Your guide to our new qualifications
AS and A level
English Language
and Literature
from September 2015
Hello and welcome
For our new Edexcel AS and A level English Language and Literature
qualifications, we’ve created courses that celebrate diversity. This offers students
the opportunity to study authors from a range of cultural backgrounds, texts from
different times and a variety of literary and non-literary forms. At the same time,
students will develop their own interests and be given the tools to craft their own
creative pieces.
This guide gives you an overview of our new AS and A level English Language
and Literature specifications. You will also learn about the comprehensive help
and support we are planning for you.
Take a look through our specification guide to find out more about:
AS and A level English Language and
Literature: what should you expect?
A
S and A level English Language and Literature are linear
qualifications; assessments for each qualification will take place
at the end of the course.
AS will become a stand-alone qualification and will not
contribute towards an A level.
T
here will be a 20% coursework weighting at A level.
1
00% examined assessment at AS.
G
enre requirements include compulsory study of a
non-literary text.
S and A level English Language and Literature is changing:
A
what should you expect?....................................................................................3
K
nowledge of specific language levels
(such as phonetics, lexis and syntax) required.
The key features of Edexcel AS and A level English Language and Literature...4–5
A
focus on connections between texts rather
than comparison.
A level assessment at a glance........................................................................6–7
AS assessment at a glance.................................................................................8
Approaches to co-teaching AS and A level English Language and Literature....9
A level Sample Assessment Materials.........................................................10–13
AS Sample Assessment Materials...............................................................14–17
What you can expect from us.....................................................................18–19
Our new Edexcel English Language and Literature:
Key features at a glance
The same texts and thematic options are available at both AS and
A level English Language and Literature.
All AS topics appear in the A level, so there is no requirement
We’re here to help you understand the changes to AS and A level English
Language and Literature so you’re ready to teach the new specifications from
September 2015. Whether it is on the phone, by email, or in person at a training
event, we are here to support you as you plan and teach the new qualifications.
Co-teachability is weaved throughout the specifications to ensure AS
We look forward to meeting you at our Getting Ready to Teach events, and
answering any questions you may have.
Precise and direct question structures.
The English Team
to make decisions around AS and A level routes prior to the start
of the course.
and the first year of A level can be taught at the same time.
Scaffolding in the AS provides extra support for accurate and
fair assessment.
Holistic mark schemes.
Equal Assessment Objective targeting.
Free Voices Anthology and Voices Anthology Teacher’s Guide.
Clare Haviland
Subject Advisor
Katy Lewis
Senior Product
Manager
Eva McManamon
Product Management
Associate
Learn more at www.edexcel.com/langlitenglish15
33
AS
English
Language
and
Literature
ion
Specificat
ry GCE in
sidia
anced Sub
Level 3 Adv
xcel
Pearson Ede
(8EL0)
Literature
er 2015
from Septemb
First teaching
n from 2016
catio
ifi
First cert
The key features of Edexcel AS and
We have consulted with those that know most about the
subject: teachers, subject associations and our partners in
Higher Education, in order to produce specifications that will
prepare students for the research and study skills required of
A level English Language and Literature
them in higher education and the workplace. The qualifications
will encourage learners to become active interpreters of texts,
offering freedom to pursue their personal interests, hone their
own voices, and develop their own skills.
guage and
A Level
English
Languag
e
and
Literatu
re
Specificat
Pearson
(9EL0)
First tea
English Lan
ion
Edexcel
Level 3
Advan
ching from
ced GCE
September
2015
ification
from 201
7
First cert
Issue 1
in English
Language
and Lite
rature
Issue 1
Celebrating the diversity of English
Encouraging creativity
The new specifications allow students to engage with literary and non-literary
texts from different cultural, social and historical perspectives, as well as
different genres, to help broaden their understanding and appreciation.
The coursework component gives students lots of opportunities to develop
their own voice and creative skills through the production of their own pieces
of original writing. Students will have opportunities to:
A choice of drama texts from a range of 20th and 21st century British,
read widely within a topic area of their choosing to develop their personal
An anthology of non-literary texts with extracts from screenplays to
reflect upon the creative process, how texts are crafted and the use of literary
Opportunities to combine prose, poetry and drama study to consider
produce their own original work, drawing inspiration from their wider
Irish and American texts.
seminal political speeches.
how broad themes have been approached by different authors across
different genres at different times.
An integrated approach
The specification has been structured so that each component includes
literary and non-literary texts, allowing students to apply their knowledge of
literary and linguistic concepts and methods throughout the course, including
in their own text production.
Maximising choice
Within each component, a wide range of text options are offered, allowing you
to select texts which will best appeal to your students.
A choice of drama text from seven options (see page 6).
Thematic grouping of texts allows not only a choice of theme, but also a
choice of genres within a theme and a further choice of texts within the genre.
Coursework offers the choice of topic area and any two texts - one fiction
interests and expertise
and linguistic techniques
course of study.
Co-teachable AS and A level
The AS specification has been designed to be entirely co-teachable with
the first year of a two-year A level course.
A
ll AS set texts appear in the A level specification, so there is no
requirement to make decisions around AS and A level routes prior to the
start of the course.
Holistic assessment
H
olistic mark schemes allow examiners to mark the students’ work in the
same way as it was written – as a single cohesive piece of writing, with the
response to each Assessment Objective integrated throughout.
W
e want students to be able to focus on giving their best response to an
exam question, not on trying to remember how many marks are attributed
to each Assessment Objective.
and one non-fiction – giving students plenty of opportunity to pursue their own
interests.
Learn more at
www.edexcel.com/langlitenglish15
4
55
A level assessment at a glance
A level (first assessment: summer 2017)
Component 1: Voices in Speech and Writing
50 marks
40% weightin
2 hours 30 mins
Students study:
Voices in speech and writing in literary, non-literary and
digital texts.
oices in Speech and Writing: An Anthology – non-literary
V
and digital texts from the 20th and 21st centuries.
Component 2: Varieties in
50 marks
40% weighting
Language and Literature
2 hours 30 mins
Students study:
One compulsory prose fiction text
two plus one other literary text from a
(anchor text) from a choice of
chosen theme.
One comparative essay
question comparing an
unseen text and one text
from the Voices anthology.
Section B: Drama Texts
(25 marks)
Section A: Unseen Prose
Non-Fiction Texts (20 marks)
Section B: Prose Fiction and
Other Genres (30 marks)
One extract-based essay
question on the chosen
drama text.
One essay question on an
unseen prose non-fiction extract.
The unseen extract is linked to
the studied theme.
One essay question on the two
studied texts.
Students select two texts (one fiction, one non-fiction)
related to their chosen topic. They will produce two pieces
of creative writing, using their texts as stimulus or style
models, and one commentary.
Assignment 3 – one analytical commentary reflecting on
the two pieces they have produced.
Advisory word count is 1500–2000 words (combined) for
the writing pieces and 1000–1250 for the commentary.
Tasks 1 and 2 – 36 marks Task 3 – 24 marks
Fiction texts may be selected from genres such as prose
fiction, poetry, drama or short stories.
Non-fiction texts may be selected from genres such as
travel writing, journalism, collections of letters, diaries
and reports.
Component 1: Texts
Component 2: Themes
Section A: Voices in 20th
and 21st Century Texts
One prose fiction anchor text plus one
(both anchor texts may be studied if
Section B: Drama Texts
All My Sons, A Streetcar
Named Desire, Elmina’s
Kitchen, Equus, The
History Boys, Top Girls,
Translations.
Encounters
Prose fiction anchor texts:
A Room with a View, E M Forster or
Wuthering Heights, Emily Brontë.
Other texts: The Bone People, Keri
Hulme; Othello, William Shakespeare;
A Raisin in the Sun, Lorraine
Hansberry; The Wife of Bath’s
Prologue and Tale, Geoffrey Chaucer;
The Whitsun Weddings, Philip Larkin.
