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AQA Language Paper 1

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Language and Strucutural Devices

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Skills Building

Comparison

PETER paragraphs

Tone and techniques

Reading Quickly 

Structural Devices and Effect 
Intro to question 4

   Question 1                  Question 2                   Question 3                Question 4     

Language Devices and Effect 
Overview of Question 1
War Horse
The Werewolf
Question 1 Skill Developing
The Book Thief
Whispers in the Graveyard 
Structure

Exam Overview

Question 2 Sentence Starters
Lord of the Flies Q4
Enduring Love Q4

Question 2-3 Practise

Bali

Punch and Judy

Brighton Pier

Mountains

Of Mice and men

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Language and Strucutural Devices

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Discussing Effect

Vocabulary 

Boost 

Discussing impact
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Language and Structural Devices

Question 3 Exemplars

The information below has been taken from

https://madameanglaise.wordpress.com/2018/01/23/tips-for-answering-aqa-gcse-english-language-paper-1-question-3/

 

Overview

  • You can look at a number of structural devices and techniques from zooming in to circular structures, but the main thing we are interested in is “Why THIS, HERE, NOW?” 

  • You don’t need to refer to complex terminology: there is no hierarchy that says ‘exposition’ is better than ‘development’ or that you need to know words like dénouement to get 7 or 8 marks. It’s what you do with the structural terminology that shows ‘sophisticated and accurate use’

  • There are lots of things to avoid. Narrative viewpoint and sentence structures are two of those. They are hard to write about in terms of the arrangement of ideas. Best avoided unless you are absolutely sure about how you can use these to writer about how the ideas are arranged.

  • It’s the quality of comment that is the important thing. We want to know what you think about the structure.

You COULD comment on these techniques

  • changes from a big focus to a small focus

  • narrowing in

  • zooming out

  • shifts of time

  • shifts of topic

  • shifts of person

  • shifts of place

  • sudden introductions or changes

  • gradual introductions or changes

  • flashbacks

  • flashforwards

  • foreshadowing

  • shifts in narrative position

  • external actions of characters

  • internal thoughts of characters

  • shifting point of view

  • developments

  • repetitions

  • circular structures

Level 1

At the beginning of the source, the writer focuses our attention on the crowd, as they are introduced in the first sentence. Then there is a shift of focus to Anuja before it moves back to the crowd who are waiting to hear the plans about the town. This structure is interesting as it could make us interested in Anuja because she is in the first part of the text and we may want to see what happens to her in the rest of the passage. The way the writer structures the text makes me interested as a reader and want to read on to find out what happens. 

The writer then changes the focus to Rufus Carmichael. This interests the reader as we can link back to the beginning.  The story is written in chronological order which adds a further perspective to the story. The reader is interested as the events continue and it adds a sense of drama. 

This is a very good example of what Level 1 answers look like. It has many simple comments (underlined) which could be about practically any text, but they show a simple understanding of structure. The comments are very general. It mentions the main characters and the crowd briefly, but that’s all we get. There are some references to structural features (in orange) which also shows some simple understanding of structure. There are some simple references to parts of the text (non-italicised). It does everything to get a mark of 2.

If you want to move up from Level 1 to Level 2, you have to cut right back on the simple comments like ‘makes you want to read on’, ‘grabs your attention’, ‘make it interesting for the reader’, ‘give a better image for the reader’. You have to cut these right back to zero.

Level 2

At the beginning of the source, the writer describes the crowd “many eager to hear plans that might bring prosperity to the town. Others wore grim expressions” which gives an overall feeling about how the crowd are feeling interested but also annoyed. This allows the reader to understand the feelings in the room As the source develops the writer changes our focus onto Rufus Carmichael who tells them that the site is an eyesore and that it is no use so they might as well build on it which makes the reader agree with him as it sounds disgusting. After that the writer shows us Anuja getting angry which we don’t understand. At the end of the source the writer introduces a falcon and uses foreshadowing which indicates there is conflict and to possibly show the next actions of Rufus Carmichael. 

This is a very good example of a level 2 response. It has some more specific comments on the aspects of structure that it has picked out, although mostly that involves putting it into their own words or explaining briefly how it sounds. It’s picked out some relevant details (in italics) and uses some subject terminology (in orange) that shows the candidate has some understanding of structural features, but they haven’t quite got it yet.

To move up to level 3, the response needs to really address why that specific structural feature is important or interesting to be positioned right there. Why is it important we understand the feelings of the crowd at the beginning? Why is it important that we agree with Rufus Carmichael when he is speaking at that point? Why is it interesting that it finishes with some foreshadowing and the image of the falcon and the insect?

Level 3

At the beginning of this extract, we are introduced to a scene in which there is a crowd. We are also told about a person named Anuja who has been specifically named, which makes us think that she might be important. We also find out that it is a meeting about a development which might bring money into the town. This is giving us the background information that we need to understand why the meeting is being held. We are told that the crowd have mixed feelings, with some being “eager” and some being “grim”, so we understand the atmosphere. The way that Anuja “scanned” the people makes her seem like a bit of an observer at the beginning, rather than telling us if she is also eager about the plans or if she is unhappy. 

