You can't really revise for English Language, right?

Wrong!

Here is a list of things I suggest you do:

1) Build your vocab. This is hugely important; both your ability to understand/analyse and your ability to write is largely determined by your vocabulary. Revise the key words you've learnt during the course - and try to learn some of these. Remember, you can star about 10-20 words at a time (then filter to just include the starred items) and concentrate on learning those.

2) Revise your analytical vocabulary and rhetorical devices. Make sure you know these and/or these. Be ready to show what you can do in the exam. Give the examiner some variety, some conscious crafting of language: use alliteration, epizeuxis, anaphora etc.

3) Brush up on those common writing errors.

4) Know the two Language papers inside out. Memorise the questions on each paper and the timings (see below for the essentials). Paper 1 is next Tuesday (June 6th). Paper 2 is the Monday after (12th June). Both papers are in the morning, so you can think about what time you need to be moving on to the next question. I'll send you some papers via email, starting with Paper 1.

5) Practise!

Here's an overview of the two papers:

In the next post, I'll run through a series of reminders for Paper 1, including top tips from examiners.



I hope you're enjoying half-term!


Mr M 

AIC - other characters

Hi,

One final post.

1) Remember your timings for tomorrow. You can find them on the right-hand side of this doc:

2) I thought I'd throw together a few ideas about questions focused on other characters. Here goes:

Gerald

Early impressions: 'easy well-bred man about town'. Polite. This is shown through Gerald's charm and his agreement with everything that Birling says. This stage direction gives an early hint about his womanising too. Higher social class than Birling - indications that his parents don't approve. Early clue about 'last summer' - 'I was awfully busy at the works'. He clearly has something to hide. Which brings us to...

Development: his use of euphemistic language ('women of the town', 'I don't come into this suicide business'). He uses language to sanitise his backstory. He also seems to be hyper-aware of the need to 'seem like a nice, well-behaved family.' The word 'seemed' sums Gerald up. He thinks appearances are everything ('we're respectable citizens and not criminals.') He seems selfish when he says 'I became at once the most important person in her life' and later calls her 'gallant' when he ditches her. It seems that his affair made him feel important and heroic, undermining his claim that he was just trying to help. He considers factory workers to be all alike ('They'll be broke if I know them...) However, he does show signs of regret: 'I've suddenly realised - taken it in properly - that she's dead...' His smooth exterior is broken here, shown by his fragmented sentences.

Conclusions/Endings: Ultimately, Gerald is happy to wriggle out of his responsibilities as he has the most to lose in any change in society. Gerald floats in between the two sides of the young/old, capitalist/socialist dichotomies. He can change, but it is not in his interests to do so. Priestley seems to be saying that we can't trust the powerful to change society; the ordinary workers need to do it themselves (i.e. stop 'asking for the earth', but 'take it'.)


Mrs B

Early impressions: control freak (reluctant to have some port), constantly chastising her children and even her husband (who is her social inferior). Tries to control proceedings, for example by diverting attention from Eric's drinking on to Sheila's language. She also tells Sheila when to leave so that the men can talk. She is deferential towards men. She represents the status quo - she is elitist, prejudiced.

Development: Mrs Birling is used to controlling proceedings, so reacts particularly defensively when the Inspector takes control. Her prejudice against working class girls is revealed ('Girls of that class...) and she thinks of them as all being the same. She is supercilious and self-righteous. She only weakens when the Inspector traps her into condemning her own son. She is so keen to evade the blame herself, that she passes it onto her son. 

Conclusions/Endings: Finally, Mrs Birling ends up back where she began (circular structure/ static character). She shows that society needs to be taught through 'fire and blood and anguish'. Mrs B represents the ignorance of the elite. She is obsessed with superficial things like appearances, reputation and manners.



I hope this helps. I'd be a good idea to try the same for Eric. Remember, Eric has already lost his innocence at the start of the play and has already lost faith in his parents. His life is 'sport' - he is bored and reckless. He drinks too much, he's full of self-loathing but the Inspector gives him the opportunity to redeem himself and change his ways. Both Eric and Sheila are like the 'Everyman' of medieval morality plays. They sin but then have the opportunity to learn and grow.