Other texts: The Bloody Chamber,
Angela Carter; Hamlet, William
Shakespeare; Rock ‘N’ Roll, Tom
Stoppard, The Waste Land and Other
Poems, T S Eliot, The New Penguin
Book of Romantic Poetry, ed.
Jonathan Wordsworth.
Other texts: Enduring Love, Ian
McEwan; Much Ado About Nothing,
William Shakespeare; Betrayal, Harold
Pinter; Metaphysical Poetry, ed. Colin
Burrow; Sylvia Plath Selected Poems,
Sylvia Plath.
A Level
English
Language
and
Literature
other text from the following
desired):
Society and the Individual
Prose fiction anchor texts: The
Great Gatsby, F Scott Fitzgerald or
Great Expectations, Charles Dickens.
Love and Loss
Prose Fiction anchor texts:
A Single Man, Christopher Isherwood
or Tess of the d’Urbervilles,
Thomas Hardy.
6
20% weighting
Assignment 2 – one piece of creative non-fiction writing.
The 20th or 21st century
unseen text will be selected
from one of the anthology
forms i.e. an extract from a
speech, an extract from a
diary etc.
Voices in Speech and
Writing:
An Anthology.
60 marks
Assignment 1 – one piece of fiction writing.
One drama text from a prescribed list.
Section A: Voices in 20th
and 21st Century Texts
(25 marks)
Coursework: Investigating and Creating Texts
Crossing Boundaries
Prose Fiction anchor texts: Wide
Sargasso Sea, Jean Rhys or
Dracula, Bram Stoker.
Other texts: The Lowland, Jhumpa
Lahiri; Twelfth Night, William
Shakespeare; Oleanna, David Mamet;
Goblin Market, The Prince’s Progress
and Other Poems, Christina Rossetti;
North, Seamus Heaney.
Specification
Pearson Edexcel Level 3 Advanced
(9EL0)
GCE in English Language and Literatu
re
First teaching from September 2015
First certification from 2017
Issue 1
View the accredited specifications:
www.edexcel.com/langlitenglish15
77
AS assessment at a glance
Approaches to co-teaching
AS and A level English Language
and Literature
AS (first assessment: summer 2016)
Component 1: Voices in
Speech and Writing
50 marks
50% weighting
1 hour 30 mins
Component 2: Varieties in
Language and Literature
50 marks
50% weighting
1 hour 30 mins
Students study:
Students study:
Voices in speech and writing in non-literary and
digital texts.
One compulsory prose fiction text (anchor text)
from a choice of two
Voices in Speech and Writing: An Anthology.
Section A – Creating Voices (20 marks)
One re-creative response for a specified form,
audience and/or purpose drawing upon a
named text from the Anthology.
Section B – Comparing Voices (30 marks)
One comparative essay question comparing
an unseen text and one text from the Voices
Anthology.
The 20th or 21st century unseen text will be
selected from one of the anthology forms i.e. an
extract from a speech, an extract from a diary
etc.
Our specifications have been designed so you can co-teach AS and A level
students in the same class, with the same set texts and thematic options.
All the AS topics appear in the A level specification, so there is no requirement
to make decisions around AS and A level routes prior to the start of the
course.
Content for the delivery of a co-taught AS and A level cohort
AND
One other literary text selected from the chosen
theme.
Year 2
oices in Speech and Writing:
V
An Anthology.
Section A – Prose Fiction
Extract
(25 marks)
AS
English
Language
and
Literature
One essay question based
on the studied prose fiction
text.
Section B – Exploring
Text and Theme
(25 marks)
One essay question based
on the other studied text
from the chosen theme.
Year 1
ne prose text and one further text
O
from the chosen theme.
One drama text.
wo further texts – one fiction and one
T
non-fiction.
Teachers may wish to begin preparation for the coursework with A level students
towards the end of year one, whilst the AS students prepare for their exams. Therefore,
the two coursework texts (one fiction and one non-fiction) may be covered in year one,
year two or a combination of both, as appropriate.
Specification
Pearson Edexcel Level 3 Advanced
Subsidiary GCE in English Language
and
Literature (8EL0)
First teaching from September 2015
First certification from 2016
Issue 1
Component 2: Themes and Texts
Texts for AS should be selected from the set A level texts featured on pages 6 and 7 of this
guide. AS and A level set texts and themes are identical to allow for complete co-teachability.
Free resources to support you at AS and A level
Voices in Speech and Writing: An Anthology - a free anthology for all students,
which includes a wide range of extracts from non-literary and digital texts from the
20th and 21st centuries.
Only teaching A level classes?
Whilst the specifications are co-teachable, if you decide not to enter your
A level students for the AS exams you can approach the course content in
any order, as best suits your students.
How are they assessed?
AS and A level content will be assessed to a different standard, appropriate to
the level of study. Students who sit the AS exams and then continue to the full
A level will be assessed on their AS content again, at the end of their course of
study, at the A level standard.
Please see the Sample Assessment Materials for each specification on
pages 10-17 for examples of the different question structures.
Anthology Teacher Guide – an online resource to support you with teaching the
texts in the student Anthology.
Getting Started Teacher Guide – includes introductions and wider reading
resources for all topic areas, a glossary of key concepts and terminology in
language study, and exemplar coursework titles.
8
Learn more at
www.edexcel.com/langlitenglish15
9
relations
discuss how Miller develops the characters’ dilemma with the morality of the business
world.
In your answer, you must consider Miller’s use of linguistic and literary features and
relevant contextual factors.
A level Sample Assessment Materials
(Total for Question 2 = 25 marks)
Section B
OR
Paper 1: Voices in Speech and Writing
A Streetcar Named Desire, Tennessee Williams
Section A
Read the extract on pages 9–10 of the source booklet.
3 Using this extract as a starting point, and with reference to other parts of the play,
discuss how Williams develops the conflict between the values of the old and new
South.
SECTION A: Voices in 20th- and 21st-century
s
A Streetcar Named Desire, Tennessee William
—
.......................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................................................
Keller But that don’t mean —
means you knew they’d crash.
Chris
This isItwh
.......................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................................................
at the ANC is figh
ting. Our struggle
African people, ins
d by our own sufferi is a truly national one. It is a struggl
that.
Keller It don’t meanpire
e of the
ng and our own exp
erience…
I have dedicated my
life to
.......................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .and
. . . . . . . 21s
. . . . . . .t-c
. . . .ent
. . . . . .ury
. . . . . . . . . . . ........................................................................................................................................................................
this
stru
crash.
they’d
ggl
hthought
e
you
20t
of
dom
Then
the African people
Chris ination, and I hav
s in
. I have fought aga
e fought against bla
SEC TION A: Voice
inst white
democratic and free
ck domination. I hav
society
e cherished the ide
in which all person
Texts
—
maybe
afraid
equal opp
al of a
I was
Keller
s
wil
ortunities. It is an
l live together in har
ide
al for which I hop
mony and with
.......................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................................................
Lord, if it needs be,
e to live for
were
Kids
Text A
you?
it is an ideal God
and
are
man
a
of
to
kind
see
what
,
heaven
rea
for
in
lised. But, My
which I am prepar
Chris You were afraid maybe!
ed
in a South African
heads. You knew that!to die.”
hanging in the air by those (Sou
the speech delivered
rce: Acknowledgeme
ican National
closing sections of
(Afr
the
C
AN
from
t
the
of
rac
ext
nts:
der
.......................... . . . . . . . . . . . . . . . . . . . . . .act
. . . . . t. . and
. . . . . . . .lea
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................................................
© The Nelson Man
This is an edited
rtheid
al . . . . .ivis
dela Foundation)
al system called Apa
son Mandela, politic
for you!
Keller
ite
Glo
ica enforced a politic
ssary For you, a business
court in 1964 by Nel
’s white and non-wh
ion
until 1994, South Afr
8
nat
194
the
g
m
Fro
atin
ss).
