English Lit 1: Monday

Hello Y11,

Stay calm - it's English Lit 1 on Monday!

First thing to remember: BRING YOUR COPIES OF THE TEXTS!

Next, double check that you know what to do in the exam. Here's my exam guide:


 And a past paper: 

And here are the top ends of the two mark schemes:

Finally, don't forget the importance of writing about the writer's methods. The words Priestley and Steinbeck must be prominent in your responses. Remind yourself of the writer's methods: Priestley here and Steinbeck here:

Finally, please look at the Browse by topic section on the right on the page for more stuff on the texts.

I'll be posting more over the weekend. Also, follow us on Twitter for last minute advice and to fire your panicky last minute questions at us!

Good luck troopers!

Mr M

An Inspector Calls: Mr Birling

Hi,

For Section A of Lit Unit 1, you have to answer one essay question on An Inspector Calls (from a choice of two). Here are the question focuses from the past papers:

June 14:

•  gender
• the importance of Eva Smith

June 13:

• the ending
• Eric

Jan 13:

• Mrs Birling
• the significance of social class

June 12:

• Inspector Goole
• the opening stage directions

Jan 12:

• responsibility (you've done this for your CA!)
• Gerald

June 11:

• contrasts
• Sheila

Jan 11:

• tensions in the family
• selfishness 

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 before - or something that hasn't been covered for a while. Could Sheila be back? Could we hit the jackpot and write about responsibility again? I also like the 'contrasts' question: think young/old, rich/poor, capitalist/socialist, realism/the unreal ending. Dichotomies.

But I think there's a very good chance that it could be Mr Birling. So what might a Mr B question look like? How about these?

• 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.



I hope that makes sense and seems like a sensible approach. Your next step should be to find the quotes to go with this plan. Why not have a go at writing it? It could be your exam question! In addition, I've found this helpful revision powerpoint. Take a look.

  

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




Mr M 

What do the Lit papers look like?

Hello.

Here are some past papers for your viewing pleasure. Remember, your Literature exams are:

English Literature Unit 1: Exploring Modern Texts (Of Mice and Men and An Inspector Calls)
English Literature Unit 2: Poetry Across Time (Poetry Clusters and Unseen Poetry)...

There is a higher and foundation paper for each exam below. Make sure you pick the right one.

Please follow us on Twitter. Last year I tweeted out links to past papers - it's quicker and easier than uploading them here - and I'll be doing the same again shortly.

Anyway, here are some papers. Don't say I never give you anything!







Mr M

An Inspector Calls and Modern Britain: Chavs

Hi folks,

Here's a link to the book I mentioned: 

Chavs: The Demonisation of the Working Class by Owen Jones

And here are some views about Jones' arguments:

Guardian review (a left-leaning newspaper)
A Conservative viewpoint

Here's Owen Jones on the London riots of 2011.

You're bound to find a good quote or perspective for your conclusion in here, which will help you to explain the enduring relevance of the play.


Mr M

Priestley's methods and message

Hi all,

One last blog before the Lit Unit 1 exam.

Well done to those of you who have been firing practice exam questions at me over the last week or so. Some of you can rest assured that you are going to do very well in this exam. It's not too late to do some serious, high impact revision - and trying exam questions is as high impact as it gets. You don't want to experience writing a 45 minute An Inspector Calls essay for the first time in your final exam, do you? That'd be like arriving at your driving text without first having any experience of driving a car. That's a slightly rubbish simile, but you get the idea.

One last thing I wanted to re-inforce is the assessment objectives you have to hit in Section A (An Inspector Calls). Unlike the part b OMAM question, you don't have to write about context (though it'd be hard not to mention it). You are only being assessed on:

AO1: respond to texts critically and imaginatively; select and evaluate relevant textual detail to illustrate and support interpretations

and 

AO2: explain how language, structure and form contribute to writers’ presentation of ideas, themes and settings

So, a big part of what you need to do in this question is to write about Priestley's methods and how they get across his ideas.

