1
The New Forest Small School
ENGLISH LITERATURE
Schemes of Work
For Children Aged 11 to 16
2
CONTENTS
1. Aims and Learning Outcomes
a. General Aims and Learning Outcomes
b. Key Stage 3 Aims
c. Key Stage 4 Aims
2. Inclusion of All Pupils
a. Setting suitable learning challenges
b. Responding to pupils’ diverse needs
c. Overcoming potential barriers to learning and assessment for individuals and
groups of pupils
d. Inclusion in English Literature
3. English, Personal Development and Every Child Matters
a. Enjoy and Achieve
b. Be Healthy
c. Stay Safe
d. Achieve Economic Wellbeing
e. Make a Positive Contribution
4. Skills
a. General and Functional Skills
b. PLTS
i.
Independent Enquirers
ii.
Creative Thinkers
iii.
Team Workers
iv.
Self-Managers
v.
Effective Participators
vi.
Reflective Learners
vii.
Embedding PLTS
5. Cross-Curriculum Dimensions
6. Assessment
a. Key Stage 3
b. Key Stage 4
c. Qualification Titles and Levels
7. English Literature Lessons and Resources
a. Typical Structure of Lessons
b. Resources
8. Summary of English Literature Content
9. English Literature Schemes of Work
3
1. AIMS AND LEARNING OUTCOMES
a. General Aims & Learning Outcomes
The fundamental aims of the English Literatuer programme for secondary aged children are
summarised as follows:
Successful Learners
•
The curriculum aim of developing successful learners that are literate, creative and
enquiring, able to communicate clearly and work both independently and
collaboratively is at the heart of the programme of study for English and links strongly
to pupils’ experience of the curriculum.
•
The key concept of competence in English is essential for learning to be successful.
This centres on being clear, coherent and accurate in written and spoken
communication, as well as being adaptable to the demands of different contexts.
•
Successful learners can work independently and cooperate with others to reach a
common goal. These qualities are part of the programme of study for English. The
key processes for speaking and listening ensure that pupils are able to work in
groups, making relevant contributions and responding appropriately.
Confident Individuals
•
The curriculum aims to develop confident learners who have a sense of self-worth,
secure values and beliefs and are independent and relate well to others.
•
The programme of study for English Literature provides an environment for pupils to
explore their own values and beliefs. By recognising and discussing different
interpretations of texts and connecting ideas and issues, pupils learn to respond with
confidence, developing logical arguments and justifying their own views with
evidence. Group discussions and drama activities allow pupils to develop confidence
in performance. They also provide opportunities for them to work collaboratively,
taking collective responsibility for completing a piece of work successfully and
receiving feedback on how to improve.
Responsible Citizens
•
Pupils’ experience of reading at key stage 3 encourages them to engage with moral
dilemmas and think about issues in new ways, contributing to their understanding of
what it means to be a responsible citizen. Reading texts at key stage 3 should help
pupils 'move beyond [their present situation] to experience different times, cultures,
viewpoints and situations'. This, and the study of ‘texts that enable pupils to
appreciate the quality and distinctiveness of texts from different cultures and
traditions’, helps pupils respect others, understand cultures and views other than their
own and have a strong sense of their own place in the world.
•
The programme of study for English encourages pupils to write and speak in a range
of purposeful contexts, helping them to become confident communicators, developing
their sense of responsibility and preparing them for life and work.
b. Key Stage 3 Aims
•
To provide a chronological continuation of the English Literature studies carried out in
Key Stage 2
•
To continue to develop essential learning skills such as literacy, numeracy and ICT
skills as well as general skills such as enquiry, creativity, communication and
independent and collaborative work through the key processes of enquiry and study.
4
•
To develop pupils’ ability to ask pertinent questions, evaluate evidence, detect bias,
identify and analyse different interpretations of the past, and learn how to substantiate
any arguments and judgements they make.
•
To introduce to pupils significant ideas and events which have shaped our modern
world, from a British, European and Global perspective.
•
To investigate and understand Britain’s relationships with the wider world.
•
To develop a strong sense of the pupils’ own identity through an understanding of
texts on a personal, local, national and international level.
•
To assist in the building of each child’s confidence and self-worth as they become
increasingly independent and are open to the excitement and inspiration offered by
human achievements.
•
To stimulate in pupils a fascination and understanding of language by firing their
imagination, moving and inspiring them with the dilemmas, choices and beliefs of
people in the past.
•
To provide an opportunity for pupils to explore their own values and beliefs in order to
question their value systems leading to their strengthening or replacement.
•
To help pupils develop the ability to present their ideas in a coherent manner whereby
they are able to substantiate and justify their arguments.
•
Through the extensive use of group discussion and the increasing use of different
media for researching and presenting their work developing in all children the
confidence to perform effectively and to appreciate the ideas of others and the value
of working with others with different perspectives.
•
To develop pupils ability to think and work democratically and in an active and
responsible manner.
•
To encourage an awareness, empathy and understanding of the origins of ethnic and
cultural diversity.
•
To prepare pupils with a firm grounding and the necessary skills required to
successfully move on to the GCSE English Literature course in Key Stage 4.
c. Key Stage 4 Aims
•
To undertake the full GCSE course in English Literature, through OCR examination
board.
•
GCSE specifications in English Literature encourages candidates to be inspired,
moved and changed by following a broad, coherent, satisfying and worthwhile course
of study and gain an insight into related sectors. They prepare candidates to make
informed decisions about further learning opportunities and career choices.
•
To actively engage in the process of enquiry and research to develop as effective and
independent candidates and as critical and reflective thinkers with enquiring minds.
•
To develop their knowledge and coherent understanding of language and a wide
source of different texts and mediums.
•
To respond to texts critically and imaginatively, selecting and evaluating textual detail
to illustrate and support interpretations.
5
•
To explain how language, structure and form contribute to the writer’s presentation of
ideas, themes and settings.
•
To make comparisons and explain links between texts, evaluating writer’s different
ways of expressing meaning and achieving effects.
•
To relate texts to their social, cultural and historical contexts, explaining how texts
have been influential and significant ot self and other readers in different contexts and
times.
•
To develop an awareness of how events been represented, interpreted and accorded
significance for different reasons and purposes.
•
To develop the ability to ask relevant questions about a text and to investigate them
critically using a range of sources.
•
To organise and communicate their knowledge and understanding in creative and
different ways and reach substantiated judgments.
2. INCLUSION OF ALL PUPILS
a. Setting suitable learning challenges
•
We aim to give every pupil the opportunity to experience success in learning and to
achieve as high a standard as possible. The school curriculum programmes of study
set out what most pupils should be taught at each key stage – but we teach the
knowledge, skills and understanding in ways that suit our particular pupils’ abilities at
any given time. This may mean choosing knowledge, skills and understanding from
earlier or later key stages so that individual pupils can make progress and show what
they can achieve. Where it is appropriate for pupils to make extensive use of content
from an earlier key stage, there may not be time to teach all aspects of the agerelated programmes of study. A similarly flexible approach is applied to take account
of any gaps in pupils’ learning resulting from missed or interrupted schooling (for
example, that may be experienced by travelers, refugees, those in care or those with
long-term medical conditions, including pupils with neurological problems, such as
head injuries, and those with degenerative conditions).
•
For pupils who have been traumatised by previous experiences or schooling and
need to follow a gentler pace provision is made to ensure these pupils receive time in
the school day to rebuild their confidence and enthusiasm for learning. In certain
circumstances this may lead to a reduction in homework, a lessening of written work
in class or attendance on a part time basis. However these provisions are carefully
monitored and regularly reviewed by staff in consultation with the pupil and parents.
•
For pupils whose attainments fall significantly below the expected levels at a
particular key stage, a much greater degree of differentiation is necessary. In these
circumstances, teachers may need to use the content of programmes of study as a
resource or to provide a context, in planning learning appropriate to the age and
requirements of their pupils.
•
For pupils whose attainments significantly exceed the expected level of attainment in
English Literature during a particular key stage, teachers plan suitably challenging
work. As well as drawing on work from later key stages or higher levels of study,
teachers may plan further differentiation by extending the breadth and depth of study
within English Literature or by planning work that draws on the content of different
subjects.
