question paper for summer 2010 onwards features a revised rubric which is 

intended to improve and simplify the instructions for Section B. 

The main changes are the removal of the text box containing the list of set texts, and also 

the removal of bullet points in all the questions. The general rubric will also be more 

streamlined and ask candidates to make comparative reference to at least one other text, 

either studied on the course or selected for wider independent study. 

The decision to make these changes, while still keeping to the requirements of the 

specification, was taken in the light of candidate responses to the first January paper. 

The revised rubric should enable candidates to apply their knowledge and skills in a more 

focused way, whilst still maintaining the stretch and challenge required of this paper. The 

revised specimen paper, which includes these revisions, appears at the end of this 

document, but it can also be downloaded as a separate document. 

The basic approach to all Section B questions remains the same: candidates need to 

answer one of the five questions with sustained reference to their set core text and 

comparative reference to one or more texts. They must use integrated approaches and 

consider contextual factors. The general rubric as it stands on the first specimen paper and 

first January paper asks for literary and non-literary texts, written and spoken, but the new 

rubric allows candidates to choose any one or more type of text to illuminate discussion of 

the core text. While some candidates might offer a range of references, including their own 

reading, others may feel more comfortable drawing on one or more of their AS texts or their 

Shakespeare LL3 text. Candidates who only offer one text will not be disadvantaged, 

provided that they produce a response that offers valid connections which are relevant to 

their discussion of the question they are answering. 

Teachers who prepare their students by exposing them to a variety of text types and 

encouraging them to undertake wider independent reading in addition to revisiting their AS 

texts and LL3 texts will enable their students to draw from a rich pool of resources in 

answering their chosen question. 

Our advice still holds that in making comparative connections, candidates should focus on 

producing quality rather than quantity, ensuring that their connections are used meaningfully 

and purposefully to illuminate their discussion of the core text. As a rough guide, two-thirds 

of the essay should address the core text, with a third on the selected ‘partner’ text(s). 

The Examiner’s Report for the first January paper should be read in conjunction with this 

document.

LL4 Section A: Comparative Textual Analysis 

Candidate response January 2010 

Question 1 

Using integrated approaches, compare and contrast how Hadrian’s Wall is presented 

in Texts A-C. 

In your response you must analyse and evaluate how the different contexts and purposes of 

the texts influence linguistic choice. You must also consider how effective each text is in 

developing its ideas. 

All three texts use various literary and linguistic techniques in their shared relaxed approach 

to the description of Hadrian’s Wall. While texts B and C are written ultimately to inform their 

audience of a history of the wall, the author of text A assumes the role of a Roman guard, 

and tells more of the hardships and details of his life within the context of his station as a 

guard. 

Each text uses various techniques to create a light and often amusing tone. This is 

particularly notable in texts B and C as they both use modern language, phrases and idioms 

imposed on a historical context, with the intent to entertain. 

Text B is written purposefully for younger readers, and so while Terry Deary aims to capture 

their imagination, it is important that there is an undercurrent of informative details 

throughout. One way in which the author entertains his readers is through the repetition of 

the modifier ‘rotten’ in the first line, which is used for its alliterative effect when placed with 

‘Romans’, and ‘ruthless’, and creates the impression the author relishes their rottenness, as 

he repeats the idea. Deary then combines the two adjectives ‘rotten’ and ‘ruthless’ to form 

‘Rotless’, an imaginary word, end-focused to amuse the younger reader. 

There are several examples of Deary’s use of alliteration in this piece. For example, the 

phrase ‘worked on the wild wall’ uses the alliterated ‘w’ sound to create an almost 

onomatopoeic effect, in mimicking the breathing sound of the wind. The rhythm of this 

phrase also allows the stress to fall on the pre-modifier ‘wild’, as a dactyl is used, and this 

heavy stress emphasises to create a dramatic suspense for what is to come in the rest of the 

book. This effect, along with Deary’s use of ellipsis, are particularly important as the purpose 

of the extract is to grab the interest of the young reader and spark their imagination, in that it 

is an introductory passage and will want to entice the reader to continue with the book. 

In text A, Auden also uses alliteration for its onomatopoeic effect, in the first line of the poem. 