Here's a few reminders:

• It's a well-made play. That means it's set in real time, in a realistic setting, a tightly focused storyline. The effect is that it feels like you are watching real life unfold in real time. That is, until Priestley breaks the conventions of the well-made play at the end. But more of that later.
• The initial stage directions are worth exploring. It is through these that Priestley sets up our initial impressions of the Birlings. For instance, the phrase 'comfortable, but not cosy and homelike' is the first suggestion we get that we are seeing an awkward, unnatural facade of perfect family life. The reference to the lighting, which goes from 'pink and intimate' to harsh and bright symbolises the light of truth. There will be nowhere for the Birlings to hide.
• Priestley's stage directions are revealing once the dialogue kicks in too. Sheila, for instance, is always 'half-serious, half-playful' or showing 'mock aggressiveness' in the opening stages. This shows that she's a little giddy and immature; she's never had to grow up as she's lived a sheltered, privileged life so far.
• Dramatic irony is used heavily, especially to undermine Mr Birling. The effect is easily achieved as the play is set in 1912, but the audience are watching in 1946 or after. So the Titanic reference and war references have a great impact in revealing Birling's complacency. This makes it quick and easy to position his audience against Mr and Mrs Birling from the early stages of the play.
• Characterisation: Priestley sets up his characters to show contrasts. The younger Birlings are dynamic characters who experience change. They're believable humans with faults and redeeming features. Eric and Sheila are like us in many ways - too concerned with our own problems to see the big picture, but basically good. They just need a wake-up call, which is what Priestley is trying to give us. Sheila in particular acts as our representative on the stage. She reacts with horror as we should, and she realises what's really going on as we do. Her words make sure that we keep up (eg. when she tells Mrs B to stop blaming the father of the child for everything.)
• The older Birlings are static characters. They're less believable as human beings; in fact, they seem to be used by Priestley to encapsulate ideas (Mr B = Capitalism; Mrs B = inherited wealth + status). They're almost caricatures. Priestley uses dramatic irony to undermine them, and he makes sure we dislike them from the start.
• The two generations create a dichotomy between the selfish attitudes of Edwardian Britain and the social conscience of the post-war generation. Capitalism vs socialism. In this way, Priestley's play contains hope for the future - beyond the 'fire and blood and anguish'.
• The Inspector is an unusual character. He is moralistic and seems to be more focused on teaching the Birlings a lesson than uncovering the truth about Eva Smith. For instance, he says they can 'divide the responsibility between them after' he's gone. He represents socialism in the play. Perhaps Priestley uses him as his own mouthpiece - it certainly seems that way at the end - allowing him to go back in time to point the finger of blame at those he saw as being responsible for everything that went wrong.
• The play makes use of dramatic, cliffhanger endings at the end of each act. These pauses give the audience time to reflect on their own actions. This is also what happens at the end - Priestley delivers his final message, then leaves everything open for us to interpret for ourselves. It's not really about Eva at all, or the Birlings; it's about the 'millions and millions' of Evas, and us.
• Priestley builds lots of tension. From whether Birling knows about port or not, to the Croft's absence, to Eric's behaviour and to the talk of what happened last summer - there's clearly more to these relationships than initially meets the eye. The general feeling is that appearances and reality are very different things. This is highlighted by the Alderman Meggarty conversation later. 
• The sounds of doors knocking and slamming, as well as ringing telephones also help to create tension. Each time, they mark a change in direction or emphasis. When Eric goes out, we know he is involved too. When the phone rings at the end, we only hear half a conversation, but it is clear from Birling's face that something is wrong. This final phone call is a great way of stalling the narrative and maximising the tension.
• The Inspector's final lines have the feel of a rhetorical speech. It has repetition, use of 'we', and the metaphor of 'fire and blood and anguish'. Is he referring to war, or hell? Priestley is being intentionally ambiguous because he wants us to think. This speech feels like it is directed at us.
• Afterwards, Priestley's play comes full circle. The older Birlings return to their old, self-satisfied and complacent ways. They drink and feel confident about the future. Then... an Inspector calls! This circular structure (like in OMAM), leaves us wondering and forces us to ponder our own behaviour. We have to accept that the message is not about the Birlings - Priestley wants us to write our own ending. The circular structure suggests that if we don't change our ways, we're doomed to make the same mistakes as the Birlings.
• The twist at the end is made all the more effective because of Priestley's use of the conventions of the well-made play. We expect a neat ending, but we don't get it. We expect realism, but we are left pondering whether Goole really was a ghoul.

Before I sign off, I just wanted to throw a few docs your way. First up is a model answer about the initial impressions of Mr B that I wrote years ago:




And this is a study guide packed with useful information and things to think about:



The last one is an Of Mice and Men related task. Comment on examples of light/dark imagery and symbolism:



Okay, I think I'm out of Unit 1 chat. But I'll be back soon to re-focus you on Lit 2: Poetry.


