AQA GCSE English Language And English Literature

Collins AQA GCSE English Language and English Literature Student BookChapter 4 . Topic 1Explain and commenton writers’ use oflanguageLearning objectivesYou will learn how to identify the overall viewpoint in a text write about the effects of writers’ languagechoices, linking them to the overallviewpoint.A slag-heap is at best a hideous thing, because it is so planless and functiodumped on the earth, like the emptying of a giant's dust-bin. On the outskiare frightful landscapes where your horizon is ringed completely round byunderfoot is mud and ashes and over-head the steel cables where tubs of diof country. Often the slag-heaps are on fire, and at night you can see the rethis way and that, and also the slow-moving blue flames of sulphur, whichof expiring and always spring out again. Even when a slag-heap sinks, as ievil brown grass grows on it, and it retains its hummocky surface. One inas a playground, looks like a choppy sea suddenly frozen; 'the flock mattrecenturies hence when the plough drives over the places where coal was onslag-heaps will still be distinguishable from an aeroplane.Assessment objective English Language AO2Key termsWhy does it matter what words and phrases thewriter chooses?viewpoint: an attitude,opinion or point of viewGetting you thinkingGlossaryWhen reading a text for the first time, focus on these keyquestions. What is the writer’s viewpoint? How does the writerwant me to think or feel?The writer’s viewpoint will be communicated through his or herchoice of language.In The Road to Wigan Pier, George Orwell writes about a time ofgreat change in the north of England following industrialisation.AQA GCSE EnglishLanguage and EnglishLiterature:Core Student BookThe Core Student Book providesan excellent foundation in theskills and knowledge required forboth courses.pottery towns: towns likeStoke-on-Trent where potterywas manufacturedWhat does Orwell describe in this extract?1Read the paragraph again and find examples of Orwell’slanguage choices to complete the second column ofthe table.3Industrialisation: the growthof the steel, coal, textiles andmanufacturing industriesin the late eighteenth andnineteenth centuriesAs you travel northward your eye, accustomed to the Southor East, does not notice much difference until you are beyondBirmingham.[ ] It is only when you get a little further north, tothe pottery towns and beyond, that you begin to encounter thereal ugliness of industrialism – an ugliness so frightful and soarresting that you are obliged, as it were, to come to terms with it.LanguagechoiceExample(s)Effect: how itmakes me feeland whyAdverbials‘underfoot’ / ‘overhead’ / ‘ringedcompletely round’Create a feelingof claustrophobiabecause theysuggest peopleare completelysurrounded bythe effects ofindustrialisationReferencesto colourPowerfuladjectivesGeorge Orwell, from The Road to Wigan PierRepetitionImagery orcomparisonsWhat is Orwell’s attitude to what he sees? Does he like it?Which words and phrases tell you this?2Show pp.1, 2, 8, 17 and 20. It would be good to show theend of chapter ‘Apply the skills’ section (p.17) as well as amain spread.Explore the skillsNow you have worked out the main viewpoint of the text, youcan begin to explore the ways in which Orwell communicates thisto the reader.In the next paragraph, Orwell describes what he sees when hevisits a mining town.118AQA GCSE English Language and Literature: Core Student BookChapter 4: Analyse and evaluate writerChapter 8 . Topic 1C hapt er 8Engage the readerthrough original formsof narrationWriting creativelyWhat’s it all about?How can I engage the reader through narrative forms orvoices?In this chapter, you will explore the techniquesthat make the very best creative writing, in theform of narratives or descriptions, come alive.You will look at how writers create convincing,compelling voices that draw us into their world.You will explore the ways in which writersaddress powerful ideas about the way we live,or our place in the world. You will also see howwriters experiment with conventional techniquesand styles of writing to give the reader unusualand surprising perspectives.Getting you thinkingThis is the opening to a story called ‘Wreckage’. engage the reader through original formsof narrationOf course, being young, shiny and vibrant I did not expect to die so yBut then Spring is soon past, and Autumn soon upon us. For me the Swas birth in a factory on the other side of the world; Autumn was a bthe motorway when Suki lost control and I ended up on my side on ahighway, wondering why there were flames belching from my body astaring at me from the side of the road, shaking uncontrollably in thethe police lights. But through the tears, I saw it in her eyes: I was fini use imagery and symbolism to enhancenarrative and descriptive power1Who