Here, the alliterated ‘w’s of ‘wet wind blows’ indicated the same wildness of the surroundings 

Comment [L1]: AO3 

Comparative approach from 

outset 


Appreciates humour 


Audience 

Comment [L4]: AO1 Range of 

terms used 

Comment [L5]: AO2 Explores 

impact of language choices 

Comment [L6]: AO3 Close 

comparison

achieved by Deary in text B. What Auden also achieves is a sense of the harshness of the 

soldier’s surroundings, through the three heavily stressed monosyllables (spondee). 

A further linguistic device used by Deary is assonance in the phrase ‘wicked Pictish winds’, 

which indicates the harsh environmental conditions by the brisk phonetics of the phrase. The 

assonance and alliteration used by Deary when describing the setting is particularly 

important as this is an introduction, and they help to imaginatively set the scene in the minds 

of the reader. 

This structural device is also used by Auden in that he opens the poem with details of the 

soldier’s harsh surroundings, which as well as creating empathy for the character depicted, 

sets in context his position in life, as Auden is assuming the role of a fictional character who 

must be introduced to the reader. 

Interestingly, Auden holds in dichotomy the ideas of the soldiers harsh living conditions in 

relation to the weather and natural surroundings, through the juxtaposition of the external 

and internal hardships of the first three couplets of the poem. What this achieves is a sense 

that the wildness of the surroundings truly impact on the people who live and work around 

the wall, and this gives the reader an impression of the power of Hadrian’s Wall. 

This connection between the wildness of the weather and the power of the wall is made in 

both texts A and B, and particularly in text A, could be seen to be an example of pathetic 

fallacy, in that the ‘wet winds’ and the mist that ‘creeps’ are reflective of the soldier’s 

miserable state of mind. 

In the poem, it is perhaps surprising then that the character of the soldier chooses to return 

to the idea of nature in the final line. By end focusing ‘sky’, a hopeful note is created through 

the idea of vastness, as if he sees the sky as an escape from the petty trivialities of life on 

the wall. This hopeful, human idea creates empathy for the character, as it appears a 

timeless image, connecting the reader with the historical context, and also in emphasising 

the harshness of his daily life. 

An important link between all three passages is this link between modern ideas in a historical 

context, as this makes the ideas discussed more accessible for a modern reader, and in 

texts B and C, helps create a lighter tone. 

In text C, the author uses modern idioms such as ‘does exactly what it says on the tin’ and 

‘put une chausette in it, Napoleon’ for comedic effect, as they seem incongruous with the 

historical setting of the wall, and also minimise the ‘respect’ usually shown to the events of 

great historical significance, i.e. the French Revolution or the building of Hadrian’s Wall. 

Text C also imposes modern ideas on the historical context through the use of rhetorical 

interrogative, ‘Had Hadrian not dined out in gastronomic Glasgow’ which achieves humour 

through the mismatch of time periods/cultural references. The author of this text uses these 

techniques to lighten the tone, and make Hadrian’s Wall seem more accessible to a modern 

Comment [L7]: AO3 Literary 

context 


Sophisticated expression of ideas 


Comparisons sustained 

Comment [L10]: AO3 Subtle 

appreciation of context 


Terminology

eader. It is clear through the cultural references of ‘Edinburgh Festival’ and the use of 

French in the English idiom stated previously, that the intended audience is more culturally 

aware than that of text B. 

In text B, Deary similarly uses modern references imposed on the historical context, but 

instead used the alliterated simile, ‘plague of pasta’ when describing the Roman empire for 

its comedic effect through its phonetics, ridiculousness as an image, and portrayal of a 

modern stereotype in a historical context. 

A further way in which the authors of text B and C create a casual tone include their 

manipulation of the mode of address. In text B, this is particularly important as it changes 

from third person narrative to second person, when the author addresses the reader as ‘you’ 

in the seventh paragraph. Here, imperatives such as ‘imagine’ are foregrounded, and they 

instruct the reader with the aim of capturing the young reader’s imagination. 

