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International A-Level (IAL) English Literature
WET0 03
1806

Standardisation Scripts

Commentaries

Question 1: Unseen Poetry

Q1 doc ending 2693514

For the unseen poetry section, candidates were presented with the poem:
Sea Reading by Owen Sheers.

This example is a very brief response to the poem, particularly at this

level. Following a short plan, the candidate considers the surface meaning
of the poem and how it ‘explores different aspects’ of the learning
processes. Comment is made in relation to ‘appearance vs reality’ and
how the process of learning a new language requires ‘patience and
perseverance’. Ideas are sometimes unnecessarily laboured over and
there is very little close analysis of language, form and structure. A
general understanding is demonstrated but the Assessment Objectives are
not fully met.

The candidate makes some general points about the poem and there is
some awareness of concepts and terminology.

Level 2, 7 marks

Q1 doc ending 2693506

This is an interesting response. The candidate provides a range of points
and ideas are supported with relevant quotations, although these tend to
be too long. There is recognition that the surfers are ‘almost as children’
who are ‘learning to read again’. There is comment in relation to the
negative, pessimistic tone of the poem and how there is a sense of
foreboding. The point about the ‘water does not have sympathy’ and how
humans are ‘helpless and insignificant against the powers of nature’ are
valid points, but the idea of how the sea can provide a source of
inspiration for the writer is not considered. Ideas are not always fully
developed and more close analysis at word level would have benefited the
response. There is not a full understanding of the poem, as the main idea
is missed.

The candidate offers a clear response to the poem using relevant textual
references. Relevant terminology is employed, such as: ‘lexical field’,
personification, ‘dramatic pauses’, ellipsis and others.

Level 3, 11 marks
Q1 doc ending 2693502

This is a sustained response offering a critical and evaluative

interpretation of the poem. The candidate identifies both the surface
meaning and alternative interpretations of the poem and explores ideas in
detail. The introduction considers how the poem is an extended metaphor
linking the ideas of learning to surf with the art of mastering a new
language. The candidate comments on how the poet’s ideas are
‘unconventional’ when conveying the ‘ability to master the art of surfing’.

The candidate considers and successfully explores a wide range of ideas,

such as: the use of paradox, structure, the unpredictability and intensity
of the waves, the sense of danger, the feelings of isolation, aural imagery,
the experience of having ‘setbacks’ just like ‘the struggle of learning a
new language’ and how the author is ‘constantly writing and developing
new ideas’ and many other points.

This is a confident and mature response that explores a range of literary

effects. The candidate fully appreciates the poem, although some ideas
are a little repetitive.

Level 5, 18 marks

Section B: Prose

Science and Society

Q6 doc ending 2693511

The question asked candidates to explore how the writers portray the
victims of experimentation. The candidate compares The Handmaid’s Tale
and Frankenstein.

A range of points are made in relation to the question and ideas are clear
and relevant. Comments are made in relation to how Gilead was in its
‘transitional phase’ and those in it were punishable by death for non-
compliance. The candidate considers how Offred is forced to ‘play along’
but ‘manages to survive’ her ‘contribution to the experiment’. When
considering Frankenstein, comment is made about Victor’s
experimentation and ‘selfish ambition to play God’ but the ‘Monster cannot
cope with the reality of the nature of his existence’ and how the monster
is denied a name. Other points are made, but the candidate does not fully
consider a range of characters who are the victims of experimentation, for
example, in Frankenstein the candidate only considers how the monster is
a victim but does not consider others, such as Elizabeth, William or
Clerval. There is good focus on the question, although at times the
response becomes a little narrative. The lack of contextual comment
keeps this lower in the level.

Level 3, 15 marks
Q6 doc ending 2634318
The question asked candidates to explore how the writers portray the
victims of experimentation. The candidate compares The Handmaid’s Tale
and Frankenstein.

This is a critical and evaluative response. The candidate explores and

compares The Handmaid’s Tale and Frankenstein and provides a wide
range of examples from both novels. Points include how Victor’s obsession
leads to the monster feeling ‘vicious and resentful’ and how Victor’s
mistake is the neglect of his creation. There is consideration of several
‘victims’ in both novels and ideas are supported with sustained textual
reference and embedded contextual points. A sharp focus on the question
is maintained and ideas are fluently and maturely conveyed throughout
the response. The candidate explores and evaluates connections between
the texts and contexts. There is lack of explicit language features and
therefore not all Assessment Objectives are fully addressed, but the
response is worthy of a mark in Level 5.

Level 5, 27 marks

Q7 doc ending 2693517

This question asked candidates to consider how the writers present the
reader with a disturbing view of the world. In this response, the candidate
explores The Handmaid’s Tale and Never Let Me Go and begins with
comments about dystopian novels and the cautionary tale. There is some
contextual comment and good points made; however, there is little in
relation to Never Let Me Go and the candidate deals with the novels
separately. More specific examples from each novel would have benefited
the candidate further. The imbalance of coverage and lack of writer’s craft
points keep this at the lower-end of Level 3.

Level 3, 14 marks
Q8 doc ending 2693502

This question asked candidates to consider how writers present the idea of
responsibility in their novels. The candidate compares Mrs Dalloway and
Beloved in this critical and evaluative essay.