is narrating this? use structures to create memorable texts apply your skills to English Language andEnglish Literature tasks.2What do we learn about the narrator and his/her relationships?3In what way is the writer trying to engage the reader from thevery start of the story?In this chapter, you will learn how toAQA GCSE EnglishLanguage and EnglishLiterature: AdvancedStudent BookThe Advanced Student Bookrevisits the AssessmentObjectives for English Languageand English Literature at a moresophisticated level, offering extrachallenge to more able students.English Language GCSEWhich AOs arecovered?AO5Communicate clearly, effectively andimaginatively, selecting and adapting tone, styleand register for different forms, purposes andaudiences.Organise information and ideas, using structuraland grammatical features to support coherenceand cohesion of texts.How will this betested?Questions will require you to apply what youhave learned about the overall organisationof texts so that they are consciously craftedto create effects on readers. They will alsorequire you to write for one of two purposes –to describe or to narrate – so you will need toshow your ability to adapt, manipulate and craftlanguage appropriately.AO6Candidates must use a rangeof vocabulary and sentencestructures for clarity, purposeand effect, with accuratespelling and punctuation.Questions will require you tothink of original, compellingways of expressing yourselfthrough your choice ofvocabulary and sentences.You will be expected todemonstrate a rich andambitious vocabulary.Chapter 8: Writing creativelyAQA GCSE 8pgr 2.indd 4117118AQA GCSE English Language and English Literature: A18/11/2014 12:41

forget; and nor should it be.Joanna Moorhead, ‘Let’s put the brakes on teen drivers and make them waituntil they are older’ The Guardian, Friday 11 October 2013t BooksApply the skillsUsing your notes, write 200–300 words in response to74.1task.Chapter this4 . Topic7Reflecting on your progressHow does the writer use language techniques to help persuadethe reader to agree with her point of view?is so planless and functionless. It is something justnt's dust-bin. On the outskirts of the mining towns thereinged completely round by jagged grey mountains, andeel cables where tubs of dirt travel slowly across milesat night you can see the red rivulets of fire windinge flames of sulphur, which always seem on the pointhen a slag-heap sinks, as it does ultimately, only anummocky surface. One in the slums of Wigan, usedly frozen; 'the flock mattress', it is called locally. Evenplaces where coal was once mined, the sites of ancientaeroplane.2 Read the following section of a response to this task. As youread, think about what the student has done well and whatadvice they might need in order to make more progress.Create a feelingof claustrophobiabecause theysuggest peopleare completelysurrounded bythe effects ofindustrialisationreaderThis poem is written about a letter from the parent to the writer.Beclearaboutthewriter’sI thinkthat thewriter hasgrownup and hasoveralllefthome and lives in a city for work.awareness of the ideas in theviewpoint.poem The writerSelecttwo or three language techniques.use of relevant quotation withuses imagery of ice and snow to make it seemsimple explanation of the effectthat their relationship is cold at first, like ‘ice’ and ‘snow’.being created The writerFor useseachone,fieldmakepoint abouthow this techniquea semanticof coldatoclearcreate thecorrect use of a literary term withexample and simple comment oneffect.She usesand ‘ice’ and‘icy’. This ntand purposeeffect createdof the article.the poem feel cold as if their relationship is cold. It startsin the third person with the speaker talking about hercorrect identification of afather as if she is describing him but then it changes halfconscious decision made by theway through and she starts to use ‘you’ as if she is talkingwriterdirectly to her father.Effect: how a writer’s choicemakes you feel or think; whatit reminds you of; what itmakes you pictureAdverbials: words or phrasesused to modify a verb,adjective or adverb to tell youhow, when, where somethingis happeningAt the end of the poem it says that they aretalking toChaptereach other; ‘our souls tap out messages’. This suggeststhat they are communicating or still the same and havea strong bond.5 The poet seems to be saying that thefather and daughter are still close in some ways but not inothers. They are not together any more but there is stilla relationship and they still feel things for each other. Weknow this because of words like ‘heartful’.4: Analyseand evaluateuse of relevant quotation withsimple explanation of what itmight meanclear focus on the meanings andideas in the poem with a furtherclear use of direct quotation tosupport the point being made.deral formsh narrative forms ordid