The author of text C uses as informal tone throughout. using parenthesis to create the 

impression of an ‘inside joke’, again using imperatives such as ‘calm down’, but here this is 

more for comedic purpose than to capture the reader’s imagination like in text B. 

A final comparison to be made between texts A and B is the use of parallelism. In text A, this 

is achieved in the line ‘I want my girl and I want my pay’. The rhythmical effect perhaps 

imitates the predictability of his life as a Roman soldier, and the simplistic language used to 

create an impression of his desperation through his demand of basic needs. 

Terry Deary uses parallelism for a very different reason, in the repetition of the phrase ‘let 

me imagine it for you. Let me tell you.’ Here, this repetition again creates a rhythmical effect, 

but is more to adopt the role of the story teller in that the imperative draws the reader into the 

book. 

To conclude, all three texts are written with the purpose of informing the reader, although 

texts B and C achieve this through stated historical facts whilst text A gives a personal 

account through connecting with a fictional historical character. 

Texts B and C have a lighter tone to them, to amuse whilst informing, delivered by 

manipulation of the mode of address, alliteration and inclusion of modern ideas in a historical 

context. 


Phonology and imagery 


Compares mode of address 


Grammar 

Examiner’s Comment: 

AO1 (Band 4+) Thorough knowledge and understanding gained from integrated study. 

Terminology is used sensitively and addresses a wide range of features. Written expression 

is confident and fluent. Material is well organised. 

AO2 (Band 4+) Perceptive awareness of how choices of form, structure and language affect 

readers. Confident evaluation of techniques. Explores attitudes and values meaningfully

through sustained focus in how language is used to create different impacts on different 

audiences. 

AO3 (Band 4+) Confident awareness and discussion of relationships between texts, making 

specific and productive connections. Subtle appreciation of contextual factors and their 

significance. 

Mark: 40/40

LL4 Section B: Reviewing Approaches 

Candidate response January 2010 

Question 2 

Discuss how the theme of power is presented in the texts you have studied. 

Core Text ‘Wuthering Heights’ 

Often power is presented in texts as a negative quality where it is abused to teach a moral 

lesson of hubris or greed. Less often, power is shown with positive aspects, in political 

speeches in particular assuring listeners such power will be put to good use. Themes of 

power have changed over time regarding gender and relationships owing to contextual 

factors such as feminism. 

‘Wuthering Heights’, the nineteenth century novel, depicts the oppression of women by 

powerful men in their relationships. In chapter 12 Brontë portrays Isabella as weak and 

submissive when she runs away with Heathcliff conforming to the gothic conventions of 

weak female characters. Isabella’s weak character is juxtaposed with Heathcliff’s causing 

him to appear much more powerful. Brontë’s use of the noun phrase, ‘real little fool’, 

demeans any power Isabella may hold with emphasis on the pre-modifier ‘little’. Heathcliff’s 

power over her is also suggested by his treatment of her such as calling her a ‘mere slut’, 

throwing a knife at her and hanging up ‘her little dog’ but ‘no brutality disgusted her’. Such 

events heighten the power of Heathcliff through specific choice of the lexis ‘flung’ which 

suggests it was a reckless action rather than thrown. 

Similarly, Stephen King’s modern horror novel, ‘Rose Madder’, consists of specific modifiers 

and lexis to heighten the power of the male gender over the female gender. This is shown in 

the prologue where Rose’s husband is careless and violent whilst Rose is having a 

miscarriage on the floor. The use of simile which includes the verb ‘rips’, the adjective 

‘monstrous’ and comparison ‘like a hacksaw blade’ all connote violence and pain as it is 

describing the pain of Rosie’s miscarriage with her husband’s ignorance when he hums 

‘When a man loves a woman’, showing his sadistic nature and power over Rosie; much 

similar to Heathcliff and Isabella’s relationship which is also violent. Since ‘Wuthering 

Heights’ was written earlier when subjects of pregnancy or miscarriage were seen as a 

taboo, such topics are not discussed like it is explored in King’s novel. 