There is a great deal here and the candidate considers a comprehensive

range of ideas whilst providing a sophisticated response. All Assessment
Objectives have been addressed. The candidate: compares, embeds
contextual comment, uses terminology, explicitly explores language and
structure, makes reference to critics and includes a range of characters in
the comparison. When exploring Mrs Dalloway, the candidate not only
considers the protagonist’s ‘sense of duty’ but also the lack of
responsibility on the doctors’ parts (‘Holmes and Bradshaw’) and how
Septimus feels that he is responsible for his soul. Many other points are
made but those in relation to Sally Seton could have been more explicitly
linked to the question; however they do allude to her responsibility
towards conventions. The points made in relation to Wuthering Heights
are interesting and varied. The candidate considers, for example, Nelly
Dean and her responsibility to ‘entertain’ Lockwood. There is discussion in
relation to Edgar’s failures of responsibility, Catherine’s responsibilities as
‘a conventional Victorian woman’ and there are interesting ideas in
relation to Isabella’s ‘responsibility to the values of the Grange’. The
candidate explores the language and structure of both novels and
demonstrates an appreciation of the writer’s craft.
This response is awarded full marks.

Level 5, 30 marks
Mark Scheme (Results)

June 2018

Pearson Edexcel IAL

In English Language (WET03)
Unit 3: Investigating Language
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June 2018
WET03_01_1806_MS
All the material in this publication is copyright
© Pearson Education Ltd 2018
General Marking Guidance

 All candidates must receive the same treatment. Examiners must mark the
first candidate in exactly the same way as they mark the last.

 Mark schemes should be applied positively. Candidates must be rewarded

for what they have shown they can do rather than penalised for omissions.

 Examiners should mark according to the mark scheme not according to their
perception of where the grade boundaries may lie.

 There is no ceiling on achievement. All marks on the mark scheme should

be used appropriately.

 All the marks on the mark scheme are designed to be awarded. Examiners
should always award full marks if deserved, i.e. if the answer matches the
mark scheme. Examiners should also be prepared to award zero marks if
the candidate’s response is not worthy of credit according to the mark
scheme.

 Where some judgement is required, mark schemes will provide the

principles by which marks will be awarded and exemplification may be
limited.

 When examiners are in doubt regarding the application of the mark scheme
to a candidate’s response, the team leader must be consulted.

 Crossed out work should be marked UNLESS the candidate has replaced it
with an alternative response.

Assessment Objectives: WET03/01

AO1 Articulate informed, personal and creative responses to literary texts,

using associated concepts and terminology, and coherent, accurate
written expression.
AO2 Analyse ways in which meanings are shaped in literary texts.
AO3 Demonstrate understanding of the significance and influence of the
contexts in which literary texts are written and received.
AO4 Explore connections across literary texts.
Section A: Post-1900 Unseen Poetry
Question Indicative Content
Number

1 Sea Reading by Owen Sheers

Students may include the following in their answers:

 the poem is an extended metaphor that compares learning the skill of

surfing with the skill of reading; words come in waves and are often
‘false promises’

 the references to punctuation marks and linguistic terminology provide

visual images; the gulls are described as ‘speech marks’ and the heads
of the seals ‘an ellipsis’

 the sea and the waves are personified (‘their false promises’, ‘growing
in the mind of the sea’) and conveyed as a violent, powerful and
dangerous force: ‘kamikazing itself’, ‘rubs us out’, ‘a diaspora of white
water’

 the use of sibilance echoes the sound of the sea: ‘sitting on surf
boards’, ‘sun we watch each swell’

 the description of the smooth, ‘blank paper’ of the beach contrasts with
the ‘diaspora of white water’

 the moment the surf is ridden, or the reading begins, is conveyed with
optimism (‘will allow us /our fluency’) but the reality is that they must
start again, or redraft ideas, as they ‘struggle back’

 the use of present tense and present participles suggests the speaker is
continuous and undeterred in his quest to read: ‘learning’, ‘tracing’,
‘kamikazing’, ‘preparing’, ‘growing’

 the structure of six tercets perhaps mimics the motion of the waves;
the first three stanzas set the scene and present the wait for the right
moment to surf the wave; each of the first three stanzas are separate
sentences; the final four stanzas convey the moment that the ‘tightrope
of the wave’ is ridden and enjambment is used to convey the rush of
the moment.

These are suggestions only. Accept any valid alternative responses.

Please refer to the specific marking guidance on page 3 when applying this marking grid.

Level Mark AO1 = bullet AO2 = bullet

point 1, 2 point 3, 4
0 No rewardable material.

Level 1-4 Descriptive

1  Makes little reference to texts with limited organisation of ideas.
 Limited use of appropriate concepts and terminology with frequent
errors and lapses of expression.
 Uses a narrative or descriptive approach that shows limited
knowledge of texts and how meanings are shaped in texts.
 Shows a lack of understanding of the writer’s craft.
Level 5-8 General understanding/exploration
2  Makes general points, identifying some literary techniques with
general explanation of effects.
 Aware of some appropriate concepts and terminology. Organises
and expresses ideas with clarity, although still has errors and
lapses.
 Gives surface readings of texts relating to how meanings are
shaped in texts.
 Shows general understanding by commenting on straightforward
elements of the writer’s craft.
Level 9 - 12 Clear relevant application/exploration
3  Offers a clear response using relevant textual examples.
 Relevant use of terminology and concepts. Creates a logical, clear
structure with few errors and lapses in expression.
 Demonstrates knowledge of how meanings are shaped in texts with
consistent analysis.
 Shows clear understanding of the writer’s craft.
Level 13 - 16 Discriminating controlled application/exploration
4  Constructs a controlled argument with fluently embedded examples.
 Discriminating use of concepts and terminology. Controls structures
with precise cohesive transitions and carefully chosen language.
 Demonstrates discriminating understanding of how meanings are
shaped in texts.
 Analyses, in a controlled way, the nuances and subtleties of the
writer’s craft.
Level 17 - 20 Critical and evaluative
5  Presents a critical evaluative argument with sustained textual
examples.
 Evaluates the effects of literary features with sophisticated use of
concepts and terminology. Uses sophisticated structure and
expression.
 Exhibits a critical evaluation of the ways meanings are shaped in
texts.
 Displays a sophisticated understanding of the writer’s craft.
 Section B: Prose

