I M Pleased to See That Many of You Have Been Reading Around the Texts, Well Done!

Feedback on Comparative Coursework

I’m pleased to see that many of you have been reading around the texts, well done!

Please make sure that you:

AO1: focus on answering the question
AO1: put a clear, strong topic sentence at the beginning of your paragraph
AO1: use DETAIL and DEVELOP your points
AO1: write clear sentences (remember LESS IS MORE)
AO1: think about the structure of your essay.
AO1: Use a more sophisticated vocabulary (see examples on next pages)
AO!: Use literary terminology
AO2: analyse language, structure and form. Hardly any of you are doing this!!!
AO3: evaluate the critical quotes you have chosen and weave them into your essay
AO3: consider different interpretations
AO4: consider the contexts of reception and production

There are many ways to skin a cat, as they say, but here are a few ideas on how to structure your essays more effectively:

Set out your thesis VERY CLEARLY in the introduction
Work chronologically through the acts of the two plays, comparing them as you go. This is helpful as it means that you are automatically writing about structure.
Structure the essay under Form/genre, Structure, Language (word and syntax) and compare how these elements present the message of the two plays.
Split your essay into two argument and counter argument, comparing as you go.
Structure each point around a critical quote that answers the question.

Here are a few mini-questions that will help ensure you don’t simply repeat what you have read or heard in class.

At the end of the play, Nora slams the door to the “doll house” and walks away. Yet she leaves Torvald with hope for “the greatest miracle.” Why did Ibsen write an ambiguous ending? Cite evidence from Nora’s and Torvald’s closing speeches to indicate what you believe to be the ultimate ending to this drama. How does this compare to the ambiguity of SV’s ending? Why do both plays have ambiguous endings? Is it because they are both “realist” dramas?
Consider the character of Torvald Helmer. Is Torvald an antagonist? A misogynist? Or could Torvald be just as much a victim of nineteenth century societal norms as Nora? What about Joe? And Costas?
Is it satisfying that neither Nora nor SV take the easy option and run away with Costas and Dr Rank?
Ibsen infuses his play with vivid dramatic devices such as the many artificial lights, the letter hitting the mailbox, and the slamming door. How does the dramatic genre help tell the playwright’s story in a manner unparalleled by the novel form? And what about the wall, the rock,the kitchen etc in SV?
A Doll’s House is full of references to dolls, puppets, and playthings. Trace these references throughout the play while summarizing Ibsen’s ideas about gender and societal roles. How do they compare to the various props/symbols used in Shirley Valentine?
What is the role of Dr. Rank in A Doll’s House? Is he simply a friend and admirer? Or is he more? Explain. How can you compare him to Costas in SV?
Mrs. Linde tells Krogstad, “I’ve learned to be realistic. Life and hard, bitter necessity have taught me that.” How is A Doll’s House a realistic play? What sets it apart from other nineteenth century dramas we’ve read? How does A Doll’s House help define the realistic movement in drama? Similarly, what is “Kitchen sink” drama? What are the similarities and differences with Realist drama?
Is there any comedy in ADH? How does Willy Russell use comedy to tell his story in SV? What can comedy do that more serious drama can’t?
Why does Russell use the monologue form? What meanings does it bring out that the 3-act drama doesn’t? Also, how does Ibsen use the tragic genre to bring out meanings in ADH?
Why is he so careful to reproduce Shirley’s Liverpudlian accent? Is it significant that ADH was set in Norway and SV in Liverpool?
Are Shirley and Nora truly liberated at the end? To what extent?
Would a contemporary audience view these plays in the same way as we view them today?
Do the plays still have resonance for us today?
Is ADH a tragedy?
Is Shirley Valentine a comedy?
Can comedy be used to present a serious message?

Presentation of Your Essay

11pt Times New Roman 1.15 pt line spacing
One line space between each paragraph
Your name at the top right-hand of each page
All pages numbered
The essay title in bold

Names of characters, texts, places, authors etc have capital letters and are written in full. In titles of texts, capitalise all words except prepositions (to, through, of, by, on etc), except when they are at the beginning of the title e.g. Of Mice and Men.
Call an author by their full name the first time they are mentioned and then by their surname only (never just their first name)

Titles

Titles of texts are shown in italics OR underlined, not in inverted commas (Macbeth or Macbeth not “Macbeth”).
Titles of poems or short stories are written using inverted commas, to differentiate them from the collection of poetry or stories of which they are part. (The poem ‘Death of a Naturalist’ is found in the book Death of a Naturalist.)

Quotations

If the quotation is a whole sentence, you can add it to the end of the sentence, incorporating it into your paragraph, but you must use a colon to introduce it:
The opening of Pride and Prejudice clearly establishes the novel’s obsessive relationship between marriage and wealth: ‘It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife.’ Here Austen suggests that . . .
Where the quotation is a phrase extracted from a sentence, it can form part of your sentence:
The fact that the action of the poem is placed in ‘the heart / Of the townland’ demonstrates the uneasy relationship between town and country life.
(Note: the slash (/) shows where a quotation spans a line break in poetry)
If you wish to clarify an aspect of your quotation, use square brackets to demonstrate words that aren’t part of the text:
“I shan’t show you anything else. You’re [Rank] being naughty.”
If you wish to omit a section of text from your quote, use an ellipsis (. . . ):
‘It is a truth universally acknowledged that a single man . . . must be in want of a wife.’
It is best to use single inverted commas for quotations rather than double. If you have to quote a speech in fiction, the speech marks will appear inside the quotation marks like this:
‘”Hello,” said Martha. “How are you?”’