Congre
restricted
come from? For
rt’), officially segreg
inhabitants were
Pas
fury) For me! Where do you live, where have you
state of being .apa
s laws:(With
Chris
laws burning
..........................
. . . . . . . . . . . . . . . .ts
. . . of
. . . . the
. . . . . . .ma
. . . . .jori
. . . . .ty
. . . .bla
. . . . .ck
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .co. . . ........................................................................................................................................................................
restricting
(meaning ‘the
defendants
the every
movem
killing my boys and you did it for me?
were
you
entand
Apartheid, the righ
day
and
imp
d. Mandela and his
dying
was
ine
lem
I
righ
—
me!
ent
inta
ts
ce
to
ed
ma
s
res
ten
by
wa
ide
populations. Under
means of identity doc
of black
s? Is that as far
busines
eived a life sen
goddam
Africans,
thence
the white population
um
I was
entthinking
s compulof,
spiracy. Mandela rec
What the hell do you think
sorily carried.
and minority rule by
— the business? What
of sabotage and con
statement of
Townships: living are
see, the business? What is that, the world
can
d and found guilty
to be an influential
mind
your
ve
as
as
pro
bui
to
s
lt
were charge..........................
on
wa
the
ech
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.........................................................................................................................................................................
per
iphery
population of Sou do you mean, you did
have a country? Don’t you live
you
of tow
me?nsDon’t
it for
27 years. This spe
and citi
es reserved for the
the hellth Africa.
of which he served
animal
an animal, no non
-whkills
.
even
not
ite his
iefs
You’re
bel
you?
are
al
hell
the
itic
a
What
pol
as
world?
the
in
Mandela’s
Reserves: des
ard Africans
ignated lan
you? I ought to tear the tongue out of your
to
Whites tend to reg
do
I
t
must
d
ity…
What
tha
set
you?
n;
rior
are
asid
what
ow
infe
ir
e
own,
for
ck
black Africans.
bla
s of the
remacy implies
..........................
. . . . . . . . . . . . . . . . . . . . . . .the
. . . .as
. . . . .peo
. . . . . .ple
. . . . . . wit
. . . . . .h. . .fam
. . . . . .ilie
. . . . . . . . . . . . . . . . . ........................................................................................................................................................................
down upon his father’s shoulder.
n like
“…White sup
n . . . . . .m
mouth, what must I do? (With his fist he pounds
wives and childre
what
y do not look upo
t our
want to be with our
his face as he weeps.) What must I do, Jesus God,
por
we
covering
separate breed. The
t
away,
s
sup
tha
stumble
to
He
do;
ney
ple
mo
white peo
n enough
we fall in love like
that we want to ear
do?
I
irs;
must
the
h
wit
be
…
ple want to
. . . . . . . . . . . . . . . . . . . . . . . . . . . .d. . .the
. . . . .m
. . . . .to
. . . .sch
. . . . . .ool
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................................................
white peo..........................
clothe them and sen
bt whether
families, to feed and
at any time. I dou
Keller Chris... My Chris...
ce
llan
vei
sur
ice
to pol
the police
any African liable
had a brush with
From Act 2 pp. 69–71
not
has
o
wh
ica
Pass laws… render
Afr
th
pass laws.
er
Sou
in
und
le
r
ma
yea
n
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........................................................................................................................................................................
h
ica
eac
n into jail
there is a single Afr
apart and lead to
Africans are throw
e
of
wif
nds
and
usa
d
Tho
ban
over his pass…
s laws keep hus
is the fact that pas
Even worse than this
…
ily. .life
fam
of
n
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ow
akd
schools to go
the bre
y hav . . ........................................................................................................................................................................
nships because the
e to see that they
streets of the tow
hom
the
at
ut
s
ent
abo
r
par
nde
no
ool, or
Children wa
violence
them to go to sch
… and to growing
money to enable
moral standa.rds
to, or no..........................
dangerous.
. . . .to
. . . . .a. . bre
. . . . . .akd
. . . . . .ow
. . . . .n
. . . .in
. . . . . . . . . . . . . . . . . . . . . . . . .the
. . . . .tow
. . . . . . .nsh
. . . . . .ips
. . . . . is
. ........................................................................................................................................................................
s leads
Thi
in
…
Life
ool
e.
sch
her
to
go
everyw
only politically, but
which erupts not
streets after dark...
to walk alone in the
icans
People are afraid
forced to live… Afr
.......................... . . . . . . . . . . . . . . . . . . . . . . . . . . . .und
. . . . . . er
. . . . .wh
. . . . .ich
. . . . . .Afr
. . . . .ica
. . . . .ns
. . . . are
. . . . . . . . . . . . . . . . . . ........................................................................................................................................................................
y are capable of
alter the conditions
m work which the
for
per
to
nt
wa
The only cure is to
wa
ns
e of… We nt
living wage. Africa
s them to be capabl
want to be paid a
Government declare to living in our ghettoes. African
the
ich
wh
rk
wo
d
and not
doing, ..........................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . not
. . . . . . .con
. . . . . .fine
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .y. . wo
. ........................................................................................................................................................................
rk, and not to
eral population, and
where the
their
to be part of the gen wives and children live with them
n want to be with
me
ir
wo
the
r
e
Ou
.
hav
to
tels
nt
hos
after
men wa
in men’s
nt to be allowed out nt
wa
unnatural existence
We
an
es.
into
erv
res
ced
for
be
ldren. We wa
..........................
. . . .left
. . . . .…
. . . . .wid
. . . . . . ow
. . . . . .ed
. . . . .in
. . . .the
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .like
. . . . . . littl
. . . . . .e. . .chi
. ........................................................................................................................................................................
to be
fined to our rooms
men folk and not
to and not
ht and not to be con
rk where we want
eleven o’clock at nig in our own country and to seek wo
of South Africa…
ole
wh
el
the
in
trav
re
to
sha
to be allowed
to. We want a just
..........................
. . . . . . .tell
. . . . .s. . .us
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................................................
Bur. .eau
revolutionary to
where the Labour
know this sounds
I
ts...
righ
al
itic
ns. This makes the
equal pol
ica
nt
Afr
wa
be
l
we
wil
d,
Lor
ers
jority of vot
Above all, My
y, because the ma
ntr
cou
this
in
ites
the wh
..........................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................................................
ocracy.
white man fear dem
ution which will
8
way of the only sol
wed to stand in the
based on colour, is
n,
allo
isio
be
div
not
al
can
itic
r
. Pol
by
all…
up
But this fea
for
gro
dom
our
col
free
..........................
. . . . . ny
. . . . . and
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .wil
. . . . . . . . . . . . . . . . . . . . . ina
. . . . . tion
. . . . . . . .of
. . . . .one
. ........................................................................................................................................................................
tee racial har.mo
guaran
s, so l the dom
, when it disappear
entirely artificial and
4
28
another…
Students will compare an unseen
text (Text A) with a text taken from
the Voices in Speech and Writing
Anthology. For this question, the
unseen text was paired with the
extract from Mom and Me and Mom
by Maya Angelou. The unseen text
will always be taken from one of the
anthology forms, so that students
will be familiar with the unseen text’s
generic conventions.
Pearson Edexcel Leve
.......................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................................................
l 3 Advanced GCE
Sample Assessment
in English Language
Materials – Issue 1
3
and Lite
– October 2014 ©
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re A
27
S47
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Pearson Education
Limited 2014
r
re
ove
ratu
n
Lite
Tur
and
4
ish Language
201
Engl
ited
in
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son Educatio
l 3 Advance
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A Edexcel LeveMaterials – Issue 1 – October 2014 © Pear
549
S47Pear
Sample Assessment
View more Sample Assessment Materials at
10
*S47549A0320*
OR
Source Booklet
(25)
use them
Chris But you were going to warn them not to
Pearson Edexcel Level 3 Advanced GCE in English Language and Literature
Sample Assessment Materials – Issue 1 – October 2014 © Pearson Education Limited 2014
In your a
relevant
OR
.......................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .........................................................................................................................................................................