As we move to the middle, the mood in the crowd changes and they seem to be more eager and convinced that the development plan is a good idea. The writer only focuses on Rufus and on Anuja whilst he is speaking, and then they say “people squirmed in their seats, turning to their neighbours to exchange excited comments” and we see that instead of feeling angry like Anuja does, they actually feel excited. This is so we understand that Anuja’s views are different from the crowd and we understand why she “could stand it no longer”. Everybody else is being won over and she feels that they are being bribed and taken advantage of, so she has to speak up.

 

At the end although the meeting breaks up “in disarray” and we feel like Rufus has lost his battle, we get the feeling that it is not over yet. Rufus Carmichael says “We will get our way!” and the writer uses foreshadowing with the image of the falcon, which makes us think that FoodFreight is the falcon who will come and snap up the common land for their depot. 

This is a good example of Level 3 for six marks. It clearly understands the sequence and position of ideas. It has a number of clear comments (underlined) about what the position of the ideas makes us think at each point. It also picks out some clear examples and references to the text (in italics) and has some clear understanding of why the writer has chosen to position the ideas where they have.

To move up into Level 4, a more careful selection of structural features will help the candidate be more perceptive. It’s all about the selection. An overview of the whole passage will also help. Writing in more detail about each detail selected (having picked out fewer details) will also help with the ‘detailed’ side of Level 4.

 

 

Level 4

This passage focuses on the changing emotions of a village as they hear a proposal about a new depot that could be built. At first, the crowd are divided between being “eager” and having “grim expressions”, but they are quickly won over by the sales pitch from the FoodFreight representative. After the turning point where Anuja stands up and reminds the villagers of the importance of the plot of land, it is clear that the villagers have won the first battle in what will probably be a war with the company, but there is a sense that the “titanic battle” is far from over.

At the beginning, the writer allows us to see the internal thoughts of the villagers, describing some as “eager”, but the writer also focuses on the external reactions of their faces, with “grim expressions”. For Anuja, who will play the pivotal role in shifting the villagers’ feelings, she is doing nothing other than observing the room and we are unaware of her own feelings about the proposed depot. There is a juxtaposition between the wealth of the representative, who looks “well-fed” and the crowd who are “roughly dressed” and “weather beaten”. We get a sense that they are definitely the underdogs and as we move through the passage, it is clear Anuja thinks they are being taken advantage of and ‘bribed’.

 

In the middle of the text, we see the mood swing as Carmichael convinces them that the land is a health hazard that is of no use. It’s important that we see this shift towards him. The writer also switches each paragraph from a focus on Carmichael to a focus on Anuja. We see Carmichael’s words (but not his internal thoughts) compared to Anuja’s internal thoughts which give us an idea of how angry she is and how amazed that Carmichael could suggest the place is infested with vermin, not recognising that it is a sanctuary for the falcons. The pivotal moment where she stands up and redirects the crowd shows how easily they were tricked by the sales talk, but also how valuable the land is to them really.

By the end, then, it is clear the villagers have ‘won’ the battle. Carmichael’s final words are menacing, when he says “we will have our way”, and the falcon takes on a different meaning. At first, we saw the falcon as a symbol of the beauty and value of the land, a natural image that reminds us of the beauty of nature, but by the end we remember that it is a predator, not unlike the company, and that it is the natural order of life that predators will pick off ‘insects’, which is perhaps a subtle reference to the fact that the battle will indeed be ‘titanic’ as the “weather-beaten” villagers will have to fight off the slick and ‘glossy’ power of the development company. However, we don’t know if the falcon caught the insect in the final image, as the writer says the falcon “swooped” then “veered away” and we don’t know if the insect lived to see another day. There is a sense of inevitability by the end that the development company will have their way, and the ‘dark clouds’ that pass across Carmichael’s face are picked up with the image of the rain and lightning giving us a sense that the battle is really only beginning.

Question 4 Exemplars 

Taken from 

https://madameanglaise.wordpress.com/2018/01/23/tips-for-answering-aqa-gcse-english-language-paper-1-question-3/  

Overview 

  • Question 4 is the longest comprehension question and you should treat it with respect. It shouldn’t be the same length as Q2 or Q3. If it is, you’re either over-answering Q2 and 3 or you’re under-answering Q4.

  • It’s a 20 mark question

  • You should spend about 20-25 minutes answering it

  • It gives you a statement and asks you to find evidence to support (or disprove) the statement, giving your opinions.

How to answer question 4

  • It asks you to explore HOW the writer does something.

  • You need to use a range of select, embedded quotations.

  • You should be writing explanations of how the writer’s language works

  • You need to write about writer’s methods

  • Writer’s methods includes any single thing the writer has done, from figurative language through to viewpoint and perspective. If you want to write about sentence length or type, you can do so with safety here (although I’m not sure it’s necessary – and it’s certainly not compulsory!)

