AQA-2740-W-SP-14

GCEAS and A Level SpecificationEnglish Literature AFor exams from June 2014 onwardsFor certification from June 2014 onwards

ContentsGCE English Literature A for exams from June 2014 onwards (version 1.4)1 Introduction 21.1 Why choose AQA? 21.2 Why choose English Literature A? 21.3 How do I start using this specification? 31.4 How can I find out more? 32 Specification at a Glance 43 Subject Content 53.1 Unit 1 LTA1A, LTA1B or LTA1C Texts in Context 73.2 Unit 2 LITA2 Creative Study 83.3 Unit 3 LITA3 Reading for Meaning 123.4 Unit 4 LITA4 Extended Essay and Shakespeare Study 133.5 Wider Reading 164 Scheme of Assessment 254.1 Aims 254.2 Assessment Objectives 254.3 National Criteria 264.4 Prior Learning 264.5 Synoptic Assessment and Stretch and Challenge 274.6 Access to Assessment for Disabled Students 275 Administration 285.1 Availability of Assessment Units and Certification 285.2 Entries 285.3 Private Candidates 285.4 Access Arrangements and Special Consideration 285.5 Language of Examinations 295.6 Qualification Titles 295.7 Awarding Grades and Reporting Results 295.8 Re-sits and Shelf-life of Unit Results 296 Coursework Administration 306.1 Supervision and Authentication of Coursework 306.2 Malpractice 316.3 Teacher Standardisation 316.4 Internal Standardisation of Marking 326.5 Annotation of Coursework 326.6 Submitting Marks and Sample Work for Moderation 326.7 Factors Affecting Individual Candidates 326.8 Retaining Evidence and Re-using Marks 327 Moderation 337.1 Moderation Procedures 337.2 Post-moderation Procedures 33Appendices 34A Performance Descriptions 34B Spiritual, Moral, Ethical, Social and other Issues 37C Overlaps with other Qualifications 38D Key Skills 39Vertical black lines indicate a significant change or addition to the previous version of this specification.1

GCE English Literature A for exams from June 2014 onwards (version 1.4)1 Introduction11.1 Why choose AQA?It’s a fact that AQA is the UK’s favourite examboard and more students receive their academicqualifications from AQA than from any other board.But why does AQA continue to be so popular?• SpecificationsOurs are designed to the highest standards,so teachers, students and their parents canbe confident that an AQA award provides anaccurate measure of a student’s achievements.And the assessment structures have beendesigned to achieve a balance between rigour,reliability and demands on candidates.• SupportAQA runs the most extensive programme ofsupport meetings; free of charge in the first yearsof a new specification and at a very reasonablecost thereafter. These support meetings explainthe specification and suggest practical teachingstrategies and approaches that really work.• ServiceWe are committed to providing an efficient andeffective service and we are at the end of thephone when you need to speak to a person aboutan important issue. We will always try to resolveissues the first time you contact us but, shouldthat not be possible, we will always come backto you (by telephone, email or letter) and keepworking with you to find the solution.• EthicsAQA is a registered charity. We have noshareholders to pay. We exist solely for the goodof education in the UK. Any surplus income isploughed back into educational research and ourservice to you, our customers. We don’t profitfrom education, you do.If you are an existing customer then we thank you foryour support. If you are thinking of moving to AQAthen we look forward to welcoming you.1.2 Why choose English Literature A?The new English Literature A specificationencourages students to develop interest in andenjoyment of English Literature, through readingwidely, critically and independently, across centuries,genre and gender, and through experience of anextensive range of views about texts and how to readthem.The new specification offers continuity from theprevious 6 unit specification through:• its clear philosophy of reading and meaning• emphasis on the development of the informed,independent reader of literary texts through acourse of wide and close reading• the centrality of the unprepared text as the testof the candidate’s ability to synthesise the keyknowledge, understanding and skills of the course• linking, connecting and comparing a wide rangeof whole texts and extracts as in the previoussynoptic unit• the consortium network.In addition the specification offers the following forcandidates and their teachers:• delivering as much choice as possible for teachersand candidates by offering 3 optional areas ofstudy at AS where texts are grouped coherently• opportunity for coursework and open bookexaminations, to promote research and closefocus on specific texts• accessibility to the full ability range within AS/A2• clear development from AS to A2 and clearconnections between AS and A2.2

GCE English Literature A for exams from June 2014 onwards (version 1.4)1.3 How do I start using this specification?Already using the existing AQA EnglishLiterature A specification?• Register to receive further information, such asmark schemes, past question papers, details ofteacher support meetings, etc, athttp://www.aqa.org.uk/rn/askaqa.php.Information will be available electronically or inprint, for your convenience.• Tell us that you intend to enter candidates. Thenwe can make sure that you receive all the materialyou need for the examinations. This is particularlyimportant where examination material is issuedbefore the final entry deadline. You can let usknow by completing the appropriate Intention toEnter and Estimated Entry forms. We will sendcopies to your Exams Officer and they are alsoavailable on our website(http://www.aqa.org.uk/admin/p_entries.html).• Request permission to join a local consortium bycontacting the subject department atenglish-gce@aqa.org.uk.Not using the AQA specificationcurrently?• Almost all centres in England and Wales use AQAor have used AQA in the past and are approvedAQA centres. A small minority are not. If yourcentre is new to AQA, please contact our centreapproval team atcentreapproval@aqa.org.uk..11.4 How can I find out more?Ask AQAYou have 24-hour access to useful information andanswers to the most commonly-asked questions athttp://www.aqa.org.uk/rn/askaqa.phpIf the answer to your question is not available,you can submit a query for our team. Our targetresponse time is one day.Teacher SupportDetails of the full range of current Teacher Supportmeetings are available on our website athttp://www.aqa.org.uk/support/teachers.htmlThere is also a link to our fast and convenient onlinebooking system for Teacher Support meetings athttp://events.aqa.org.uk/ebookingIf you need to contact the Teacher Support team,you can call us on 01483 477860 or email us atteachersupport@aqa.org.uk3

GCE English Literature A for exams from June 2014 onwards (version 1.4)2 Specification at a Glance2AS ExaminationsUnit 1 – LTA1Texts in Context60% of AS, 30% of A Level2 hour written examination (open book)90 marksEither LTA1A Victorian Literatureor LTA1B World War One Literatureor LTA1C The Struggle for Identity in Modern LiteratureAvailable June onlyUnit 2 – LITA2Creative Study40% of AS, 20% of A LevelCoursework60 marksTwo tasks: one on prose text and one on drama text.2000-2500 words in total.Available June onlyASAward1741A2 ExaminationsUnit 3 – LITA3Reading for Meaning30% of A Level2 hour 30 minutes written examination (closed book)80 marksTwo questions involving unprepared extracts and wider reeading on the unit theme ofLove Through the Ages.Available June onlyUnit 4 – LITA4Extended Essay and Shakespeare Study20% of A LevelCoursework70 marksExtended comparative essay of 3000 words.Available June onlyAS + A2 = A LevelA2Award27414

GCE English Literature A for exams from June 2014 onwards (version 1.4)3 Subject ContentThe specification offers teachers the flexibility to create a coherent course of study for their students. At ASthere are three alternative areas of study to choose from.Either Option AVictorian Literatureor Option B World War One Literatureor Option C The Struggle for Identity in Modern LiteratureAS Requirements / Creating the AS CourseAt AS, candidates should study six texts; three for close study and three for wider reading, as shown below.Unit 1 Unit 2Set text Wider reading Set text Wider reading1 poetry 1 poetry1 drama1 prose• 1 of the above must be written between 1800 and 19451 drama1 proseNone required but mayuse Unit 1 drama widerreading text(s)• 1 of the above must be written post-1990 (should link to Victorian Literature option by theme, setting,etc.)• 1 of the above may be non-fiction, literary criticism or cultural commentary• 1 of the above may be literature in translation3Wider reading will involve the reading of at least threewhole texts and may be supported by the readingof relevant extracts and shorter pieces of writing.Candidates should not offer a text which they havepreviously studied at Key Stage 3 or 4. Suggestedtexts for wider reading are provided for each option inSection 3.5.This specification has a clear philosophy of readingand meaning, and aims to encourage a candidateto develop as an informed, independent reader andcritic of literary texts. S/he will achieve this through acourse of close and wide reading.An informed, independent reader builds a reading ofa text through:• careful and close reading of a text which yieldsappropriate and specific textual evidence• consideration and understanding of other readings• research into the contexts of both reading andwriting.The specification aims to develop the candidate asan informed, independent reader who comes to anunderstanding of meaning through close study ofthe primary text: it also relies on knowledge of thecontext of the text and of other possible meanings.This is a specification which provides the reader withmaximum opportunities for both coursework andopen text examination papers. Such opportunitiespromote research on the one hand and close focuson specific parts of a text on the other.Candidates need to be actively engaged with texts inorder to develop informed personal responses to theirtexts.Definitions of both reading and meaning underpin thespecification and how it should be approached.Reading:• is an active process: the reader is an activecreator, not a passive recipient of second handopinion• can never be “innocent”: all readings arehistorically, socially and individually specific• is not a single skill: some kinds of reading aremore demanding than others.Meaning:• for an individual reader, depends as much on whatis brought to the text as upon what is containedwithin it• will not necessarily be instantly accessible• will be different on different occasions, andchangeable as a result of discussion and reflection• can be multiple: different readings of a text canco-exist.5