Good luck (it's not about luck)!



Mr M 

Lit Unit 1: Mr Birling in 'An Inspector Calls'

Hi,

For Section A of Lit Unit 1, you have to answer one essay question on An Inspector Calls (from a choice of two). Here are the question focuses from the past papers:

June 13:

• the ending
• Eric

Jan 13:

• Mrs Birling
• the significance of social class

June 12:

• Inspector Goole
• the opening stage directions

Jan 12:

• responsibility (you've done this for your CA!)
• Gerald

June 11:

• contrasts
• Sheila

Jan 11:

• tensions in the family
• selfishness 

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 before - or something that hasn't been covered for a while. Could Sheila be back? Could we hit the jackpot and write about responsibility again? I also like the 'contrasts' question: think young/old, rich/poor, capitalist/socialist, realism/the unreal ending. Dichotomies.

But I think there's a very good chance that it could be Mr Birling. So what might a Mr B question look like? How about these?

• 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.



I hope that makes sense and seems like a sensible approach. Your next step should be to find the quotes to go with this plan. Why not have a go at writing it? It could be your exam question! In addition, I've found this helpful revision powerpoint. Take a look.

  

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




Mr M 

An Inspector Calls: Context Part 2

An Inspector Calls: Context Part 1

Hi again,

Here's a video recap of the context of An Inspector Calls. Don't go on about it too much in the assessment (you don't get assessed on it in Lang - you do in Lit). However, an understanding of the context of the play will help you to interpret Priestley's intentions and his message.

I was going to play this for you in class, but we ran out of time.

The next part is coming shortly...

Literature Past Papers

Hello.

Here are some past papers for your viewing pleasure. Remember, your Literature exams are:

English Literature Unit 1: Exploring Modern Texts (Of Mice and Men and An Inspector Calls)
English Literature Unit 2: Poetry Across Time (Poetry Clusters and Unseen Poetry)...

There is a higher and foundation paper for each exam below. Make sure you pick the right one.

Don't say I never give you anything!

Easter Revision Advice

Easter Revision Advice English

1)     Know the three exam papers and audit your knowledge – if there’s a poem or a part of the exam you’re not sure about, it’s up to you to sort it out. There’s loads of help out there. And you can still email me if you’re desperate for help.

2)    Read the news – any article could be the basis for Section A of the English Language paper. Think about how your article gets across its key points using  language and presentational devices. This will help you get used to noticing a writer’s techniques in a previously unseen text.

3)    Re-read Of Mice and Men. This is vital – you’ll pick up much more the second time around. It’ll take around three hours.

4)    Read 2/3 poems a night. Knowing the poems inside out is much more valuable than revising your notes. The more you’ve thought about the poems, the more you’ll be able to respond to the question rather than awkwardly trotting out ideas and techniques you jotted down in your anthology. We can tell! Try using the ‘comparing poems’ sheet. You could also test out your ‘unseen poetry’ skills by reading poems from sections outside of Character and Voice.

5)    Revise the Lit poems in thematic clusters. Eg: power, identity, male and female relationships, outsiders  etc. These themes allow you to predict questions. Use the comparing poems sheet to show how you’d compare them. Try a practice question!

6)    Sign up to the GCSE English Revision page on Moodle. (Enrolment key: ilovepoetry)

This page is being updated from the old spec, but there’s already some useful stuff on writing and Of Mice and Men. Look out for the resources under the highlighted areas – they’re particularly helpful.

7)    Use your exercise books – you have your own revision guide!

8)    Don’t forget about writing – plenty of advice on Moodle. Revise persuasive techniques and practice. If you have a particular weakness (eg. paragraphing/ apostrophes), work on it.

Useful sites:

• http://www.bbc.co.uk/schools/gcsebitesize/
• http://www.universalteacher.org.uk/drama/inspectorcalls.htm
• http://www.universalteacher.org.uk/prose/ofmiceandmen.htm
• http://www.sparknotes.com/lit/micemen/
• http://www.cliffsnotes.com/WileyCDA/LitNote/Of-Mice-and-Men.id-101.html
• http://poetrystation.org.uk/search/topics/category/aqa-gcse-voice-and-relationships/
• http://web.aqa.org.uk/qual/newgcses/english/index.php
• http://wildernenglish.wordpress.com/category/gcse-english-literature/unit-2-poetry-across-time/character-and-voice-poetry/

Have fun (but not too much!)

Mr M