Question Indicative Content

Number

2 Growing Up

Students may include the following in their answers:

 how writers present education, e.g. Maisie’s education and the

knowledge she gains as she matures, Miss Overmore and Mrs Wix’s
roles; Pip’s education, teaching Joe to read, his life as an apprentice and
what he learns in London; Celie’s limited education and what she learns
and how she develops from her relationship with Shug, Nettie, Samuel
and Corrine’s missionary work

 comparison of the different types of education gained by the characters,

e.g. Maisie’s private education and her governesses; Pip’s basic
education, the help he receives from Biddy, becoming Joe’s apprentice
and his ‘education’ to becoming a gentleman; Celie’s lack of formal
education that she is so desperate to gain, but learns from experience
and others

 the effects of education on the main characters, e.g. Maisie’s

relationship with her governesses and how her childhood innocence is
lost when she is forced to grow up; Pip becomes a gentleman but at a
cost; Celie rebels once she gains confidence from her relationship with
Shug and becomes independent, happy and successful; Maisie, Pip and
Celie all develop as a result of the discovery of truth and from what they
have learned; the novels all deal with growing up and coming of age; all
novels consider the formation and education of the protagonists and all
exemplify the bildungsroman genre

 comparison of the narrative methods writers use to present education,

e.g. James’ use of free indirect style and his worldly narrator to show
how Maisie learns through the experiences of her parents’ separation
and new relationships; Dickens’ use of the adult Pip reflecting on his life
and his observations of others; Walker’s use of epistolary narrative of
Celie’s and Nettie’s to reveal what they have learned and discovered
and how they have developed

 how writers present the effects on characters when they learn about the
truth, e.g. discoveries by Nettie, Celie and Pip tend to have sudden and
drastic effects while with Maisie the effects are a more gradual process
of maturity

 how writers link education to their contexts, e.g. James’ treatment of

the role of governesses, wealth, divorce and adultery in a society where
the appearance of respectability was so important; Dickens’ treatment
of the role of apprenticeships and social class through the revelation of
Estella’s origins; Walker’s use of discovered truths to highlight racism
and abusive patriarchy. Comparisons of the ways modern readers might
react to each text.

These are suggestions only. Accept any valid alternative responses.

3 Growing Up

Students may include the following in their answers:

 how writers portray the effect of money, e.g. Maisie’s parents’ fortune and
their wealthy social circles; the hardships faced by the young Pip,
emphasised by Miss Havisham’s wealth, Pip’s fortune; Celie’s life in a rural,
poor farming community and her desire to make enough money to be
independent, Shug’s comparative wealth

 how the writers portray the effect of money on characters, e.g. Maisie’s
parents’ immoral and frivolous lives and the effect this has on her; Pip’s
relative poverty and affluence, and almost self-destruction; Celie gaining
independence, strength, confidence and happiness as a result of gaining
money

 how writers use language to show the negative effects that money can
bring, e.g. Maisie’s abandonment by her parents; Pip’s loss of fortune and
ill health; Grady spending Shug’s money to live a flamboyant life

 comparison of how writers present their views of money, e.g. James’

portrayal of money and social prestige and how wealth was obtained, such
as the nouveau riche, Mr Perriam or the American ‘Countess’, or inherited;
Dickens’ presentation of huge personal wealth that brings unhappiness to
those who have it. Joe’s indifference to money and Miss Havisham using
money for revenge. The effects Magwitch’s money has on Pip; Walker’s
view of financial wealth bringing new opportunities. Commercial gain
means the construction of a new road destroys a way of life

 comparison of the narrative methods used by writers to present the effect

of money on a character’s life, e.g. James’ dual point of view; Dickens’
presentation of events through the voice of the older Pip’s recount;
Walker’s use of epistolary narrative

 how writers link money with their contexts, e.g. James’ treatment of
divorce and adultery in a society where respectability, wealth and social
status were important; Dickens’ presentation of different social classes;
Walker’s portrayal of women’s role in society, sexuality and abusive
patriarchy. Dickens’ sentimental portrayal of society where the poor are
happy contrasted with Walker’s more realistic presentation of poverty.
Comparisons of the ways modern readers might react to each text.

These are suggestions only. Accept any valid alternative responses.

Please refer to the specific marking guidance on page 3 when applying this marking
grid.

