LITERATURE Written Examination
Victorian Certificate of EducationYearLITERATUREWritten examinationDay DateReading time: *.** to *.** (15 minutes)Writing time: *.** to *.** (2 hours)TASK BOOKStructure of bookSectionABSPNumber ofquestionsNumber of questionsto be answered303011MAELNumber ofmarks2020Total 40 Students are permitted to bring into the examination room: pens, pencils, highlighters, erasers,sharpeners and rulers. Students are NOT permitted to bring into the examination room: blank sheets of paper, correctionfluid/tape and dictionaries. No calculator is allowed in this examination.Materials supplied Task book of 68 pages, including assessment criteria on page 68 One or more answer booksThe task You are required to complete two pieces of writing: one for Section A and one for Section B. Each piece of writing must be based on a text selected from the list on pages 2 and 3 of this task book. Each selected text must be from a different category (novels, plays, short stories, other literature,poetry). You must not write on two texts from the same category. Students who write on two textsfrom the same category will receive a score of zero for one of their responses.Instructions Write your student number in the space provided on the front cover(s) of the answer book(s). In the answer book(s), indicate which section you are responding to and the text number of yourselected text. All written responses must be in English.At the end of the examination Place all other used answer books inside the front cover of the first answer book. You may keep this task book.Students are NOT permitted to bring mobile phones and/or any other unauthorised electronicdevices into the examination room. VICTORIAN CURRICULUM AND ASSESSMENT AUTHORITY 2017March 2017
LITERATURE (SAMPLE)2March 2017Table of contentsNovelsPageText numberSection ASection B1.2.Jane AustenCharlotte BrontëPersuasionJane Eyre448–910–113.John FowlesThe French Lieutenant’s Woman412–134.Simon LeysThe Death of Napoleon414–155.Gabriel García MárquezLove in the Time of Cholera416–176.Cormac McCarthyAll the Pretty Horses418–197.Ian McEwanAtonement420–218.Patrick WhiteThe Aunt’s Story422–239.Virginia WoolfMrs Dalloway424–25PlaysText number10.Edward AlbeeWho’s Afraid of Virginia Woolf?526–2711.Jack DavisNo Sugar528–2912.EuripidesThe Bacchae530–3113.Brian FrielThe Freedom of the City532–3314.Hannie RaysonTwo Brothers534–3515.William ShakespeareAntony and Cleopatra536–3716.William ShakespeareThe Tempest538–3917.Tom StoppardArcadia540–41Collected Stories542–4319.Anton ChekhovThe Lady with the Little Dog andOther Stories, 1896–1904544–4520.The Collected Stories546–47Short storiesText number18.Peter CareyKatherine MansfieldOther literatureText number21.Truman CapoteIn Cold Blood648–4922.Chloe HooperThe Tall Man650–5123.George OrwellDown and Out in Paris and London652–5324.Orhan PamukIstanbul: Memories and the City654–55
March 20173LITERATURE (SAMPLE)PoetryPageText numberSection ASection B25.William BlakeBlake’s Poetry and Designs656–5726.TS EliotCollected Poems 1909–1962658–5927.Seamus Heaney (trans.)Beowulf660–6128.Peter PorterMax is Missing662–6329.Adrienne RichThe Fact of a Doorframe:Selected Poems 1950–2001664–6530.Selected Poems666–67Christina RossettiAssessment criteria68TURN OVER
LITERATURE (SAMPLE)4March 2017SECTION A – Literary perspectivesInstructions for Section AYou are required to complete one piece of writing in response to the topic set for one text.Your selected text must be used as the basis for your response to the topic. You are required to producean interpretation of the text using one literary perspective to inform your view.Your selected text for Section A must be from a different category than your selected text for Section B.In the answer book, indicate which section you are responding to and the text number of your selected text.Your response will be assessed according to the assessment criteria set out on page 68 of this book.Section A is worth 20 marks.Novels1.Jane Austen, PersuasionConsider the extent to which the characters in Persuasion are oppressed by society’s rules andexpectations.2.Charlotte Brontë, Jane EyreReflect on the idea that none of the characters in Jane Eyre are truly independent.3.John Fowles, The French Lieutenant’s WomanIn The French Lieutenant’s Woman, Fowles opens up new ways of examining society’s values. Discuss.4.Simon Leys, The Death of NapoleonDiscuss the proposition that Leys’s novella is primarily concerned with the identity and function of theself.5.Gabriel García Márquez, Love in the Time of CholeraDespite its fantasy elements, Love in the Time of Cholera is pervaded by a sense of death and decay. Towhat extent do you agree?6.Cormac McCarthy, All the Pretty HorsesIn what ways does McCarthy conform to or depart from the genre of the American Western in All thePretty Horses?7.Ian McEwan, AtonementHow do the narrative perspectives of Atonement suggest that truth is an elusive notion?8.Patrick White, The Aunt’s StoryConsider the proposition that White exposes the small-mindedness of a materialistic society inThe Aunt’s Story.9.Virginia Woolf, Mrs DallowayIn Mrs Dalloway, Woolf constructs the title character as a woman dependent on others for her identity.Discuss.SECTION A – continued