Bibliography

When you quote use superscript e.g. “ultimately powerless”1
Your essay should always be followed by a bibliography – a list of books you have consulted – with some data (author, publisher, date) that will allow others to locate the text if they want to. The following is an example of a standard way of setting out a bibliography:
McEvoy, S (2009) Tragedy: A Student Handbook. London: English and Media Centre
Web-based sources must be referenced:
(accessed 21 October, 2013)

A Level Vocabulary
Synonyms for explaining opinions/concepts
Say / Assert, affirm, maintain, mention, declare, announce, remark, state, propose, paraphrase
Think / Believe, consider, imagine, judge, regard, suppose, conjecture, ruminate
Represent / Personify, embody, typify, symbolise, indicate, depict, characterise, delineate, illustrate, give the impression of/that, reproduce, outline, assume the role of, impersonate, dramatise, portray
Suggest / Imply, insinuate, intimate, indicate, hint, allude, evoke, bring/call to mind, conjure up, purport
Compare / Distinguish/able, contrast, in contrast to, alternate, alternative/ly, oppose, opposite/in opposition to, differentiate
Describe / Explain, portray, depict, illustrate, express, communicate, review, trace (an argument/idea), summarise, define
Criticise / Denigrate, defame, disparage, assess, analyse, evaluate, appraise, critique, disapprove, censure, pass judgment on, find fault with, condemn, decry
This quotation. . . (avoid!) / This interpretation, view, opinion, citation, passage, extract, reference, excerpt, reading
The audience / Spectators, viewers, listeners, onlookers, those watching/hearing
The book/play/poem / Novel, text, drama, work, extract, chapter, passage, verse, stanza
Show / Demonstrate, display, express, illustrate, confirm, appear, indicate, spectacle
Descriptions of language/style/effects
Tone / (Mode of) expression, style, vocabulary, idiom
Style / Elaborate, rhetorical, fluent, forceful, verbose (wordy), perspicuous (expressed or expressing clearly), concise, elegant, precise
Descriptions of tone / Sarcastic, cruel, sardonic (mockingly scornful, heartless), bitter, sycophantic (servile, flattering, sucking up), irritable, livid, indignant, incensed, excitable, cheerful, contented, elated, depressed, demoralised, pathetic, fragile, bold, confident, whinging, complaining, pleading, dismissive, attentive, gentle, understanding, harsh
Unnecessary / Superfluous, needless, pointless, redundant, gratuitous, unwarranted, uncalled-for, excessive, avoidable, preventable
Necessary / Essential, fundamental, required, compulsory, obligatory, indispensable, basic, crucial, vital, mandatory
Obvious / Clear, understandable, palpable, noticeable, apparent, evident, observable, recognisable, discernable
On purpose / Deliberately, methodically, intentionally, purposely, with intent, consciously, calculatingly, by design, knowingly, purposefully
Weak / Vulnerable, susceptible, naïve, defenceless, helpless, exposed, in danger
Strong / 1) Physically: powerful, burly, brawny, muscular, strapping, sturdy, tough, stalwart, robust, sturdy, stout, solid, durable, resilient
2) Argument: convincing, sound, clear, clear-cut, persuasive, compelling, effective, formidable
3) Feelings: keen, staunch, dedicated, firm, fanatical, zealous, eager, fervent, great, intense, deep, deep-seated, fierce, powerful, potent, passionate, ardent
Language bank
Basic / More sophisticated
Introduction
I am going to write about . . .
I will answer the question by saying . . . / This essay will explore/examine the topic/issue/question of N, focusing on several different aspects of the text/topic in order to show/demonstrate/prove/suggest that . . .
Argument
I think
I believe
I would argue / It is clear/apparent/evident that
It would be logical/reasonable to assert/claim/ argue that . . .
A compelling/powerful/forceful argument can be made by saying that . . .
A highly credible line of argument can be made by saying that . . .
A highly credible line of argument is . . .
It seems sensible to state/say that
It is impossible to deny/ignore that . . .
Evidence
Introducing it:
In Act 1 Sn 1 . . .
This happens in Act 1 Sn1 . . .
Analysing it in relation to the question:
These words show . . .
This language/symbolism is . . .
These words show . . .
This language/symbolism is . . . / A pertinent instance of . . . can be found/identified/ observed/seen in Act 1 Sn 1, when . . .
Throughout Act 1 Sn 1 one can see/ it could be said that there are several/many/a few/notable occurrences of . . . . One of these is . . .
. . . is used with particular skill/precision/effect in Act 1 Sn 1, as . . .
This technique/device/use of language is highly effective/moving/significant, as the word/phrase . . . could hold connotations of/relate directly to/evoke/link to/ . . . for the reader
This particular use/employment of . . . can be seen to support/substantiate/refute/ negate/undermine the notion/idea /argument/theory of . . . , as/since/because
Embedding quotes:
A good quote from Chapter 7 is . . . / In Chapter 7 Amir says/declares/states that . . .. This . .
In Chapter 7, the phrase . . . ., used by Amir to describe Baba . . .
Chapter 7 contains Amir’s declaration that Baba is…
Hosseini uses the events of Chapter 7 to show Amir’s feeling about his father, as the character passionately states that . . .