Another possibility: Eva. We did some work on finding Eva - it should be in your books. She represents the working class and is revealed to us only through the words of others. We learn that she is strong and brave at the start, selfless and gallant in her relationship with Gerald, but ultimately she is broken, desperate and weak by the end. Remember to comment on how she has been portrayed on screen and on the significance of her multiple identities. Finally, Priestley wants us to focus on the 'millions and millions of Eva Smiths' out there. 


Good luck!


Mr M

PS. Final tip: make sure you know your '-isms'. The examiners want to see you discussing the big ideas in the play and Priestley's message.

AIC Character Questions - Inspector Goole

Hello,

I thought I'd put together a few outline plans for different characters in An Inspector Calls, using the basic three part structure I've outlined. Here on on...

Inspector Goole:

Early impressions

• The lighting changes from 'pink and intimate' to 'harsh and bright' when he arrives, indicating a change in mood. The initial scene has been celebratory and full of Birling's confidence and complacency - Birling dominates. With the arrival of the Inspector, there is a shift in mood. Perhaps the brighter light represents the light of truth which will reveal the true nature of the Birling family? The Inspector's 'massiveness' means that Birling no longer dominates the stage. The Inspector now stage manages the whole thing, even apparently controlling entrances and exits.
• The name - GHOUL? A clue about his purpose/identity. Is he a supernatural creature, here to feed off the humans on stage?
• Unusual policeman - not interested in Brumley's social hierarchy. Not interested in the law or police procedure. Focuses on morality. He wants the Birlings to witness each other's guilt, even though it's 'one person and one line of inquiry at a time.'

Development

• Dysphemism - 'her position is that she lies with a burnt out inside on a slab.' The Inspector's role is to break down the wall that the Birlings build up to protect themselves. His use of blunt, harsh language is used in contrast to the Birlings euphemistic language.
• Socialist mouthpiece: The Inspector focused on social responsibility and morality, not the law. 'You can divide the responsibility between you...'
• He seems to vaguely warn about revolution: 'It's better to ask for the earth than to take it.'
• stage directions - he 'cuts in massively'. 
• He waits for Eric's arrival and seems aware of the future.
• He moralises - 'we'll have to share our guilt'. Seems to be about 'we' (i.e. society) not the Birlings. 'Some young men drink far too much.' 'Public men, Mr Birling, have responsibilites as well as privileges.'

Conclusions/Endings

• Final speech - highly rhetorical (eg. anaphora, short sentences (parataxis), lists of three, imagery, polysyndeton). He addresses the audience and makes it clear that this is no longer about the Birlings ('millions and millions of Eva Smiths and John Smiths')
• 'fire and blood and anguish' - war? hell? Consider context here. What would the audience in 1945 think?
• Finally, interpret. Who or what is Goole? Is he a spirit? A personification of the public conscience? Is he Priestley himself, come back in time to accuse those he sees as responsible for the disasters of the period between 1912 and 1945?

More ideas here:

There might be another blog later. 

Good luck! 

Mr M

More AIC stuff - Priestley's methods

Hi,

A reminder. Make sure you know and understand this stuff:

And one reminder of this:

Mr M

An Inspector Calls - Structuring a response

Hi,

For Section A of Lit Paper 2, you have to answer one essay question on An Inspector Calls. 

Here are the question focused covered in the sample papers provided by AQA:

• how and why does Sheila change
• responsibility
• contrasts between young and old
• the ending

So what could come up in your exam? The answer is... almost anything. You need to be prepared for a range of questions.

However, it's likely that your question will either be something that has not been covered in the bullet points above - perhaps a question focused on one of the characters. Mr or Mrs Birling? Eric? Gerald? Eva? The Inspector? I also like the 'contrasts' question: think young/old, rich/poor, capitalist/socialist, realism/the unreal ending. Dichotomies.

The rest of this post is lifted from an old blog of mine on Mr Birling. I think a question on Inspector Goole (or Eric,or even Gerald) is more likely (as Mr Birling did come up in the year I wrote this post!) - and I'll try to blog on this subject too.

So, what might a question on Mr B look like?

• How does Priestley undermine Mr Birling in An Inspector Calls?
• Mr Birling is a static character and is nothing more than a personification of capitalism. How does Priestley use Mr Birling to criticise capitalism?