GCE English Literature A for exams from June 2014 onwards (version 1.4)3ASAimsThe aims of this AS course are:• to encourage literary study within a coherentcontextual framework• to introduce candidates to all three genres withinthe shared context through a combination of closeand wide reading• to consider how readers’ responses are shapedby the context, by writers’ choices and by otherreaders’ interpretations• to develop independent, individual interests withinthe shared context• to lay a firm foundation for deeper study at A2.Routes through the AS OptionsThe philosophy of the AS specification is to integrate‘close’ and ‘wide’ reading of a range of texts between1800 and the present day across different genres,gender, culture, setting and place. The shared contextprovides a meaningful overview for candidates of allabilities.Consideration of the lists of set texts for examination,suggested texts for coursework and the widerreading lists demonstrate the opportunities for agreat deal of teacher and candidate freedom andseveral ways to meet the criteria of the course. Thecriteria governing time of composition (one text mustbe written after 1990 and one between 1800 and1945) ensures that the candidates travel across acentury whichever option they choose. The Victoriansoption features novels and drama from currentliterature which is contrasted and illuminated by theiropposite number from the nineteenth century andalso examples of translated seminal writers like Ibsen.The World War One option includes poetry as farapart as Brooke, Larkin and Sheers, offers detailedstudy of women’s war writing across the century andprovides examples of European texts. The Strugglefor Identity in Modern Literature encompasses writingfrom the turn of the century in Robert Tressell’s noveland provides opportunities for study of all genresfrom the 1930s as well as a concentration of utterlycontemporary and international literature written inEnglish.The three options at AS will not change for five years.6

GCE English Literature A for exams from June 2014 onwards (version 1.4)3.1 Unit 1 LTA1 – Texts in ContextIntroductionThe aim of this unit is to encourage:• wide reading within the chosen option. This willbe across all three genres, across time and acrossgenders• close reading of a poetry text.The context question in Unit 1 is central to the wholeAS course. It invites candidates to use appropriatereferences to their reading for the whole course intheir response to a short, unprepared non-fictionprose extract, synthesising their knowledge andunderstanding of their wide reading within the sharedcontext. Learning how to apply these skills to anunprepared text provides an appropriate foundationfor the skills required in Unit 3 of A2.ContentCandidates will choose one of the following options:• Victorian Literature• World War One Literature• The Struggle for Identity in ModernLiterature(LTA1A)(LTA1B)(LTA1C)This unit will examine one set poetry text chosenfrom the list below and three texts covering all threegenres as wider reading. These three texts may besupplemented with a collection of relevant extractsand shorter pieces of writing.Suggested texts for wider reading are providedfor each option at the end of Section 3 in thisspecification. Alternative texts may be used for widerreading, with the prior approval of the consortiumadviser.Set Texts(* denotes post-1990)Option APoetryChoose one of:Victorian LiteratureSelected Poems John Clare (Everyman)Selected Poems The Brontës ed. Norris (Everyman)Selected Poems Alfred, Lord Tennyson ed. Baron(Everyman)Option BPoetryChoose one of:The War Poems ofWilfred OwenScars Upon My HeartWorld War One Literatureed. Stallworthy(Chatto and Windus)ed. Reilly (Virago)The Oxford Book of War ed. StallworthyPoetry: (Oxford) pp.160 – 225Option CPoetryChoose one of:And Still I RiseFeminine GospelsSkirrid Hill*The examinationThe Struggle for Identity inModern LiteratureMaya Angelou (Virago)Carol Ann DuffyOwen Sheers (Seren)The examination will take the form of a 2 hourexamination paper. The paper will consist of twosections and candidates will answer one questionin each section. The paper will be marked out of 90.Candidates may bring their set poetry text into theexamination room. This text should be a clean text,that is, free from annotation.Section A Contextual Linking 45 marksThere will be one compulsory question in this section.A short extract related to the area of study (froma work of criticism, diary, letter, biography, culturalcommentary, for example) will be printed. Candidateswill then be invited to link all their reading in theirchosen area of Literature to the focus of the givenpassage.Section B Poetry 45 marksThere will be a choice of two questions on each setpoetry text. Candidates answer one question. One ofthe two questions will foreground one particular poemand its relation to the whole text, the other will providea view about the poems for candidates to discuss.37

GCE English Literature A for exams from June 2014 onwards (version 1.4)3.2 Unit 2 – LITA2 Creative Study3IntroductionIn Unit 2 as in Unit 1, candidates and teacherschoose texts within the chosen option. The two textschosen for study in this unit form part of a coherentselection of texts. They may also be used in theresponse to question 1 on Unit 1. Similarly, widerreading in drama may be used in the courseworkdrama task.In this unit, candidates will have opportunitiesfor the exploration of creative interpretations, fortransformational writing, and for tracing connectionsbetween texts.ContentThis unit is assessed by means of a courseworkportfolio. Candidates should select one prose textand one drama text. The coursework folder willcontain two pieces of writing; one will be on theselected prose text and the other will be on theselected drama text. The two pieces of work shouldbe 2000-2500 words in total. The texts should bechosen from the list below. Alternative texts maybe used with the prior approval of the consortiumadviser.Text choices (which will last for the life of the option)are:(* denotes post-1990)A Victorian LiteratureProseCharlotte BrontëEmily BrontëJane EyreWuthering HeightsA.S. Byatt Possession *Joseph ConradCharles DickensGeorge EliotJohn FowlesThomas HardyHeart of DarknessHard TimesMiddlemarchThe French Lieutenant’sWomanTess of the D’UrbervillesMatthew Kneale English Passengers *Oscar WildeThe Picture of Dorian GrayJ. G. Farrell The Siege of KrishnapurDramaOscar WildeHenrik Ibsen (ed. Watts)A Woman of NoImportanceA Doll’s HouseTom Stoppard Arcadia *B World War One LiteratureProseSusan HillStrange MeetingSebastian Faulks Birdsong *Pat Barker Regeneration *Pat Barker The Eye in the Door *Pat Barker The Ghost Road *Frederic ManningHer Privates WeSebastian Barry A Long, Long Way *Siegfried SassoonHelen Zenna SmithRebecca WestDramaR.C. SherriffPeter WhelanStephen MacDonaldMemoirs of an InfantryOfficerNot So QuietReturn of the SoldierJourney’s EndThe Accrington PalsNot About HeroesC The Struggle for Identity in ModernLiteratureProseMargaret AtwoodThe Handmaid’s TaleAngela Carter Wise Children *Kiran DesaiRoddy DoyleMichael Frayn Spies *Hullaballoo in theGuava Orchard *The Woman WhoWalked into Doors *David Guterson Snow Falling on Cedars *Jackie Kay Trumpet *Toni Morrison Beloved *D.B.C. Pierre Vernon God Little *Alice WalkerDramaCaryl ChurchillBrian FrielWole SoyinkaThe Color PurpleTop GirlsMaking HistoryDeath and the King’sHorsemanThe coursework folder will consist of two pieces ofwork, of 2000-2500 words in total, as follows.8

GCE English Literature A for exams from June 2014 onwards (version 1.4)The first piece of writing in the folder will focus on apersonal, informed response to the prose text, andwill be:Either a. creative (as in personal/original)interpretationOr b. creative/transformational writing30 marksExamples of coursework tasks - ProseTextOption - The Struggle for Identity in Modern LiteratureText – The Handmaid’s Talea) How does Atwood’s way of structuring TheHandmaid’s Tale affect your interpretation of thenovel?b) Write Serena Joy’s account of The Ceremony,creating Serena Joy’s voice, capturing Atwood’sstyle and tone and building on Atwood’srealisation of the character.The second piece of writing in the folder will be onthe chosen drama text. Candidates will be invitedeither to place this text in its dramatic context or toconnect it to the prose text, focusing on aspects ofthe text such as theme, structure or characterisation.30 marksExamples of coursework tasks – DramaTextOption – World War One LiteratureText - Journey’s EndExplore the ways Sherriff uses setting in Journey’sEnd for dramatic effect.Then, either:• compare the ways Journey’s End and other WorldWar One plays you have read use settingsor• compare the ways Sherriff uses setting inJourney’s End with the ways Barker uses theenclosed environment of Craiglockhart Hospital inRegeneration.3Coursework GuidanceSupport and guidance with this coursework unit is available from the consortium adviser. Please see Section 6of this specification.9

GCE English Literature A for exams from June 2014 onwards (version 1.4)Assessment Criteria for Unit 23Band 10 - 7Band 28 - 15A01 A02 A03 A04Articulate creative,informed andrelevant responsesto literary texts,using appropriateterminology andconcepts, andcoherent, accuratewritten expressionCandidatescharacteristically:a communicatelimited knowledgeand understandingof literary textsb. make few usesof appropriateterminology orexamples tosupport theirinterpretationsc. attempt tocommunicatemeaning byusing inaccuratelanguage.Candidatescharacteristically:a. communicatesome basicknowledge andunderstanding ofliterary textsb. make simple useof appropriateterminology orexamples tosupport theirinterpretationsc. communicatemeaning usingstraightforwardlanguage.Demonstrate detailedcritical understandingin analysing the waysin which structure,form and languageshape meanings inliterary textsCandidatescharacteristically:a. identify few aspectsof structure, formand languageb. assert someaspects withreference tohow they shapemeaningc. make limitedreferences to texts.Candidatescharacteristically:a. identify obviousaspects ofstructure, form andlanguageb. describe someaspects withreference tohow they shapemeaningc. make relatedreferences to texts.Explore connectionsand comparisonsbetween differentliterary texts, informedby interpretations ofother readersCandidatescharacteristically:a. make few linksand connectionsbetween literarytextsb. reflect the viewsexpressed in otherinterpretations ofliterary texts in alimited way.Candidatescharacteristically:a. makestraightforwardlinks andconnectionsbetween literarytextsb. reflect viewsexpressed in otherinterpretations ofliterary texts in abasic way.Demonstrateunderstanding ofthe significanceand influence of thecontexts in whichliterary texts arewritten and receivedCandidatescharacteristically:a. communicatelimitedunderstanding ofcontext throughdescription ofculture, text type,literary genre orhistorical period.Candidatescharacteristically:a. communicatesome basicunderstanding ofcontext throughdescription ofculture, text type,literary genre orhistorical period.10