March 20175LITERATURE (SAMPLE)Plays10. Edward Albee, Who’s Afraid of Virginia Woolf?In Who’s Afraid of Virginia Woolf ?, the characters and the audience are both confronted by unpleasanttruths. Discuss.11. Jack Davis, No SugarIn what ways does Davis depict unequal access to power in No Sugar?12. Euripides, The BacchaeConsider the proposition that, in The Bacchae, Euripides exposes the power of the repressed passionsand desires that threaten civilised society.13. Brian Friel, The Freedom of the CityHow does Friel show that justice serves the interest of those in power in this play?14. Hannie Rayson, Two BrothersReflect on the idea that, in Two Brothers, Rayson shows that the struggle for power is damaging to boththe family and society.15. William Shakespeare, Antony and CleopatraIn Antony and Cleopatra, Shakespeare sets up irreconcilable oppositions between the ordered, sterileworld of Rome and the chaotic, seductive world of Egypt. Discuss.16. William Shakespeare, The TempestConsider the proposition that, in The Tempest, Shakespeare suggests that the values of a civilisedsociety are not always civilised.17. Tom Stoppard, ArcadiaThe characters in Stoppard’s Arcadia are preoccupied with the search for certainty in an unpredictableuniverse. Discuss.Short stories18. Peter Carey, Collected StoriesConsider the proposition that Carey’s disempowered characters in Collected Stories are burdened by asense of emasculation and failure.19. Anton Chekhov, The Lady with the Little Dog and Other Stories, 1896–1904The characters in Chekhov’s stories fail to establish fulfilling relationships because they struggle with asense of who they are. To what extent do you agree?20. Katherine Mansfield, The Collected StoriesIn The Collected Stories, Mansfield’s female characters are independent women with a socialconscience and a strong sense of self. Discuss.SECTION A – continuedTURN OVER
LITERATURE (SAMPLE)6March 2017Other literature21. Truman Capote, In Cold BloodIn this text, Capote suggests that both the Clutter family and their killers are victims of an unequalsociety. Discuss.22. Chloe Hooper, The Tall ManIn what ways have the stories of the Palm Islanders in The Tall Man been shaped by white Australians?23. George Orwell, Down and Out in Paris and LondonTo what extent does the narrative voice in this text reveal Orwell to be an inescapable product of hisown cultural context?24. Orhan Pamuk, Istanbul: Memories and the CityReflect on the idea that, in Istanbul: Memories and the City, Istanbul is reconstructed by Orhan Pamuk’schildhood memories.Poetry25. William Blake, Blake’s Poetry and DesignsIn what ways do the set poems from Blake’s Poetry and Designs invite us to condemn hypocrisy andsocial inequality?26. TS Eliot, Collected Poems 1909–1962The set poems from this text show that although the poet challenges traditional forms, his values remainconservative. Discuss.27. Seamus Heaney (trans.), BeowulfConsider the proposition that, in Heaney’s translation of Beowulf, individual heroism is never asimportant as responsibility to the community.28. Peter Porter, Max is MissingIn the set poems from Max is Missing, Porter challenges the ways in which people view the everydayworld. Discuss.29. Adrienne Rich, The Fact of a Doorframe: Selected Poems 1950–2001Reflect on the notion that the set poems from this text speak strongly to those who are oppressedbecause of their gender, class or social status.30. Christina Rossetti, Selected PoemsDiscuss the idea that the set poems from this text are as much about self-fulfilment and life as they areabout self-restraint and death.END OF SECTION A
March 20177LITERATURE (SAMPLE)SECTION B – Close analysisInstructions for Section BYou are required to complete one piece of writing based on one text in response to the task set.Three passages have been set for every text. The set passages are presented in the order in which theyappear in the nominated version of the text. The set passages are also reproduced as they appear in thenominated version of the text.You must use two or more of the set passages as the basis for a discussion about the selected text.In your response, refer in detail to the set passages and the selected text. You may include minorreferences to other texts.Your selected text for Section B must be from a different category than your selected text for Section A.In the answer book, indicate which section you are responding to and the text number of your selected text.Your response will be assessed according to the assessment criteria set out on page 68 of this book.Section B is worth 20 marks.SECTION B – continuedTURN OVER