6
b. Responding to pupil’s diverse learning needs
•
When planning, teachers set high expectations and provide opportunities for all pupils
to achieve, including boys and girls, pupils with special educational needs, pupils from
all social and cultural backgrounds, pupils from different ethnic groups including
travelers, refugees and asylum seekers, and those from diverse linguistic
backgrounds. We are aware that pupils bring to the school different experiences,
interests and strengths, which will influence the way in which they learn. Teachers
plan their approaches to teaching and learning so that pupils can take part in lessons
fully and effectively.
•
To ensure that we meet the full range of pupils’ needs, teachers are aware of the
requirements of the equal opportunities legislation that covers race, gender and
disability.
•
Teachers take specific action to respond to pupils’ diverse needs by creating effective
learning environments, securing pupil’s motivation and concentration, providing
equality of opportunity through teaching approaches, using appropriate assessment
approaches and by setting flexible targets for learning.
•
We also trust that if all of the above is set in place individual children will invariably
begin to fulfill their potential. Targets for learning are not written in stone and take into
consideration that each child learns at a different pace.
c. Overcoming potential barriers to learning and assessment for individuals and
groups of pupils
A minority of pupils will have particular learning and assessment requirements which go
beyond the provisions described above and, if not addressed, can create barriers to learning.
These requirements are likely to arise as a consequence of a pupil having a special
educational need or disability or may be linked to a pupil’s progress in learning English as an
additional language.
Pupils with special educational needs
We provide access to learning for pupils with special educational needs by:
a. Providing for pupils who need help with communication. Language and
literacy.
b. Planning, where necessary, to develop pupils’ understanding through the use
of all available senses and experiences.
c. Planning for pupils’ full participation in learning and in physical and practical
activities.
d. Helping individuals to manage their emotions, particularly trauma and stress,
and to take part in learning.
Pupils with disabilities
The school takes specific action to enable effective participation of pupils with
disabilities by:
a. Planning appropriate amounts of time to allow for the satisfactory completion
of tasks.
b. Planning opportunities, where necessary, for the development of skills in
practical aspects of English Literature.
c. Identifying aspects of programmes of study and attainment targets that may
present specific difficulties for individuals.
7
Pupils who are learning English as an additional language
•
The school takes specific action to help pupils who are learning English as an
additional language by:
a. Developing their spoken and written language
b. Ensuring access to curriculum and to assessment
d. Inclusion in English
To overcome any potential barriers to learning in English, some pupils may require:
•
Support to access text, such as through prepared recordings, particularly when
working with significant quantities of written materials or at speed.
•
Support to overcome specific difficulties in learning that result in an uneven profile
across the attainment targets. They will require help to improve areas of weakness
and strategies for managing specific difficulties.
•
Opportunities to meet the demands for speaking and listening and other oral activities
through the use of alternative communication systems, to compensate for difficulties
in using spoken language.
•
Help to communicate their detailed ideas in tasks that require extended writing,
through alternative communication methods such as the use of ICT or speech, to
allow them to demonstrate their understanding and to maintain their concentration
and motivation.
•
Non-visual means to access sources of information when undertaking enquiries.
In Assessment:
•
Where pupils use alternative communication systems, judgements are made against
the level descriptions for speaking and listening. It is necessary to note any demands
that are not met, such as the awareness and use of standard English.
•
For pupils with disabilities who are unable to write by hand, the handwriting
requirement of the writing attainment target will not be applicable.
•
For pupils using tactile methods, the assessment of reading will be through the use of
materials of equivalent demand presented in the appropriate medium.
3. ENGLISH LITERATURE, PERSONAL DEVELOPMENT AND EVERY
CHILD MATTERS
Personal development is an essential aspect of the New Forest Small School’s curriculum
and English Literature has an important role to play in this area. The English Literature
Schemes of Work provide opportunities to plan sequences of work, learning outcomes and
teaching approaches that support personal development through Every Child Matters
outcomes.
a. Enjoy and Achieve
•
The contribution English Literature makes to pupils' enjoyment stems from the
opportunities it gives them to explore their identity and place in the world, engage
actively, have their assumptions challenged and challenge the assumptions of others.
8
•
Pupils appreciate the opportunities English Literature gives them to express
themselves, whether by presenting their ideas and opinions to persuade readers and
listeners or by creating new worlds, both familiar and unfamiliar, in poetry and
narrative.
•
Pupils enjoy being exposed to the richness and breadth of literature. They relish the
way that reading can present familiar settings and dilemmas one moment and then
ask them to empathise with situations and characters that are beyond their
experience the next.
•
Pupils value the ways in which English Literature helps them achieve, in the subject,
across the curriculum and in the world beyond, by developing their ability to
communicate clearly and effectively.
b. Be Healthy
•
Central to English Literature is reading for pleasure – encouraging pupils to read as a
way to relax and be transported from their day-to-day worries and concerns. Similarly,
literature can help young people work through problems and dilemmas they face by
suggesting how they may deal with such problems. Both these aspects of reading
have an important role to play in ensuring pupils' mental health and sense of
wellbeing.
c. Stay Safe
•
English Literature gives pupils the confidence to ask questions, rather than taking
things at face value. It provides them with the skills to examine the validity of what
they are told or read and challenge it on grounds of logic, evidence or argument.
Through reading a variety of texts and discussing issues, English Literature can
provide opportunities to explore situations and dilemmas that will help pupils make
the right choices to stay safe.
d. Achieve Economic Wellbeing
•
English Literature plays a central role in contributing to young people’s long-term
economic wellbeing by developing the literacy and communication skills that are
essential to their lives as working adults. It encourages them to be adaptable and find
creative solutions to problems, put their views across for maximum effect, and work
effectively in groups.
e. Make a Positive Contribution
•
English Literature provides many opportunities for pupils to get involved and to
contribute positively by working collaboratively, most obviously as part of group
discussions or drama performance, but also on the emphasis on pupils evaluating
and providing constructive responses to each other’s work. Another key aspect of
making a positive contribution is involvement in the community. In English Literature
pupils have opportunities to speak, listen and write for purposes and contexts beyond
the classroom, such as becoming reading mentors for younger children.
9
4. SKILLS
a. General and Functional Skills
The study of English Literature provides pupils with a broad range of opportunities for
developing different skills important for learning and for life beyond the classroom. Pupils are
encouraged to apply their different skills in everyday situations as they spend time planning
and developing their work, make choices and decisions, and think creatively and
independently.
•
Children are encouraged to always be flexible in their thinking, to see texts from a
number of different perspectives, from conventional and alternative sources.
•
There is plenty of opportunity for pupils to communicate effectively in class
discussions, in-group activities as well as through their written work.
•
Pupils are given broad scope to express themselves clearly and succinctly whilst
developing their own point of views through careful analysis, reasoning and
persuasion.
•
English Literature incorporates the development of many cross-curricular skills
including skills essential to English Language, History, ICT, Geography, Science,
Religious Education, Maths, PSHE and Art and Design. Although cross-curricular
activities take place in each lesson, time is also given in the timetable for thematic
days, activity weeks and events.
•
Pupils are always encouraged to read and understand information and instructions,
then to use this understanding to act appropriately, whilst always analysing how ideas
and information are presented, evaluating their usefulness, accuracy and agenda.
b. PLTS
The study of English Literature also supports PLTS (Personal, Learning and Thinking Skills),
whereby the pupils are able to develop the ability to become independent enquirers, creative
and reflective thinkers, team workers, self-managers and effective participants.
i. Independent Enquirers
To be successful in school and the world beyond the classroom pupils need to become
independent enquirers who have the ability to explore, evaluate and challenge ideas and
assumptions constructively. The key concept of critical understanding foregrounds these
qualities by providing opportunities for pupils to analyse and make connections between
texts, explore the ideas of others and develop their own. It requires independent enquirers
who are able to look at information and judge its relevance, value and validity.