not expect to die so young.oon upon us. For me the Springhe world; Autumn was a bend onended up on my side on a barrenbelching from my body and Sukiking uncontrollably in the stutter ofw it in her eyes: I was finished.Choosing an unusual narrative voice for a text can be one way ofmaking what could be a dull tale come alive. For example, you could: give something inanimate, or not human, a voice make the narrator a ‘phantom’ or double of the main characterin some way (for example, a voice from the dead, or a past self) make the narrator an observer or someone who does notappear to the central to the story place the narrator in an unusual situation or position fromwhich ‘normal’ description is difficult use a combination of these ideas!and his/her relationships?Which of the narrative perspectives above can you link tothese short extracts? Jot down: who the narrator is what they are seeing or describing what makes them engaging or interesting as narrators.a I’m not quite clear why thingshave changed between us. All Iknow is that my bowl isn’t filledas regularly as it once was, andI’m as likely to get a slap as a paton the back 5d English Literature: Advanced Student BookAQA GCSE 8pgr 2.indd 5focus on the effect of addresswith good interpretation ofeffectdetails used to support theexplanation of the metaphord She doesn’t know it yet, but one day she willbe me. Now, she is a seven year old, proudof her brittle sandcastle, neither she, nor it,fully formed. I watch her, a phantom of thefuture, helpless to alter her choices, the coldtide coming in. Of course, you are there, too,observing her from the rocks at a distance,her best friend forever or so she thinks.Each of the above narratives suggests something about arelationship (or relationships). Write down: what the relationship is any clues given about its history or its future development.Chapter 8: Writing creatively153 Get to grips with the newspecifications with expertsuggestions from leadingprofessionals as to how you couldplan and teach the course. Ourpractical, ready-made resourcescan be used in your first yearsof teaching the specifications,and edited and adapted to yourrequirements. Save time updating your EnglishLanguage resources with ourcomprehensive selection of passagesfrom nineteenth- to twenty-firstcentury literature and literary nonfiction, perfect for building students’confidence in tackling unseen texts.b For a moment, he wished he could rise outof his body, still and flat on the hospitalbed and look down on the family as theyinspected him. Of course, all he actuallysaw was the upper half of his father’s face,a sweaty brow, and grey eyes peering, likemarbles, through the porthole of his world.gage the reader from thec They met at my stall. That firstday, she dropped her changeand he picked it up. She smiled,they laughed nervously, and hepressed the fifty pence piece intoher hands. They left in separatedirections, but the next day theywere here at the same time,chatting, exchanging looks. I wasinvisible.Help your students monitortheir progress125 with checkliststhroughout the book.Chapter 4: Analyse and evaluate writers’ methods and effectsExplore the skills4ge’.develops the explanation ofeffect of imagery with anotherrelevant example clearly linkedto ideas5 How might this response be improved even further? Using thetop rung of the Check your progress ladder at the end of thischapter, decide what feedback and advice you might give to8.1Learning objectivesYou will learn how to use a range of forms of narration tosurprise and engage the reader deploy different techniques to writein a convincing voice or persona.use of relevant quotation withsome explanation of the effectbeing createdThe response goes beyond the literal from the start, with a goodexplanation of the metaphorical use of ‘lapwings’. There are someclear explanations of the effect of particular language choicesand imagery, and the evidence has been quite skillfully embeddedinto the response. Overall this candidate seems to be clear andconfident about their understanding of the poem.AQA GCSE English Language and Literature: Core Student BookAssessment objective English Language AO5 English Language AO6correct use of literary term withrelevant references to the poem Help all students make goodprogress. Each chapter follows thehierarchy of skills and knowledge inthe mark schemes, so students havea clear sequence of learning. Endof-chapter ‘Apply your skills’ practicetasks, annotated answers and selfassessment guidance helps studentsunderstand how to improve theirwork.3 How could this sample response be improved? Using themiddle rung of the Check your progress ladder at the end of152The poem then becomes more personal and direct, as ifthe father and daughter are speaking directly to eachother. In the second stanza she begins to use ‘you’ ratherthan ‘he’,as if the letterandhas broughtthem closer to eachwriters’methodseffectsother. She also shows the father’s attempts to keep thecommunication between them with the metaphorical useof ‘breaking ice’ and ‘clearing a path’. This suggests thatthere has been some coldness between them, but thatit is the father that is attempting to break through andrepair the damage.clear explanation of ideas andfeelingsThere is a very clear understanding of the point of the poem, withwell-chosen evidence throughout. There is a clear focus on theideas and feelings and how these have been communicated to thereader in a range of ways.The examples are well-chosen and explained, although theycould have been more developed. The comments on the‘semantic field’ are relevant, with appropriate examples fromthe poem. These comments could have been more developed,linking to the ideas and feelings in the poem. By the end ofthe response, there is a sense that the student is aware of the‘strong bond’ between the parent and the writer, but again, thisinterpretation isn’t particularly developed or clearly explained.119In this poem the writer is exploring feelings aboutYouunderstandtheandwriter’sleaving homeand livinga different life,how she is stillideasclearlyconnected withherandhomecanand herfamily. explainThe writer useshowlanguagesemantic fieldof ‘ice’and ‘snow’ techniquesto make it seemarethatused istocoldcommunicatethem tois alsotheir relationshipat first, but the techniquethereader.used to show that the parent wants to keep in contactwith the speaker. ’Breaking ice on a waterbutt’ is like theYou are aware of the writer’sfather trying to break the distance between them. Also,ideas and can identify somethe writer says ‘clearing a path’ which is also like thelanguage techniques.parent is trying to get closer to their child.Student BooksComments on Response 1se and evaluate writers’ methods and effectsYou understand the writer’s4 Now read ResponseAs youread,think aboutwhat the studentideas 2.andcanexplainandhas done that is an improvement on Response 1, and what advicecomment in detail on howthis student might need in order to make even more progress.language techniques are usedChecklist for successKey terms4.7Response 2 to communicate these to theResponse 1mples of Orwell’sd column ofEffect: how itmakes me feeland whyCheck your progress:this chapter, think about what advice you might give to thisstudent in order to improve their work.119 Engage all learners with a richand exciting approach to EnglishLiterature that takes students stepby-step through the fundamentals ofhow to analyse, interpret and writecritically about literature to provide astarting point for your own in-depthexploration of your chosen set texts.18/11/2014 12:41

AQA GCSE English Language and English Literature:Teacher Guide with CD-ROMThe Teacher Guide supports both Student Books with expert suggestions fromleading professionals about how you could plan and teach the two GCSE courses.These practical, ready-made resources can be drawn on in your first years ofteaching the specifications, and edited and adapted to the needs of your classes. Plan your course with expert support. Schemes of work suggest how EnglishLanguage and English Literature GCSE could be taught in one year, two yearsor three years. Medium-term plans give an overview of the learning in eachchapter, including a clear synopsis of the genres, forms and purposes, keylinguistic and literary terminology and the Assessment Objectives covered. Help all your students make good progress with detailed, differentiatedlesson plans, worksheets and PowerPoints in fully editable formats. Extrasupport and extra challenge features suggest how to make the Student Bookcontent appropriate to all your learners. CPD videos from Jo Heathcote and Sarah Darragh offer advice on preparingto teach the new GCSEs, whether you are a Head of Department, an Englishteacher, or an NQT, including guidance on supporting successful transitionfrom KS3 and how to help students cope with the most challenging aspects ofthe new specifications.4.1Explain and comment on writers’use of languageAssessment objectivesGCSE examinationsEnglish Language AO2 Explain, comment on and analyse how writers use languageand structure to achieve effects and influence readers, usingrelevant subject terminology to support their viewsEnglish Language Paper 1, Questions 2and 3 English Language Paper 2, Question 3Differentiated learning outcomesResources All students should aim to demonstrate awareness of thewriter’s viewpoint and be able to refer to one or two appropriatewords and phrases from the text. Student Book: Topic 4.1 Explain andcomment on writers’ use of language(pp. 110–13)Most students should clearly explain the writer’s viewpoint,using some relevant examples from the text to support theirideas. Worksheet: 4.1PPT: 