Here's some thoughts about how to structure an answer to one of these questions:


Intro - first impressions:
stage directions and early dialogue - 'provincial speech' and manner hints at modest roots, but he's very quickly forgotten where he came from. Selfish and business obsessed - even at daughter's engagement: 'lower costs and higher prices' - Priestley hinting at his attitude towards his workers. Desperate to impress Gerald and possibly insecure. Hints that he's not as 'comfortable' as he tries to make out. Worries about the Crofts not being there and whether the celebration is lavish enough.

Dramatic irony:
Titanic - obvious reference which makes him sound buffoon-like. Repetition and categorical assertions ('unsinkable... absolutely unsinkable) highlight his over-confidence. War - more emotive. The references to 1940, Russia and H.G Wells/G.B Shaw would resonate with a 1940s audience in particular, and highlight the capitalist/socialist dichotomy.

Interrogation:
His attempts to intimidate Goole show that he's self-important and feels like he should be above the law. He is set up for a fall. Defensive quotes: 'If everyone was responsible...awkward.' etc. Euphemisms: 'horrid business'.

Comments on the interrogation of others:
Initially seems glad to not be the only one involved. Criticises others. Defends Gerald's adultery etc.

Realisation:
'Inspector, I'd give thousands' etc.

Ending:
Ends up laughing at the 'famous younger generation'. Circular structure mirrors his return to complacency. Somewhat lighthearted, silly language shows his growing excitement at getting away with it. 'By jingo, a fake.'

Conclusion:
Birling = capitalism. Static character intended to personify all the faults and complacency of Edwardian England - which led us, in Priestley's view, to war. Characterisation is not subtle - we are meant to see him as a buffoon from the very start. Whatever he says after the Titanic reference is not to be trusted - neither are his capitalist views. Titanic as metaphor for Birlings with their confidence, wealth and ultimately, their downfall.


A simple plan to try for any question is:

1) Early impressions of ___________ (theme or character)
2) Development
3) Endings (the character or theme's eventual destination)
4) Conclusion - interpret (Priestley message + the big picture)



In addition, I've found this helpful revision powerpoint. Take a look.

I'll try to do a similar plan 

   

Keep revising - and let me know if you need anything.



Mr M 

Unseen Poem 2 - Stick to methods

Hi,

A quick reminder about the second unseen question:

• it's only worth 8 marks
• you only have around 15 minutes to do it
• it is only assessed on AO2 (comparing the writer's methods)

The question will be in this format:

In both ______ and ______ the speakers describe _________. What are the similarities and/or differences between the ways the poets present these attitudes? 

[8 marks]

My advice is:

• Read poem 2, just thinking about methods (language and structure)
• Note down anything you notice and look for similarities and differences with poem 1
• Write 2-3 Both/However paragraphs.

Typical comparisons might be:

• Both poems use an extended metaphor to get across _________________. (Discuss how the use of metaphor is similar in the poems by commenting on quotes) However, (Discuss differences and interpretations  of the two metaphors)

• Both poems use rhyme. In ______, (discuss the effect of the rhyme in poem 1 and compare to poem 2). However, in ______, the structure is much more regular. Perhaps this represents _____________________.

• Both poets use powerful verbs.... However
• Both poems feature a motif/symbolism of nature.... However...

Easy peasy.

Mr M

Unseen poem 1 - The Three Tick Method

Hello all,

You should all know this by heart, but here's a quick reminder just in case.

You have two unseen poems to deal with in the exam. Check here to make sure you know your timings.

For the first unseen poem (24 marks, 30 minutes), I advice that you use this method. You can expect:

• A fairly straight forward poem
• An extended metaphor or pattern of imagery to interpret
• A question which requires you to discuss a) ideas, attitudes, feelings; and b) the writer's methods (language and structure)

So, how should you approach a new poem in exam conditions?

By using the Three Tick Method! I nicked this idea from a well known American edublogger and writer. Here's how it works:

1) Create three tick boxes in the top corner of the paper like this: 

2) Read the poem. Make a few notes about the mood/tone. (Perhaps at the beginning and end?) Tick the first box.

3) Re-read the poem. Make a few notes about techniques (Go for the most obvious ones - eg. metaphor, rhyme, structure). Tick the second box.