English promotes all the skills of independent enquirers by developing pupils’ abilities to:
•
Develop their independence in reading and writing
•
Explore, evaluate and challenge ideas and assumptions constructively
•
Analyse and make connections between texts
•
Explore the ideas of others and develop their own
10
•
Identify questions to answer and problems to resolve
•
Plan and carry out research
•
Appreciate the consequences of decisions
•
Explore events, issues or problems from different texts
•
Analyse and evaluate information and judge its relevance and value
•
•
Consider the influence of circumstances, beliefs and feelings on texts
Support conclusions, using reasoned arguments and evidence.
ii. Creative Thinkers
The key concept of creativity puts creative thinking at the heart of the curriculum for
English Literature. It emphasises extending young people's ability to use imagination,
make fresh connections and use creative approaches in a range of different contexts. The
curriculum for English Literature encourages creative thinkers who can generate ideas and
explore possibilities, connect their own and other people's ideas and experiences in
inventive ways, and try out alternatives and new solutions. The key concept of
competence and the key processes for speaking and listening and writing, with their focus
on adaptability and the ability to make informed choices about effective ways to
communicate, require creative thinkers who can adapt ideas as circumstances change.
iii. Team Workers
The key processes section for speaking and listening provides strong opportunities for
pupils to develop as team workers. Here pupils are required to ‘take different roles in
organising, planning and sustaining talk in groups’ and ‘make different kinds of relevant
contributions in groups, responding appropriately to others…’ Peer assessment and
guided reading activities will also develop pupils’ ability to work effectively in teams.
iv. Self-Managers
Work in English Literature gives pupils the chance to organise themselves and show
personal responsibility, perseverance, initiative, creativity and enterprise with a
commitment to learning and self-improvement. There is scope in many activities such as
researching an extended piece of writing or preparing an individual presentation or group
performance for pupils to organise their time and resources, prioritise their actions, and
anticipate, take and manage risks. They can be encouraged to actively embrace change,
respond positively to new priorities, cope with challenges and look for new opportunities.
v. Effective Participators
English Literature offers many opportunities for pupils to contribute to presentations,
debates, discussions and drama activities and to engage actively with texts and issues
that affect them and those around them. The focus on evaluating their own and other
people's performances and writing in the curriculum opportunities section encourages
pupils to participate in helping others progress. The speaking and listening key processes
make explicit reference to the listening and negotiation skills essential for effective
participation such as ‘listen and respond constructively to others, taking different views into
account and modifying their own views in the light of what others say’.
11
vi. Reflective Learners
The programme of study for English Literature provides opportunities for pupils to become
reflective learners by helping them develop their evaluative skills. The curriculum
opportunities for speaking and listening and writing emphasise the need for pupils to
evaluate and respond to their own and other people's performances or writing. Pupils can
apply this evaluation to assess their own strengths and weaknesses, setting themselves
realistic goals with criteria for success. The importance of planning, drafting, editing,
proofreading and self-evaluation is also highlighted in the key processes for writing.
vii. Embedding PLTS
With thoughtful planning, a range of PLTS can be embedded in any sequence of work. For
example, pupils might be asked to prepare a group presentation on a local historical issue
over several lessons. This would involve pupils:
•
Identifying key questions and issues
•
Researching issues
•
Choosing the format for presentation and the approach to take for maximum effect,
allocating roles and tasks, and delivering the presentation to an agreed timetable and
answering questions
•
Anticipating objections or questions and being sufficiently informed and historically
aware to answer any problems
•
Setting targets to improve with peers and teachers
5. CROSS-CURRICULUM DIMENSIONS
Cross-curriculum dimensions provide important unifying areas of learning that help young
people make sense of the world and give education relevance and authenticity. They reflect
the major ideas and challenges that face individuals and society. Subjects and topics are not
taught in isolation but with constant reference to other subjects in the curriculum or other
topics areas in English Literature. At all times children are encouraged to see and investigate
the connections between different disciplines as well as the connections with their own lives.
Cross-curriculum dimensions include the key areas of identity and cultural diversity, healthy
lifestyles, social participation, enterprise, global dimension and sustainable development,
technology and the media, and creative and critical thinking.
Dimensions are incorporated into the school timetable by:
•
Outlining the connections across subjects where there are common issues or areas
of learning
•
Specifically timetabled thematic days, activity weeks and events
•
General activities integrated into the school day routine
•
Educational visits
•
Using experts from outside of the school to stimulate discussion and debate
12
6. ASSESSMENT
a. Key Stage 3 Assessment
In Key Stage 3 the children are assessed in a multitude of different ways. The emphasis is on
non-pressurised and often fun means of assessing children’s ability and English Literature in
a way that benefits the individual child. Assessment is a means by which the school gains a
greater understanding of how to help each pupil develop and find success. Therefore
assessment can vary from pupil to pupil as we try to avoid setting children up to fail and seek
the most useful and pragmatic way to help our pupils succeed. Most assessment is carried
out on a daily basis through extensive class discussions involving all pupils, through 1 to 1
tuition and through careful observation. Each child is assessed with reference to their own
unique abilities and skills.
Pupils at the New Forest Small School are assessed in the following ways, although each
assessment procedure is tailored, as much as possible, to the individual child’s specific
needs:
•
Daily assessment through teacher observation.
•
Teacher assessment through extensive and in depth class discussions involving all
pupils.
•
One to one assessment through individual tuition carried out during free choice and
during independent tasks carried out in lesson.
•
Weekly homework.
•
Regular quizzes and challenges.
•
At the end of each half term pupils take a short, fun test.
•
Assessment through end of year exams for Year 7, 8 and 9 pupils.
•
Regular staff meetings where the general progress of each child is discussed and
whereby a greater understanding of each child’s assessment needs is gained.
•
Regular discussions with each child’s parents to assess the child’s progress both at
home and at school.
b. Key Stage 4 Assessment
In Key Stage 4 pupils begin their GCSE course in English Literature with OCR examination
board. Consequently much of the assessment is specific to this course. However most of the
assessment procedures listed above continue to apply to Key Stage 4 pupils. Only 4 of the
units below are assessed.
Specific to Key Stage 4 assessment are the following procedures:
• Unit A661: Literary Heritage Linked Texts.
Section A
1. Response to one task on one of the set plays and a film or audio version of
the same play.
Section B
1. Response to one question on one of the set poets.
25% of the total GCSE marks
Controlled Assessment.
13
• Unit A662: Modern Drama.
1. Response to one question on one of the set plays, involving passage based
questions, essay questions and empathic questions.
25% of the total GCSE marks
Written paper 45 minutes
This unit is externally assessed.
• Unit A663: Prose from Different Cultures.
1. Response to one question on one of the set texts, involving passage based
questions and essay questions.
25% of the total GCSE marks
Written paper 45 minutes
This unit is externally assessed.
• Unit A664: Literary Heritage Prose and Contemporary Poetry.
Section A
1. Response to one question on one of the set texts, involving passage based
questions, essay questions and empathic questions.
Section B
1. Response to one question on one poem by their chosen poet, or
2. Response to one question on a previously unseen poem.
25% of the total GCSE marks
Written Paper 1 hour 30 minutes
This unit is externally assessed.
Please Note – Some students will sit their GCSE in English Literature at the end of Year 10
whilst others will continue with the course until the end of Year 11.
c. Qualification Titles and Levels
This qualification is shown on a certificate as OCR GCSE in English Literature. Candidates
who gain Grades D to G will have achieved an award at Foundation Level 1. Candidates who
gain Grades A* to C will have achieved an award at Intermediate Level 2.
7. ENGLISH LESSONS AND RESOURCES
a. Typical Structure of Lessons
Although English Literature lessons can vary in structure according to the requirements at the
time the general pattern of English Literature lessons are as follows:
i.
Introduction
•
Remind class of last text or part of text explored and relate to current text.
•
Discuss and explore.
•
Practical Application – discuss relevance of text to every life.
•
Making Connections – discuss and explore connections between text and other texts
and subjects.
•
Main Activity (involving one or more of the following)
•
Reading the text.
•
Discussing the text.
•
Drama – Pupils enact areas of text.
ii.
14
•
Group Work – Set small groups an area to explore.
