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Already using the existing AQA English Language B specification? 20% of A Level Coursework – Internally assessed, and externally moderated by AQA 80 marks.
AQA A Coursework -. New to Teachit English? Register for our free resources or subscribe for full access.
English Language B
GCE AS and A Level Specication English Language B For exams from June 2014 onwards For certification from June 2014 onwards GCE English Language B for exams from June 2014 onwards (version 1.4) Contents 1 1.1 1.2 1.3 1.4 Introduction Why choose AQA? Why choose English Language B? How do I start using this specification? How can I find out more?
AQA Literature B - Comedy coursework. AQA B - AS Comedy Coursework Objectives Breakdown. The A Level English Literature Stretch and Challenge Grid.
AQA English coursework, so don't wait to contact with us for your. We are eagerly hoping to hear from you very soon. We take care of original writing coursework's.
Aqa As English Coursework Examples
AQA English coursework is no longer a problem. What you need to do is just go through this article and you will get the answer that you have been looking for.
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This course will prepare you for the AQA English Literature A Level specification (7712) exams.
You'll have the opportunity to choose your own texts in Component 3: Texts Across Time.
Component 1: Love Through the Ages
You'll study four texts: one Shakespeare play, one poetry anthology and two prose texts. You'll also respond to an unseen prose extract in the exam.
You'll study representations of love across time by a variety of authors, across a variety of dramatic genres, and in various poetic styles.
Areas that you could explore include: romantic love of many kinds; love and sex; love and loss; social conventions and taboos; love through the ages according to history and time; love through the ages according to individual lives (young love, maturing love); jealousy and guilt; truth and deception; proximity and distance; marriage; approval and disapproval.
Component 2: Texts in Shared Contexts: World War I and Its Aftermath
The aim of this topic area is to encourage you to explore aspects of literature connected through a shared period of time.
This component explores literature arising out of WW1, but extends this period to allow reflection on the full impact of the war that reverberates up to the present day. It considers the impact on combatants, non-combatants and subsequent generations as well as its social, political, personal and literary legacies.
You'll study one prose, one poetry and one drama text, at least one of which will have been written post-2000.
Areas that you could explore include: imperialism and nationalism; recruitment and propaganda; life on the front line; responses on the home front; pacifism; generals and soldiers; slaughter; heroism; peace and memorials; writers in action and writers looking back; the political and social aftermath; different and changing attitudes to the conflict.
Component 3: Texts Across Time
In this unit, you'll write a comparative independent critical study of two texts on the theme of your choice. You should choose texts which allow you to write about comparative similarity and difference and give access to a range of critical views and interpretations, including over time.
Possible themes include, but are not limited to:
Once you enrol, you’ll have access to our Student Community . which will allow you to see your course materials, contact your tutor, submit your assignments and connect with your fellow students. Your course materials have been specially designed for online learning by experts in the field.
You’ll also have access to a huge range of resources that will aid your studies:
You’ll be assigned an expert academic tutor who will be with you from enrolment to graduation. They’ll answer questions about coursework, study materials, assessments and exams, and help you work through any part of the course you’re stuck with.
They’ll also give you test papers and mock exams to ensure you’re ready to pass your assessments. All your papers will be marked and given constructive feedback so you know exactly what your strengths are and what you can improve.
Our dedicated student support team will be on hand to assist you with administrative tasks, using the Student Community, and any other non-academic queries you may have.
You'll have to source the texts for this course yourself. Many can be found second-hand or for free online. The set texts are:
There are three final assessments for the A Level English Literature specification 7712:
These exams are set nationally by AQA and take place every summer. You must sit both papers in one exam diet.
Important Exam Information
Please be aware that you're responsible for making your own exam arrangements. We'll help you find a suitable exam centre, usually a nearby school or college, and give you all the information you need to book your place. You'll have to pay an examination fee as well as a centre fee which will vary depending on exam centre.
Find out more information about your exams .
You'll have to buy the set texts for this course yourself. Many can be found cheaply second-hand, or for free online. The full list can be found under 'What will I get?'
Exam centre and registration fees are additional to your course fees. The cost will vary according to the exam centre you use.
Contact our course advisors for more information on additional fees.
Find out more information about arranging your exams .
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A Level English Literature
Students are strongly recommended to familiarise themselves with the AQA specification for A-level English Language and Literature (A). The document can be downloaded as a pdf file, alongside further student support and assessment materials from the AQA website.
The AQA A-level is divided into four units as follows :
AS: 2 units AQA Code 1721
A2: 2 units AQA Code 2721
Below is a more detailed breakdown of the units studied for AS and A2.
Advanced Subsidiary (AS):
Unit 1 - ELLA 1: Integrated Analysis and Text Production
This unit introduces the principles of integrated literary and linguistic analysis by developing the ability of candidates:
Candidates will be required to answer two questions. The first question will be an analytical question on one of the set texts; the second question a production task on a second set text. In each case, all texts will have an analysis task and a production task to maximise candidates’ choice.