4) Re-read the poem. Make a note about the 'main idea' (perhaps the theme or meaning of the poem). Tick the final box.

Now you are ready to write. This process takes 4-5 minutes and gives you a way into the poem. You'll find more to say as you go. Feel free to add further notes as you go.

A single reading is not always enough to 'get' a poem. This way, you'll hit the ground running when you do start to write. Don't be afraid to spend this time thinking and annotating first. 25 minutes is plenty of time for this answer.

Why not give it a go? 

Love After Love 

The time will come
when, with elation,
you will greet yourself arriving
at your own door, in your own mirror,
and each will smile at the other's welcome,

And say, sit here. Eat.
You will love again the stranger who was yourself.
Give wine. Give bread. Give back your heart
to itself, to the stranger who has loved you

all your life, whom you ignored
for another, who knows you by heart.
Take down the love letters from the bookshelf,

the photographs, the desperate notes,
peel your own image from the mirror.
Sit. Feast on your life.


Derek Walcott

Mr M

Poetry reminders

Hi,

I recently sent you both of the specimen paper 2s via email. Make sure you are familiar with the paper and the timings.


Remembers for the poetry comparison (section B):

• when comparing ideas/attitudes/feelings, you should still analyse and interpret your quotes
• when comparing the writer's methods, you should still comment on interpretations of meanings (ideas/feelings/poet's message etc.) Perhaps do structure before language to ensure that you don't forget it.

In effect, you are using two different starting points for making comparisons to ensure that you hit the requirements of the marking criteria. You are looking at the comparison from two different angles .

Just keep doing what you've been doing through the course. Zoom in and zoom out.

Remind yourself of poetic devices here or here.

You're nearly there: keep going!


Mr M

AIC Knowledge Organisers

Hi,

On these docs you'll find a reminder of some key ideas relating to An Inspector Calls.

It's really important in literature that you both analyse and interpret texts - or, as I would say, ZOOM IN and then ZOOM OUT. Make sure you revise Priestley's methods, but also don't forget the big ideas:

• context 
• Priestley's aims and message

These docs should serve as a useful reminder:

Remember, underline key words in the question, stay calm and plan:

Early impressions?
Development?
Endings/Conclusions?


Mr M

An old essay on Lady Mac

Oh hi,

This one is going back a bit. Before the days of 100% exam, there was controlled assessment. But before that, there was coursework.

Doing English coursework allowed you to spend ages crafting a single piece of work, re-drafting it until it couldn't be any better. This had its ups and downs. The upside was that students often grafted until they really learnt to write a beautiful essay. The downside is that it took forever and it made it easy to cheat. Some students were so desperate to do well that they ended up writing 20 pages and then re-drafting it. Plus, I had to chase people endlessly when they missed deadlines.

On balance, I'm glad coursework has gone and I think you're doing a better course. But I'm going to share a piece of Macbeth coursework with you that might well be a useful read before your exam. It's not perfect, but it's thoughtful, confident and detailed. I can't remember if it was an A or A* piece. A*, I think. Clearly, you can't write in this depth in your 45 minute answer. You have to plan, be concise and stick to key points. This is just an example of a good student writing in great depth about Lady Macbeth, and it will serve as a useful reminder of her role in the play for you.

Here it is (click to enlarge):

 

Mr M

A Guide to your English Lit Exams

Last thing for now.

In case you've lost it, here's my guide to your English Literature exams:

Happy revision.

Email me, comment or tweet if you need anything.

Mr M 

Remember the Porter

Hi,

Here are some notes on the Porter.

 You can find more great Macbeth resources at the bottom of this page.  

This site is also excellent.


Mr M

Macbeth and the Witches

Hi,

I've finished my plan for a witchy Macbeth question. I've overdone the detail so that you have plenty to think about. Here it is:

Also, a reminder of the different ways in which critics have interpreted the play:

 

Finally, if you're struggling (as much as I don't want to advertise this guy), there are plenty of videos about Macbeth here.

 Don't forget other useful revision sites such as this and this.

You can find more useful links on the right-hand side of this page....


Mr M

Great Expectations - Themes

Hi folks,

It's nearly time!

Below is some of your work on themes in Great Expectations. Do I have permission to clean my windows now?