•
Individual research.
•
Media – use video clips and programmes and/or computer programmes and websites
where appropriate.
•
Record through text and illustrations. Record using their own words.
iii.
Conclusion
•
Concluding discussion, recapping the main points.
•
Short quiz.
•
Setting of homework.
b. Resources
The following resources are used in class where and when appropriate:
•
Interactive Whiteboard
•
OCR Resources
•
Fiction Books
•
Newspapers & Magazines
•
Assorted Non-Fiction
•
English Literature CD ROMs
•
Internet
•
English Literature DVD Videos and Clips
8. SUMMARY OF ENGLISH CONTENT
1.
2.
3.
4.
5.
6.
7.
Shakespeare
Literary Heritage Poetry
Modern Drama
Prose from Different Cultures
Literary Heritage Prose
Contemporary Poetry
Contemporary Fiction
15
9. ENGLISH LITERATURE SCHEMES OF WORK
YEAR 7
Autumn Term
5. LITERARY HERITAGE PROSE
1. Gulliver’s Travels
a.
b.
c.
d.
Cultural & Historical Background
Satire
Parody on the Adventure Novel
Exploring Major Themes in Gulliver’s Travels
i.
Human, All Too Human
ii.
Satire on Government
iii.
Corruption
iv.
Satire on Religion
v.
Ancients versus Moderns
vi.
Satire on Science
vii.
Mortality & Immortality
viii.
Cultural Contrasts
ix.
Pragmatism & Idealism
e. Plot Devices
i.
Each Part the Reverse of the Previous Part
ii.
Contrast of Different Parts
f. Character Development
i.
Gulliver’s Development from Wide Eyed
Misanthrope
ii.
From the Lilliputians to the Brobdingnagians
iii.
From the Laputians to the Houyhnhnms
g. Cultural Impact
h. Relevance of Gulliver’s Travels Today
i. Modern Versions & Interpretations
8. CREATIVE WRITING
2.
Descriptive Writing
a.
b.
c.
d.
e.
f.
g.
h.
3.
Use of Adjectives
Use of Adverbs
Use of Powerful Verbs
Avoiding High Frequency Words
Using a Thesaurus
Use of Simile
Use of Metaphor
Avoiding Clichés
Short Stories
a. Structuring a Short Story
i.
Setting
ii.
Characters
iii.
Plot
iv.
Descriptive Writing
v.
Dialogue / Monologue
Optimist
to
Pompous
16
4.
Play Scripts
a. See Drama Schemes of Work
5.
Research
a. Researching Themes in a Story / Poem / Play script
b. Researching Subject Matter
c. Researching Useful & Related Information
Spring Term
8. CREATIVE WRITING
6. Characterisation
a.
b.
c.
d.
e.
f.
7.
Descriptive Writing
a.
b.
c.
d.
e.
f.
g.
h.
8.
Physical Attributes of a Character
Personality of Character
Symbolism of Characters
Character’s Journey & Development
Archetypal Characters
Examples of Successful Characters
Use of Adjectives
Use of Adverbs
Use of Powerful Verbs
Avoiding High Frequency Words
Using a Thesaurus
Use of Simile
Use of Metaphor
Avoiding Clichés
Short Stories
a. Structuring a Short Story
i.
Setting
ii.
Characters
iii.
Plot
iv.
Descriptive Writing
v.
Dialogue / Monologue
9.
Play Scripts
a. See Drama Schemes of Work
10. Poems
a. Structuring a Poem
b. Considering the Music & Rhythm of Poetry
i.
Use of Onomatopoeic Words
ii.
Use of Alliteration
iii.
Assonance
17
c.
Imagery
Use of Adjectives
Expressive Verbs
Use of Simile & Metaphor
d. Meaning
i.
Surface Meaning
ii.
Multi-Layered Meaning
iii.
Symbolic Meaning
e. Inner Emotions
i.
Feelings
ii.
Reflections
i.
ii.
iii.
11. Research
a. Researching Themes in a Story / Poem / Play script
b. Researching Subject Matter
c. Researching Useful & Related Information
2. LITERARY HERITAGE POETRY
12. Anthology of Poems
a. Different Types of Poetry
i.
Sonnet
ii.
Ballad
iii.
Elegy
iv.
Narrative Poem
v.
Rap
b. The Music & Rhythm of Poetry
i.
Distinctive Rhythms
ii.
Use of Onomatopoeic Words
iii.
Use of Alliteration
iv.
Assonance
c. Layout of a Poem
d. Rhyming Poetry
i.
Full Rhymes
ii.
Half Rhymes
iii.
Internal Rhymes
e. Blank Verse
f. Imagery
i.
Use of Adjectives
ii.
Expressive Verbs
iii.
Use of Simile & Metaphor
g. Comic & Nonsense Verse
h. Meaning
i.
Surface Meaning
ii.
Multi-Layered Meaning
iii.
Symbolic Meaning
i. Inner Emotions
i.
Feelings
ii.
Reflections
18
7. CONTEMPORARY FICTION
13. The Curious Incident of the Dog in the Night Time
a. Settings
i.
Chapter by Chapter
ii.
Prime Number Chapters
iii.
Symbolism of Settings
b. Major Characters
i.
Initial Characteristics of Each Character
ii.
Challenges Facing Each Character
iii.
Development of Each Character
iv.
Archetypal Symbolism of Each Character
c. Minor Characters
d. Role of Minor Characters
e. Plot
i.
Chapter by Chapter
ii.
Summarising the Plot
iii.
Plot Twists & Devises
Summer Term
7. CONTEMPORARY FICTION
14. The Curious Incident of the Dog in the Night Time
a. Exploring the Major Themes
i.
Asperger’s Syndrome
ii.
Fear of Emotions
iii.
Comfort of Logic
iv.
Truth & Lies
v.
The Strange World of Adults
vi.
Intimacy
vii.
Order & Chaos
viii.
Security & Insecurity
b. Author’s Writing Techniques
i.
Use of Symbolism
ii.
Use of Word Play & Humour
iii.
Descriptive Imagery
iv.
Use of Illustrations & Diagrams
v.
Building Tension
vi.
How the Story Unravels
8. CREATIVE WRITING
15. Dialogues & Monologues
a.
b.
c.
d.
e.
f.
Synchronising Dialogue with Character
Synchronising Dialogue with Plot
Colloquial Dialogue
Dialogue using Dialects
Avoiding Stilted Dialogue
Examples of Successful Dialogue
19
YEAR 8
Autumn Term
1. SHAKESPEARE
16. Macbeth
a.
b.
c.
d.
e.
f.
Cultural & Historical Background
Tragedy
Shakespeare’s Historical Plays
Reading and Acting out Macbeth
Setting and Use of Props
Exploring Major Themes in Macbeth
i.
Ambition and Temptation
ii.
Regicide
iii.
Guilt and Remorse
iv.
The Vicious Cycle of Crime
v.
Fate
vi.
Witchcraft and the Supernatural
vii.
Superstition
viii.
Lady Macbeth as Eve
ix.
Macbeth’s Existentialism
x.
Pragmatism & Idealism
3. MODERN DRAMA
17. The Birthday Party by Harold Pinter
a.
b.
c.
d.
e.
f.
Cultural & Historical Background
Comedy of Menace and the Theatre of the Absurd
Pinter’s Plays
Reading and Acting out The Birthday Party
Setting and Use of Props
Exploring Major Themes in The Birthday Party
i.
Power Struggles
ii.
Power Through the Threat of Violence
iii.
Power Through Sexuality
iv.
Power Through Patronising
v.
Power Through Exaggeration and Boasting
vi.
Power Through Association and Connections
vii.
Shifting Hierarchies
viii.
The Random Nature of Truth
ix.
The Menace of Authority and Conformity
x.
‘The Individual’s Imperative Need for Resistance’
g. Plot Devices
i.
Absence of a Theme
ii.
Contrast of Different Acts
h. Character Development
i.
How the Constant Struggle for Power Affects Each Character
ii.
Character Inversions
iii.