Level Mark AO1 = bullet AO2 = bullet AO3 = bullet AO4 = bullet

point 1 point 2 point 3, 4 point 5, 6

0 No rewardable material.

Level 1 1-6 Descriptive

 Makes little reference to texts with limited organisation of
ideas. Limited use of appropriate concepts and terminology
with frequent errors and lapses of expression.
 Uses a narrative or descriptive approach that shows limited
knowledge of texts and how meanings are shaped in texts.
 Shows a lack of understanding of the writer’s craft.
 Shows limited awareness of contextual factors.
 Shows limited awareness of links between texts and
contexts.
 Demonstrates limited awareness of connections between
texts.
 Describes the texts as separate entities.
Level 2 7 - 12 General understanding/exploration
 Makes general points, identifying some literary techniques
with general explanation of effects. Aware of some
appropriate concepts and terminology. Organises and
expresses ideas with clarity, although still has errors and
lapses.
 Gives surface readings of texts relating to how meanings
are shaped in texts. Shows general understanding by
commenting on straightforward elements of the writer’s
craft.
 Has general awareness of the significance and influence of
contextual factors.
 Makes general links between texts and contexts.
 Identifies general connections between texts.
 Makes general cross-references between texts.
Level 3 13 - 18 Clear relevant application/exploration
 Offers a clear response using relevant textual examples.
Relevant use of terminology and concepts. Creates a
logical, clear structure with few errors and lapses in
expression.
 Demonstrates knowledge of how meanings are shaped in
texts with consistent analysis. Shows clear understanding
of the writer’s craft.
 Demonstrates a clear exploration of the significance and
influence of contextual factors.
 Develops relevant links between texts and contexts.
 Makes relevant connections between texts.
 Develops an integrated approach with clear examples.
Level 4 19 - 24 Discriminating controlled application/exploration
 Constructs a controlled argument with fluently embedded
examples. Discriminating use of concepts and terminology.
 Controls structures with precise cohesive transitions and
carefully chosen language.
 Demonstrates discriminating understanding of how
meanings are shaped in texts. Analyses, in a controlled
way, the nuances and subtleties of the writer’s craft.
 Provides a discriminating analysis of the significance and
influence of contextual factors.
 Makes detailed links between texts and contexts.
 Analyses connections between texts.
 Takes a controlled discriminating approach to integration
with detailed examples.
Level 5 25 - 30 Critical and evaluative
 Presents a critical evaluative argument with sustained
textual examples. Evaluates the effects of literary features
with sophisticated use of concepts and terminology. Uses
sophisticated structure and expression.
 Exhibits a critical evaluation of the ways meanings are
shaped in texts. Displays a sophisticated understanding of
the writer’s craft.
 Presents a sophisticated evaluation and appreciation of the
significance and influence of contextual factors.
 Makes sophisticated links between texts and contexts.
 Evaluates connections between texts.
 Exhibits a sophisticated connective approach with
sophisticated use of examples.
Question Indicative Content
Number

4 Colonisation and After

Students may include the following in their answers:

 how writers present friendship in their novels, e.g. Marlow’s friends
onboard the Nellie who are Marlow’s audience, Kurtz’s relationship with
his beautiful and influential African mistress, the Russian trader devoted
to Kurtz; Selvon’s Gallahad, Moses, Bart and others and how their
friendships unite them; Forster’s friendship between Fielding and Aziz,
Fielding’s impressions of Adela’s friendliness, Aziz’s friendship with
Hamidullah and others

 how writers portray friendship, e.g. Kurtz’s African mistress, Kurtz’s long-
suffering fiancée, Marlow’s doting aunt; Selvon’s presentation of the
nature of friendship between the men and the French and Austrian girls;
Forster’s exploration of whether or not an Indian can be friends with an
Englishman. Aziz is surprised when Mrs Moore treats him like a friend

 comparison of the ways in which friends are influential, e.g. Marlow’s

doting aunt who secures him a position with the company and Kurtz’s
African mistress who has much influence; Tanty, Selvon’s most prominent
female character, secures credit for her friends and neighbours with the
neighbourhood grocer; Fielding persuading Aziz to drop the damage suit
against Adela, Godbole’s influence after the trial to secure Aziz a post as
a personal physician

 comparison of different types of friendship that arise out of common

interest and are forged through circumstances, e.g. Conrad’s portrayal of
the casual friendships of shipmates and colleagues; Selvon’s satirical
presentation of different friendships and relationships of those who find
themselves in an immigrant group; Forster’s satire and characterisation
of typical British attitudes in friendships amongst ex-patriots, excluding
outsiders as when Aziz mistakenly believes he can treat Mrs Moore as a
close friend

 comparison of the narrative methods used by writers to present

friendship, e.g. Conrad uses a journey to illustrate movement away from
companionship to isolation; Selvon, by the use of an episodic plot
structure, shows the fragmentary nature of friendships; Forster presents
the reader with a cohesive community of friends that becomes
increasingly unstable and is shown to fall apart as the narrative develops

 how friendship relates to context, e.g. Conrad’s view of European imperial

activities and relationships within the novel; Selvon’s ‘Windrush’
generation and life in 1950s London; Forster’s presentation of the
attitudes of British colonial officials and British rule in India, those who
attempt to understand India and those who do not. Comparisons of the
ways modern readers might react to each text.
These are suggestions only. Accept any valid alternative responses.
Question Indicative Content
Number