GCE English Literature A for exams from June 2014 onwards (version 1.4)Band 316 - 23Band 424 - 30A01 A02 A03 A04Articulate creative,informed andrelevant responsesto literary texts,using appropriateterminology andconcepts, andcoherent, accuratewritten expressionCandidatescharacteristically:a. communicaterelevant knowledgeand understandingof literary textsb. present relevantresponses usingappropriateterminology tosupport informedinterpretationsc. structure andorganise theirwritingd. communicatecontent andmeaning throughexpressive andaccurate writing.Candidatescharacteristically:a. communicaterelevant knowledgeand understandingof literary texts withconfidenceb. present relevant,well-informedresponses, fluentlyusing appropriateterminology tosupport informedinterpretationsc. structure andorganise theirwriting in a cogentmannerd. communicatecontent andmeaning throughsophisticated andmature writing.Demonstrate detailedcritical understandingin analysing the waysin which structure,form and languageshape meanings inliterary textsCandidatescharacteristically:a. identify relevantaspects of form,structure andlanguage in literarytextsb. explore howwriters use specificaspects to shapemeaningc. use specificreferences to textsto support theirresponses.Candidatescharacteristically:a. identify relevantaspects of form,structure andlanguage in literarytexts with insightb. confidently explorehow writers usespecific aspects toshape meaningc. show a mastery ofdetail in their use ofspecific referencesto texts to supporttheir responses.Explore connectionsand comparisonsbetween differentliterary texts, informedby interpretations ofother readersCandidatescharacteristically:a. explore linksand connectionsbetween literarytextsb. communicateunderstanding ofviews expressedin differentinterpretations orreadings.Candidatescharacteristically:a. explore linksand connectionsbetween literarytexts withconfidenceb. communicateunderstandingof the viewsexpressedin differentinterpretationsor readingsin a mature,sophisticatedmanner.Demonstrateunderstanding ofthe significanceand influence of thecontexts in whichliterary texts arewritten and receivedCandidatescharacteristically:a. communicateunderstanding ofthe relationshipsbetween literarytexts and theircontextsb. commentappropriately onthe influence ofculture, text type,literary genre orhistorical periodon ways in whichliterary texts werewritten and were –and are - received.Candidatescharacteristically:a. communicatea matureunderstanding ofthe relationshipsbetween literarytexts and theircontextsb. comment in asophisticatedmanner on theinfluence of culture,text type, literarygenre or historicalperiod on the waysin which literarytexts were writtenand were – andare- received.311

GCE English Literature A for exams from June 2014 onwards (version 1.4)3A2IntroductionAt AS, candidates have been introduced to bothclose and wide reading across genres and genderwithin a defined contextual framework.The A2 course builds on this foundation and bothwidens and deepens students’ literary studies by:• moving from a defined area of study to the wholeof English Literature from Chaucer to the presentday• developing the informed autonomous reader byproviding maximum opportunities for choice andthe development of students’ own interests.Constructing the A2 CourseThe requirements for all A2 specifications in Literatureare that candidates will study six texts covering allthree genres.At A2, as at AS, teachers have the freedom to makeappropriate choices of texts for both units at A2in order to construct a coherent course of study.Teachers have the option of linking Units 3 and 4thematically.Unit 3 has the theme Love through the Ages asits focus. In order to prepare candidates for theexamination, teachers need to construct a courseof reading and study which spans the centuries andexplores the theme as it is expressed through allgenres and by both genders. The examination paperwill consist of unprepared texts, thematically grouped.Skills of close reading and analysis, interpretation,comparison and the ability to evaluate the influence ofvarious contextual factors will be assessed.For Unit 4 (coursework) teachers will help candidatesto select three texts with a shared theme. One textwill be a Shakespeare play; the other two texts will bewider reading texts of any genre. Candidates will writean extended comparative essay on the three texts.3.3 Unit 3 LITA3 – Reading for MeaningIntroductionThis final A2 examination synthesises the skills andlearning of the whole course. In the examination,candidates will study closely unprepared texts fromall genres, chosen across time and linked by theme.They will compare the extracts in terms of subjectmatter and style, reaching out to their wider readingto inform their judgements about:• the ways different writers at different timesapproach the chosen theme• the ways different readers interpret texts.ContentCandidates should read at least three texts in orderto prepare for a paper which will contain unpreparedpassages for close study, comparison and criticalcommentary.The topic for this unit is Love Through the Ages.‘Love’ will include romantic love but will not berestricted to that single definition. The topic will notchange for at least five years and two years’ noticewill be given to centres of any change.Candidates’ reading in the literature of love shouldinclude:• the three genres of prose, poetry and drama• literature written by both men and women• literature through time (from Chaucer to thepresent day)• some non-fiction texts.The examinationThe examination will take the form of a 2½ hourwritten examination. The paper will contain fourunseen items. There will be two compulsoryquestions to answer. Each question will be markedout of 40.Question 1 will require candidates to compare twoitems of the same genre. The genre may changewith each examination series. This question willrequire the close reading of the texts as well asreference to wider reading on the theme of love withinthe same genre as the items.Question 2 will invite candidates to compare twoitems (of the remaining two genres). Candidates willuse their wider reading on the theme of love throughliterature to inform their interpretations.NotesChaucer will not be set as an item in the examination.In total, across both questions, candidates will haveto write about a minimum of one wider reading textfrom each of the three genres of poetry, prose anddrama.12

GCE English Literature A for exams from June 2014 onwards (version 1.4)3.4 Unit4 – LITA4 Extended Essay and Shakespeare StudyIntroductionFor this unit teachers have the freedom to createa course of study which will be assessed bycoursework. The unit will encourage reflection onways of reading and writing about texts (includingcreative or original interpretations).In their coursework candidates will have theopportunity to write a sustained comparative essayon three texts of their own choice linked by eitherthe theme of ‘Love Through the Ages’ or by a themeof their own choice. This represents increaseddemand, development and progress from the AScoursework. Candidates will build upon their priorknowledge of Shakespeare from GCSE as well as ontheir explorations of the dramatic genre in their AScoursework.ContentThis unit is assessed by means of a courseworkportfolio. Candidates should select three texts. Onetext will be any Shakespeare play. The other twotexts, for comparison, will be of any genre. None ofthe texts should have been studied at AS.The coursework folder will consist of one extendedcomparative essay as follows.The extended essay70 marksThe extended essay will provide opportunities forcandidates to write at length (about 3000 words)and to develop their research skills, drafting and redraftingtheir work as appropriate.The texts will be chosen by the teacher andcandidate to reflect a shared theme. Choices of textsand tasks will be made by the teacher and candidate,subject to the approval of the consortium adviser.The tasks must reflect the relevant AssessmentObjectives and will focus on:• comparison• appreciation of writers’ choices of form, structureand language• exploration of their own and other readers’interpretations• some understanding of the significance ofcontext.Candidates need to remember that they are writing aliterary essay, and will show through the comparativetask that they:• understand the content of all three texts• analyse the different ways the writers present theirsubject matter and ideas• hold informed independent views about the texts,and can consider and use other readers’ views todevelop their own• are aware of the usefulness of relevant contextualinformation to their interpretations.Choosing appropriate texts is therefore very important– texts which not only enable the candidate todiscuss plot, characters and themes, but also provideopportunities to explore and comment on:• the writers’ styles and techniques• choices of genre• different narrative techniques• individual choices of language and their effects• the different ways writers structure ideas anddevelop similar themes.Examples of choices of coursework texts andpossible connections1. Texts sharing the theme of Love Through theAges• The presentation of marriage in Much Ado AboutNothing, Brick Lane and Emma• The presentation of passion in Antony andCleopatra, Birthday Letters and Wuthering Heights• The presentation of the consequences of lovein Romeo and Juliet, Browning’s DramaticMonologues and Enduring Love2. Texts sharing a different theme – somesuggestions• The theme of ‘Minds Under Stress’: texts Hamlet,The Bell Jar, and One Flew Over the Cuckoo’sNest• The theme of ‘Relationships between parents andchildren’: texts The Tempest or King Lear, Weneed to Talk about Kevin, and The Wasp Factory• The theme of ‘Responses to death’: texts Hamlet,The Death and Life of Charlie St Cloud, and TheLovely Bones• The theme of ‘Society and its values’: texts TheMerchant of Venice, The Crucible and The ScarletLetter• The theme of ‘The Lear Story’: texts King Lear,Bond’s Lear and A Thousand AcresCoursework GuidanceSupport and guidance with this coursework unit isavailable from the consortium adviser. Please seeSection 6 of this specification.313

GCE English Literature A for exams from June 2014 onwards (version 1.4)Assessment Criteria for Unit 43Band 10 – 16A01 A02 A03 A04Articulate creative,informed andrelevant responsesto literary texts,using appropriateterminology andconcepts, andcoherent, accuratewritten expressionCandidatescharacteristically:a. communicatelimited knowledgeand understandingof literary textsb. make few usesof appropriateterminology orexamples tosupport theirinterpretationsc. attempt tocommunicateusing inaccuratelanguaged. present an unclearline of argumentDemonstrate detailedcritical understandingin analysing the waysin which structure,form and languageshape meanings inliterary textsCandidatescharacteristically:a. identify few aspectsof structure, formand language inliterary textsb. make limitedreferences to textsto support theirresponses.Explore connectionsand comparisonsbetween differentliterary texts, informedby interpretations ofother readersCandidatescharacteristically:a. make few linksand connectionsbetween literarytexts, referring tosuperficial featuresb. reflect viewsexpressed in alimited wayc. assert a narrowrange of meaning.Demonstrateunderstanding ofthe significanceand influence of thecontexts in whichliterary texts arewritten and receivedCandidatescharacteristically:a. communicatea limitedunderstanding ofcontext throughdescription ofculture, text type,literary genre orhistorical period.e. make unsupportedassertions.Candidatescharacteristically:Candidatescharacteristically:Candidatescharacteristically:Candidatescharacteristically:Band 217 – 35a. communicateknowledgeand someunderstanding ofliterary textsb. present responsesmaking useof appropriateterminologyand examplesto supportinterpretationsc. communicatecontent andmeaning usingstraightforwardlanguageaccuratelya. identify someaspects ofstructure, form andlanguage in literarytextsb. show awareness ofwriters’ techniques,commenting onspecific aspectswith reference tohow they shapemeaningc. make reference totexts to supporttheir responses.a. make links andconnectionsbetween literarytexts or notecomparisonsb. communicatereasonableunderstandingof the viewsexpressed in otherinterpretations orreadings.a. comment on someof the relationshipsbetween texts andtheir contextsb. comment on howculture, text type,literary genre orhistorical periodinfluence thereading of literarytexts.d. adopt ageneralisedapproach.14