Roles of Different Characters
i. Cultural Impact
j. Relevance of The Birthday Party Today
k. Dramatic Versions & Interpretations
l. Pinter’s Use of Language in The Birthday Party
20
Spring Term
1. SHAKESPEARE
18. Macbeth
a. Plot Devices
i.
Use of the Witches
ii.
Contrast of Different Parts
b. Character Development
i.
Contrast between Macbeth’s decreasing guilt and Lady Macbeth’s
developing guilt
ii.
Character Inversions
iii.
Roles of Different Characters
c. Cultural Impact
d. Relevance of Macbeth Today
e. Modern Versions & Interpretations
f. Shakespeare’s Use of Language and Verse in Macbeth
3. MODERN DRAMA
19. The Homecoming by Harold Pinter
a.
b.
c.
d.
e.
f.
Cultural & Historical Background
Comedy of Menace and the Theatre of the Absurd
Pinter’s Plays and His Method of Writing
Reading and Acting out The Homecoming
Setting and Use of Props
Exploring Major Themes in The Homecoming
i.
Power Struggles
ii.
Power Through the Threat of Violence
iii.
Power Through Sexuality
iv.
Power Through Patronising
v.
Power Through Exaggeration and Boasting
vi.
Power Through Association and Connections
vii.
Shifting Hierarchies
viii.
The Random Nature of Truth
ix.
Family Values
x.
The Menace of the Family
xi.
Return of the Prodigal Son
xii.
Moral Vacuum
g. Plot Devices
i.
Absence of a Theme
ii.
Contrast of Different Acts
h. Character Development
i.
How the Constant Struggle for Power Affects Each Character
ii.
Character Inversions
iii.
Roles of Different Characters
i. Cultural Impact
j. Relevance of The Homecoming Today
k. Dramatic Versions & Interpretations
l. Pinter’s Use of Language in The Homecoming
21
5. LITERARY HERITAGE PROSE
20. 1984 by George Orwell
a.
b.
c.
d.
e.
f.
Cultural & Historical Background
Dystopian Novels and Science Fiction
Orwell’s Novels and His Method of Writing
Reading 1984
Setting and Use of Props
Exploring Major Themes in 1984
i.
Totalitarianism
ii.
Stalinism and Fascism
iii.
The Hierarchy Pyramid
iv.
Distortion of Truth
v.
Propaganda
vi.
Is Historical Truth Possible?
vii.
INGSOC
viii.
Doublethink
ix.
Newspeak
x.
Ministries of Oceania
xi.
Political Geography
xii.
Cult of Personality
xiii.
The Revolution
xiv.
Perpetual War and Fear
xv.
Nationalism
xvi.
Sexual Repression
xvii.
Censorship
xviii.
Mass Surveillance
Summer Term
21. 1984 by George Orwell
a. Plot Devices
i.
Development of Plot
ii.
Contrast of Different Chapters
iii.
The Newspeak Appendix
b. Character Development
i.
Winston’s Rebellion
ii.
Julia’s Rebellion
iii.
Winston and Julia’s Submission and Betrayal
iv.
Roles of Different Characters
v.
Unpersons
c. Cultural Impact
d. Relevance of 1984 Today
i.
The Adjective ‘Orwellian”
ii.
Big Brother
iii.
The Thought Police
iv.
Room 101
v.
New World Order
e. Dramatic Versions & Interpretations
f. Orwell’s Use of Language in 1984
22
2. LITERARY HERITAGE POETRY
22. Dulce et Decorum Est by Wilfred Owen
a.
b.
c.
d.
Cultural and Historical Background
Owen’s War Poems
Reading Dulce et Decorum Est
Exploring Major Themes in Dulce et Decorum Est
i.
Anti-War
ii.
De-Humanisation
iii.
Death
iv.
War Propaganda
e. Structure of Poem
i.
Iambic Pentameter
ii.
Use of Rhyme
f. Imagery
i.
Use of Adjectives
ii.
Expressive Verbs
iii.
Use of Simile & Metaphor
g. Meaning
i.
Surface Meaning
ii.
Multi-Layered Meaning
iii.
Symbolic Meaning
h. Inner Emotions
i.
Feelings
ii.
Reflections
23. Futility by Wilfred Owen
a.
b.
c.
d.
Cultural and Historical Background
Owen’s War Poems
Reading Futility
Exploring Major Themes in Futility
i.
Anti-War
ii.
De-Humanisation
iii.
Death
iv.
War Propaganda
e. Structure of Poem
i.
Iambic Pentameter
ii.
Use of Rhyme
iii.
Contrast between two Verses
f. Imagery
i.
Use of Adjectives
ii.
Expressive Verbs
iii.
Use of Simile & Metaphor
g. Meaning
i.
Surface Meaning
ii.
Multi-Layered Meaning
iii.
Symbolic Meaning
h. Inner Emotions
i.
Feelings
ii.
Reflections
24. Anthem for Doomed Youth by Wilfred Owen
a. Cultural and Historical Background
b. Owen’s War Poems
c. Reading Anthem for Doomed Youth
23
d. Exploring Major Themes in Anthem for Doomed Youth
i.
Anti-War
ii.
De-Humanisation
iii.
Death
iv.
Honouring the Dead
v.
War Propaganda
e. Structure of Poem
i.
Petrarchan Sonnet
ii.
Use of Rhyme
f. Imagery
i.
Use of Adjectives
ii.
Expressive Verbs
iii.
Use of Simile & Metaphor
g. Meaning
i.
Surface Meaning
ii.
Multi-Layered Meaning
iii.
Symbolic Meaning
h. Inner Emotions
i.
Feelings
ii.
Reflections
25. Parable of the Old Man and the Young by Wilfred Owen
a.
b.
c.
d.
Cultural and Historical Background
Owen’s War Poems
Reading Parable of the Old Man and the Young
Exploring Major Themes in Dulce et Decorum Est
i.
Anti-War
ii.
Abraham and Isaac
iii.
Sacrifice
iv.
Death
v.
War Propaganda
vi.
Lack of Humanity in the Authorities
e. Structure of Poem
i.
Iambic Pentameter
ii.
Use of Assonance
iii.
Use of Consonance
iv.
Use of Alliteration
f. Imagery
iv.
Use of Adjectives
v.
Expressive Verbs
vi.
Use of Simile & Metaphor
g. Meaning
iv.
Surface Meaning
v.
Multi-Layered Meaning
vi.
Symbolic Meaning
h. Inner Emotions
iii.
Feelings
iv.
Reflections
24
3. MODERN DRAMA
26. The Caretaker by Harold Pinter
a.
b.
c.
d.
e.
f.
Cultural & Historical Background
Comedy of Menace and the Theatre of the Absurd
Pinter’s Plays and His Method of Writing
Reading and Acting out The Caretaker
Setting and Use of Props
Exploring Major Themes in The Caretaker
i.
Power Struggles
ii.
Power Through the Threat of Violence
iii.
Power Through Patronising
iv.
Power Through Exaggeration and Boasting
v.
Power Through Association and Connections
vi.
Shifting Hierarchies
vii.
Family Ties
viii.
Isolation
ix.
Communication Breakdowns
x.
The Random Nature of Truth
xi.
Impossible Dreams
xii.
Altruism and Charity
xiii.
Moral Vacuum
g. Plot Devices
i.
Absence of a Theme
ii.
Contrast of Different Acts
h. Character Development
i.
How the Constant Struggle for Power Affects Each Character
ii.
Contrast between the two Brothers
iii.
Roles of Different Characters
i. Cultural Impact
j. Relevance of The Caretaker Today
k. Dramatic Versions & Interpretations
l. Pinter’s Use of Language in The Caretaker
7. CONTEMPORARY FICTION – Students choose one of the following novels
27. Fever Pitch by Nick Hornby
a. Read Fever Pitch Individually
b. Write Critical Review of Fever Pitch
28. Empire of the Sun by J.G. Ballard
a. Read Empire of the Sun Individually
b. Write Critical Review of Empire of the Sun
29. The Wasp Factory by Ian Banks
a. Read The Wasp Factory Individually
b. Write Critical Review of The Wasp Factory
30. Siddhartha by Hermann Hesse
a. Read Siddhartha Individually
b. Write Critical Review of Siddhartha
REVISION AND EXAMS
25
YEAR 9
Autumn Term
3. MODERN DRAMA
31. The Death of a Salesman by Arthur Miller
a.
b.
c.
d.
e.