  • Really, we don’t care less if you agree, if you disagree, if you are making a balanced argument. This is not a question that is asking you to make an argument (that’s a writing task). It’s asking you to respond to a statement, find evidence to support or contradict that statement, and then explain what the writer is up to.

Exemplar 6/20

I agree with this statement. I agree that it is mysterious because she finds a human skull and she doesn’t know if it is “a child’s skull” or how long it had been buried there. This could suggest to us that she doesn’t know anything about the skull, how old it is or who it belongs to or even how long it was there. It’s also mysterious because she only finds a few bones and not the whole skeleton “she could find no more of the bones than a dozen or so random bones” so she gives up digging. The writer creates a sense of mystery by using the rhetorical questions about the skull and by giving up at the end. 


We also think it’s mysterious because the woman doesn’t give up even though she was hot “panting in the overhead sun.” which makes us realise how hot it is and the fact that she keeps on digging anyway. It creates tension because we don’t know where the rest of the bones are.

8/20-- because there is … some response to the statementsome appropriate references to the text, a tiny bit of method and some comment on the language/method. 

Exemplar    13/20 

I agree with the statement made because we see throughout that she feels driven to keep going, which makes the reader want to find out what it is she has found.


Firstly, at the beginning of the section, the writer says the woman couldn’t do anything but keep going. “She had no choice, then, did she?” This gives us the impression that she could only do one thing, which was to try and find out where the strange noise was coming from and that she didn’t have an option to just leave it and ignore it. 


As the text continues, we can see that “she must trace the sound to its origin.” The imperative verb “must” means that she feels she like she needs to find it, like it’s essential. It’s also described with the adjective “awkward” which makes it sound difficult. So we can see that she is almost forced to find where the sound is coming from. 


Furthermore, the skull is described as mysterious, not only because of the strange “mewing” sound that it is making and how it seems to be calling to her, but also because we wonder what it is doing there. The questions “Unnamed?” and “Unknown” make us think that there are many questions to be answered. It makes the reader wonder who placed the bones there and why they were making a noise. 


Finally at the end, we are left with a cliff-hanger, because we expect the woman to find some answers to these questions, but she doesn’t find anything.She could find no more of the skeleton than a dozen or so random bones”. This suggests there is still a lot of the mystery to be uncovered.

13/20 because … a clear response to the statement that is fairly detailed, some relevant references to the text which are embedded in the response, clearer methods though it doesn’t really talk about the effects of those methods, and some clear comments on the language and its effects. 

 

     Now here is an exemplar which would be awarded 20/20     

    Can you spot why?    

The first way in which the writer makes the discovery of the bones seem mysterious is in the use of the “mewing” cry which compels the woman to keep digging. Neither the reader nor the main character know what the “cry” was, or why it should come from the ground. The writer describes it as if the woman feels some kind of connection with the cry, as if it is calling to her, and the way that she speaks to it reveals a mysterious connection. It sounds as if the woman is on a rescue mission. The writer describes other sounds as well, in the “brief flurry of scratching”, but it is the silence that is mysterious, making us wonder why it has gone silent, and whether the woman is too late.

 

It is also mysterious because the writer creates a substantial delay using time and action to make it seem as if a lot of time elapses between the “brief flurry of scratching” and the “pleading cry” which comes at the end of a long paragraph. With the early emphasis on all the action, the digging, spading, raking, “deepening and broadening the hole”, it creates the impression of a long time elapsing, and a lot of effort going into finding whatever the “origin” of the noise is. The character must surely think either the creature has escaped, disappeared or died with the lack of noise. The use of temporal markers, “for some time… then… at last” seems to make the passage drag out, which makes us wait to find out the source of this mysterious buried noise.

When the woman finally discovers the skull, the “kind of knowledge” that “passed between her and these eyes” is also mysterious: it sounds as if the woman has some kind of strange connection to the skull, or who it once was. This said, it is stranger still that she would not know whose skull it was, for surely there cannot be many children buried in the family home, or even many children who went missing or died in her past. The use of the violent images of the hole seeming like “a wound” and the earthworms “cut cruelly in two” also adds to the mystery, as it has a sense of foreshadowing, perhaps, that the creature has met a violent end already.

What makes it sound as if the woman is compelled to keep digging is the way the writer suggests the level of effort that the woman has put into digging. At first, it sounds as if she is on a rescue mission to save some poor, trapped animal, since “mewing” is animalistic, along with the scratches. The effort put into digging away the “sinewy weeds and vines” and the list of all the other vegetation she has to clear just to reach the earth makes it sound as if that in itself takes a lot of effort. These make it sound as if she has been driven on to find the “origin” of the sound – otherwise she would have given up, given the hot day and the effort she needs to put in. It also sounds as if she is compelled because of the actions: “She dug. She spaded, and raked. She dug again.” which make it seem as if she is active for a long period of time. It does not sound easy because of the “jungle-like vegetation”, and so we understand that she is driven on by unknown motivation, perhaps to save the source of the “mewing” as well as to satisfy her urge to know what it is. When the writer uses the word “pleading” to describe the cry, we understand that it is the noise itself which is driving the woman on, it is as if it is begging her to be found and released.

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