GCE English Literature A for exams from June 2014 onwards (version 1.4)Band 336- 54Band 455 – 70A01 A02 A03 A04Articulate creative,informed andrelevant responsesto literary texts,using appropriateterminology andconcepts, andcoherent, accuratewritten expressionCandidatescharacteristically:a. communicaterelevant knowledgeand understandingof literary textsb. present relevantresponses usingappropriateterminology andexamples tosupport informedinterpretationsc. structure andorganise theirincreasinglycoherent writingd. communicatecontent andmeaning throughexpressive andaccurate writing.Candidatescharacteristically:a. communicatedetailed knowledgeand understandingof literary textsb. create and sustainwell organisedand coherentarguments, usingappropriateterminology tosupport informedinterpretationsc. structure andorganise theirwriting using anappropriate criticalregisterd. communicatecontent andmeaning throughsophisticated,cogent andcoherent writing.Demonstrate detailedcritical understandingin analysing the waysin which structure,form and languageshape meanings inliterary textsCandidatescharacteristically:a. identify relevantaspects of form,structure andlanguage in literarytextsb. explore howwriters use specificaspects to shapemeaningc. refer to relevanttexts and sourcesto support theirresponses.Candidatescharacteristically:a. identify significantaspects ofstructure, form andlanguage in literarytextsb. confidently explorethrough detailedand sophisticatedcritical analysis howwriters use theseaspects to createmeaningc. make detailedreference to textsand sources tosupport theirresponses.Explore connectionsand comparisonsbetween differentliterary texts, informedby interpretations ofother readersCandidatescharacteristically:a. explore linksand connectionsbetween literarytexts in asystematic wayb. show clearunderstandingof viewsexpressed in otherinterpretations orreadings.Candidatescharacteristically:a. analyse andevaluateconnectionsor points ofcomparisonbetween literarytextsb. engage sensitivelyand with mature,informedunderstanding todifferent readingsand interpretations.Demonstrateunderstanding ofthe significanceand influence of thecontexts in whichliterary texts arewritten and receivedCandidatescharacteristically:a. communicateunderstandingof relationshipsbetween specificliterary texts andcontextsb. evaluate theinfluence of culture,text type, literarygenre or historicalperiod on the waysin which literarytexts were writtenand were – and are– received.Candidatescharacteristically:a. explore andanalyse thesignificance ofthe relationshipsbetweenspecific literarytexts and theircontexts, makingsophisticatedcomparisonsb. evaluate theinfluence of culture,text type, literarygenre or historicalperiod on the waysin which literarytexts were writtenand were – and are- received.315

GCE English Literature A for exams from June 2014 onwards (version 1.4)3.5 Wider ReadingTEXTS FOR WIDER READING IN UNIT ONEThere follow suggestions for finding material to support the chosen option for Unit 1. The lists have beencompiled to include reading across genre, texts in translation and non-fiction texts.Candidates are required to choose at least three texts covering all three genres.(Set texts listed in Section 3 which have not been selected for study may be chosen as widerreading)Option A(* denotes post-1990)Victorian Literature3PROSE FICTIONPeter AckroydBeryl BainbridgeArnold BennettAndrew DrummondElizabeth GaskellG. & W. GrossmithMichael RedhillHerman MelvilleWilliam MorrisRobert Louis StevensonAny of the ten named prose texts for Unit 2, or any other novel byDickens, Eliot, Hardy or the Brontës.The Last Testament of Oscar Wilde (1983)Master Georgie * (1998)Anna of the Five Towns (1902)An Abridged History * (2004)Mary Barton (1848)The Diary of a Nobody (1892)Consolation * (2006)Redburn (1849)News from Nowhere (1891)The Strange Case of Dr Jekyll and Mr Hyde (1886)PROSE NON-FICTIONVictorian non-fictionMatthew ArnoldThomas CarlyleJohn ClareElizabeth GaskellEdmund GosseMarx and EngelsJohn RuskinThe BrontësHenry ThoreauOscar WildeCulture and Anarchy (1869)Selected Writings (Penguin)Selected Letters (OUP)The Life of Charlotte Brontë (1857)Father and Son (1907)The Communist Manifesto (1848)Selected Writings (Penguin)A Life in Letters (ed. Barker)Walden (1854)De Profundis (1905)Modern non-fictionPeter AckroydJuliet BarkerJonathan BateQuentin BellWinston ChurchillDickens * (1990)The Brontës * (1994)John Clare * (2003)A New and Noble School (1982)My Early Life (1930)16

GCE English Literature A for exams from June 2014 onwards (version 1.4)Terry EagletonRichard EllmanLytton StracheyKate SummerscaleClaire TomalinHeathcliff and the Great Hunger * (1996)Oscar Wilde (1988)Eminent Victorians (1918)The Suspicions of Mr Whicher * (2008)Thomas Hardy: The Time-Torn Man * (2006)DRAMAAnonymousJ.M. BarrieDion BoucicaultJohn WalkerBrian FrielPatrick HamiltonDavid HareArthur Wing PineroHarold PinterGeorge Bernard ShawGeorge Bernard ShawTom StoppardTom TaylorOscar WildeOscar WildeOscar WildeMaria Marten, or Murder in the Red Barn (1840)The Admirable Crichton (1902)The Streets of London (1864)The Factory Lad (1825)The Home Place * (2005)Gaslight (1939)The Judas Kiss * (1998)The Second Mrs Tanqueray (1893)The French Lieutenant’s Woman (screenplay) (1981)Mrs Warren’s Profession (1894Arms and the Man (1898)The Invention of Love * (1997)The Ticket-of-Leave Man (1863)Lady Windermere’s Fan (1892)An Ideal Husband (1895)The Importance of Being Earnest (1895)3POETRYMatthew ArnoldElizabeth Barrett BrowningRobert BrowningArthur CloughEmily DickinsonGerald Manley HopkinsA.E. HousmanGeorge MeredithChristina RossettiAlgernon SwinburneAlfred, Lord TennysonWalt Whitman17

GCE English Literature A for exams from June 2014 onwards (version 1.4)TEXTS IN TRANSLATIONAnton ChekhovFeodor DostoevskyGustave FlaubertGustave FlaubertNikolai GogolHenrik IbsenAugust StrindbergLeo TolstoyEmile ZolaEmile ZolaUncle Vanya (1897)Crime and Punishment (1866)Madame Bovary (1857)Sentimental Education (1869)The Government Inspector (1836)An Enemy of the People (1882)Miss Julie (1888)Anna Karenina (1875)Germinal (1885)La Bête Humaine (1890)3OPTION B(* denotes post 1990)WORLD WAR ONE LITERATUREPROSE FICTIONAny of the 10 named texts for Unit 2Ben Elton The First Casualty * (Bantam, 2005)Adam Thorpe Nineteen Twenty-One * (Vintage, 2001)Irene Rathbone We That Were Young (1932)Virginia Woolf Jacob’s Room (1921)Ford Maddox Ford Parade’s End (1924-28)Hemingway A Farewell to Arms (1929)PROSE NON-FICTIONMemoirsRobert Graves Goodbye to All That (Penguin, 1929)Edmund Blunden Undertones of War (Penguin, 1928)Vera Brittain Testament of Youth (Virago, 1933)History and TestimonyRichard Holmes Tommy (Harper Perennial, 2005)ed. Max Arthur Forgotten Voices (Ebury Press, 2002)Lyn Macdonald Somme (Penguin, 1983)Ben MacIntyre A Foreign Field (Harper Collins, 2001)Max Arthur Last Post (Phoenix, 2005)Correlli Barnett The Great War (BBC, 1979)Richard Van Emden The Trench (Bantam, 2002)Richard Van Emden Boy Soldiers of the Great War (Headline, 2006)Allison and Fairley The Monocled Mutineer (Quartet Books, 1978)18