Mr M

PS. A final thought:

If a question comes up on crime or on social class, remember this killer quote:

 
The sun was striking in at the great windows of the court, through the glittering drops of rain upon the glass, and it made a broad shaft of light between the two-and-thirty and the Judge, linking both together, and perhaps reminding some among the audience, how both were passing on, with absolute equality, to the greater Judgment that knoweth all things and cannot err.

This is from Magwitch's trial, where 32 convicts are brought out at the same time to be given their death sentences, lumped together as if they are all guilty in the same way. This shaft of light represents God's judgement, and He evidently sees all men and women as being equal. Dickens seems to be saying that there is no true justice on Earth. The justice system in London is corrupt and access to justice depends on your ability to pay. Similarly, prisoners with money in the early part of the 19th century could pay to live in luxury, while others were left to rot in dark and dingy cells. At the end of the book, Pip seems to have learnt the value of Christian morality over the idea of gentility. He sees it in this scene, and he sees it when he calls Joe a 'gentle Christian man.' He also comes to accept Magwitch as his true benefactor, someone who worked selflessly for his benefit. Dickens' message: being rich and educated doesn't make you a true gentleman. Being 'coarse and common' doesn't make you immoral. It is also interesting that both Joe and Magwitch end up, through sheer hard work, making enough money to bail out a gentleman.

Think about this shaft of light if you come to conclude an essay on crime or social class.

Anyway, back to the work:

Big Bag o' Macbeth Extracts (with questions)

Hi folks,

For your Macbeth revising pleasure, I present to you a load of extracts: 

Macbeth folder

You can find a list of questions to go with the extracts here.


More stuff coming soon.

Mr M

Practice Paper 1 Questions

Hello all,

I've got some questions for the novel openings I gave you today. I haven't included all four questions for all four texts, but have focused on the ones that work best. Here they are:

'Fahrenheit 451' - Ray Bradbury
This extract is the opening to Ray Bradbury's dystopian classic, in which a 'fireman' (whose job is to burn books, which are now illegal) called Guy Montag starts to question the laws that he is employed to enforce.

2) In paragraph 2, how does the writer use language to describe the burning of the books and house?

3) How has the writer structured the text to interest you as a reader? (whole source)

4) Now refer to the first half of the extract, up to 'the concrete floor downstairs.'

A student, having read this section of the text, said: 'Montag seems too confident and too good at his job at the start of the novel. You can tell that the writer doesn't approve and is going to teach him a lesson.'

 To what extent do you agree? 


'Slaughterhouse Five' - Kurt Vonnegut
This extract is from the start of Vonnegut's anti-war novel, Slaughterhouse Five. At the start, Vonnegut addresses the reader directly, telling us about what inspired him to write the book. Later, the novel develops into a surreal story of Billy Pilgrim, a man who leaps around at random to different moments in his own lifetime.

1) List four things from paragraphs 1-3 which are real incidents from the author's life.

3) How has the writer structured the text to interest you as a reader? (whole source)

4) Now refer to the second half of the extract, from  'But not many words...'

A student, having read this section of the text, said: 'Although this is obviously an anti-war novel, you can tell that this is going to be an unusual one, a surreal one, an one with a dark sense of humour.'

 To what extent do you agree? 


'I am Legend' - Richard Matheson
This extract is from the opening to Matheson's 1954 science-fiction horror novel (about a world infested with vampires) I am Legend.

1) Look at the first three paragraphs on the right hand side of the page.
    List four things that Robert Neville keeps in his bedroom.

3) How has the writer structured the text to interest you as a reader? (whole source)

4) Now refer to the first half of the extract (all of the left-hand side of the page).

A student, having read this section of the text, said: 'Without mentioning a particular enemy, never mind vampires, Matheson has successfully established a gothic tone within the first page of the book.'

 To what extent do you agree? 


Feel free to have a go at creating your own questions for the final text.


Mr M

The Road - Notes on Structure (Q3)

Hi folks,

I've annotated a copy of today's extract with ideas for the structure question. Here it is:

Here's a reminder of the kind of things we're looking for in Q3. Remember, the key thing to remember is:

• what has the writer done to arrange/organise/structure this extract?
• what effects are achieved? How does the writer make us interested? 

7 lessons left. Keep going!

Mr M