Cultural & Historical Background
Tragedy
Miller’s Plays and His Method of Writing
Reading and Acting out The Death of a Salesman
Setting and Use of Props
i.
Seeds
ii.
Diamonds
iii.
Stockings
iv.
The Rubber Hose
f. Exploring Major Themes and Motifs in The Death of a Salesman
i.
The American Dream
ii.
Capitalism
iii.
Competition
iv.
The Rat Race
v.
Encroaching Urban World
vi.
Rural Idyll
vii.
Success and Failure
viii.
Lack of Self-Knowledge
ix.
Loss of Purpose
x.
Nostalgia
xi.
Abandonment
xii.
Betrayal
xiii.
Isolation
xiv.
Mythic Figures
xv.
Importance of the Individual
xvi.
Impossible Dreams
g. Plot Devices
i.
Mobile Concurrences
ii.
Steam of Consciousness
iii.
Contrast of Different Acts
h. Character Development
i.
Collapse of Willie Loman
ii.
Contrast between the two Brothers
iii.
Roles of Different Characters
i. Cultural Impact
j. Relevance of The Death of a Salesman Today
k. Dramatic Versions & Interpretations
l. Miller’s Use of Language in The Death of a Salesman
m. Personal Reactions and Review of The Death of a Salesman
32. A View From the Bridge by Arthur Miller
a.
b.
c.
d.
e.
Cultural & Historical Background
Tragedy
Miller’s Plays and His Method of Writing
Reading and Acting out A View From the Bridge
Setting and Use of Props
i.
High Heels
ii.
Brooklyn Bridge
iii.
Italy
iv.
The Polis
26
f.
Exploring Major Themes and Motifs in A View From the Bridge
i.
Informers – The McCarthy Trials
ii.
Betrayal
iii.
Irrationality
iv.
Community Law versus American Law
v.
Sicilian Code of Honour
vi.
Community
vii.
Immigration
viii.
Homosexuality and Masculinity
ix.
Womanhood
x.
Shifting Hierarchies
xi.
Family Ties
xii.
Isolation
g. Plot Devices
i.
Contrast between the Individual and the Community
ii.
Contrast and Development of Different Acts
h. Character Development
i.
The Tragic Blinkered Self-Interest of Eddie Carbone
ii.
Alfieri the ‘Bridge’
iii.
Roles of Different Characters
i. Cultural Impact
j. Relevance of A View From the Bridge Today
k. Dramatic Versions & Interpretations
l. Miller’s Use of Language in A View From the Bridge
m. Personal Reactions and Review of A View From the Bridge
4. PROSE FROM DIFFERENT CULTURES
33. To Kill a Mockingbird by Harper Lee
a.
b.
c.
d.
e.
Cultural & Historical Background
Tragedy and Legal Drama
Lee’s Method of Writing
Reading To Kill a Mockingbird
Setting and Use of Props
i.
Mockingbirds
ii.
Boo Radley
f. Exploring Major Themes and Motifs in To Kill a Mockingbird
i.
Racism and Segregation
ii.
Good and Evil in Human Nature
iii.
Innocence and Experience
iv.
Education
v.
Moral Education
vi.
Social Hierarchies and Inequality
vii.
The Gothic South
viii.
Small Town Life
ix.
Social Proprieties and Hypocrisy
g. Plot Devices
i.
Contrast between the Child’s and Adult’s View of the World
ii.
Contrast and Development of Different Chapters
h. Character Development
i.
The Moral Voice of Atticus Finch
ii.
Scout’s Journey from Innocence to an Adult Understanding of the World
iii.
Jem’s Struggle with Disillusionment
iv.
Roles of Different Characters
i. Cultural Impact
j. Relevance of To Kill a Mockingbird Today
k. Dramatic Versions & Interpretations
l. Lee’s Use of Language in To Kill a Mockingbird
m. Personal Reactions and Review of To Kill Amockingbird
27
Spring Term
1. SHAKESPEARE
34. Julius Caesar
a.
b.
c.
d.
e.
Cultural & Historical Background
Tragedy
Shakespeare’s Plays and His Method of Writing
Reading and Acting out Julius Caesar
Setting and Use of Props
i.
Rome
ii.
Letters
iii.
Women and Wives
f. Exploring Major Themes and Motifs in Julius Caesar
i.
Fate versus Free Will
ii.
Public Self versus Private Self
iii.
Misinterpretations and Misreadings
iv.
Inflexibility versus Compromise
v.
Rhetoric
vi.
Power
vii.
Honour
viii.
Patriotism
ix.
Friendship
x.
Betrayal
xi.
Conspiracy
xii.
Ambition
xiii.
Absolute Authority
xiv.
Omens and Portents
g. Plot Devices
i.
Contrast between the Individual and the Community
ii.
Contrast and Development of Different Acts
h. Character Development
i.
The Fate of the two Protagonists, Julius Caesar and Brutus
ii.
The Manipulative Mark Antony
iii.
Roles of Different Characters
i. Cultural Impact
j. Relevance of Julius Caesar Today
k. Dramatic Versions & Interpretations
l. Shakespeare’s Use of Language in Julius Caesar
m. Personal Reactions and Review of Julius Caesar
28
2. LITERARY HERITAGE POETRY
35. Goblin Market by Christina Rossetti
a.
b.
c.
d.
Cultural and Historical Background
Rossetti’s Romantic Poems
Reading Goblin Market
Exploring Major Themes and Motifs in Goblin Market
i.
Feminism
ii.
Sexuality
iii.
Forbidden Fruits – Adam and Eve
iv.
Victorian Social Mores
v.
Sisterly Love
vi.
Drug Addiction
e. Structure of Poem
i.
Use of Couplets
ii.
Irregular Rhyme Scheme
f. Imagery
i.
Use of Adjectives
ii.
Expressive Verbs
iii.
Use of Simile & Metaphor
g. Meaning
i.
Surface Meaning
ii.
Multi-Layered Meaning
iii.
Symbolic Meaning
h. Inner Emotions
i.
Feelings
ii.
Reflections
i. Personal Reactions and Review of Goblin Market
36. Remember by Christina Rossetti
a.
b.
c.
d.
Cultural and Historical Background
Rossetti’s Romantic Poems
Reading Remember
Exploring Major Themes in Remember
i.
Loss and Regret
ii.
Letting Go
iii.
Death
iv.
Remembrance and Forgetting
e. Structure of Poem
i.
Sonnet
ii.
Use of Rhyme
iii.
Contrast between Verses
f. Imagery
i.
Use of Adjectives
ii.
Expressive Verbs
iii.
Use of Simile & Metaphor
g. Meaning
i.
Surface Meaning
ii.
Multi-Layered Meaning
iii.
Symbolic Meaning
h. Inner Emotions
iii.
Feelings
iv.
Reflections
i. Personal Reactions and Review of Remember
29
37. Up-Hill by Christina Rossetti
a.
b.
c.
d.
Cultural and Historical Background
Rossetti’s Romantic Poems
Reading Up-Hill
Exploring Major Themes in Up-Hill
i.
Life’s Arduous Journey
ii.
The Afterlife
e. Structure of Poem
i.
Use of Rhyme
f. Imagery
i.
Use of Adjectives
ii.
Expressive Verbs
iii.
Use of Simile & Metaphor
g. Meaning
i.
Surface Meaning
ii.
Multi-Layered Meaning
iii.
Symbolic Meaning
h. Inner Emotions
v.
Feelings
vi.
Reflections
i. Personal Reactions and Review of Up-Hill
Summer Term
6. CONTEMPORARY POETRY
38. The British (Serves 60 million) by Benjamin Zephaniah
a.
b.
c.
d.
Cultural and Historical Background
Zephaniah’s Oeuvre
Reading The British (Serves 60 million)
Exploring Major Themes in The British (Serves 60 million)
i.
British History
ii.