GCE English Literature A for exams from June 2014 onwards (version 1.4)Diaries, Letters and Biographyed. Bishop Chronicle of Youth (Vera Brittain’s War Diary) (Gollancz, 1981)Ed. Bishop and Bostridge Letters from a Lost Generation (Abacus, 1998)Palmer and Wallis A War in Words (Pocket Books, 2003)Michael Walsh Brothers in War (Ebury Press, 2006)(Bodleian LibraryUniversity of Oxford, 2006)Literary Criticism and Cultural CommentaryA Month at the Front, Diary of anUnknown SoldierPaul Fussell The Great War and Modern Memory (Oxford, 1975)Adrian Barlow The Great War in British Literature (Cambridge, 2000)Dominic Hibberd Wilfred Owen (Weidenfield and Nicholson, 2002)B. Berganzi Heroes Twilight (Constable, 1965)Samuel Hynes A War Imagined: The First World War and English Culture (Pimlico, 1992)Samuel HynesCollectionsThe Edwardian Turn of Mind: First World War and English Culture(Pimlico, 1992)Cardinal, Goldman and Hattaway Womens’ Writing on the First World War (Oxford, 1999)ed. Marlow The Virago Book of Women and the Great War (Virago, 1999)3DRAMAR. C. Sherriff Journey’s End (Heinemann, 1928)Peter Whelan The Accrington Pals (Methuen, 1982)Stephen MacDonald Not About Heroes (Faber, 1982)Joan Littlewood Oh! What a Lovely War (Methuen, 1965)Curtis, Elton, etc Blackadder Goes Forth (Penguin, 1989)Alan Bleasdale The Monocled Mutineer (Hutchinson, 1986)Nick Whitby To the Green Fields and Beyond * (Faber, 2000)G.B. Shaw Heartbreak House (1919)G.B. Shaw O’Flaherty V.C. (1915)Somerset Maugham For Services Rendered (1932)Malleson Black ’ell (1916)F. McGuinness Observe the Sons of Ulster marching Towards the Somme (Faber, 1986)Sean O’Casey The Silver Tassie (1929)POETRYGiddings The War Poets (Bloomsbury, 1988)ed. Catherine Reilly Scars Upon My Heart (Virago, 1981)ed. Jon Stallworthy War Poetry (Oxford, 1984)Christopher Martin War Poems (Collins Educational, 1990)ed. Jon Silkin Men Who March Away (ed. Parsons, 1965)various The Wordsworth Book of First World War Poetry (Wordsworth editions, 1995)ed. Noakes Voices of Silence (The Alternative Book of 1st World War Poetry) (Sutton, 2006)Rita Dove American Smooth * (Not Welcome Here Section) (Norton, 2004)ed. George Walter The Penguin Book of First World War Poetry (Penguin, 2006)ed. Martin Stephen Never Such Innocence (Everyman, 1993)ed. Dominic Hibberd The Winter of the World (Constable, 2008)19

GCE English Literature A for exams from June 2014 onwards (version 1.4)TEXTS IN TRANSLATIONRemarque All Quiet on the Western Front (Vintage, 1929)Dugain The Officers’ Ward * (Phoenix House, 1999)Palmer and Wallis A War in Words (2003)Cardinal etc Womens’ Writing on the First World War * (OUP, 1999)BarbusseUnder Fire (Penguin,1916)Ernst Junger Storm of Steel (Penguin, 1920)OPTION C The Struggle for Identity in Modern Literature(* denotes text published after 1990)(+ denotes text published between 1800-1945)3PROSE FICTIONChinua AchebeJames BaldwinNadine GordimerRadclyffe HallZora Neale HurstonAndrea LevyPatrick McCabeAnne MichaelsArundhati RoyRobert TressellIrvine WelshJeanette WintersonRichard WrightKurt VonnegutRose TremainKathryn StockettPROSE NON-FICTIONAutobiographies andBiography, DiariesMaya AngelouDiana SouhamiNelson MandelaAny of the ten named prose texts for Unit 2, or any other novel by Morrison.Things Fall Apart (Penguin, 1958)Go Tell it on the Mountain (Penguin)July’s People (Bloomsbury, 1981)The Well of Loneliness + (Virago, 1928)Their Eyes Were Watching God + (Virago, 1937)Small Island * (Headline, 2004)Breakfast on Pluto * (Picador, 1998)Fugitive Pieces * (Bloomsbury, 1996)The God of Small Things * (Harper Perennial, 1997)The Ragged-Trousered Philanthropists + (Flamingo, 1914)Trainspotting * (Vintage, 1993)Oranges are not the only fruit (Vintage, 1984)Native Son + (Vintage, 1940)Slaughterhouse 5 (Vintage, 1969)The Road Home (Chatto and Windus)The Help (Penguin, 2009)Autobiography, especially I Know Why The Caged Bird Sings (Virago, 1969)The Trials of Radclyffe Hall * (Virago, 1999)Long Walk to Freedom (Abacus, 1994)Memoirs and InterviewsSilvia CalamatiBobby SandsMalcolm XAlice WalkerWomen’s stories from the North of Ireland * (Beyond the PalePublications, 2002)Skylark Sing Your Lonely Song (Mercier Press, 1982)Malcolm X Talks to Young People (Pathfinder, 1964-1965)The Same River Twice: Honoring the Difficult * (Phoenix, 1996)TraveloguesSalman RushdieThe Jaguar Smile: A Nicaraguan Journey (Vintage, 1987)20

GCE English Literature A for exams from June 2014 onwards (version 1.4)History and culturalcommentary, essays andspeechesDavid BeresfordBeverley Bryan, Suzanne Scafe,Stella DadzieGermaine GreerMartin Luther King Jr.Adhaf SoueifAmrit WilsonLawsParliamentLiterary CriticismRalph EllisonDolly A. McPhersonKate MilletAmrit WilsonRichard WrightJeremy Hawthorn ed.DRAMABrendan BehanSudhar BhucharJim CartwrightCaryl ChurchillClaire DowieBrian FrielLorraine HansberrySarah KaneTony KushnerMartin McDonaghSean O’CaseyArthur MillerMark RavenhillNtozake ShangeTimberlake WertenbakerTennessee WilliamsInternational Connections(contributor Jackie Kay)Ten Men Dead: The Story of the 1981 Irish Hunger Strike (Harper Collins,1987)The Heart of the Race (Virago, 1985)The Female Eunuch (Harper Perennial, 1970)I Have A Dream: Writings And Speeches That Changed The World(Harper, 1956-68)Mezzaterra-Fragments from the Common Ground * (Bloomsbury, 2004)Dreams, Questions, Struggles South Asian Women in Britain(Pluto Press, 2006)‘Section 28 of the Education Act’ 1988Shadow and Act (Vintage, 1967)Order out of Chaos: The Autobiographical Works of Maya Angelou(Virago, 1990)Sexual Politics (Virago, 1977)Finding a Voice: Asian Women in Britain (Virago, 1978)Blueprint for Negro Writing + (1937)The British Working Class Novel in the Twentieth Century (Hodder Arnold,1984)The Hostage (Methuen, 1958)Child of the Divide * (Methuen Modern Plays)Road (Methuen Modern Plays, 1986)All plays * (some will be post 1990)Why is John Lennon Wearing a Skirt? * (Methuen Modern Plays, 1996)Dancing at Lughnasa * (Faber, 1990)A Raisin in the Sun (Methuen Modern Plays, 1959)Complete Plays * (Methuen Drama, 1998-2006)Angels in America * (Nick Herne Books, 1992)Beauty Queen of Leenane * (Methuen, 1996)Three Dublin Plays: Juno and the Paycock + (1924), The Plough and theStars + (1926), Shadow of a Gunman + (1923) (Faber)Death of a Salesman (Penguin, 1949)Citizenship * (Methuen Modern Plays, 2006)Shange Plays 1- (Includes For Colored Girls Who Have ConsideredSuicide When the Rainbow is Enough)Our Country’s Good (Methuen, 1988)A Streetcar Named Desire (Methuen, 1947)New Plays for Young People * (Faber 2003)321

GCE English Literature A for exams from June 2014 onwards (version 1.4)3POETRYSimon ArmitageW.H AudenGillian ClarkeCarol Ann DuffyAllan GinsbergLangston HughesJackie KayLiz LockheadAudre LordeGrace NicholsAdrienne RichLemn SissayGertrude SteinAlice WalkerBenjamin ZephaniahEdited by Lemn SissayAgnes MeadowsGillian ClarkeAlice OswaldGrace NicholsCarol Ann DuffyJackie KayLiz LochheadLenin SissayDead Sea Poems * (Faber, 1995)e.g ‘The Quarry’, ‘Funeral Blues’, ‘Refugee Blues’ + (1930s)Letter From a Far Country (1985)The Other Country * (Anvil, 1990)Howl (City Lights Pocket Poet Series, 1956)Collected Poems + (Vintage, 1930-1960)Life Mask * (Bloodaxe Books, 2005)Dreaming Frankenstein and Collected Poems (Polygon, 1984)Any – (some will be post 1990)The Fat Black Woman’s Poems (Virago, 1984)The School Among the Ruins * (Norton, 2004)Morning Breaks in the Elevator * (Payback Press, 1999)Tender Buttons + (Dover, 1914)Revolutionary Petunias and other Poems (Harcourt Brae Jovanovitch, 1970)Too Black, Too Strong * (Bloodaxe Books, 2001)The Fire People: A Collection of Contemporary Black British Poets *(Payback Press, 1998)Woman (Waterways, 2003)A Recipe for Water (Carcaret, 2009)The Thing in the Gap Stone Stile (Faber, 1996)I Have Crossed an Ocean (Bloodaxe Books Ltd, 2010)Love Poems (Picador, 2010)Darling (Bloodaxe Books Ltd, 2007)The Colour of Black and White (Polyfon, 2003)Rebel Without Applause (Bloodaxe Books Ltd, 1992)TEXTS IN TRANSLATIONNovelsIsabel AllendeAlexandra KollontaiManuel PuigAlexander SolzenichenThe House of the Spirits (Chile/Spanish) (Black Swan, 1985)Love of Worker Bees + (USSR/Russian) (Virago, 1930)Kiss of the Spider Woman (Argentina/Spanish) (Vintage, 1976)One Day in the Life of Ivan Denisovitch (USSR/Russian) (Penguin, 1962)PoetryPablo NerudaResidence on Earth + (Chile/Spanish) (Souvenir Press, 1933)DramaBertolt BrechtFederico Garcia LorcaMother Courage and her Children + (German) (Methuen, 1940)The House of Bernarda Alba + (1936), Yerma + (1934), Blood Wedding +(1933) (Spanish) (Penguin)Non fictionautobiography/diary/travelogueAnne FrankChe GuevaraNawal al-SaadawiThe Diary of a Young Girl (Dutch) (Penguin, 1947)The Motorcycle Diaries (Argentina/Spanish) (Harper Perennial, 1952)Memoirs from the Women’s Prison (Egypt/Arabic) (1984)22