S47549A
Students will answer Read the ext
one extract based
5 Using th
question on their
discuss h
studied drama text.
psychiat
(Total for Question 3 = 25 marks)
Read Text A on pages 3–4 and Text B on pages 5–6 of the source booklet before answering
Question 1 in the space provided.
Source Booklet
OR
In your answer, you must consider Williams’ use of linguistic and literary features and
relevant contextual factors.
Texts
1 Compare the ways in which the speaker and writer create a sense of voice as they
describe their experiences. In your answer you must consider linguistic and literary
features, drawing upon your knowledge of genre conventions and context.
In your a
and rele
7
3
Turn over
Blanche
May l — speak — plainly?
Stella
Yes, do. Go ahead. As plainly as you want to.
Stella
(Who has listened
Blanche
Stell, I —
gravely to Blanch
e) Stanley I
(But Stella has gon
e to the front door.
Stanley enters cas
noise subsides. They are both in the
ually with his packag
(Outside a train approaches. They are silent till the
by the
unseen
stands
He
es.)
outside.
from
Sta
enters
Stanley
nle
y Hiyuh, Stella,
bedroom. Under cover of the train’s noise
Bla
nche back?
g conversation. He
followin
their
rs
overhea
and
arms,
his
in
s
women, holding some package
Stella
pants.)
Yes, she’s back.
wears an undershirt and grease-stained seersucker
TEXT B
This text is an extrac
n!
Stanley Hiyuh,
commo
he’s
—
me
forgive
t
from
you’ll
if
—
Well
Mo
e
m & Me & Mom by
Blanche. (He grins
Blanch
act
ress, and singer, Ma
the African-America
at her.)
ya Angelou, which
n author, poet, dan
has been taken from
Writing: An Anthol
cer,
Stella
the Voices in Speech
You
yes,. I suppose he is.
Why, ogy
mu
Stella
st’v
e
got under the car
and
.
By the time I was
twenty-twcan’t
Stanley Them
n that much of our bringing up, Stella, that
have
s liviforgotte
e! You o, I wa
ng
two
dar
in
Blanch
San
jobs,eandSuppos
n
me
Fra
cha
nci
nics at Fritz’s don’t
two rented rooms any part of a gentlem
scoan’s
. I had
nature!
in his
a five
-year-old son,
, with cooking priv
know their can fro
just suppose that
Mrs. Jefferson,you
ileges dow
m third base!
was kind and grandm
but good and
plain
n the
! Just
− ordinary
hal—My
if was
, no! Oh,oth
landlady, him!
Not one particle
erly. just
providing dinner
She was a ready bab ht —l.bestial
(St
about
—
ella
for her tenants.
has embraced him
downrigysitter and insiste
ing
someth
There’s
no.
r wa
ome, but —He
wit
that no one wa
ys
whole-s
h
d on
were so tender and
both arms, fiercely
and clasps her hea
s mean enough to
, and full in
her personality so
you?
this,
d to him. Over her
discou
me saying
at her table, wh
ragaren’t
You’re
sweet
10wahating
e her dis
head he grins throug the view of Blanche. He laughs
astrous culinary exp
lights fade away, wit
ich
s
h the curtains at Bla
loits. Spa
Pearson
Advanced GCE in
and
Literature
h aEnglish
lingeringLanguage
and brown concoc 14 offered at least three times a week,
ghetti Edexcel Level 3tru
brig
nche. As the
htness on their em
mpet and drums is
tion. We wouldsay
was a mysterious
brace, the music of
.
Blanche
all,nal
red, wh
on and occit
asio
Assessment
Materials
– Issue 1 – October
2014 © hea
Pearson
2014
rd.) Education Limited
hidden
ite,
ly encoun
Stella
the ‘blue piano’ and
among(Coldly)
ter anSample
the pasGo
unidentifiable pie
ta. There was no mo
ce of meat
my son, Guy, were
ney in my budget
like one,
always loyal, if oft has an
like
Eatsres
tauone,t moves
habits! for
animal’s
food, so I and
en unhapp
Blanche He acts like an animal,
y, diners at Chez Jef —ran
something not
an
ferson.
There’s even something — sub-hum
My mother hadtalks
one!
like
moved into anothe
something − ape-like about him,
From Scene IV pp.
humani
again filled withquite
e Victy
to the stage ofr larg
toryet!
ian Yes,
46–48
hou on Fulologica
Gothic
nds
l studies!
vily car
anthrop ton Street
in —se,
seen
, whichThousa
ved furI’ve
pictures
who cleaned thelike one, hea
those
of
nitu
sheStanley
re…
She had a live
house and sometim
—
is
he
there
-in
and
by,
em
right
ployee, Poppa,
passed
have
es fille
d in
and thousands of years
as coohim
k helper.
meat home from the
Mother picked up
i — survivor of the Stone Age! Bearing the raw
Kowalsk
Guy twi
ce a week
here — waiting for him! Maybe he’ll strike
you to
and
you
And
peaches and cream
too—
k him
in the jungle!
kill and
her
hou
se, whhave
red
hot dogs, butand
been
ere she
is, if kisses
feddiscove
I onlkiss
him
an agreed-upon tim
y weyou!
youe.or maybe grunt
nt toThat
Fulton Street in
cave, all
of the
onc
the
e afront
month
and at
yet! Night falls and the other apes gather! There
—
night!
poker
His
!
She understood and
g like him, and swilling and gnawing and hulking
gruntin
encour
age
d my
dy growls — some creature snatches
Somebo
self-rel
of apes!
standing appointm
party
this
ian
—
it
ce
call
you
and
I looked forwa
ent. On the occasio
being
way
long
we arerdaeag
erly
on!
to from
lunch date stands at someth
sheiswo
fight
our
— then,
uldGod!
cooMaybe
k one mythere
out in my ing
progress
favorit
been
mind. I call itbut
has
e dis
my sisterof—
— Ric
hessome
Stella
Vivian
. One
’s Red
made in God’s image,
e Day. music — such kinds
of new
When I arrived at since then! Such things as art — as poetry and
the Fulton Street
In some kinds of people some
since
makeup was perfeclight have comehou
myworld
intosethe
mothe
r wasthen!
dressed beautif we have got to make
t and she wore goo
. Her
d jew
some
had
elry
... little beginning! Thatully
r feelings have
whatever it
Much of lunch wa tendere
to, and hold as our flag! In this dark march toward
s alre
clingkitc
adyAnd
grow!
on the
hen table. — don’t hang back with the brutes!
approaching… Don’t
we’re
is
Vivian Baxter was
very serious about
her delicious mes, licking his lips. Then suddenly he turns
(Another train passes outside. Stanley hesitateals.
On that lon
e of his
g-agoyRed
ws through the front door. The women are still unawar
Ricand
withdra
e
about
Da
y,
stealthil
my
mo
ther
no dressing or gra
door.)
offered
through
me athe
he calls
passedhad
crisclosed
andthe
train
py, dryfront
a sim
When
.vy,
plehas
-ro
ast
lett
ed
uce
cap
mouthed presence
salad, no tomatoes
on,
bowl covered wit
or cucumbers. A wid
h a platter sat nex
et to her plate.
Hey! Hey! Stella!
She ferventStanley
ly blessed the foo
d with a brief prayer
and her right on the
and put her left han
bowl. She turned
d on the platter
the dishes over and
glistening red rice
… revealed a tall
(my favorite food
mound of
in the entire world)
...
The chicken and sala
d do not feature so
grain of red rice is
prominently in my
emblazoned on the
tastebuds’ memo
ry, but each
surface of my ton
gue forever.