LITERATURE (SAMPLE)8March 2017Novels1. Jane Austen, PersuasionUse two or more of the set passages as the basis for a discussion of Persuasion.1.2.Anne Elliot, with all her claims of birth, beauty, and mind, tothrow herself away at nineteen; involve herself at nineteen in anengagement with a young man, who had nothing but himself torecommend him, and no hopes of attaining affluence, but in thechances of a most uncertain profession, and no connexions tosecure even his farther rise in that profession; would be, indeed,a throwing away, which she grieved to think of! Anne Elliot,so young; known to so few, to be snatched off by a strangerwithout alliance or fortune; or rather sunk by him into a state ofmost wearing, anxious, youth-killing dependance! It must notbe, if by any fair interference of friendship, any representationsfrom one who had almost a mother’s love, and mother’s rights,it would be prevented.Captain Wentworth had no fortune. He had been lucky inhis profession, but spending freely, what had come freely, hadrealized nothing. But, he was confident that he should soon berich;—full of life and ardour, he knew that he should soon havea ship, and soon be on a station that would lead to every thinghe wanted. He had always been lucky; he knew he should beso still.—Such confidence, powerful in its own warmth, andbewitching in the wit which often expressed it, must have beenenough for Anne; but Lady Russell saw it very differently.—His sanguine temper, and fearlessness of mind, operated verydifferently on her. She saw in it but an aggravation of the evil.It only added a dangerous character to himself. He was brilliant,he was headstrong.—Lady Russell had little taste for wit; and ofany thing approaching to imprudence a horror. She deprecatedthe connexion in every light.Such opposition, as these feelings produced, was more thanAnne could combat. Young and gentle as she was, it might yethave been possible to withstand her father’s ill-will, thoughunsoftened by one kind word or look on the part of her sister;—but Lady Russell, whom she had always loved and relied on,could not, with such steadiness of opinion, and such tendernessof manner, be continually advising her in vain.“I wish,” said Henrietta, very well pleased with hercompanion, “I wish Lady Russell lived at Uppercross, and wereintimate with Dr. Shirley. I have always heard of Lady Russell,as a woman of the greatest influence with every body! I alwayslook upon her as able to persuade a person to any thing! I amafraid of her, as I have told you before, quite afraid of her,because she is so very clever; but I respect her amazingly, andwish we had such a neighbour at Uppercross.”Anne was amused by Henrietta’s manner of being grateful,and amused also, that the course of events and the new interestsof Henrietta’s views should have placed her friend at all infavour with any of the Musgrove family; she had only time,however, for a general answer, and a wish that such anotherwoman were at Uppercross, before all subjects suddenly ceased,on seeing Louisa and Captain Wentworth coming towards them.They came also for a stroll till breakfast was likely to be ready;but Louisa recollecting, immediately afterwards, that she hadsomething to procure at a shop, invited them all to go back withher into the town. They were all at her disposal.When they came to the steps, leading upwards from thebeach, a gentleman at the same moment preparing to comedown, politely drew back, and stopped to give them way.They ascended and passed him; and as they passed, Anne’sface caught his eye, and he looked at her with a degree ofearnest admiration, which she could not be insensible of. Shewas looking remarkably well; her very regular, very prettyfeatures, having the bloom and freshness of youth restoredby the fine wind which had been blowing on her complexion,and by the animation of eye which it had also produced. Itwas evident that the gentleman, (completely a gentleman inmanner) admired her exceedingly. Captain Wentworth lookedround at her instantly in a way which shewed his noticing ofit. He gave her a momentary glance,—a glance of brightness,which seemed to say, “That man is struck with you,—and evenI, at this moment, see something like Anne Elliot again.”******SECTION B – continued
March 20179LITERATURE (SAMPLE)Novels1. Jane Austen, Persuasion3.She now felt a great inclination to go to the outer door; shewanted to see if it rained. Why was she to suspect herself ofanother motive? Captain Wentworth must be out of sight. Sheleft her seat, she would go, one half of her should not be alwaysso much wiser than the other half, or always suspecting theother of being worse than it was. She would see if it rained.She was sent back, however, in a moment by the entrance ofCaptain Wentworth himself, among a party of gentlemen andladies, evidently his acquaintance, and whom he must havejoined a little below Milsom-street. He was more obviouslystruck and confused by the sight of her, than she had everobserved before; he looked quite red. For the first time, sincetheir renewed acquaintance, she felt that she was betraying theleast sensibility of the two. She had the advantage of him, inthe preparation of the last few moments. All the over-powering,blinding, bewildering, first effects of strong surprise were overwith her. Still, however, she had enough to feel! It was agitation,pain, pleasure, a something between delight and misery.He spoke to her, and then turned away. The character of hismanner was embarrassment. She could not have called it eithercold or friendly, or any thing so certainly as embarrassed.After a short interval, however, he came towards her andspoke again. Mutual enquiries on common subjects passed;neither of them, probably, much the wiser for what they heard,and Anne continuing fully sensible of his being less at easethan formerly. They had, by dint of being so very muchtogether, got to speak to each other with a considerable portionof apparent indifference and calmness; but he could not doit now. Time had changed him, or Louisa had changed him.There was consciousness of some sort or other. He lookedvery well, not as if he had been suffering in health or spirits,and he talked of Uppercross, of the Musgroves, nay, evenof Louisa, and had even a momentary look of his own archsignificance as he named her; but yet it was Captain Wentworthnot comfortable, not easy, not able to feign that he was.It did not surprise, but it grieved Anne to observe thatElizabeth would not know him. She saw that he saw Elizabeth,that Elizabeth saw him, that there was complete internalrecognition on each side; she was convinced that he was readyto be acknowledged as an acquaintance, expecting it, and shehad the pain of seeing her sister turn away with unalterablecoldness.***SECTION B – continuedTURN OVER