5 Colonisation and After

Students may include the following in their answers:

 how writers portray injustice, e.g. Conrad’s view that power over other
humans is unjust. The portrayal of the injustice of the nature of
imperialism and colonisation with ‘suppression’ and ‘extermination’ of
indigenous people by Kurtz or the Company’s men; Selvon’s ‘Windrush’
generation and the racial injustice experienced; Forster’s presentation of
colonial British rule and the injustice of Aziz’s treatment

 comparison of narrative methods and language used to portray injustice,

e.g. Conrad’s frame-tale and the anonymous narrator, who learns at the
same time as the reader of the injustice of European colonialism and of
its dark history lacking in civilised behaviour; Selvon’s episodic plot
structure portrays London as an unreal place of promise rather than a
place of opportunity. The use of phonetic West Indian Creole reshapes the
use of English in order to convey the feelings and mood of both
characters and location; Forster’s narrative is straightforward and events
follow one another in three sections. The omniscient third-person narrator
conveys the injustices experienced. Forster’s use of satire and the
characterisation of typical British attitudes, particularly those of women,
are portrayed as racist, self-righteous and condescending

 comparison of how the writers reveal characters subjected to injustice,

e.g. Kurtz’s influence on others and his treatment of others; Selvon’s
references to the volatile atmosphere faced by immigrants and the lack of
prospects that characters face; Forster’s presentation of characters who
assume control and who are oblivious to injustice, such as Ronny
Heaslop’s desire to rise in rank or the way Major Callendar is
inconsiderate towards Aziz

 comparison of the effects of injustice on others, e.g. Marlow’s savage

methods of exploitation of indigenous workers and the gulf between
cultures; prejudice experienced and alienation felt by Selvon’s characters;
the trial of Aziz demonstrating the differing attitudes and racial tension of
the British towards the Indians

 how injustice relates to the contexts, e.g. Conrad’s presentation of

European colonialism and the ivory trade; Selvon’s reality of the ‘open
door’ policy of the 1948 Nationality Act; Forster’s contempt for the British
Government taking control of India, following unrest when The East India
Company assumed power.

 Comparisons of the ways modern readers might react to each text.

These are suggestions only. Accept any valid alternative responses.

Please refer to the specific marking guidance on page 3 when applying this marking
grid.

Level Mark AO1 = bullet AO2 = bullet AO3 = bullet AO4 = bullet

point 1 point 2 point 3, 4 point 5, 6

0 No rewardable material.

Level 1 1-6 Descriptive

 Makes little reference to texts with limited organisation of ideas.
Limited use of appropriate concepts and terminology with
frequent errors and lapses of expression.
 Uses a narrative or descriptive approach that shows limited
knowledge of texts and how meanings are shaped in texts.
 Shows a lack of understanding of the writer’s craft.
 Shows limited awareness of contextual factors.
 Shows limited awareness of links between texts and contexts.
 Demonstrates limited awareness of connections between texts.
 Describes the texts as separate entities.

Level 2 7 - 12 General understanding/exploration

 Makes general points, identifying some literary techniques with
general explanation of effects. Aware of some appropriate
concepts and terminology. Organises and expresses ideas with
clarity, although still has errors and lapses.
 Gives surface readings of texts relating to how meanings are
shaped in texts. Shows general understanding by commenting
on straightforward elements of the writer’s craft.
 Has general awareness of the significance and influence of
contextual factors.
 Makes general links between texts and contexts.
 Identifies general connections between texts.
 Makes general cross-references between texts.
Level 3 13 - 18 Clear relevant application/exploration
 Offers a clear response using relevant textual examples.
Relevant use of terminology and concepts. Creates a logical,
clear structure with few errors and lapses in expression.
 Demonstrates knowledge of how meanings are shaped in texts
with consistent analysis. Shows clear understanding of the
writer’s craft.
 Demonstrates a clear exploration of the significance and
influence of contextual factors.
 Develops relevant links between texts and contexts.
 Makes relevant connections between texts.
 Develops an integrated approach with clear examples.
Level 4 19 - 24 Discriminating controlled application/exploration
 Constructs a controlled argument with fluently embedded
examples. Discriminating use of concepts and terminology.
Controls structures with precise cohesive transitions and
carefully chosen language.
 Demonstrates discriminating understanding of how meanings
are shaped in texts. Analyses, in a controlled way, the nuances
and subtleties of the writer’s craft.
  Provides a discriminating analysis of the significance and
influence of contextual factors.
 Makes detailed links between texts and contexts.
 Analyses connections between texts.
 Takes a controlled discriminating approach to integration with
detailed examples.
Level 5 25 - 30 Critical and evaluative
 Presents a critical evaluative argument with sustained textual
examples. Evaluates the effects of literary features with
sophisticated use of concepts and terminology. Uses
sophisticated structure and expression.
 Exhibits a critical evaluation of the ways meanings are shaped in
texts. Displays a sophisticated understanding of the writer’s
craft.
 Presents a sophisticated evaluation and appreciation of the
significance and influence of contextual factors.
 Makes sophisticated links between texts and contexts.
 Evaluates connections between texts.
 Exhibits a sophisticated connective approach with sophisticated
use of examples.
Question Indicative Content
Number