9
“Gluttonous” and
“greedy” negatively
33
Literature
and
des
Language
her favorite foo
crib
English
in
GCE
e the hearty eater
10
Pearson
d. A Edexcel Level 3 Advanced
2014
over
S47549
offe
Turn
Limited
34
red the seduction
2014 © Pearson Education
of
Sample Assessment Materials – Issue 1 – October
Pearson Edexcel Leve
Two large portion
l 3 Advanced GCE
Sample Assessment
in English Language
s of rice sated my
Materials – Issue 1
and Lite
– October 2014 ©
appetite, but the
ratu
long for a larger sto
re A
S47
549
Pearson Education
del
iciousness of the
mach so that I cou
Limited 2014
dis
h
ld eat two more hel
made me
My mother had pla
pin
ns for the rest of her
gs.
afternoon, so… we
left the house...
*S47549A01020*
S47549A
www.edexcel.com/langlitenglish15
S47549A
5
Turn over
11
11
In your answer, you must comment on linguistic and literary features and relevant
contextual factors.
on
t
d it. I
tually
as
c
d.
er to
(20)
....................................................................................................................................................................................................................................................................................
OR
A level Sample Assessment Materials
....................................................................................................................................................................................................................................................................................
Encounters
Read Text C on page 6 of the source booklet.
PaperIn your
2:answer,
Varieties
in Language and Literature
you must comment on linguistic and literary features and relevant
3 Critically evaluate how Richard Hammond conveys the consequences of his accident.
Section A: Unseen Prose Non-fiction Texts
contextual factors.
OR
Crossing Boundaries
Read Text D on page 7 of the source booklet.
4 Critically evaluate how Palin conveys his experiences in Saudi Arabia.
In your answer, you must comment on linguistic and literary features and relevant
contextual factors.
....................................................................................................................................................................................................................................................................................
Section B: Prose Fiction and other Genres
....................................................................................................................................................................................................................................................................................
....................................................................................................................................................................................................................................................................................
(20)
Students will respond
to one unseen prose
non-fiction text on
their studied theme.
....................................................................................................................................................................................................................................................................................
....................................................................................................................................................................................................................................................................................
SECTION B: Prose Fiction and other Genres
Answer ONE question on your chosen texts. Write your answer in
Society and the Individual
(20)
....................................................................................................................................................................................................................................................................................
15
20
eap
y
only
would
25
polar
he kids,
aused.
30
cord
960s. of
12
Anchor tex
Anchor texts
A Single Ma
....................................................................................................................................................................................................................................................................................
The Great Gatsby, F Scott Fitzgerald
....................................................................................................................................................................................................................................................................................
Crossing Boundaries
10
Answer th
the list be
Answer this question with reference to the TWO texts that you have
studied from
the list below.
....................................................................................................................................................................................................................................................................................
5
the space provided.
....................................................................................................................................................................................................................................................................................
Great Expectations, Charles Dickens
272
Answ
....................................................................................................................................................................................................................................................................................
....................................................................................................................................................................................................................................................................................
Source Booklet
are
ash.
e
m
ol
mpt
sed
he
your
w.
and
l
iet
....................................................................................................................................................................................................................................................................................
Other texts
....................................................................................................................................................................................................................................................................................
Text D
The Bone People, Keri Hulme
is an
n, actor, writer and broadcaster. This
a comedia
Pearson Edexcel Level nd
3 Advanced
GCE
in80
English
Language
. Palin and Literature
This text is written by Michael Palin,
Days
in
ld
Wor
the
Arou
s
TV serie
d on the
e base
Sample
Assessment
Materials
– Issue 1 – October 2014ia.
© Pearson Education Limited 2014
edited extract from his travelogu
s while travelling through Saudi Arab
documents his thoughts and reflection
Egyptians
ia is done by foreigners. As well as the
Most of the menial work in Saudi Arab
behind
be
to
r
prefe
is
South East Asians. The Saud
there are Yemenis and Filipinos and
utable
inscr
quite
,
know
to
cult
Diffi
.
hands dirty
ting
desks, they don’t really like to get their
gree
men
two
e
embassy. As he says this I notic
5
in a cafe.
people, according to Nick from the
s
ladie
ch
Fren
of
le
coup
a
like
k
on each chee
each other with a rather delicate kiss
we make our way
ung, is pulling into the harbour as
A Chinese boat, the Cha-Hwa of Keel
sign to the city
The
.
port
the
of
out
and
es
hous
gate
through the white and grey marbled
s abound.
sign
c
soni
Pana
- ‘center’. Sony, Sharp and
centre is spelt in the American way
hot and
e
ther
is
only
Not
l.
Hote
ce
Pala
Red Sea
10
But perhaps the greatest shock is the
Cream’
Bath
ming
‘Foa
of
in little hats and sachets
ared
cold running water, there are valets
prep
has
g. Nothing in the previous twelve days
and music seeping out of the ceilin
how we’re going to leave
idea
no
have
we
that
e
whil
a
for
me for this, and I quite forget
born a football
a shipping agent and a Liverpudlian,
this place. Consult Dan Bannerman,
boat to
slow
the
to
e
irms there is no alternativ
15
pitch’s distance from Anfield. He conf
way…
the
on
ad
unlo
to
ping
stop
ght,
than we thou
Dubai, and indeed it’s even slower
a sponsor −
Saudi Arabia. Every visitor has to have
There is no such thing as a tourist in
s and suitability.
statu
his
es
ante
guar
h
whic
nt
a company or a government departme
, relations
but it can behave like Russia. However
Saudi Arabia may look like America
pound defence
lion
i-mil
mult
a
hed
clinc
just
e
- we’v
20
with Britain are good at the moment
that in no
lucky. Ahmed intervenes here to say
,
deal and Nick reckons we could be
step
one
allowed to accompany me. Forward
circumstances would a film crew be
back two…
t in the orderly
an echo of the conviviality of Egyp
I have to walk for a while before I find
in the Al-Balad
Lane
f
Tana
21
No.
at
a pavement cafe
25
Sony Panasonic world of Jeddah. It’s
ahs. The
hook
e
e people smoking most elaborat
n
district, outside which sit two or thre
whe
time
a
at
off
well
very
were
merchants who
old houses round here belonged to
al pilgrimage to
sources, one from the haj, the annu
two
from
ey
mon
ing
mak
was
ah
Jedd
areas would
tal
coas
e
thes
of
t
Mos
e to the Yemen.
Mecca, the other from the spice rout
a collection
been
now the capital, would just have
30
have been very rich, whereas Riyadh,
hole
man
a
of
t
sigh
algic
nost
I chance upon the
.
r’
of mud huts. In the middle of all this
Cove
n
Drai
ine
impressively inscribed ‘The Penn
cover made by Brickhouse of Dudley,
a bit of
Sudanese guest workers touting for
ing
smil
yed
ht-e
Pass a group of slim, brig
ed; they have a
inde
h
muc
very
liked
I’ve
trip
this
on
car cleaning. The Sudanese I’ve met
as though they like a good time.
natural grace and wit and smile a lot,
35
; and I eat
Alawey for supper. Delicious fresh fruit
s
seem
t
To a courtyard restaurant called El
restauran
nd rolls and sesame seed rolls. The
couscous, with lamb, and then almo
do they prefer Westernthey
n
whe
and
h,
muc
out
eat
t
largely for foreigners - Saudis don’
I sit with my
e here, with brass and silver pitchers.
style restaurants. Very nice ambienc
a Roman
like
w,
side, on a sort of carpeted pillo
40
shoes off and feet up, resting on my
Emperor.
Othello, William Shakespeare
*S47550A0222*
*S47550A0322*
A Raisin in the Sun, Lorraine Hansberry
3
Students will respond
to one question on their
studied theme, which will
refer to the TWO texts
they have studied.
Turn over
Tess of the D
Other text
Enduring Lo
Much Ado A
Betrayal, Ha
Metaphysica
The Wife of Bath’s Prologue and Tale, Geoffrey Chaucer
Sylvia Plath
The Whitsun Weddings, Philip Larkin
6 Evaluate
texts to
5 Evaluate the effectiveness of the methods used by the writers of your
two studied
texts to present individuals as outsiders from society.