LITERATURE (SAMPLE)10March 2017Novels2. Charlotte Brontë, Jane EyreUse two or more of the set passages as the basis for a discussion of Jane Eyre.1.2.My world had for some years been in Lowood: my experiencehad been of its rules and systems; now I remembered thatthe real world was wide, and that a varied field of hopes andfears, of sensations and excitements, awaited those who hadcourage to go forth into its expanse, to seek real knowledge oflife amidst its perils.I went to my window, opened it, and looked out. There werethe two wings of the building; there was the garden; there werethe skirts of Lowood; there was the hilly horizon. My eye passedall other objects to rest on those most remote, the blue peaks.It was those I longed to surmount; all within their boundaryof rock and heath seemed prison-ground, exile limits. I tracedthe white road winding round the base of one mountain, andvanishing in a gorge between two. How I longed to follow itfarther! I recalled the time when I had travelled that very roadin a coach; I remembered descending that hill at twilight. Anage seemed to have elapsed since the day which brought mefirst to Lowood, and I had never quitted it since. My vacationshad all been spent at school. Mrs Reed had never sent for me toGateshead; neither she nor any of her family had ever been tovisit me. I had had no communication by letter or message withthe outer world. School-rules, school-duties, school habits andnotions, and voices, and faces, and phrases, and costumes, andpreferences, and antipathies: such was what I knew of existence.And now I felt that it was not enough. I tired of the routineof eight years in one afternoon. I desired liberty; for liberty Igasped; for liberty I uttered a prayer; it seemed scattered onthe wind then faintly blowing. I abandoned it and framed ahumbler supplication. For change, stimulus. That petition,too, seemed swept off into vague space. ‘Then,’ I cried, halfdesperate, ‘grant me at least a new servitude!’‘I tell you I must go!’ I retorted, roused to something likepassion. ‘Do you think I can stay to become nothing to you? Doyou think I am an automaton? – a machine without feelings?and can bear to have my morsel of bread snatched from mylips, and my drop of living water dashed from my cup? Do youthink, because I am poor, obscure, plain, and little, I am soullessand heartless? You think wrong! – I have as much soul as you– and full as much heart! And if God had gifted me with somebeauty and much wealth, I should have made it as hard for youto leave me, as it is now for me to leave you. I am not talkingto you now through the medium of custom, conventionalities,nor even of mortal flesh; – it is my spirit that addresses yourspirit; just as if both had passed through the grave, and we stoodat God’s feet, equal – as we are!’‘As we are!’ repeated Mr Rochester – ‘so,’ he added,inclosing me in his arms, gathering me to his breast, pressinghis lips on my lips: ‘so, Jane!’‘Yes, so, sir,’ I rejoined: ‘and yet not so; for you are a marriedman – or as good as a married man, and wed to one inferior toyou – to one with whom you have no sympathy – whom I donot believe you truly love; for I have seen and heard you sneerat her. I would scorn such a uni
LITERATURE (SAMPLE) 4 March 2017 SECTION A – continued SECTION A – Literary perspectives Instructions for Section A You are required to complete one piece of writing in response to the topic set for one text. Your selected text must be used as the basis for your response to the topic.
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Department of Petroleum Engineering and Applied Geophysics Examination paper for TPG4150 Reservoir Recovery Techniques Academic contact during examination: Jon Kleppe Phone: 91897300/73594925 Examination date: December 4, 2013 Examination time (from-to): 0900-1300 Permitted examination support material: D/No printed or hand-written
English(A2) – Mock Examination 1 Written Examination Important information: This is the start of the mock examination. Before you look at the following pages, we recommend that you read the information for learners on page 3. The written examination consists of four parts: 1 Language Eleme
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Events that can be written down are part of true literature. Literature, therefore, is part of history. Literature and history, however, also have differences. Literature may be figments of the imagination or events devoid of truth that have been written down, while history is made
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