4.1 Some students could offer interpretations of the writer’sviewpoint and make detailed comments about a range ofcarefully selected words and phrases to support theirinterpretation.Other Student Book topics 4.2 Explain and comment on writers’ useof language techniques (pp. 114–17) 4.3 Explain the way writers use languageto create character (pp. 118–21)Series editors:what it means. Using this point in the lesson to reinforce what effect means can paydividends later on in the chapter, and elsewhere. Remind students that it refers to theeffect that the word or phrase has on the reader: the mood or tone it creates; thethoughts and feelings it provokes in the reader; the picture the reader is encouraged tohave of what is being described.Getting you thinkingPPTDevelop the skillsDisplay PPT 4.1, slide 1. Ask students to suggest words that they might use todescribe what they see. Discuss as a class what it might feel like to live in a place likethe one in the photograph.PPTIntroduce the main questions students should ask when reading a text for the firsttime: What is the writer’s viewpoint? How does the writer want me to think or feel?Big questionStudents can now respond to Q5 by returning to their table and selecting twoexamples that they identified to make notes about their effect. Stress at this point thatthey should focus on selecting useful material – a word/phrase that can be consideredin detail and linked effectively to the writer’s purpose – rather than aiming for blanketcoverage. This is the most important part of becoming a good, critical writer. Itdoesn’t matter if students’ tables are not complete; they are merely using the table tonote down their ideas as part of a discerning selection process.Start with the Big question: Why does it matter which words and phrases the writerchooses? Give students a few minutes to discuss the question in pairs before theywrite a short answer.Explain that you will be returning to this question at the end of the lesson.Allow ten minutes for students to compete Q6, working independently. Refer to theChecklist for success as an aide memoire that students can use before they begin theirwritten task. If time allows, select some responses to share with the class at this point,pointing out what is working well and where students have dealt with the idea ofeffect clearly.Ask students to read the first extract from The Road to Wigan Pier in the Student Book(Topic 4.1, p. 110), or read it aloud if preferred. It might be useful to explain here thatthe image from PPT 4.1 is of a pottery town at the time Orwell is describing.PPTDisplay PPT 4.1 slide 2, which is a checklist of strategies to use when reading a newtext for the first time. Refer students to Q1 and Q2. Give students five minutes torespond to these two questions in pairs or a small groups, before sharing their ideaswith the class. The responses could be collated onto a whiteboard for later reference.Apply the skillsCore Student BookCHAPTER 4Explore the skillsRead the next section of The Road to Wigan Pier (Student Book Topic 4.1, p. 111). Makesure students are familiar with the terminology by drawing attention to the Key termexplanation of adverbials. It might also be useful to take an example of each of theother techniques listed in the first column of the table first before students begin theirindependent work in Q3. Students can either copy the table or use Worksheet 4.1 tocomplete the second column.The Key term effect is central to this part of the lesson – and to following lessons.Students can slip into making vague comments on effect without grasping exactly HarperCollinsPublishers 2015Display PPT 4.1, slide 3 and ask students to read the sample answer. As they read,ask for responses to Q4. This is an opportunity to dig deeply into the meaning of effectand for students to explore ways of writing effectively about it.Read out the main task and make a note of it on the board. Stress the key words in thetask: how, use language and viewpoint. Elicit that language means the effect of particularword choices as well as language techniques.Look at the plan in the Student Book relating to Orwell’s use of language (Topic 4.1p. 113) and identify the good practice: being clear about what the writer’s viewpoint is(point 1) and how the effect is created (points 2–4).Give students ten minutes to look at their notes and plan their responses (Q7).Emphasise again that it is about selecting the most useful, effective bits of evidence toillustrate how the writer’s viewpoint is created rather than trying to c

Language and English Literature: Core Student Book The Core Student Book provides an excellent foundation in the skills and knowledge required for both courses. AQA GCSE English Language and Literature: Core Student Book Chapter 4: Analyse and evaluate writers’ methods and effects Chap