Multi-Cultural Britain
iii.
Immigration
iv.
Cultural ‘Melting Pot’
e. Structure of Poem
i.
Irregular Rhyme
ii.
Rhythm of poem
f. Imagery
i.
Use of Adjectives
ii.
Expressive Verbs
iii.
Use of Simile & Metaphor
g. Meaning
i.
Surface Meaning
ii.
Multi-Layered Meaning
iii.
Symbolic Meaning
h. Inner Emotions
vii.
Feelings
viii.
Reflections
i. Personal Reactions and Review of Talking Turkeys
30
39. What Stephen Lawrence Has Taught Us by Benjamin Zephaniah
a.
b.
c.
d.
Cultural and Historical Background
Zephaniah’s Oeuvre
Reading What Stephen Lawrence Has Taught Us
Exploring Major Themes in What Stephen Lawrence Has Taught Us
i.
Racism and Hate
ii.
Institutionalised Racism
iii.
Justice and injustice
iv.
Fascism
v.
Illusion of Freedom
vi.
Officialdom
e. Structure of Poem
i.
Use of Rhyme
ii.
Contrast between Verses
f. Imagery
i.
Use of Adjectives
ii.
Expressive Verbs
iii.
Use of Simile & Metaphor
g. Meaning
i.
Surface Meaning
ii.
Multi-Layered Meaning
iii.
Symbolic Meaning
h. Inner Emotions
ix.
Feelings
x.
Reflections
i. Personal Reactions and Review of Talking Turkeys
40. Talking Turkeys by Benjamin Zephaniah
a.
b.
c.
d.
Cultural and Historical Background
Zephaniah’s Oeuvre
Reading Talking Turkeys
Exploring Major Themes in Talking Turkeys
i.
Animal Cruelty
ii.
Vegetarianism and Veganism
iii.
Factory Farming
iv.
Christmas Materialism
e. Structure of Poem
i.
Use of Rhyme
f. Imagery
i.
Use of Adjectives
ii.
Expressive Verbs
iii.
Use of Simile & Metaphor
g. Meaning
i.
Surface Meaning
ii.
Multi-Layered Meaning
iii.
Symbolic Meaning
h. Inner Emotions
xi.
Feelings
xii.
Reflections
i. Personal Reactions and Review of Talking Turkeys
31
5. LITERARY HERITAGE PROSE
41. Animal Farm by George Orwell
a. Cultural & Historical Background
i.
Russian Revolution February 1917
ii.
The October Revolution
b. Political Fables
c. Orwell’s Novels and His Method of Writing
d. Reading Animal Farm
e. Setting and Use of Props
i.
The Farm
ii.
The Barn
iii.
The Windmill
f. Exploring Major Themes in 1984
i.
Oppression
ii.
Revolutionary Ideals
iii.
Socialism
iv.
Communism
v.
Stalinism
vi.
Propaganda
vii.
Abuse of Language
viii.
Corruption
ix.
Power Struggles
x.
Class Stratification
xi.
Tyranny of the Community
xii.
Ritual and Song
g. Plot Devices
i.
Development of Plot - Fables
ii.
Contrast of Different Chapters
iii.
Plot Twist
h. Character Development
i.
Fall of Snowball (Trotsky)
ii.
Rise of Napoleon (Stalin)
iii.
Betrayal of Boxer (The Trusting Working Class)
iv.
Squealer’s Growing Disregard for Others (Secret Police / Propagandist)
v.
Roles of Different Characters
i. Cultural Impact
j. Relevance of Animal Farm Today
i.
The Adjective ‘Orwellian”
ii.
Animal Farm in Popular Culture
k. Dramatic Versions & Interpretations
l. Orwell’s Use of Language in Animal Farm
m. Personal Reactions and Review of Animal Farm
REVISION AND EXAMS
32
YEAR 10
Autumn Term
3. MODERN DRAMA
42. An Inspector Calls by J.B. Priestley
a.
b.
c.
d.
e.
f.
Cultural & Historical Background
Parables / Police Investigations
Priestley’s Plays and His Method of Writing
Reading and Acting out An Inspector Calls
Setting and Use of Props
Exploring Major Themes and Motifs in An Inspector Calls
i.
Capitalism
ii.
Socialism
iii.
Conscience of the Individual
iv.
Selfish Individualism
v.
Social Responsibility
vi.
Suicide
vii.
Inter-Connectivity of People
viii.
Divide and Conquer
ix.
Objective and Subjective Truths
x.
Lack of Self-Knowledge
xi.
Mistreatment of the Working Class
xii.
Industrial Action
g. Plot Devices
i.
Use of Dramatic Irony
ii.
Real Time Plot
iii.
Aristotelian Principles – The Three Unities of Time, Place and Action
iv.
Foreshadowing
v.
Dramatic Endings of Each Act
h. Character Development
i.
The Enigma of Inspector Goole
ii.
Birling’s ‘Awakening’
iii.
The ‘Unseen’ Girl
iv.
Roles of Different Characters
i. Cultural Impact
j. Relevance of An Inspector Calls Today
k. Dramatic Versions & Interpretations
l. Priestley’s Use of Language in An Inspector Calls
m. Personal Reactions and Review of An Inspector Calls
33
4. PROSE FROM DIFFERENT CULTURES
43. Of Mice and Men by John Steinbeck
a.
b.
c.
d.
e.
Cultural & Historical Background
Tragedy
Steinbeck’s Method of Writing
Reading Of Mice and Men
Setting and Use of Props / Symbols
i.
George and Lennie’s Farm
ii.
Lennie’s Puppy
iii.
Candy’s Dog
f. Exploring Major Themes and Motifs in Of Mice and Men
i.
Loneliness and Isolation
ii.
Dog Eat Dog
iii.
Preying on Human Weaknesses
iv.
Oppression
v.
Fraternity and Idealised Male Friendships
vi.
Impossibility of the American Dream
vii.
Resignation and Failure
viii.
The ‘Corrupting’ Power of Women
ix.
Strengths and Weaknesses
x.
Mental Disabilities
g. Plot Devices
i.
Contrast between George and Lenny
ii.
Contrast and Development of Different Chapters
h. Character Development
i.
George’s Growing Empathy
ii.
Crook’s Cruelty but Growing Need for Others
iii.
Roles of Different Characters
i. Cultural Impact
j. Relevance of Of Mice and Men Today
k. Dramatic Versions & Interpretations
l. Steinbeck’s Use of Language in Of Mice and Men
m. Personal Reactions and Review of Of Mice and Men
Spring Term
5. LITERARY HERITAGE PROSE
44. Lord of the Flies by William Golding
a.
b.
c.
d.
e.
Cultural & Historical Background
Allegory
Golding’s Method of Writing
Reading and Acting Lord of the Flies
Setting and Use of Props and Symbols
i.
The Conch Shell
ii.
Piggy’s Glasses
iii.
The Signal Fire
iv.
The Beast
v.
The Lord of the Flies
34
f.
Exploring Major Themes and Motifs in Lord of the Flies
i.
Civilisation versus Savagery
ii.
Reason versus Instinct
iii.
Good versus Evil
iv.
Human Nature
v.
Animal Nature
vi.
Power Struggles
vii.
Preying on the Weak
viii.
Isolation
ix.
Innate Cruelty / Bullying
x.
Social Hierarchies
g. Plot Devices
i.
Biblical Parallels
ii.
Contrast and Development of Different Chapters
h. Character Development
i.
Allegorical Nature of the Characters
ii.
Roles of Different Characters
i. Cultural Impact
j. Relevance of Lord of the Flies Today
k. Dramatic Versions & Interpretations
l. Golding’s Use of Language in Lord of the Flies
m. Personal Reactions and Review of Lord of the Flies
6. CONTEMPORARY POETRY
45. Before You Were Mine by Carol Ann Duffy
a.
b.
c.
d.
Cultural and Historical Background
Duffy’s Poetry
Reading Before You Were Mine
Exploring Major Themes and Motifs in Before You Were Mine
i.
Motherhood
ii.
Sacrifices
iii.
The Next Generation
iv.