In your r
connect
In your response you must consider the use of linguistic and literary features
,
connections across texts and relevant contextual factors.
(30)
OR
OR
A Level
English
Language
and
Literature
View more Sample Assessment
Materials at
www.edexcel.com/langlitenglish15
Sample Assessm
ent Mater
1080
*S47550A01022*
ials
Pearson Edexce
l Level 3 Advanc
ed GCE in Eng
(9EL0)
lish Langua
First teaching from
September
2015
First certificati
Pearson Edexcel Level 3 Advanced GCE in English
on from 2017
Language
and Literature
Sample Assessment Materials – Issue 1 – October 2014 © Pearson Education
Limited 2014
ge and Literatu
re
Issue 1
13
13
AS Sample Assessment Materials
Source Booklet
Paper 1: Voices in Speech and Writing
Section A
with our officer
n and we returned to the dug-out
Failing to secure the rope, I slid dow
ruins of a
the
to
l
morning we secured the aeria
extremely annoyed. Early the next
us on the
osite
opp
or
sect
an
a plan of the Germ
building. On April 7th our officer laid
detailed our instructions.
table, and he
Answer ALL questions.
on as
y’s Blue Line we were to erect a stati
icular tree-stump far over in the enem
the
in
At a part
ged
enga
SECTION A: Creation of Voice
messages handed in by the officers
rapidly as possible and transmit any
attack.
Read Text A on pages
3−4 of the source booklet before answering Question 1
doing something useful,
inrelie
theved
space
I was to be given an opportunity of
thatbelow.
I felt intensely
I found that Hewitt,
War.
t
part in the Grea
feeling that at last I was to play a real
andinofText
Using information provided
A, write
the
script
for
a
radio
play
to
be
broadcast
f.
too, experienced this sense of relie
1
after 9.00pm, dramatising the events that took place in 1917.
You may create additional characters but you must draw only on the factual
information contained in Text A.
You should:
•
•
•
develop your script using the conventions of a drama produced for broadcast on
the radio
craft your script appropriately to the given context
write to engage your audience.
(20)
Students will be asked to transform one of their anthology
texts into a given form. This is the extract from the first World
War memoir into a radio script. Students will always be asked
to transform the text into one of the 10 text types from the
studied anthology. This means students will be familiar with
the features and conventions of the required text type.
. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................................................................................................................
. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................................................................................................................
. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................................................................................................................
. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................................................................................................................
. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................................................................................................................
Section B
. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................................................................................................................
. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................................................................................................................
. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................................................................................................................
SECTION B: Comparing Voices
... .......... . . . . . . . . . .. . . .
. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................................................................................................................
... .......... . . . . . . . . . .. . . .
. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................................................................................................................
... .......... . . . . . . . . . .. . . .
Read Text B on page 5 and Text C on pages 6−7 of the source booklet before answering
Question 2 in the space below.
. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................................................................................................................
2 Compare how the speakers shape their language to create a sense of voice.
You must consider:
... .......... . . . . . . . . . .. . . .
. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................................................................................................................
... .......... . . . . . . . . . .. . . . .
. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................................................................................................................
... .......... . . . . . . . . . .. . . .
... .......... . . . . . . . . . .. . . .
• the use of linguistic and literary features
• the influence of audience and purpose
. . . . . . . . . . . .•. . . . .. . . . .the
. . . . . . . . . . .context
. . . . . . . . . . . . . . . . . . . . . .of
. . . . . . .the
. . . . . . . . . . .texts.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................................................................................................................
(30)
. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
. . . . . . . . . ..........................................................................................................................................................................
......................................................................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
... .......... . . . . . . . . . .. . . .
SECTION B: Comparing Voices
Text B
Committee) at
Coe (Chairman of the British Olympics
This text is a speech delivered by Lord
on, 2012.
mony of the Paralympic Games in Lond
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .the
. . . . . . . . .closi
. . . . . . . . . . .ng
. . . . . . . .cere
...........................................................................................................................................................................................
haven’t we?
have shared some wonderful days,
“Together these past few weeks we
....................................................................................................................................................................................................................................................................................
possible. Days, in
performed feats we hardly thought
Days where incredible people have
can do, to what
ple
peo
t
wha
to
ned
ope
re our minds were
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .thes
. . . . . . . . . . .e
. . . . .Para
. . . . . . . . . . .lymp
. . . . . . . . . . . . .ic
. . . . .Gam
. . . . . . . . . . . . es,
. . . . . . . . .whe
....................................................................................................................................................
determination.
they can achieve by sheer talent and
their own
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .from
...........e
. . . . .days
. . . . . . . . . . . ... . Ever
. . . . . . . . . . . yone
. . . . . . . . . . . . . . .will
. . . . . . . . . .have
.............................
es . . . . . . . . . . . . . thes
And I want to share with you two stori
tales to tell, but these are mine.
....................................................................................................................................................................................................................................................................................
purple uniform
met someone wearing the familiar
I was travelling on the tube when I
d among the
stan
es maker. And the Games makers
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .and
. . . . . . . . . . .a
. . . . pass
. . . . . . . . . . . . .mar
. . . . . . . . . . ked
. . . . . . . . . . .Med
. . . . . . . . . . . .ic.
. . . . . . .A
. . . . .Gam
...........................................................................................................................................
talking.
heroes of London 2012. We began
his way to
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . was
. . . . . . . . . . . .or
. . . . . . .at
. . . . . .St
. . . . . . .Mar
. . . . . . . . . .y’s
. . . . . . . .hosp
. . . . . . . . . . . .ital
. . . . . . . . . .on
.................
me he . . . . . . . . . . . .a. . . .doct
His name was Andrew and he told
help out at boxing.
....................................................................................................................................................................................................................................................................................
who wanted
ldn’t let me. He said he was the one
But when I tried to thank him, he wou
k who, he
than
ld
shou
who
over
a very British dance
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . to
. . . . . . .do
. . . . . . . . the
. . . . . . . . . . than
. . . . . . . . . . . .king
. . . . . . . . . . . .. . .And
. . . . . . . . . . . .as
. . . . . . .we
. . . . . . . . .did
....................................................................................................................................
:
said
s and
suddenly cut through all the politenes
e or
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .this
. . . . . . . . . .ure.
. . . . . . . . . . .I. . .wasn
. . . . . . . . . . . . .’t
. . . . .sure
. . . . . . . . . . . .I. . .shou
. . . . . . . . . . . . .ld
. . . . . .com
..
For me . . . . . . . . . . .is. . . . .clos
I’ve
“I was on duty on 7/7, that awful day.
now
and
kind
I did. For I’ve seen the worst of man
whether I could face it. I’m so glad
....................................................................................................................................................................................................................................................................................
seen the best of mankind.”
She talked of
es maker at the Paralympic Games.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .a
. . . . . . . . . . .days
. . . . . . . . . . . . .later
. . . . . . . . . . . . .I. . .met
. . . . . . . . . . . Emil
. . . . . . . . . . .y
. . . . .−
. . . . .a
. . . .Gam
.....................................................................................................................
Just . . . .few
ll means to
etba
bask
air
elch
what participating in whe
what the Games meant for her and
.
of limitation”, she said
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . her.
. . . . . . . . . . .“It
. . . . . . .has
. . . . . . . . . . lifted
. . . . . . . . . . . . . . .the
. . . . . . . . . .clou
. . . . . . . . . . .ds
.................................................................................................................................................
k you to you and
have the last word. Thank you than
So Andrew and Emily, I am going to
....................................................................................................................................................................................................................................................................................
all the volunteers.
for
every day, sporting records, records
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .lymp
. . . . .Gam
. . . . . . . . . . . . es
. . . . . . .has
. . . . . . . . . . .set
. . . . . . . . .new
. . . . . . . . . . . .reco
. . . . . . . . . . .rds
.........................................................................................................