Nevertheless, ‘Wuthering Heights’ was already seen as controversial due to the excessive 

passion within the novel between Catherine and Heathcliff. The theme of power is exploited 

through Catherine and Heathcliff’s passion in Volume two, chapter one where they reunited 

Comment [WJEC15]: AO3 

Coherent overview 


genre 


selects firmly 


impressive analysis 


explicit link

as lovers for the final time before Catherine’s death. Brontë’s use of animalistic lexis, 

‘foamed like a mad dog’, ‘eyes flashed fiercely’ and ‘heaved convulsively’ to describe 

Heathcliff shows the excessiveness of Heathcliff’s desire and possession of Catherine. Such 

lexis remove all qualities of a man from Heathcliff showing this love is more powerful than 

the conventional love as it is extreme and nothing a human has experience. This moment is 

the climactic moment of the novel, enabling, in particular, the readers of the nineteenth 

century to be drawn into the second half of the novel, as the volumes were sold as separate 

books at that time. 

The power of passion is also shown in Churchill’s speech around the 1930s to boost the 

morale of listeners in Britain, as Britain appeared to be failing in the battle. Churchill uses 

many pauses to enable his message to sink into the listeners’ minds, to inevitable brainwash 

them with positivity. Also, use of future tense verbs and inclusive language such as ‘we will 

fight…’ portrays that the listeners are not alone, it is a team effort and there is hope. In 

contrast, in ‘Antigone’, a Greek play of around 440AD, shows abusiveness of power like 

Heathcliff as Creon becomes too proud, almost like a god therefore takes a fall from his 

staus costing him his wife and his son; all due to hubris. This shows a political and moral 

message relevant to audiences of ‘Antigone’s’ time as well as politics today. 

In ‘Wuthering Heights’ the power of money is also shown as it drives the plots such as: 

Catherine’s motive to marry Edgar which was social ambition and wealth in chapter ten; 

Heathcliff’s corrupt motive to marry Isabella to gain property and finally the forced marriage 

between Catherine and Linton so Heathcliff could inherit the property. All of which are 

narrative devices to cause conflict within the novel, where Brontë plays with the readers’ 

hopes of a happy ending. In the romantic poet Shelley’s ‘Ozymandias’, the sonnet shows the 

power of time and nature portraying the insignificance of political ruler ‘Ozymandias’ 

compared to time which could be applied to political rulers of all times teaching readers a 

lesson that the power of man is nothing; art and nature hold greater power typical of the 

Romanticists. 

Overall, power is depicted negatively to mainly teach the corruption and responsibilities of 

power to audiences but in speeches it can be used to persuade and boost morale. In 

particular, the power of gender has changed although some relationships remain with the 

male in the powerful role. 

Comment [WJEC20]: clearly 

organises 


writer’s techniques 


context 

Examiner’s Comment 

AO1 (Band 4+) Excellent organisation. Fluency throughout. Confident use of integrated 

approaches and terms.

AO2 (Band 4) Relevant selections. Analyses ideas and details with assurance. 

AO3 (Band 4+) Impressive range and linking. Several different contextual considerations 

discussed. 

Mark:38/40

GENERAL CERTIFICATE OF EDUCATION 

TYSTYSGRIF ADDYSG GYFFREDINOL 

2009 - 2010 

ENGLISH LANGUAGE & LITERATURE ADVANCED 

LL4 SPECIMEN QUESTION PAPER 

(REVISED RUBRIC issued March 2010)

GCE A level 

1174/01 New A2 

ENGLISH LANGUAGE & LITERATURE 

LL4: Comparative Textual Analysis and Review 

2½hours 

ADDITIONAL MATERIALS 

In addition to this examination paper, you will need: 

• a 'clean' copy (i.e. with no annotation) of the text you have studied for Section B; 

• a 12 page answer book. 

INSTRUCTIONS TO CANDIDATES 

Answer the compulsory question in Section A. 

Answer one question from Section B. 

INFORMATION FOR CANDIDATES 

Section A and Section B both carry 40 marks. 

In both sections, you will be assessed on your ability to: 

• select and apply relevant concepts and approaches from integrated linguistic and literary 

study, using appropriate terminology and accurate, coherent written expression (AO1) 

• demonstrate detailed critical understanding in analysing the ways in which structure, form 

and language shape meanings in a range of spoken and written texts (AO2) 

• Use integrated approaches to explore relationships between texts, analysing and 

evaluating the significance of contextual factors in their production and reception (AO3). 