GCE English Literature A for exams from June 2014 onwards (version 1.4)Exploring wider readingExploring wider reading is an essential part of thestudy of Literature within this specification. It is anintegral aspect of the assessment and assures theachievement of six texts at each of AS and A2 levels.At AS, there are three set texts. The other threetexts are chosen from an extensive but focused widerreading list supplied by AQA. For each option thewider reading list is governed by two principles.Principles of wider readingShared contextFor each option, a shared context (AO4) links thelisted texts making connection and comparisonacross genres (AO3) central and fruitful to the studyfrom the outset of the course. The shared contextwithin each option demonstrates a typicality of ideas,era and literary developments. The range and breadthof the context then allows for varied routes througheach option ensuring a high degree of choice forteachers and students alike.Meeting key components of literary studyThe wider reading list is constructed throughgenre. Candidates must, in their wider reading,study three whole texts and cover the compulsorygenres of poetry, drama and prose fiction. They maysupplement this core reading with the reading ofrelevant extracts and shorter pieces of writing.Study by extract increases the opportunities fordevelopment of multiple reading strategies, promotespersonalised learning and facilitates the scope forcandidate-focused responses. This range of readingexperiences promotes the assessment of both keyideas in AO3, comparison across texts and differentinterpretations by other readers. Exposure to morewriters is intended to increase awareness of textualcontrast and similarity, and encourage awareness ofalternative viewpoints from writers and critics alike.Guidance on the use of extracts will be given in theTeacher Resource material which accompaniesthis specification, by AQA’s Teacher Support, in theaccompanying student text book offered on eachoption, and crucially within the specification’s integralconsortium network and adviser structure.Each of these factors contributes to the core demandof close reading.Developing close readingShared contextThe overarching shared context for each optionfacilitates close reading and the development of closereading skills. Candidates are encouraged to respondopenly and pursue different interpretations within andacross their reading, discovering multiple meaningsto text through a process of comparison and contrast(AO3) through the philosophy of reading and meaningoutlined earlier. The framework offered by the sharedcontext gives this exploratory reading a clear focusand direction.Meeting key components of literary studyClose reading is particularly necessary for developingskills to analyse typical and exceptional featureswithin genres and sub genres (AO2). The specificationencourages this development throughout Unit 1:• by open text examination of poetry• and by examination by contextual linking of widerreading texts and extracts within the sharedcontext in response to an unprepared ‘trigger’extract.The study of extracts, in addition to the three coretexts, may encourage a detailed analysis of specificliterary concerns. This could be: exegesis of subjectmatter and ideas; effects of writers’ choices of form,structure and language; expression of a particularaspect of the context in operation; response to orconstruction of a particular interpretation.Advice on the teaching and development of closereading skills is set out in the Teacher Resourcematerial which accompanies this specification, inthe accompanying text book for each option andprovided by the teacher training and support offeredby AQA.The relationship between close and widereadingThe poetry set texts in the open text examinationin Unit 1 of each option and the suggested proseand drama texts in Unit 2 of each option assessclose reading. The question styles for the Unit 1examination and the structure of tasks for Unit 2coursework will be designed to demand a closereading of the chosen text. A thorough and detailedknowledge of the whole text through application ofthe relevant assessment objectives for each Unit isrequired to meet the criteria of the AS course.Examples of the development of close readingthrough the specification’s wider readingphilosophyThe three texts assessed through wider readingare studied with the equal depth that close readingrequires and promotes. Where extracts are chosento supplement the core texts, candidates’ grasp of323

GCE English Literature A for exams from June 2014 onwards (version 1.4)overview will necessarily operate differently when arange of extracts is chosen rather than the specificcontext of a whole text.For example, the way one genre might beapproached in each option could be:• through close reading of extracts, a candidatecan see, for example, how the use of narrativestructure and sub genre can be comparedand contrasted by reading widely fromautobiographical novels, satirical novels, utopiannovels and so on within the shared context of theoption on literature by and about the Victorians.• close reading and comparison and contrast ofpoems by trench poets, non-combatant femalepoets, twenty first century poets looking backand so on can provide an overview of poeticperspective and viewpoint within the sharedcontext of literature from and about World WarOne.• close reading of drama which highlights thestruggles faced by central characters presentedas outsiders within their own society or family,in an ‘adopted’ society or culture and so oncontributes to candidate understanding ofdramatic ideas and structures within the sharedcontext of the Struggle for Identity in ModernLiterature.324

4 Scheme of AssessmentGCE English Literature A for exams from June 2014 onwards (version 1.4)4.1 AimsAS and A Level courses based on this specificationshould encourage candidates to develop their interestin and enjoyment of literature and literary studies asthey:• read widely and independently both set texts andothers that they have selected for themselves• engage creatively with a substantial body of textsand ways of responding to them• develop and effectively apply their knowledgeof literary analysis and evaluation in speech andwriting• explore the contexts of the texts they are readingand others’ interpretations of them• deepen their understanding of the changingtraditions of literature in English.4.2 Assessment Objectives (AOs)The Assessment Objectives are common to AS andA Level. The assessment units will assess thefollowing Assessment Objectives in the context ofthe content and skills set out in Section 3 (SubjectAO1AO2AO3AO4Articulate creative, informed and relevantresponses to literary texts, using appropriateterminology and concepts, and coherent,accurate written expressionDemonstrate detailed critical understandingin analysing the ways in which structure, formand language shape meanings in literary textsExplore connections and comparisonsbetween different literary texts, informed byinterpretations of other readersDemonstrate understanding of the significanceand influence of the contexts in which literarytexts are written and receivedContent). Quality of Written Communication (QWC)In GCE specifications which require candidates toproduce written material in English, candidates must:• ensure that text is legible and that spelling,punctuation and grammar are accurate so thatmeaning is clear• select and use a form and style of writingappropriate to purpose and to complex subjectmatter• organise information clearly and coherently, usingspecialist vocabulary when appropriate.In this specification QWC will be assessed in all fourunits by means of AO1.4Weighting of Assessment Objectives for ASThe table below shows the approximate weighting of each of the Assessment Objectives in the AS units.Assessment Objectives Unit Weightings (%) Overall Weighting of AOs (%)Unit 1 Unit 2AO1 12 12 24AO2 18 14 32AO3 12 10 22AO4 18 4 22Overall weighting of units (%) 60 40 10025

GCE English Literature A for exams from June 2014 onwards (version 1.4)Weighting of Assessment Objectives for A LevelThe table below shows the approximate weighting of each of the Assessment Objectives in the AS and A2units.Assessment Objectives Unit Weightings (%) Overall Weighting of AOs (%)Unit 1 Unit 2 Unit 3 Unit 4AO1 6 6 7.5 6 25.5AO2 9 7 7.5 6 29.5AO3 6 5 7.5 6 24.5AO4 9 2 7.5 2 20.5Overall weighting of units (%) 30 20 30 20 1004.3 National Criteria4This specification complies with the following:• The Subject Criteria for English Literature• The Code of Practice for GCE• The GCE AS and A Level Qualification Criteria4.4 Prior learningThere are no prior learning requirements.We recommend that candidates should haveacquired the skills and knowledge associated with aGCSE English Literature course or equivalent.• The Arrangements for the Statutory Regulationof External Qualifications in England, Wales andNorthern Ireland: Common Criteria.However, any requirements set for entry to a coursefollowing this specification are at the discretion ofcentres.26

GCE English Literature A for exams from June 2014 onwards (version 1.4)4.5 Synoptic Assessment and Stretch and ChallengeSynoptic Assessment in English Literature A isassessed in the A2 units via:1. Coursework• An extended essay requiring the selection ofappropriate texts including a Shakespeareplay; research, discussion and choice of task;organisation and planning; sustained writingand discussion of genre, context and alternativeinterpretations.2. Examination• The questions on the Unit 3 paper requirecandidates to apply their knowledge andunderstanding of literature through time (Chaucerto the present day), across genre and gender,as well as their skills of analysis, interpretation,comparison and connection and evaluation tounprepared extracts drawn from all three genresand linked by the theme of love.• Both close and wide reading are required aswell as the ability to apply knowledge andunderstanding of the contexts of literature tospecific unprepared texts.The requirement that Stretch and Challenge isincluded at A2 is met by:• accessible questions that will be open tocandidates of all abilities but offering appropriateopportunities to the most able• the use of a variety of stems in questions –“explore”, “comment on the ways”, “write acomparison” and “consider”• connectivity between sections of questions• the requirement for extended writing in allquestions and especially the extended essay inthe coursework• the use of a range of question types – thecomparative study in coursework as well asthe examination questions are all open answerquestions where the candidate will assembleappropriate material and structure the question.• the ways the synoptic paper (unit 3) requirescandidates to refer to and make use of knowledgeand understanding of literature across the ages,genres, and gender to support their responsesto the unprepared extracts. It also requirescandidates to use all the relevant skill areas.44.6 Access to Assessment for Disabled StudentsAS/A Levels often require assessment of a broaderrange of competences. This is because theyare general qualifications and, as such, preparecandidates for a wide range of occupations andhigher level courses.The revised AS/A Level qualification and subjectcriteria were reviewed to identify whether any of thecompetences required by the subject presented apotential barrier to any disabled candidates. If thiswas the case, the situation was reviewed again toensure that such competences were included onlywhere essential to the subject. The findings of thisprocess were discussed with disability groups andwith disabled people.Reasonable adjustments are made for disabledcandidates in order to enable them to access theassessments. For this reason, very few candidateswill have a complete barrier to any part of theassessment.Candidates who are still unable to access a significantpart of the assessment, even after exploring allpossibilities through reasonable adjustments, may stillbe able to receive an award. They would be given agrade on the parts of the assessment they have takenand there would be an indication on their certificatethat not all the competences have been addressed.Reading independenlty may be problematic for somestudents but should not be a barrier to assessment.This will be kept under review and may be amendedin the future.27

