English Teaching Resources | KS3 and KS4 - Douglas Wise



45669763184100Feedback SheetTaken from the AQA mark schemeGCSE English LanguagePaper 1Q1 Q2Q3Q4Q5/ 4/ 8/ 8/ 20/ 24/ 16TotalQ1 | Markworthy pointsHe lived aloneHe lived in a terraced houseHe lived in a small houseHe lived in the centre of town; he didn’t own a carHe did much of his weekend marking at schoolHe travelled home by busHe took some books and papers home at the weekend to markQ2 | Markworthy pointsUse of metaphors e.g. ‘golden’ to suggest a nostalgic, wistful view on books of the pastAnimal imagery to convey how the stories attacked readers’ imaginationsUse of personification e.g. to demonstrate how the stories impacted both ‘minds and hearts’The writer uses the adjective ‘golden’ to suggest Mr Fisher has a nostalgic and romanticised view of books of the past. He thinks the world was full of stories which ‘ran like gazelles and pounced like tigers’, metaphorically conveying that not only were there many fast-paced stories but also that they ambushed the imagination so that the reader was totally immersed in the words on the page. The writer personifies the stories as ‘illuminating minds and hearts’ to imply that Mr Fisher believes every part of the reader was affected: not only did the stories reach the reader mentally but they captivated them emotionally, as if under a spell.Q3 | Markworthy pointsUse of structural shifts in place and situation at the beginning of the source to establish a rounded characterPositioning of the key sentences e.g. ‘Mr Fisher remembered a time’ to signpost a flashbackJuxtaposition of past and present to emphasise Mr Fisher’s disillusionment with teachingImpact of Mr Fisher’s internal thoughts on his external actionsThe source has a number of structural shifts in place, situation and especially time. It begins with some initial background information on Mr Fisher: we can visualise him in a domestic setting, his ‘small terraced house’, and also his workplace, a ‘form room’ at school, so a whole character is being established. The focus then narrows to his thoughts on teaching creative writing, and his gradual disenchantment over the years. This is shown structurally by alternating between the present and the past. First we learn that this school term has been ‘disappointing’ for him because he has struggled to engage his students’ interest. Then in the middle section of the text, reference to ‘the old days’, followed by ‘Mr Fisher remembered’, heralds a flashback to a previous time. He describes a colourful past, filled with students whose ‘imaginations soared’, and when the focus then returns to the present time and everything is now ‘in black and white’, the reader understands how disillusioned.Q4 | Markworthy pointsMr Fisher’s previous knowledge of Tibbet leading to low expectations of his work despite ‘a spark in him’Mr Fisher’s thoughts before beginning his markingMr Fisher’s epiphany at discovering a totally original piece of creative writingThe writer’s juxtaposition of various sentence lengths to reflect Mr Fisher’s astonishmentWhether or not Mr Fisher’s reaction is extremeMr Fisher is resigned to his students’ lack of imagination and we learn that his expectations of Tibbet are low: despite ‘a spark in him which deserved attention’, Tibbet is not a ‘brilliant scholar by any means’ and ‘had obviously done part of his homework on the bus’. Mr Fisher even ‘took a deep breath’ before marking Tibbet’s book, the triple ‘home; dinner; bed’ emphasising to the reader the domestic distractions he would rather be doing. However, when he reads Tibbet’s story, I think Mr Fisher is astounded because it is unique, totally fresh and ‘something entirely original’. He experiences a moment of sudden realisation that is so profound that he will never look on life in the same way again. Everything he previously believed about stories has been shattered, and his reaction is not only emotional but physical. The writer conveys this by juxtaposing short, snappy sentences with long, complex ones to imitate the stages of astonishment Mr Fisher goes through. ‘His breathing quickened, stopped, quickened again’ suggests he is swiftly scanning through Tibbet’s homework in disbelief, the rhythm mirroring his rapid heartbeat. This is followed by a lengthy sentence that includes the phrase ‘re-reading every word slowly and with meticulous care’. Here, the pace slows down to reflect Mr Fisher retracing his steps much more thoroughly, incredulous at his discovery.45669763184100Feedback SheetTaken from the AQA mark schemeGCSE English LanguagePaper 2Q1 Q2Q3Q4Q5/ 4/ 8/ 12/ 16/ 24/ 16TotalQ1 | Markworthy pointsACDHQ2 | Markworthy pointsThe different materials.The different sizesThe different types of boardThe different levels of innovationThe different names given to the boardsThe different symbolic value they representAlthough the surfboards appear outwardly similar, the Hawaiian boards are no more sophisticated than a primitively shaped ‘plank of wood’ cut from ‘the native breadfruit tree,’ whereas some of the Californian boards use new ‘lighter’ materials such as ‘balsa wood,’ suggesting the Americans are keen to develop their boards for a smoother performance. There is a sense of innovation in the way the surfers regard their boards, as the mahogany paddle-board is dismissed as ‘old-fashioned’ and ‘unbelievably awkward’. The Hawaiians use natural resources to create ‘hand-carved’ surfboards in the same traditional way as they would make ‘a coffin lid’ which suggests that their boards are an important part of their cultural way of life, not just a fashion accessory.Q3 | Markworthy pointsUse of adverbs – ‘majestically’Use of adjectives – ‘daring… mighty… exultant’Use of verbs – ‘waving… uttering… bobbing’Simile – ‘bobbing like corks’Personification – ‘fierce breakers’Assonance – ‘uttering exultant cries’Metaphor – ‘towering white crest’Onomatopoeia – ‘dashed to pieces’The writer describes the surfers riding ‘majestically’ on the waves, the adverb suggesting how dominant the surfers appear and creating the image of regal figures, riding high above the waves, like Neptune the mythical god of the sea. The royal image emphasises the confidence and assurance of the surfers and the awe they inspire.Q4 | Markworthy pointsTheir enthusiasm for the sportTheir appreciation of the skill of the surfersTheir willingness to try surfing for themselvesTheir awareness of the culture surrounding surfingTheir interest in the surfing cultureStructural viewpoint – either from the beach, or from the waterWhole text structure – chronological through the afternoon, or shaped like a wave building upNarrative perspective – first personTone – frantic or peaceful, enthralled or relaxedLanguage features – alliteration, onomatopoeiaFigurative language – simile, metaphor, personificationBoth writers admire the surfing, but whereas in Source B, Bird appreciates the surfing display as a spectator from afar, Doyle in Source A is ‘dazzled’ and desperate to take part, aspiring to become one of them. Bird uses a repetitive pattern to suggest she sees the world of surfing as a paradise of endless bliss: ‘so blue… so soft … so sweet,’ the alliteration adding to the slow, soothing ‘serene’ tone she creates. Doyle, however, is at home, not a tourist, and idolises the surfers, metaphorically describing them as ‘bronzed gods,’ viewing them as supernatural beings, tanned and confident. Having established his hopes at the start, Doyle shows the progress of his dream as the text develops, like a wave, with his first attempt at surfing as the climax or crest, and ending with the humorous image of himself ‘spread-eagled’ on the shore in the final line, echoing structurally his first experience of surfing. ................
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