6 Science and Society

Students may include the following in their answers:

 comparison of the ways the writers portray the victims of

experimentation, e.g. the characters who are donors in Never Let Me Go
and Kathy’s loss of her friends, Ruth and Tommy; Offred as a victim of
science when she is separated from her child and husband, Luke, when
Gilead is formed in The Handmaid’s Tale; Victor as a victim of his own
scientific experimentation when his obsessive quest to create life results
in the deaths of Elizabeth and others close to him. The creature is a
victim of science - his loneliness and desire for a companion result in a
quest for revenge, which leads to both his and his creator’s deaths in
Frankenstein
 different ways in which being a victim is experienced, e.g. the physical
and mental suffering in Never Let Me Go; the mental and physical
hardships experienced when compared with a former life of freedom,
equal rights and contentment in The Handmaid’s Tale; Victor’s loss of
rational thought through his obsession, the physical loss of Elizabeth,
William and Justine. The destruction of the creature’s companion and the
creature’s loss of hope in Frankenstein
 comparison of narrative methods to portray the victims of
experimentation, e.g. the narrator’s tone and direct address to the reader
in Never Let Me Go to present Kathy’s personal experiences; the use of
flashback in The Handmaid’s Tale to show life before the establishment of
Gilead and glimpses of Offred’s former life; the shifting narratives in
Frankenstein providing a variety of different perspectives from characters
who are all victims of experimentation
 the ways the writers include details of daily life to create sympathy for
the characters who are victims of experimentation, e.g. life at Hailsham
School and the friendships that develop in Never Let Me Go; the practical
details of the Handmaids’ lives; the details of Frankenstein’s travels and
the anguish and guilt that he feels over the loss of his loved ones
 comparison of how protagonists are the ultimate victims of
experimentation and face death (Kathy in Never Let Me Go and Victor
and the creature in Frankenstein) or uncertainty (Offred in The
Handmaid’s Tale) at the end of the novels
 what the contexts reveal about victims of experimentation, e.g. the
effects of cloning and biological engineering in Never Let Me Go; the loss
of a free society and population issues in The Handmaid’s Tale; anxieties
about scientific experimentation and the sources of life in Frankenstein.
Comparisons of the ways modern readers might react to each text.

These are suggestions only. Accept any valid alternative responses.

Question Indicative Content
Number

7 Science and Society

Students may include the following in their answers:

 comparison of how writers present the reader with a disturbing view of

the world in their novels, e.g. Ishiguro’s presentation of control in Never
Let Me Go and how donors are produced to provide society with spare
organs; the dystopian view of Gilead and its society in The Handmaid’s
Tale; the negative outcomes of scientific experimentation and
advancement, exploration and discovery, in Frankenstein
 comparison of how the writers use settings to present the reader with a
disturbing view of the world, e.g. the gradual realisation of the purpose
of life at Hailsham, the isolated cottages and the donor recovery centres;
the totalitarian society of Gilead with a suggestion that the idyllic location
of Cambridge, Massachusetts, is now negatively portrayed as the centre
for Gilead’s power, Harvard University becomes the detention centre run
by the Eyes; the multiple isolated settings in Frankenstein reflect the
bleakness of the novel
 comparison of how a disturbing view of the world is presented through
the lives of the characters, e.g. Kathy accepts her fate as a donor, there
is no hope of a deferral or of ever living a full life in Never Let Me Go; the
dystopia of Gilead as experienced by Offred and the subjugation of all
women by men in The Handmaid’s Tale; how the creature experiences
rejection by his creator, is beaten and chased away by the family of
peasants in Frankenstein
 comparisons of the writers’ craft and the use of description to present a
disturbing view of the world, e.g. the apparent normality of Hailsham, the
Handmaids’ salvaging, the relentless isolation faced by Victor and the
creature; the implications of the endings of the novels
 comparison of the narrative methods used by the writers to convey a
disturbing view of the world, e.g. Ishiguro’s use of flashbacks and the
novel’s division into three parts; Atwood’s use of Offred’s memories,
thoughts and feelings, the alternating ‘Night’ sections and concluding
‘Historical Notes’ to provide a sense of realism; Shelley’s use of in medias
res, epistolary form and varied viewpoints
 contextual factors, e.g. the reader’s concerns for the future of humanity;
concerns about experiments on humans, cloning and social control;
gender inequalities and the contrast of Offred’s life prior to the
establishment of Gilead in The Handmaid’s Tale; scientific
experimentation and biological engineering in Never Let Me Go; the
influential works of Dr Darwin (Charles Darwin’s grandfather) and Galvani
(galvanism), the scientific developments and experiments at the time
Frankenstein was written. Comparisons of the ways modern readers
might react to each text.
These are suggestions only. Accept any valid alternative responses.
Please refer to the specific marking guidance on page 3 when applying this marking
grid.

Level Mark AO1 = bullet AO2 = bullet AO3 = bullet AO4 = bullet

point 1 point 2 point 3, 4 point 5, 6

0 No rewardable material.

Level 1 1-6 Descriptive

 Makes little reference to texts with limited organisation of ideas.
Limited use of appropriate concepts and terminology with
frequent errors and lapses of expression.
 Uses a narrative or descriptive approach that shows limited
knowledge of texts and how meanings are shaped in texts.
Shows a lack of understanding of the writer’s craft.
 Shows limited awareness of contextual factors.
 Shows limited awareness of links between texts and contexts.
 Demonstrates limited awareness of connections between texts.
 Describes the texts as separate entities.