A2 Unit 4 Indicative Content

Task 1 Indicative Content:

write a comparative essay on at least two texts
show an informed knowledge and understanding of both texts
investigate aspects of form, structure and language comparatively across texts looking at how they shape meanings
find similarities and differences within texts, informed by different interpretations and critical approaches
consider and evaluate possible contexts of production and their effects comparatively across texts
consider and evaluate possible contexts of reception and their effects comparatively across texts.

Example Tasks 1

Focusing on Ishiguro's Remains of the Day and Pinter's The Servant compare some of the ways authors use servants in their stories.
Focusing on Brideshead Revisited and Rebecca compare some of the ways in which authors create symbolic meanings out of houses.
How far do you agree with the view that the presentation of masculinity is central to Things Fall Apart and Translations?
To what extent can The Secret Agent and Waterland be categorised as detective novels?

Task 2 Indicative Content:

write in an appropriate form for the task, such as a short essay, a review, a piece of journalism
show an informed knowledge of the critical ideas they are testing and of the literary text(s) they are applying them to
show how form, structure and language affect the way literary texts can be read
make connections between the critical material and literary text(s)
consider possible different interpretations in the light of the critical source material and other ideas including their own
consider and evaluate possible contexts of production and their effects comparatively across texts
consider and evaluate possible contexts of reception and their effects comparatively across texts.

Example Tasks 2

Having read the critical material on whether it is possible to define the aesthetic nature of literature, explore and evaluate the aesthetic qualities of a poem of your choice.
Based on your reading of the critical material, write an argument for the inclusion (or exclusion) of an author of your choice into the A Level Literature canon of texts
To what extent is feminist criticism helpful in opening up potential meanings in text x?
What potential significances can be found when studying the use of metaphors in text y?

A2 Unit 4 CW Mark Scheme

Band 2 (6 – 10 marks)

AO1 some use of critical vocabulary despite technical weakness

AO1 simple attempt at structuring argument/ usually relevant with some focus on task

AO2 some awareness of how form and structure shape meanings

AO2 some awareness of how aspects of language shape meanings

AO3 some connections made between texts

AO3 some reference to different interpretations of texts/ some textual support

AO4 some consideration of contexts of reception

AO4 some consideration of possible contexts of production

Band 3 (11 – 15 marks)

AO1 use of some critical vocabulary and generally clear expression

AO1 some structured argument though not sustained/ relevant with focus on task

AO2 consideration of some features of form and structure and how these features shape meanings

AO2 consideration of some aspects of language and how these aspects shape meanings

AO3 consideration of connections between texts

AO3 consideration of different interpretations of texts, with general textual support

AO4 consideration of contexts of reception

AO4 consideration of possible contexts of production

Band 4 (16 – 20 marks)

AO1 use of accurate critical vocabulary and clear argument expressed accurately

AO1 relevant with clear focus on task/ informed knowledge and understanding of texts

AO2 consideration of how specific features of form and structure shape meanings

AO2 consideration of how specific aspects of language shape meanings

AO3 detailed consideration of connections between texts

AO3 clear consideration of different interpretations of texts with apt supportive references

AO4 examination of contexts of reception

AO4 examination of possible contexts of production

Band 5 (21 – 25 marks)

AO1 use of appropriate critical vocabulary and well structured argument expressed accurately

AO1 relevant with sharp focus on task/ detailed knowledge and understanding of texts

AO2 exploration of several features of form and structure with evaluation of how they shape meanings

AO2 exploration of several aspects of language with evaluation of how they shape meanings

AO3 detailed and evaluative discussion of connections between texts

AO3 clear consideration of different interpretations of texts with evaluation of their strengths and weaknesses and with significant supportive references

AO4 detailed exploration of contexts of reception

AO4 detailed exploration of possible contexts of production

Band 6 (26 – 30 marks)

AO1 use of appropriate critical vocabulary and technically fluent style/ well structured and coherent argument

AO1 always relevant with very sharp focus on task and confidently ranging around texts

AO2 exploration and analysis of key features of form and structure with perceptive evaluation of how they shape meanings

AO2 exploration and analysis of key aspects of language with perceptive evaluation of how they shape meanings

AO3 detailed and perceptive understanding of issues raised in connecting texts

AO3 perceptive consideration of different interpretations of texts with sharp evaluation of their strengths and weaknesses and with excellent selection of supportive references

AO4 excellent understanding of contexts of reception with detailed links between context/text/task

AO4 excellent understanding of possible contexts of production with detailed links between context/text/ task

CW Feedback Feb 2015