Relationship between Mother and Daughter
v.
Contrast between the Past and the Present
vi.
Carpe Diem
e. Structure of Poem
i.
Blank Verse
ii.
Five Line Stanzas
f. Imagery
i.
Use of Adjectives
ii.
Expressive Verbs
iii.
Use of Simile & Metaphor
g. Meaning
i.
Surface Meaning
ii.
Multi-Layered Meaning
iii.
Symbolic Meaning
h. Inner Emotions
i.
Feelings
ii.
Reflections
i. Personal Reactions and Review of Before You Were Mine
35
46. We Remember Your Childhood Well by Carol Ann Duffy
a.
b.
c.
d.
Cultural and Historical Background
Duffy’s Poetry
Reading We Remember Your Childhood Well
Exploring Major Themes in We Remember Your Childhood Well
i.
Denial
ii.
Different Versions of the Past
iii.
Gap between Appearance and Reality
iv.
Remembrance and Forgetting
v.
Self-Justification
vi.
Disempowerment of Childhood
vii.
Continuing Betrayal
e. Structure of Poem
i.
Loose Rhyme Scheme
ii.
Irregular Metre Interrupted by Pauses
iii.
Staccato Rhythm
f. Imagery
i.
Use of Adjectives
ii.
Expressive Verbs
iii.
Use of Simile & Metaphor
g. Meaning
i.
Surface Meaning
ii.
Multi-Layered Meaning
iii.
Symbolic Meaning
h. Inner Emotions
i.
Feelings
ii.
Reflections
i. Personal Reactions and Review of We Remember Your Childhood Well
47. War Photographer by Carol Ann Duffy
a.
b.
c.
d.
Cultural and Historical Background
Duffy’s Poetic Style
Reading War Photographer
Exploring Major Themes in War Photographer
i.
Contrast between Middle England and War Zones
ii.
Comfort and Indifference
iii.
The Observer
iv.
The Power of Photography
v.
The Gradual Immunity to Suffering
e. Structure of Poem
i.
Rhyming Couplets
ii.
Pentameters
f. Imagery
i.
Use of Adjectives
ii.
Expressive Verbs
iii.
Use of Simile & Metaphor
g. Meaning
i.
Surface Meaning
ii.
Multi-Layered Meaning
iii.
Symbolic Meaning
h. Inner Emotions
i.
Feelings
ii.
Reflections
i. Personal Reactions and Review of War Photographer
36
Summer Term
4. PROSE FROM DIFFERENT CULTURES
48. Anita and Me by Meera Syal
a.
b.
c.
d.
e.
f.
Cultural & Historical Background
Multi-Cultural Novels
Syal’s Method of Writing
Reading Anita and Me
Setting and Use of Props / Symbols
Exploring Major Themes in Anita and Me
i.
Immigration
ii.
Multi-Culturalism
iii.
Racism
iv.
Identity
v.
Community
vi.
Urban Decay
vii.
Small Town Mentality
viii.
Disempowerment
ix.
Gangs and Belonging
x.
Cultural Assimilation
xi.
Bullying
xii.
Generation Gaps
g. Plot Devices
i.
Use of Humour
ii.
Contrast of Different Chapters
iii.
Plot Twist
h. Character Development
i.
Coming of Age of Meena
ii.
Roles of Different Characters
i. Cultural Impact
j. Relevance of Anita and Me Today
k. Dramatic Versions & Interpretations
l. Syal’s Use of Language in Anita and Me
m. Personal Reactions and Review of Anita and Me
REVISION AND GCSE EXAMS
37
YEAR 11
Autumn Term
4. PROSE FROM DIFFERENT CULTURES
49. The Catcher in the Rye by J.D. Salinger
a.
b.
c.
d.
e.
Cultural & Historical Background
Bildungsroman
Salinger’s Method and Style of Writing
Reading The Catcher in the Rye
Setting and Use of Props / Symbols
i.
The ‘Catcher in the Rye”
ii.
The Red Hunting Hat
iii.
The Museum of Natural History
iv.
The Ducks in the Central Park Lagoon
f. Exploring Major Themes and Motifs in The Catcher in the Rye
i.
Alienation – The Outsider
ii.
Counterculture
iii.
Alienation as Self-Protection
iv.
Alienation as Self-Destruction
v.
Difficulties of Socialising – The Fear of Others
vi.
Lack of Social Responsibility
vii.
Elitism – Ubermench – Acting Above the Law
viii.
The Difficulties of Growing Up
ix.
Differences between Childhood and Adulthood
x.
The ‘Phoniness’ of the Adult World – Hypocrisy and Superficiality
xi.
Cynicism
xii.
Lack of Self-Knowledge
xiii.
Loneliness
xiv.
Relationships, Intimacy and Sexuality
xv.
Lying and Deception
g. Plot Devices
i.
First Person Narrative
ii.
The Unreliable Narrator
iii.
Bildungsroman
h. Character Development
i.
Holden’s Descent into Himself
ii.
Holden the Anti-Hero
iii.
Phoebe Caulfield as Counterpoint to her Brother, Holden
iv.
Roles of Different Characters
i. Cultural Impact
j. Relevance of The Catcher in the Rye Today
k. Dramatic Versions & Interpretations
l. Salinger’s Use of Language in The Catcher in the Rye
m. Personal Reactions and Review of The Catcher in the Rye
38
3. MODERN DRAMA
50. The History Boys by Alan Bennett
a.
b.
c.
d.
e.
f.
Cultural & Historical Background
Drama / Comedy
Bennett’s Method and Style of Writing
Reading and Acting out The History Boys
Setting and Use of Props / Symbols
Exploring Major Themes and Motifs in The History Boys
i.
Different Approaches to Education
ii.
The Subjectivity of History
iii.
‘False Pretences’
iv.
The Examination Process
v.
The Intrinsic Value of Knowledge
vi.
Art for Art’s Sake
vii.
Holistic Education
viii.
Pragmatism versus Idealism
ix.
Racism and Prejudice
x.
Islam
xi.
Judaism
xii.
Homosexuality
xiii.
Black British
xiv.
Politics
g. Plot Devices
i.
Contrast between Hector and Irwin’s Styles of Teaching
ii.
Deliberate Lack of Period Detail
iii.
Use of Allusions
iv.
Contrast and Development of Different Acts
h. Character Development
i.
Pupil’s Coming of Age
ii.
Roles of Different Characters
i. Cultural Impact
j. Relevance of The History Boys Today
k. Dramatic Versions & Interpretations
l. Bennett’s Use of Language in The History Boys
m. Personal Reactions and Review of The History Boys
39
Spring Term
5. LITERARY HERITAGE PROSE
51. Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson
a.
b.
c.
d.
e.
Cultural & Historical Background
The Novella / Crime
Stevenson’s Method of Writing and other Works
Reading and Acting out Strange Case of Dr. Jekyll and Mr. Hyde
Setting and Use of Props and Symbols
i.
Jekyll’s House and Laboratory
ii.
Darkness of Victorian London
iii.
Hyde’s Physical Appearance
f. Exploring Major Themes and Motifs in Strange Case of Dr. Jekyll and Mr.
Hyde
i.
The Duality of Human Nature
ii.
Reason versus Instinct
iii.
Good versus Evil
iv.
Human Nature
v.
Animal Nature
vi.
Schizophrenia
vii.
The Supernatural
viii.
The Importance of Reputation
ix.
Victorian Societal Mores
x.
Urban Terror
xi.
Victorian London
g. Plot Devices
i.
Criminal Drama
ii.
Contrast and Development of Different Chapters
h. Character Development
i.
Jekyll’s Struggle with Hyde
ii.
Utterson as Representative of Polite Victorian Society
iii.
Roles of Different Characters
i. Cultural Impact
j. Relevance of Strange Case of Dr. Jekyll and Mr. Hyde Today
k. Dramatic Versions & Interpretations
l. Stevenson’s Use of Language in Strange Case of Dr. Jekyll and Mr. Hyde
m. Personal Reactions and Review of Strange Case of Dr. Jekyll and Mr. Hyde
Summer Term
REVISION AND GCSE EXAMS