The Para . . . . . . . . . . . . .ic
t.
unbridled spiri
crowds, for television audiences, for
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . way
. . . . . . . . . . . .and
. . . . . . . . . . . we
. . . . . . . . . will
. . . . . . . . . . .neve
. . . . . . . . . . . .r
. . . .thin
. . . . . . . . . .k
. . . of
of sport the same
.
In this country we will never think
ation
limit
of
d
clou
the
lifted
have
e way. So yes, the Paralympians
sam
the
bility
disa
....................................................................................................................................................................................................................................................................................
om of a product.
s you can find stamped on the bott
Finally, there are some famous word
mean
skill,
n
mea
ity,
qual
high
n
mea
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .whe
. . . . . . . . . . .read
. . . . . . . . . . . . .them
. . . . . . . . . . . . . ,. . .you
. . . . . . . . . . .know
............................................................................................................
Words, that . . . . . . . . . . .n. . . . .you
creativity.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .lymp
. . . . . . . . . . . . .ic
. . . . .Gam
. . . . . . . . . . . . es
. . . . . . . of
. . . . . . .Lond
. . . . . . . . . . . . .on
. . . . 2012.
the Olympic and Para
We have stamped those words on
Students will compare
an unseen text (Text B)
with a text taken from
the Voices in Speech and
Writing Anthology. For this
question, the unseen text
was paired with the extract
from Jay Leno’s interview
with President Barack
Obama. The unseen text
will always be taken from
one of the anthology forms,
so that students will be
familiar with the unseen
text’s generic conventions.
London 2012. Made in Britain.”
....................................................................................................................................................................................................................................................................................
Glossary
on’s transport
bings that targeted civilians using Lond
7/7: A series of coordinated suicide bom
s.
bing
bom
July 2005 − often referred to as the 7/7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .syste
. . . . . . . . . . . .ms
. . . . . . . . .on
. . . . . . . 7th
................................................................................................................................................................................
....................................................................................................................................................................................................................................................................................
....................................................................................................................................................................................................................................................................................
5
and Literature
Limited 2014
– October 2014 © Pearson Education
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adva
. . . . . . . . . . nced
. . . . . . . . . . .Subsi
. . . . . . . . . .diary
. . . . . . . . . . . GCE
. . . . . . . . . . .in
. . . . .Englis
. . . . . . . . . . .h
. . . .Langu
. . . . . . . . . . . age
...................................................................
S47547A
on Edexcel Level 3
Pears
47A
S475
t Materials – Issue 1
Sample Assessmen
23
Turn over
....................................................................................................................................................................................................................................................................................
. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................................................................................................................
......................................................................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
....................................................................................................................................................................................................................................................................................
... .......... . . . . . . . . . .. . . .
2
......................................................................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
... .......... . . . . . . . . . .. . . .
6
*S47547A0214*
*S47547A0314*
View more Sample Assessment Materials at www.edexcel.com/langlitenglish15
Pearson Edexcel Level 3 Advanced Subsidiary GCE in English Language and Literature
Sample Assessment Materials – Issue 1 – October 2014 © Pearson Education Limited 2014
......................................................................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
... .......... . . . . . . . . . .. . . .
3
Turn over
......................................................................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
... .......... . . . . . . . . . .. . . .
14
......................................................................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
15
15
AS Sample Assessment Materials
Section B
Paper 2: Varieties in Language and Literature
Section A
SECTION B: Exploring Text and Theme
.......................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
Answer ONE question on the second text you have studied.
You must not write about the same text you chose in SECTION A.
.......................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
.......................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
Write your answer in the space provided.
SECTION
A:. . .Prose
Answer ONE question on your chosen text. Write your answer in the space provided.
..........................
. . . . . . . . . . . . . . . . .Fiction
. . . . . . . . . . . . . . . . . . . . .Extract
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
Society and the Individual
Answer ONE question on your chosen theme. Write your answer in the space provided.
Love and Loss
.......................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
Anchor texts
The Great Gatsby, F Scott Fitzgerald
Society and the Individual
3 A Single Man, Christopher Isherwood
Students respond to one
.......................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
Great Expectations, Charles Dickens
1 The Great Gatsby, F Scott Fitzgerald
question on their second
Students will answer one Read the extract on page 8 of the source booklet.
Other texts
.......................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
studied text.
extract-based question on In this extract, George’s visit to Doris
Read the extract on pages 4−5 of the source booklet.
thePeople,
hospital
prompts
The in
Bone
Keri
Hulme reflections on the loss
their studied anchor text. of Jim.
Othello, William Shakespeare
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
In this extract, Fitzgerald creates..........................
an atmosphere
of boredom and excitement.
A Raisin in the Sun, Lorraine Hansberry
With reference to the extract above, discuss:
The Wife of Bath’s Prologue and Tale, Geoffrey Chaucer
With reference to the extract above,
discuss:
..........................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
The literary
Whitsunfeatures
Weddings, Philip Larkin
• Isherwood’s use of linguistic and
• Fitzgerald’s use of linguistic and
literary features
• the presentation of the opposition between life and death in the novel as a whole
.......................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
9 Discuss how the writer of your other studied text presents characters or personae
• how the opposition of boredom and excitement is typical of the novel as a whole
• relevant contextual factors.
who attempt to control or manipulate others.
• relevant contextual factors. .......................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
(25)
(25)
In your answer you must consider:
OR
.......................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
OR
• the writer’s use of linguistic and literary features
4 Tess of the D’Urbervilles, Thomas Hardy
• relevant contextual factors.
.......................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
2 Great Expectations, Charles Dickens
(25)
Read the extract on page 9 of the source booklet.
Read the extract on pages 6−7..........................
of the source
booklet.
him.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I. . .told
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
ORdeath of Prince.
Section A: Prose Fiction Extracts
In this extract, Hardy describes the
decisively.
‘Never heard of them,’ he remarked
In this extract, Dickens presents
characters
constrained
by
their
past.
idual
Indiv
the
and
ty
Socie .......................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
This annoyed me.
With reference to the extract above, discuss:
40
With
reference
to
the
extract
above, discuss:
erald
Fitzg
Scott
if you stay in the East.’
F
The Great Gatsby,
‘You will,’ I answered shortly. ‘You will
a
.......................... . . . . . . . . . . . . . . . . . . . .forwa
. . . . . . . . . . .rd
. . . . . with
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
• Hardy’s use of linguistic
literary features
at me,
backand
attempt to rise − she leaned slightly
,’ he said, glancing at Daisy and then
, made
girl, Daisy
The
’
• other
Dickens’s
use
of an
linguistic
and
literary
else.incident
‘Oh, I’ll stay in the East, don’t you worry •
here
charming little laugh,
live anywof
absurd,features
fool tonature
ed, an
ed
laugh
how
the
tragic
this
foreshadows events to come
damn
God
a
be
‘I’d
.
more
thing
some
conscientious expression − then she
for
as if he were alert
.
room
• the influence of the past
onthethe
novel
as
rd into
..........................
. . . . . . . .a
. . . .whole
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
•
relevant
contextual
factors.
was
it
−
and I laughed too and came forwa
d
starte
I
that
ss
enne
sudd
such
with
!’
• relevant contextual factors.
At this point Miss Baker said ‘Absolutely
her as much
(25)
into the room. Evidently it surprised
‘I’m p-paralysed with happiness.’
45
the first word she uttered since I came
s stood up into
ment
(25)
move
deft
,
5
rapid
of
ent,
mom
series
a
a
..........................