You are reminded that assessment will take into account the quality of written 

communication used in your answers.

Section A: Comparative Textual Analysis 

Answer the following compulsory question. 

1. This question is based on all three texts which follow. 

TEXT A 

The opening section of Lines Composed a Few Miles above Tintern Abbey, On Revisiting 

the Banks of the Wye during a Tour, July 13, 1798 by William Wordsworth (1770-1850). 

In this poem, Wordsworth describes the landscape around Tintern Abbey, South Wales, 

and his feelings at seeing it again after a five year interval. The whole poem is 159 lines 

long. 

TEXT B 

A transcription of the opening of the radio drama, Under Milk Wood by Dylan Thomas 

(1914-1953) as performed in 1988 with Sir Anthony Hopkins as First Voice. The 

opening describes the fictional Welsh town of Llareggub and its sleeping characters. It 

was first published in 1954, then later performed as a stage play and a film. First Voice 

functions as a narrator. 

TEXT C 

A page from the official Ministry of Tourism for India website (2004). 

Using integrated approaches, compare and contrast how a sense of place 

is created in Texts A-C. 

In your response, you must analyse and evaluate how the different contexts and 

purposes of the texts influence linguistic choice. You must also consider how 

effective each passage is in developing a sense of place.

Text A: the opening of the poem, ‘Tintern Abbey’, by William Wordsworth. 

Five years have passed; five summers, with the length 

Of five long winters! and again I hear 

These waters, rolling from their mountain-springs 

With a soft inland murmur.--Once again 

5 Do I behold these steep and lofty cliffs, 

That on a wild secluded scene impress 

Thoughts of more deep seclusion; and connect 

The landscape with the quiet of the sky. 

The day is come when I again repose 

10 Here, under this dark sycamore, and view 

These plots of cottage-ground, these orchard-tufts, 

Which at this season, with their unripe fruits, 

Are clad in one green hue, and lose themselves 

'Mid groves and copses. Once again I see 

15 These hedge-rows, hardly hedge-rows, little lines 

Of sportive wood run wild: these pastoral farms, 

Green to the very door; and wreaths of smoke 

Sent up, in silence, from among the trees! 

With some uncertain notice, as might seem 

20 Of vagrant dwellers in the houseless woods, 

Or of some Hermit's cave, where by his fire 

The Hermit sits alone. 

These beauteous forms, 

Through a long absence, have not been to me 

As is a landscape to a blind man's eye: 

25 But oft, in lonely rooms, and 'mid the din 

Of towns and cities, I have owed to them, 

In hours of weariness, sensations sweet, 

Felt in the blood, and felt along the heart; 

And passing even into my purer mind 

30 With tranquil restoration. 

Text B: the opening of Under Milk Wood by Dylan Thomas. 

Key to discourse features 

word underlining indicates a stressed syllable 

(.) a micropause 

(1) a timed pause in seconds 

◦word◦ whispered word 

[italics] stage directions 

[Silence] 

FIRST VOICE [very softly]: to begin (1.5) at the beginning (2) it is Spring (.) moonless 

night in the small town (0.5) starless (.) and bible-black (1) the cobblestreets silent and the 

hunched courters'-and- rabbits' wood (0.5) limping invisible down to the sloeblack 1 (0.5) slow 

(0.5) black (.) crowblack (.) fishingboat-bobbing sea (1) the houses are blind as moles (.)

though moles see fine tonight in the snouting velvet dingles 2 (0.5) or blind as Captain Cat (.) 

there in the muffled middle by the pump and the town clock (.) the shops in mourning (.) the 

Welfare Hall in widows' weeds 3 (1) and all the people of the lulled and dumbfound town (.) 

are ◦sleeping now◦ 

1 2 

sloe: the small blue-black fruit of the blackthorn shrub dingle: a small wooded valley 

3 widows’ weeds: the black clothes traditionally worn as a sign of mourning 

Text C: a page from the official Ministry of Tourism for India website 

India's amazing diversity offers you everything you could ever want in a 

holiday. From the moment that you set foot in 

India to be greeted by a graceful namaste, a 

gesture that denotes both welcome and respect, 

you are on the way to one of the most 

rewarding experiences of your life. Bounded by 

the majestic Himalayan ranges in the north and 

edged by a spectacular coastline surrounded by 

three seas, India is a vivid kaleidoscope of 

landscapes, magnificent historical sites and 

royal cities, golden beaches, misty mountain 

retreats, colorful people, rich cultures and 

festivities. 