Level 2 7 - 12 General understanding/exploration

 Makes general points, identifying some literary techniques with
general explanation of effects. Aware of some appropriate
concepts and terminology. Organises and expresses ideas with
clarity, although still has errors and lapses.
 Gives surface readings of texts relating to how meanings are
shaped in texts. Shows general understanding by commenting
on straightforward elements of the writer’s craft.
 Has general awareness of the significance and influence of
contextual factors.
 Makes general links between texts and contexts.
 Identifies general connections between texts.
 Makes general cross-references between texts.
Level 3 13 - 18 Clear relevant application/exploration
 Offers a clear response using relevant textual examples.
Relevant use of terminology and concepts. Creates a logical,
clear structure with few errors and lapses in expression.
 Demonstrates knowledge of how meanings are shaped in texts
with consistent analysis. Shows clear understanding of the
writer’s craft.
 Demonstrates a clear exploration of the significance and
influence of contextual factors.
 Develops relevant links between texts and contexts.
 Makes relevant connections between texts.
 Develops an integrated approach with clear examples.
Level 4 19 - 24 Discriminating controlled application/exploration
 Constructs a controlled argument with fluently embedded
examples. Discriminating use of concepts and terminology.
Controls structures with precise cohesive transitions and
carefully chosen language.
 Demonstrates discriminating understanding of how meanings
are shaped in texts. Analyses, in a controlled way, the nuances
and subtleties of the writer’s craft.
  Provides a discriminating analysis of the significance and
influence of contextual factors.
 Makes detailed links between texts and contexts.
 Analyses connections between texts.
 Takes a controlled discriminating approach to integration with
detailed examples.
Level 5 25 - 30 Critical and evaluative
 Presents a critical evaluative argument with sustained textual
examples. Evaluates the effects of literary features with
sophisticated use of concepts and terminology. Uses
sophisticated structure and expression.
 Exhibits a critical evaluation of the ways meanings are shaped in
texts. Displays a sophisticated understanding of the writer’s
craft.
 Presents a sophisticated evaluation and appreciation of the
significance and influence of contextual factors.
 Makes sophisticated links between texts and contexts.
 Evaluates connections between texts.
 Exhibits a sophisticated connective approach with sophisticated
use of examples.
Question Indicative Content
Number

8 Women and Society

Students may include the following in their answers:
 how writers present the idea of responsibility, e.g. Brontё’s presentation
of Catherine and Heathcliff’s lack of responsibility for their actions and
poor treatment of others; Woolf’s presentation of Clarissa’s
responsibilities as a politician’s wife and society hostess, Lucrezia’s
responsibility for Septimus and Doris Kilman’s responsibility for
influencing Elizabeth; Morrison’s presentation of Sethe’s responsibility for
infanticide, the Garners’ and schoolteacher’s abuse of slaves, the
Bodwins - who are responsible for securing Sethe’s freedom
 comparison of the ways parents behave responsibly or irresponsibly,
e.g. Earnshaw’s preferential treatment of Heathcliff and how this has a
negative effect on Hindley, Hindley’s alcoholism following Frances’s
death, Heathcliff’s irresponsible and cruel treatment of Linton and
Hareton; Clarissa’s irrational feelings of jealously towards Miss Kilman,
Richard Dalloway as a loving father and husband who provides stability
for his family; Sethe’s murder of her eldest daughter to save her from
a life of slavery, Sethe’s obsession with Beloved, resulting in Denver
seeking help from Lady Jones and the community
 how responsibility or irresponsibility is demonstrated through love or
passion for others, e.g. Catherine and Heathcliff’s relationship and the
trail of destruction, hatred and revenge that ensues from it. Isabella’s
and young Catherine’s experience of Heathcliff’s cruelty because of
their lineage and his desire for revenge; Clarissa’s angst and self-
questioning as to whether she made the right choice in rejecting Peter
Walsh’s proposal. Lucrezia’s love for her husband, who struggles with
his war injuries and is driven to suicide; the cruel treatment that leaves
Sethe scarred both physically and mentally. Sethe’s desperate
measures and guilty conscience for killing her own child, Beloved
 comparison of how writers explore ideas of responsibility through social
position or ambition, e.g. Brontё’s presentation of Catherine’s desire for a
better social class by marrying Edgar Linton. Hindley’s responsibility for
Wuthering Heights following his father’s death, Heathcliff’s elevated
position as a gentleman and responsibility for his property; Woolf’s
contrast of social class and wealth between the Dalloways and Smiths,
illustrating a social divide. Clarissa feels responsible for Septimus’s
suicide: ‘It was her disaster – her disgrace’; Morrison’s contrasting
society of landowners. Baby Suggs’ respected and responsible position in
society, inspiring Cincinnati’s black residents emotionally and spiritually
 comparison of the ways narrative methods are used by the writers to
present the idea of responsibility, e.g. Brontё’s use of multiple narrators
to provide different viewpoints to illustrate how characters are responsible
for their actions and the effects on others; Woolf’s use of the stream of
consciousness, different points of view and indirect style to present a day
in Clarissa’s life and the responsibilities within it; Morrison’s use of shifting
narrative viewpoints to explore the idea of responsibility
 contextual aspects, e.g. the responsibility of the gentry in Wuthering
Heights; post-World War I in London, politics, the lack of medical
treatment and understanding for war veterans like Septimus, wealth and
 social class in Mrs Dalloway; the history of slavery in Beloved.
Comparisons of the ways modern readers might react to each text.

These are suggestions only. Accept any valid alternative responses.