. . . . . .held
. . . . . . . . . .my
. . . . . . . hand
. . . . . . . . . . . .for
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .for
. . . . . . .she
. . . . . . . .yawn
. . . . . . . . . . ed
..........................................................................
and with
and
,
witty
me,
very
did
it
as
thing
She laughed again, as if she said some
she so much
OR
the room.
that there was no one in the world
OR looking up into my face, promising
the surname of the
From pp. 14–16
she had. She hinted in a murmur that
Source Booklet
AS
English
Language
and
Literature
.......................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .to
. . . . . make
. . . . . . . . . . . . .peop
. . . . . . . . . .le
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
wanted to see. That was a way
it said that Daisy’s murmur was only
balancing girl was Baker. (I’ve heard
ing.)
charm
less
no
it
made
sm that
lean toward her; an irrelevant critici
.......................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ibly,
. . . . . . . . . and
. . . . . . . . . . . . . . . . . . . . . . . . .10
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
she nodded at me almost impercept
red,
flutte
lips
’s
At any rate, Miss Baker
was balancing had obviously
she
t
objec
the
−
again
back
head
then quickly tipped her
sort of apology rose to my
a fright. Again
. . . . . .a. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
thing of..........................
tottered a little and given her some
s a stunned tribute from me.
draw
ncy
ufficie
self-s
lete
comp
of
lips. Almost any exhibition
in her low, thrilling voice.
me questions
n to ask
..........................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
I looked back at my cousin, who bega
if each speech is an
as
,
down
and
follows up
It was the kind of voice that the ear
lovely
and
sad
was
face
Her
.
again
be played
an
arrangement of notes that will never
..........................
. . . . . . . . .mout
. . . . . . . . . . h,
. . . . .but
. . . . . . . . there
. . . . . . . . . . . .was
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
t passionate
and a brigh
with bright things in it, bright eyes
t: a
cared for her found difficult to forge
had
who
men
that
voice
her
in
excitement
ng things
a promise that she had done gay, exciti
g compulsion, a whispered ‘Listen’, .......................... . . .s. . .hove
singin
. . . . . . . . .in
. . . . .the
. . . . . . . .next
. . . . . . . . . .hour.
. . . . . . . . . . . . . . . . . . . . . . . . .20
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
Secti
on A: Prose Fic
ng thing . . . . . . . . . .ring
exciti
gay,
were
there
that
and
tio
since
n Extracts
just a while
dozen
a
how
Society and th
for a day on my way East, and
divstopp
e Great Gatsb
had
idual ed off in Chicago..........................
I told her howeIIn
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .I. . to
. . . .ld
. . . . .him
. . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..........................................................................
y, F Scott Fitzg
erald people had sent their love through me.
e other girl, Da
‘Never heard of
isy, made an att
them,’ he remark
empt to risthey
ecstatically.
scientious expr
FOR SECTION A = 25 MARKS
ed decisiveTOTAL
‘Do e − shmiss
e me?’ she cried
ession − then
ly.
Th
she laughed, an leaned slightly forward with
is
I laughed too
an
a
no
as
ye
black
ed
d me.
a have the left rear wheel paint
absurd, charm ate. All the cars
and came forwa
ing
rd into‘The
25
thewhol
room.e town is desol little laugh, tent wail all night along the north shore
‘Yo.’u will,’ I answ
p-paralysed wi
ered shortly. ‘Yo
th happiness.’
mourning wreath, and there’s a persis
u will if you sta
ought
‘You
y; h,
y in the East.’
12 !’ Then she added irrelevantl‘O
I’ll stay in the Ea
aughed again
orrow
, as if she said
st, don’t you wo
gorgeous! Let’s go back, Tom. To-m
‘How
as
so
if
me
rry,’ he said, gla
he were alert for
ng up into my
40
thing very witty ’
ncing at Daisy
face, promisin
something mo
, and held my
see the baby.
g that thto
and then back
hand for a mo
re. ‘I’d be a Go
ed to see. That
ere was no on
at me,
d damned foo
ment, 5
was
At this point Mi
e in the world
l
to
liv
cing girl was Ba a way she had. She hin
e
ss
she so much
anywhere else.
Baker said ‘Abso
tedto.in’ a murm
‘I’d like
ker. (I’ve heard
’
the first word
lutely!’ with su
ur that
it said that Da
she uttered sin
oward her; an
ch suddenness
e of n’t
isy’s murmur wa the surnam
ce I came into
irrelevant critic
theyou ever seen her?’
that I started −
as it did me, for
Have
old.
s
th
ism that‘She’s
years
on
e
three
it
roo
ly
sh
She’s
wa
to
p.
e
m.
s
yawned and wi
make people
madeaslee
it no less charm
the room.
th a series of rap Evidently it surprised her as
rate, Miss Bake
30
ing.)
much
id, deft moveme
r’s lips fluttered
nts stood up int
, she no
uickly tipped he
dd
’
r.
ed
‘Neve
at
o
me
r head back ag 2
almost imperce
45
ain −
d a little and giv
ptibly, and Pearson Edexcel Level 3 Advanced Subsidiary GCE in English Language and Literature
en her someth 34 the object she watsto
10
−’
basee
She’s
lancin
her.
ing of ‘Well,
most any exhib
g ha
d obSample
a frightyou
viously Assessment Materials – Issue 1 – October 2014 © Pearson Education Limited 2014
. Agough
ition of complet
ain a sort of ap
From pp. 14–16
ology rose to my
e self-sufficien
, stopped and rested
cy draw,s who
hovering restlessly about the room
had
d back at my co
a stunn
Tom Buchanan
edbeen
tribute from me
usin, who bega
.
n to askhis
he kind of voice
my shoulder.
mehand
queson
tions
that the ear fol
in her low, th
lows up and do
ment of notes
wn, as if each, Nick?’rilling voice.
that will never
doing speech is an
be
you
ght things in it,
t are
playe‘Wha
d again
. Her face was
bright eyes an
15
35
sad and lovely
d a bright passi
ent in her voice
on
ate
that men who
mout
’ h, but th
‘I’m a bond man.
ha
compulsion, a
whispered ‘Liste d cared for her found difficult ere was an
n’, a promise th
to forget: a
hile since and 16
at she’ had done
that there were
with?
gay, excit‘Who
gay, exciting th
ing th
*S47548A01222*
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Sample Assessm
ent Mater
ials
Pearson Edexce
l Level 3 Advanc
ed Subsidiary
Literature (8E
GCE in English
L0)
Language and
First teaching from
September 201
5
First certificati
on from 2016
Issue 1
*S47548A01322*
Pearson Edexcel Level 3 Advanced Subsidiary GCE in English Language and Literature
Sample Assessment Materials – Issue 1 – October 2014 © Pearson Education Limited 2014
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will be available before first teaching to help you and your students to
understand the expected standard.
Free training on how to mark mock papers.
dditional Sample Assessment Materials available before first
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teaching to help you familiarise yourself with the new assessment styles.
Tracking student progress
– a free, online service giving detailed, instant feedback on
your students’ exam performance.
ocks Analysis – is a specific component of our ResultsPlus service that
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allows you to use past papers as mocks and receive a detailed analysis of
students’ exam performance.
– a free, online, easy-to-use exam preparation tool
containing a bank of past questions to help you create your own mock
exams and tests.
Subject and local support
etting Ready to Teach events to support you as you prepare to teach our
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new AS and A level English qualifications from September 2015.
raining events* throughout the academic year to help you deliver the AS and
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A level courses.
n expert Subject Advisor, Clare Haviland, and her team
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are on hand for you to ask questions about the content or
teaching of the specifications, whenever you need it.
*There may be a charge for these events.
Teaching and learning
Getting Started Teacher Guide.
Voices in Speech and Writing: An Anthology (print resource).
Anthology Teacher Guide (online).
Learn more at
www.edexcel.com/langlitenglish15
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Get in touch!
We’re here to help you in the run-up to
2015 and beyond.
Email us: [email protected]
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Pearson is committed to reducing its impact on the environment by using
responsibly sourced and recycled paper.
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Learn more and get involved at:
www.edexcel.com/langlitenglish15
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