At any part of the year India can offer you a 

dazzling array of destinations and 

experiences. In summer, when the 

subcontinent is sizzling, there are spectacular 

retreats amidst the heady beauty of the 

Himalayas or the lush heights of the Western 

Ghats with cool trekking trails, tall peaks to conqueror stretches of white 

water for the adventure seekers. 

In the cool of an Indian winter, cities come alive with cultural feasts of music 

and dance. The balmy weather is an ideal time for you to go century 

hopping in romantic cities studded with medieval forts and palaces. The sun 

drenched beaches are inviting and wildlife sanctuaries with their abundance 

of flora and fauna are a buzz with the nurture of the young. 

You can taste the delights of the Indian monsoon 

anywhere in the country- on a camel safari in the 

Rajasthan desert when nature comes alive and the 

peacocks dance; along the west coast where the 

relentless slanting rain paints the countryside in brilliant 

greens or even trekking amidst the stark grandeur of 

mountain valleys lying in the rain shadow of the 

Himalayas. 

Experience exotic India; live like a maharaja in the rich 

ambiance of royal forts and palaces that are now heritage 

hotels; luxuriate in the serene beauty of a coral island with 

its turquoise lagoon; participate in the exuberance of a 

village fair or a colorful festival; day dream on a house boat drifting down 

the palm - fringed backwaters; delight in the grace of a dancer or shop till 

you drop - buying exquisite silks, carved figurines, brass and silver ware, 

marble inlaid with semi-precious stones, finely crafted jewelry, miniature 

paintings, carpets ....at unbelievable prices. India, always warm and inviting, 

is a place of infinite variety - one that favors you with a different facet of its 

fascination every time you come on a visit.

Section B: Reviewing Approaches 

. 

You will need a 'clean' copy (no annotation) of the text which you have studied for this 

section in order to answer one of the following questions. 

Answer one of the questions below. 

Your response must include: 

• sustained reference to your chosen set text; 

• comparative reference to at least one other text that you have either studied as 

part of the course or selected for wider independent study. 

Either, 

2. Explore the different ways children and childhood are presented in the texts you have 

studied. 

Or, 

In your response you must use integrated literary and linguistic approaches and 

consider the significance of contextual factors. 

3. Analyse the range of techniques used to engage the reader’s or audience’s attention in 

the texts you have studied. 

Or, 

Or, 

Or, 



4. ‘Writers and speakers today have more freedom to choose their content and style than 

they ever did’. How far do you agree with this statement 



5. Evaluate the importance of a sense of place in the texts you have studied. 



6. ‘It is impossible for an Englishman to open his mouth without making some other 

Englishman hate or despise him’. Explore the presentation of different accents and 

dialects in the texts you have studied. 


consider the significance of contextual factors.

A2 ENGLISH LANGUAGE & LITERATURE 

Bands 

1 

Low 

Mid 

High 

2 

Low 

Mid 

High 

Marks 

0-10 

0-4 

5-6 

7-10 

11-20 

11-14 

15-16 

17-20 

A01 

Select and apply relevant concepts 

and approaches from integrated 

linguistic and literary study, using 

appropriate terminology and 

accurate, coherent written 

expression. 

Weighting: 8 marks 

Limited evidence of integrated study. 

Minimal, unconvincing application of 

concepts and approaches. Written 

expression often has lapses in 

accuracy and clarity. Response may 

lack organisation Basic terminology 

often misunderstood and misapplied. 

Some basic evidence of integrated 

study. Some application of key 

concepts and approaches. Some use 

of key terminology. Generally clear 

expression, but with lapses in 

accuracy. Straightforward vocabulary 

and sentence organisation. Clear 

organisation towards top of band. 