GCE English Literature A for exams from June 2014 onwards (version 1.4)5 Administration5.1 Availability of Assessment Units and CertificationAfter June 2013, examinations and certification forthis specification are available in June only.5.2 EntriesPlease refer to the current version of EntryProcedures and Codes for up to date entryprocedures. You should use the following entrycodes for the units and for certification.Unit 1 – LTA1A or LTA1B or LTA1CUnit 2 – LITA2Unit 3 – LITA3Unit 4 – LITA4AS certification – 1741A Level certification – 27415.3 Private CandidatesThis specification is available to private candidates.As we will no longer provide supplementary guidancein hard copy, see our website for guidance andinformation on taking exams and assessments as aprivate candidate:www.aqa.org.uk/exams-administration/entries/private-candidates.Arrangements must be agreed with AQA for theassessment and authentication of coursework.55.4 Access Arrangements and Special ConsiderationWe have taken note of equality and discriminationlegislation and the interests of minority groups indeveloping and administering this specification.We follow the guidelines in the Joint Councilfor Qualifications (JCQ) document: AccessArrangements, Reasonable Adjustments andSpecial Consideration: General and VocationalQualifications. This is published on the JCQ website(http://www.jcq.org.uk) or you can follow the linkfrom our website (http://www.aqa.org.uk).Access ArrangementsWe can make arrangements so that candidateswith disabilities can access the assessment. Thesearrangements must be made before the examination.For example, we can produce a Braille paper for acandidate with a visual impairment.Special ConsiderationWe can give special consideration to candidates whohave had a temporary illness, injury or indisposition atthe time of the examination. Where we do this, it isgiven after the examination.Applications for access arrangements and specialconsideration should be submitted to AQA by theExaminations Officer at the centre.28

GCE English Literature A for exams from June 2014 onwards (version 1.4)5.5 Language of ExaminationsWe will provide units in English only.5.6 Qualification TitlesQualifications based on this specification are:• AQA Advanced Subsidiary GCE in English Literature (A), and• AQA Advanced Level GCE in English Literature (A)5.7 Awarding Grades and Reporting ResultsThe AS qualification will be graded on a five-pointscale: A, B, C, D and E. The full A Level qualificationwill be graded on a six-point scale: A*, A, B, C, Dand E. To be awarded an A*, candidates will need toachieve a grade A on the full A Level qualification andan A* on the aggregate of the A2 units.For AS and A Level, candidates who fail to reachthe minimum standard for grade E will be recordedas U (unclassified) and will not receive a qualificationcertificate. Individual assessment unit results will becertificated.5.8 Re-sits and Shelf-life of Unit ResultsUnit results remain available to count towardscertification, whether or not they have already beenused, as long as the specification is still valid.Each unit is available in June only. Candidates mayre-sit a unit any number of times within the shelf-lifeof the specification. The best result for each unitwill count towards the final qualification. Candidateswho wish to repeat a qualification may do so by retakingone or more units. The appropriate subjectaward entry, as well as the unit entry/entries, mustbe submitted in order to be awarded a new subjectgrade.Candidates will be graded on the basis of the worksubmitted for assessment.529

GCE English Literature A for exams from June 2014 onwards (version 1.4)6 Coursework AdministrationThe Head of Centre is responsible to AQA forensuring that coursework/portfolio work is conductedin accordance with AQA’s instructions and JCQinstructions.This specification operates a consortium network,and all centres following the specification belong to alocal consortium managed by a consortium adviserappointed by AQA. The purpose of the consortiumnetwork is to support teachers with all aspects ofthe specification but particularly with the courseworkunits.Centres wishing to enter candidates for thisspecification should request permission to join a localconsortium by contacting, in writing, the subjectdepartment at AQA.Upon joining a local consortium, centres will be sentdetails of their consortium adviser, including a contactaddress and telephone number. The consortiumadviser will be the principal source of guidance andsupport for not only the coursework elements ofthis specification but will also offer advice on otheraspects of the specification such as texts chosen aswider reading. Centres may contact their consortiumadviser at any time during the course.The consortium adviser will:• offer advice and support, particularly on thecoursework components, but on all aspects of thespecification• help centres to identify appropriate courseworktasks and texts• assist in the training of members of theconsortium in the assessment of coursework• conduct standardising meetings to ensureconsistency and reliability of marking, using thebooklet of standardisation material issued free ofcharge to every centre• provide guidance on ensuring effective internalstandardisation of marking within centres.6.1 Supervision and Authentication of Coursework6In order to meet the regulators’ Code of Practice forGCE, AQA requires:• candidates to sign the Candidate Record Form(CRF) to confirm that the work submitted is theirown, and• teachers/assessors to confirm on the CRF thatthe work assessed is solely that of the candidateconcerned and was conducted under theconditions laid down by the specification.The completed CRF for each candidate must beattached to his/her work. All teachers who haveassessed the work of any candidate entered foreach component must sign the declaration ofauthentication. Failure to sign the authenticationstatement may delay the processing of thecandidates’ results.The teacher should be sufficiently aware of thecandidate’s standard and level of work to appreciateif the coursework submitted is beyond the talents ofthe candidate.In most centres teachers are familiar with candidates’work through class and homework assignments.Where this is not the case, teachers should makesure that all coursework is completed under directsupervision.In all cases, some direct supervision is necessaryto ensure that the coursework submitted can beconfidently authenticated as the candidate’s own.If it is believed that a candidate has receivedadditional assistance and this is acceptable within theguidelines for the relevant specification, the teacher/assessor should award a mark which represents thecandidate’s unaided achievement. The authenticationstatement should be signed and information given onthe relevant form.If the teacher/assessor is unable to sign theauthentication statement for a particular candidate,then the candidate’s work cannot be accepted forassessment.30

GCE English Literature A for exams from June 2014 onwards (version 1.4)6.2 MalpracticeTeachers should inform candidates of the AQARegulations concerning malpractice.Candidates must not:• submit work which is not their own• lend work to other candidates• allow other candidates access to, or the use of,their own independently-sourced source material(this does not mean that candidates may not lendtheir books to another candidate, but candidatesshould be prevented from plagiarising othercandidates’ research);• include work copied directly from books,the internet or other sources withoutacknowledgement or attribution• submit work typed or word-processed by a thirdperson without acknowledgement.These actions constitute malpractice, for which apenalty (eg disqualification from the examination) willbe applied.If malpractice is suspected, the Examinations Officershould be consulted about the procedure to befollowed.Where suspected malpractice in coursework/portfolios is identified by a centre after the candidatehas signed the declaration of authentication, theHead of Centre must submit full details of the caseto AQA at the earliest opportunity. The form JCQ/M1should be used. Copies of the form can be found onthe JCQ website (http://www.jcq.org.uk/).Malpractice in coursework/portfolios discoveredprior to the candidate signing the declaration ofauthentication need not be reported to AQA, butshould be dealt with in accordance with the centre’sinternal procedures. AQA would expect centres totreat such cases very seriously. Details of any workwhich is not the candidate’s own must be recordedon the coursework/portfolio cover sheet or otherappropriate place.6.3 Teacher StandardisationThis specification operates a consortium networkand all centres following the specification belong to alocal consortium managed by a consortium adviserappointed by AQA. The purpose of the consortiumnetwork is to support teachers with all aspects ofthe specification but particularly with the courseworkunits.The consortium adviser will hold an annualstandardising meeting for teachers in the consortium,usually in the autumn term. At that meeting theadviser will provide support in developing appropriatecoursework tasks and using the marking criteria. Thefocus of the standardising meetings will be a bookletof standardisation materials issued prior to thatmeeting by AQA.If your centre is new to this specification, you mustsend a representative to one of the meetings. Ifyou have told us you are a new centre, either bysubmitting an estimate of entry or by contacting thesubject team, we will contact you to invite you to ameeting.We will also contact centres to invite them to send arepresentative if:• the moderation of coursework from the previousyear has identified a serious misinterpretation ofthe coursework requirements,• inappropriate tasks have been set, or• a significant adjustment has been made to acentre’s marks.For all other centres, attendance is optional.However, centres are strongly advised to attend theirlocal consortium meetings. Consortium meetingsprovide valuable support and training for teachers,offer opportunities to meet other teachers within theconsortium and enable the useful exchange of ideasand sharing of good practice.631

GCE English Literature A for exams from June 2014 onwards (version 1.4)6.4 Internal Standardisation of MarkingCentres must standardise marking within the centreto make sure that all candidates at the centre havebeen marked to the same standard. One personmust be responsible for internal standardisation. Thisperson should sign the Centre Declaration Sheet toconfirm that internal standardisation has taken place.Internal standardisation may involve:• all teachers marking some trial pieces of work andidentifying differences in marking standards;• discussing any differences in marking at atraining meeting for all teachers involved in theassessment;• referring to reference and archive material suchas previous work or examples from AQA’s teacherstandardising meetings.but other valid approaches are permissible.6.5 Annotation of CourseworkThe Code of Practice for GCE states that theawarding body must require internal assessors toshow clearly how the marks have been awardedin relation to the marking criteria defined in thespecification and that the awarding body mustprovide guidance on how this is to be done.The annotation will help the moderator to see asprecisely as possible where the teacher considersthat the candidates have met the criteria in thespecification.Work could be annotated by either of the followingmethods:• key pieces of evidence flagged throughout thework by annotation either in the margin or in thetext;• summative comments on the work, referencingprecise sections in the work.6.6 Submitting Marks and Sample Work for ModerationThe total mark for each candidate must be submittedto AQA and the moderator on the mark formsprovided or by Electronic Data Interchange (EDI) bythe specified date. Centres will be informed whichcandidates’ work is required in the samples to besubmitted to the moderator.6.7 Factors affecting Individual Candidates6Teachers should be able to accommodate theoccasional absence of candidates by ensuring thatthe opportunity is given for them to make up missedassessments.If work is lost, AQA should be notified immediately ofthe date of the loss, how it occurred, and who wasresponsible for the loss. Centres should use the JCQform JCQ/LCW to inform AQA Candidate Servicesof the circumstances. Where special help whichgoes beyond normal learning support is given, AQAmust be informed through comments on the CRFso that such help can be taken into account whenmoderation takes place (see Section 6.1).Candidates who move from one centre to anotherduring the course sometimes present a problem for ascheme of internal assessment. Possible courses ofaction depend on the stage at which the move takesplace. If the move occurs early in the course the newcentre should take responsibility for assessment. Ifit occurs late in the course it may be possible toarrange for the moderator to assess the work throughthe ‘Educated Elsewhere’ procedure. Centres shouldcontact AQA at the earliest possible stage for adviceabout appropriate arrangements in individual cases.6.8 Retaining Evidence and Re-using MarksThe centre must retain the work of all candidates,with CRFs attached, under secure conditions, fromthe time it is assessed, to allow for the possibility ofan enquiry about results. The work may be returnedto candidates after the deadline for enquiries aboutresults. If an enquiry about a result has been made,the work must remain under secure conditions incase it is required by AQA.32