Question Indicative Content

Number

9 Women and Society

Students may include the following in their answers:

 writers’ portrayal of parents, e.g. Brontё’s presentation of Mr and Mrs
Earnshaw and Heathcliff; Woolf’s presentation of Clarissa and Richard
Dalloway; Morrison’s presentation of Sethe and Baby Suggs
 the comparison of the roles of parents, e.g. Brontë’s portrayal of the role
of Mr Earnshaw and how he adopts and favours the ‘orphaned’ Heathcliff
and its consequences. Heathcliff’s cruelty and hatred towards his own
son, Linton, contrasted with Edgar’s treatment of Catherine in Wuthering
Heights; Clarissa’s relationship with Elizabeth and how she feels Miss
Kilman has stolen Elizabeth from her. Elizabeth’s close relationship with
her father and how she enjoys the time spent in the country with him.
Sally Seaton’s ‘five boys’; Sethe’s memories of her own mother and being
suckled by another woman. Baby Suggs, Sethe’s mother-in-law, is denied
knowing her children as adults because of slavery. Baby is a mother
figure to Sethe and the black community who highly respect her as a
source of spiritual inspiration. Sethe’s role as a devoted mother who
would rather kill her own children than their being enslaved. Beloved and
Sethe’s role reversal and, possibly, Beloved being a vision of Sethe’s own
mother
 comparison of the emotions felt by parents, e.g. Mr Earnshaw favouring
Heathcliff and his preference of him over his own son, creating
resentment. Heathcliff’s contemptuous treatment of Linton and use as a
tool for his revenge; Hindley’s neglect of Hareton; Clarissa’s dislike of
Miss Kilman. Miss Kilman’s negative views of Clarissa Dalloway (whom
she would like to ‘fell’ like a tree) and how she adores Elizabeth. Peter’s
observations on how motherhood has changed Clarissa; Sethe’s feelings
of abandonment by her own mother and feelings of guilt and anguish for
her infanticide in Beloved
 comparison of how writers use parents’ treatment of their children as
central to their narratives, e.g. the contrast of Edgar’s parental love for
Catherine and the negligence displayed by Heathcliff; Clarissa’s
relationship with her daughter and how she fears Miss Kilman who
Clarissa sees as a rival parent; Sethe’s story of survival and loss. Baby
Suggs’ influence and the stabilising effect she has on Sethe and Denver
 comparison of the ways narrative methods are used by the writers to
portray parents, e. g. Brontё’s use of Lockwood’s narration from his diary
entries, narrated from Nelly’s point of view in the past tense; Woolf’s use
of the stream of consciousness, different points of view and indirect
style; Morrison’s shifting narrative viewpoints. The primary narrator is
anonymous and omniscient with some parts narrated by the characters
themselves
 contextual aspects, e.g. social conventions, such as family relationships,
marriage and childbirth in Wuthering Heights; the role of education and
 tutors in Mrs Dalloway; slavery and the role of mothers in Beloved.
Comparisons of the ways modern readers might react to each text.

These are suggestions only. Accept any valid alternative responses.

Please refer to the specific marking guidance on page 3 when applying this marking
grid.

Level Mark AO1 = bullet AO2 = bullet AO3 = bullet AO4 = bullet

point 1 point 2 point 3, 4 point 5, 6

0 No rewardable material.

Level 1 1-6 Descriptive

 Makes little reference to texts with limited organisation of ideas.
Limited use of appropriate concepts and terminology with
frequent errors and lapses of expression.
 Uses a narrative or descriptive approach that shows limited
knowledge of texts and how meanings are shaped in texts.
Shows a lack of understanding of the writer’s craft.
 Shows limited awareness of contextual factors.
 Shows limited awareness of links between texts and contexts.
 Demonstrates limited awareness of connections between texts.
 Describes the texts as separate entities.

Level 2 7 - 12 General understanding/exploration

 Makes general points, identifying some literary techniques with
general explanation of effects. Aware of some appropriate
concepts and terminology. Organises and expresses ideas with
clarity, although still has errors and lapses.
 Gives surface readings of texts relating to how meanings are
shaped in texts. Shows general understanding by commenting
on straightforward elements of the writer’s craft.
 Has general awareness of the significance and influence of
contextual factors.
 Makes general links between texts and contexts.
 Identifies general connections between texts.
 Makes general cross-references between texts.
Level 3 13 - 18 Clear relevant application/exploration
 Offers a clear response using relevant textual examples.
Relevant use of terminology and concepts. Creates a logical,
clear structure with few errors and lapses in expression.
 Demonstrates knowledge of how meanings are shaped in texts
with consistent analysis. Shows clear understanding of the
writer’s craft.
 Demonstrates a clear exploration of the significance and
influence of contextual factors.
 Develops relevant links between texts and contexts.
 Makes relevant connections between texts.
 Develops an integrated approach with clear examples.
Level 4 19 - 24 Discriminating controlled application/exploration
  Constructs a controlled argument with fluently embedded
examples. Discriminating use of concepts and terminology.
Controls structures with precise cohesive transitions and
carefully chosen language.
 Demonstrates discriminating understanding of how meanings
are shaped in texts. Analyses, in a controlled way, the nuances
and subtleties of the writer’s craft.
 Provides a discriminating analysis of the significance and
influence of contextual factors.
 Makes detailed links between texts and contexts.
 Analyses connections between texts.
 Takes a controlled discriminating approach to integration with
detailed examples.
Level 5 25 - 30 Critical and evaluative
 Presents a critical evaluative argument with sustained textual
examples. Evaluates the effects of literary features with
sophisticated use of concepts and terminology. Uses
sophisticated structure and expression.
 Exhibits a critical evaluation of the ways meanings are shaped in
texts. Displays a sophisticated understanding of the writer’s
craft.
 Presents a sophisticated evaluation and appreciation of the
significance and influence of contextual factors.
 Makes sophisticated links between texts and contexts.
 Evaluates connections between texts.
 Exhibits a sophisticated connective approach with sophisticated
use of examples.