LL4 SECTIONS A and B 

A02 

Demonstrate detailed critical 

understanding in analysing the ways in 

which structure, form and language 

shape meanings in a range of spoken 

and written texts. 


Limited awareness of how some of the 

most obvious choices in form, structure 

and vocabulary create basic meanings. 

Some difficulty in understanding meaning 

in texts. 

Some awareness of some key language 

features. Analysis mainly at word level at 

bottom of band. 

Clear grasp of basic meaning. Texts 

understood on a straightforward level. 

Some generalisation and simplification. 

Adequate awareness of genre, more 

secure towards top of band. 

AO3 

Use integrated approaches to explore 

relationships between texts, analysing 

and evaluating the significance of 

contextual factors in their production 

and reception. 


Some simplistic awareness of the 

broadest contextual factors. Limited 

sense of genre. 

Limited evidence of understanding basic 

points of comparison and contrast. Texts 

may be discussed individually and 

unevenly. 

Reasonable observations of some key 

contextual factors. Some relevant 

discussion of how different contexts 

influence the way the texts have been/are 

received, more relevant towards top of 

band. Selection and discussion of some of 

the more obvious points of comparison 

and contrast. 

A01 

Select and apply relevant concepts 

and approaches from integrated 

linguistic and literary study, using 

appropriate terminology and 

accurate, coherent written 

expression. 


Limited evidence of integrated study. 

Minimal, unconvincing application of 

concepts and approaches. Written 

expression often has lapses in accuracy 

and clarity. Response may lack 

organisation Basic terminology often 

misunderstood and misapplied. 

Some basic evidence of integrated 

study. Some application of key 

concepts and approaches. Some use of 

key terminology. Generally clear 

expression, but with lapses in accuracy. 

Straightforward vocabulary and 

sentence organisation. Clear 

organisation towards top of band. 

3 

Low 

Mid 

High 

21-30 

21-24 

25-26 

27-30 

Clear evidence of integrated study. 

Purposeful use of appropriate 

terminology. Relevant and purposeful 

application of some relevant key 

concepts and approaches. Generally 

accurate, coherent expression. 

Effective organisation, particularly 

towards top of band. 

More sustained focus on language used to 

create meaning, including some 

convincing phrase and sentence level 

analysis. Sensible use of key literary and 

linguistic concepts and approaches. 

Sound reading of implicit meaning, with 

increasingly detailed appreciation of 

writers’/speakers’ techniques. 

Sensible and clear awareness of the 

influence of some key contextual factors 

on the production and reception of texts. 

Some sensible evaluation of how different 

audiences/readers in different times might 

respond. Able to present generally 

convincing overview. Points for 

comparison and contrast are well-chosen 

and clearly argued. 

Clear evidence of integrated study. 

Purposeful use of appropriate 

terminology. Relevant and purposeful 

application of some relevant key 

concepts and approaches. Generally 

accurate, coherent expression. 

Effective organisation, particularly 

towards top of band. 

4 

Low 

Mid 

High 

31-40 

31-34 

35-36 

37-40 

Thorough knowledge, understanding 

and insights gained from integrated 

study. Sophisticated application of 

concepts and a wide range of 

approaches. Accurate and sensitive 

use of terminology. Very wellorganised. 

Written expression is confident, fluent, 

with varying degrees of flair. Mature 

vocabulary. 

Perceptive awareness of how choices of 

form, structure and language affect 

readers and audiences. Assured reading 

of texts. Convincing and perceptive subtextual 

exploration. Some evidence of 

originality may be shown. Clear and 

sustained focus throughout response. 

Confident evaluation of the impact of 

contextual factors in shaping the 

production of texts and influencing 

different audiences/readers at different 

times. 

Points of comparison and contrast are 

astute and illuminating. Title/question 

addressed consistently and perceptively. 

Thorough knowledge, understanding 

and insights gained from integrated 

study. Sophisticated application of 

concepts and a wide range of 

approaches. Accurate and sensitive use 

of terminology. Very well-organised. 

Written expression is confident, fluent, 

with varying degrees of flair. Mature 

vocabulary.

LL4 Teacher Guidance - WJEC

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