7 ModerationGCE English Literature A for exams from June 2014 onwards (version 1.4)7.1 Moderation ProceduresModeration of the coursework is by inspectionof a sample of candidates’ work by a moderatorappointed by AQA. The centre marks must besubmitted to AQA and to the moderator by thespecified deadline. We will let centres know whichcandidates’ work will be required in the sample to besubmitted for moderation.Centres are offered a choice of moderation method.They can opt for:EITHER Postal ModerationThe selected sample of candidates’ coursework isposted to the moderator at home. The sample is thenre-marked by the moderator.ORConsortium ModerationConsortium moderation replaces postal moderationfor those centres that prefer this method. Teachersfrom a consortium attend a moderation meeting intheir consortium area, supervised by their consortiumadviser. The samples of coursework are taken to themoderation meeting by the centre and are re-markedat the meeting.For both moderation methods, following the remarkingof the sample work, the moderator’s marksare compared with the centre marks to determinewhether any adjustment is needed in order to bringthe centre’s assessments into line with standardsgenerally. In some cases it may be necessary for themoderator to call for the work of other candidates inthe centre. In order to meet this possible request,centres must retain under secure conditions andhave available the coursework and the CRF ofevery candidate entered for the examination and beprepared to submit it on demand. Mark adjustmentswill normally preserve the centre’s order of merit, butwhere major discrepancies are found, we reserve theright to alter the order of merit.7.2 Post-moderation ProceduresOn publication of the AS/A level results, we willprovide centres with details of the final marks for thecoursework unit.The candidates’ work will be returned to the centreafter the examination. The centre will receive a reportgiving feedback on the appropriateness of the tasksset, the accuracy of the assessments made, and thereasons for any adjustments to the marks.We may retain some candidates’ work for archive orstandardising purposes.733

GCE English Literature A for exams from June 2014 onwards (version 1.4)AppendicesAPerformance DescriptionsIntroductionThese performance descriptions show the level ofattainment characteristic of the grade boundaries atA Level. They give a general indication of the requiredlearning outcomes at the A/B and E/U boundaries atAS and A2. The descriptions should be interpretedin relation to the content outlined in the specification;they are not designed to define that content.The grade awarded will depend in practice uponthe extent to which the candidate has met theAssessment Objectives (see Section 4) overall.Shortcomings in some aspects of the examinationmay be balanced by better performances in others.A34

GCE English Literature A for exams from June 2014 onwards (version 1.4)AS performance descriptions for English LiteratureAssessmentObjective 1AssessmentObjective 2AssessmentObjective 3AssessmentObjective 4AssessmentObjectivesArticulate creative,informed andrelevant responsesto literary texts,using appropriateterminology andconcepts, andcoherent, accuratewritten expressionDemonstrate detailedcritical understandingin analysing the waysin which structure,form and languageshape meanings inliterary textsExplore connectionsand comparisonsbetween differentliterary texts,informed byinterpretations ofother readersDemonstrateunderstanding ofthe significanceand influence of thecontexts in whichliterary texts arewritten and receivedA/B boundaryperformancedescriptionsCandidatescharacteristically:a) communicatewideknowledge andunderstanding ofliterary textsb) present relevantresponses, usingappropriateterminology tosupport informedinterpretationsc) structure andorganise theirwriting welld) communicatecontent andmeaning throughexpressive andaccurate writing.Candidatescharacteristically:a) identify relevantaspects ofstructure, formand language inliterary textsb) explore, throughcritical analysis,how writers usespecific aspects toshape meaningc) generally usespecific referencesto texts to supporttheir responses.Candidatescharacteristically:a) exploreconnectionsand points ofcomparisonbetween literarytextsb) communicateclearunderstandingof the viewsexpressedin differentinterpretations orreadings.Candidatescharacteristically:a) communicateunderstanding ofthe relationshipsbetween literarytexts and theircontextsb) commentappropriately onthe influence ofculture, text type,literary genre orhistorical periodon the ways inwhich literarytexts were writtenand were – andare – received.E/U boundaryperformancedescriptionsCandidatescharacteristically:a) communicatesomeknowledge andunderstanding ofliterary textsb) make some useof appropriateterminologyor examplesto supportinterpretationsc) communicatemeaning usingstraightforwardlanguage.Candidatescharacteristically:a) identify someaspects ofstructure, formand languageb) describe someaspects withreference tohow they shapemeaningc) make somerelated referencesto texts to supporttheir responses.Candidatescharacteristically:a) identify someconnectionsor points ofcomparisonbetween literarytextsb) show someappreciationof the viewsexpressedin otherinterpretations ofliterary texts.Candidatescharacteristically:a) communicatesomeunderstanding ofcontext throughdescriptions ofculture, text type,literary genre orhistorical period.A35

GCE English Literature A for exams from June 2014 onwards (version 1.4)A2 performance descriptions for English LiteratureAssessmentObjective 1AssessmentObjective 2AssessmentObjective 3AssessmentObjective 4AssessmentObjectivesArticulate creative,informed andrelevant responsesto literary texts,using appropriateterminology andconcepts, andcoherent, accuratewritten expressionDemonstrate detailedcritical understandingin analysing the waysin which structure,form and languageshape meanings inliterary textsExplore connectionsand comparisonsbetween differentliterary texts,informed by theinterpretations ofother readersDemonstrateunderstanding ofthe significanceand influence of thecontexts in whichliterary texts arewritten and receivedA/B boundaryperformancedescriptionsCandidatescharacteristically:a) communicateextensiveknowledge andunderstanding ofliterary textsb) create and sustainwell organisedand coherentarguments, usingappropriateterminology tosupport informedinterpretationsc) structure andorganise theirwriting using anappropriate criticalregisterd) communicatecontent andmeaning throughexpressive andaccurate writing.Candidatescharacteristically:a) identify significantaspects ofstructure, formand language inliterary textsb) explore, throughdetailed criticalanalysis, howwriters use theseaspects to createmeaningc) consistentlymake referenceto specific textsand sources tosupport theirresponses.Candidatescharacteristically:a) analyse andevaluateconnectionsor points ofcomparisonbetween literarytextsb) engagesensitively andwith differentreadings andinterpretationsdemonstratingclearunderstanding.Candidatescharacteristically:a) explore andcomment on thesignificance ofthe relationshipsbetween specificliterary texts andtheir contextsb) evaluate theinfluence ofculture, text type,literary genre orhistorical periodon the ways inwhich literarytexts were writtenand were – andare – received.AE/U boundaryperformancedescriptionsCandidatescharacteristically:a) communicateknowledgeand someunderstanding ofliterary textsb) present responses,making some useof appropriateterminologyand examplesto supportinterpretationsc) communicatecontent andmeaning usingstraightforwardlanguageaccurately.Candidatescharacteristically:a) identify someaspects ofstructure, form orlanguage in literarytextsb) comment onspecific aspectswith reference tohow they shapemeaningc) make somereference to textsto support theirresponses.Candidatescharacteristically:a) makeconnectionsbetween literarytexts or notecomparisonsb) communicateunderstandingof the viewsexpressedin otherinterpretations orreadings.Candidatescharacteristically:a) comment onsome of therelationshipsbetween textsand their contextsb) comment on howculture, text type,literary genre orhistorical periodinfluence thereading of literarytexts.36

GCE English Literature A for exams from June 2014 onwards (version 1.4)BSpiritual, Moral, Ethical, Social and other IssuesEuropean DimensionAQA has taken account of the 1988 Resolution of theCouncil of the European Community in preparing thisspecification and associated specimen units.Environmental EducationAQA has taken account of the 1988 Resolution ofthe Council of the European Community and theReport “Environmental Responsibility: An Agenda forFurther and Higher Education” 1993 in preparing thisspecification and associated specimen units.Avoidance of BiasAQA has taken great care in the preparation of thisspecification and specimen units to avoid bias of anykind.B37

GCE English Literature A for exams from June 2014 onwards (version 1.4)COverlaps with other QualificationsThere is some overlap in skills/or subject context withGCE Language and Literature.C38

GCE English Literature A for exams from June 2014 onwards (version 1.4)DKey SkillsKey Skills qualifications have been phased out andreplaced by Functional Skills in English, Mathematicsand ICT from September 2010.D39

GCE English Literatur e A (2740) For exams from June 2014 onwardsQualification Accreditation Number: AS 500/2576/4 - A Level 500/2568/5For updates and further information on any of our specifications, to find answers or to ask a question:register with ASK AQA at:http://www.aqa.org.uk/help-and-contacts/ask-aqaFor information on courses and events please visit:http://www.aqa.org.uk/professional-developmentEvery specification is assigned a discounting code indicating the subject area to which it belongsfor performance measure purposes.The discount codes for this specification are:AS FC4A Level 5110The definitive version of our specification will always be the one on our website,this may differ from printed versions.Copyright © 2013AQA and its licensors. All rights reserved.AQA Education (AQA), is a company limited by guarantee registered in England and Wales (company number 3644723),and a registered charity 1073334.Registered address: AQA, Devas Street, Manchester M15 6EX.