The analytical question focuses on the ways in which language and style help the writer to develop and explore issues within the text (such as theme and character). Candidates will be expected to produce an informed response underpinned by close textual reference and stylistic discussion.
The production task requires candidates to write in a particular style, register or voice, based on a thorough knowledge of the text. They will be assessed on language use appropriate to the set task and on technical accuracy.
Candidates are advised to spend approximately 40 minutes responding to the analytical task on their first set text, and then spend approximately 50 minutes planning and writing the production task linked to the other set text.
Candidates must study two texts, which can be taken into the examination. However, the texts must be clean, that is, free from all annotation.
The History Boys. Alan Bennett
A Streetcar Named Desire. Tennessee Williams
Unit 2 – ELLA 2: Analysing Speech and its Representation
This unit will introduce candidates to the principles of the analysis of speech in a variety of situations. Their analysis will be supplemented by the frameworks learned on Unit 1. These questions test the ability of candidates:
Candidates will be required to answer two questions. The first question will require an analytical comparison of unseen spoken texts. The second section of the unit will focus on the study of a set text where the candidate will focus on the way speech is used and represented within that text as well as stylistic matters relevant to the particular text.
The first question will have two pieces of speech which could be transcribed spontaneous speech, prepared oratory or any other type of speech representation from a non-literary context.
Candidates will be required to compare how the speech texts differ by focusing on features of spoken English and how form and context can help to shape meaning. The second question will focus on speech representation and stylistic and linguistic issues within the set text, with a short section of the text printed to provide a basis for close analysis.
Candidates must study one text, but are not allowed to take this text into the examination, since a section for commentary and discussion will be reprinted on the examination paper.
All My Sons by Arthur Miller
Unit 3 – ELLA 3: Comparative Analysis and Text Adaptation
This unit focuses on integrated literary and linguistic study: firstly, by exploring the way that unseen texts can be analysed and compared; secondly, by taking the candidate’s own production skills further by focusing on non-fiction writing. Analysis on this unit will draw together the frameworks learned throughout the course. Production on this unit will focus on the skills of textual re-casting so as to develop and strengthen candidates’ production skills. This unit tests the ability of candidates:
Candidates are required to answer two questions. The first question will be an unseen analytical comparison of three texts of varying length, mode, genre and/or historical period. The second question will focus on a production task linked to the study of a set text, which will be non-fiction writing. The production will include reference to their set text in the form of a printed extract which will then be used as the basis for a textual re-casting. Candidates will also be required to write a short commentary explaining the choices they made when writing the re-casting.
Candidates are advised to spend approximately 90 minutes reading, planning and writing their analytical response and then spend approximately 60 minutes planning and writing the production task and commentary linked to the non-fiction set text.
Candidates must study one text, which they will not be allowed to take into the examination.
A House Somewhere: Tales of Life Abroad: Don George and Anthony Sattin
Cupcakes and Kalashnikovs. 100 Years of the Best Journalism by Women, ed.Eleanor Mills
Unit 4 – ELLA 4: Comparative Analysis through Independent Study
This unit will extend the principles of integrated literary and linguistic analysis by testing the ability of candidates:
Candidates are required to answer one question on two set texts: they have a free choice of question on the two texts that they have chosen to study but each question must be approved by the candidate’s tutor. The question should focus on challenging comparative issues.
Candidates must show evidence of a drafting process in their coursework and it is therefore a requirement to submit one draft with their final assessed piece.
They must write between 2,000 and 2,500 words. A consortium system operates for this specification, in line with the other AQA GCE English Specification A suites, where centres initially submit candidates’ questions to consortium advisers for scrutiny, acceptance and moderation. These consortium advisers also act in an advisory capacity to centres throughout the year.
Candidates are required to study at least one poetry text, a genre not available at AS level. Candidates must choose one text from List A; they may then choose one other text from List A or one from List B.
The intention behind this constrained choice is to offer texts which have been externally verified for their suitability for this coursework unit. Centres should discourage candidates from writing at length about biographical details of any of the writers. The primary focus of candidates’ work must be on literary and linguistic analysis and comparative issues within the texts.
Ariel: Sylvia Plath
The Whitsun Weddings: Philip Larkin
The Wife of Bath’s Prologue and Tale: Geoffrey Chaucer
Selected Poems: D.H. Lawrence
Taking off Emily Dickinson’s Clothes: Billy Collins
Selected Poems: Robert Frost
Songs of Innocence and of Experience: William Blake
Selected Poems 1965-75: Seamus Heaney
Selected Poems: William Wordsworth
Mean Time: Carol Ann Duffy
Selected Poems: Emily Dickinson
Selected Poems: Elizabeth Jennings
A Handmaid’s Tale: Margaret Atwood
Hamlet: William Shakespeare
As You Like It: William Shakespeare
The Penguin Book of Modern Short Stories: ed. Malcolm Bradbury
Small Island: Andrea Levy
The Accidental Tourist: Anne Tyler
Waterland: Graham Swift
A Prayer for Owen Meany: John Irving
Dubliners: James Joyce
Hotel World: Ali Smith
Death of a Salesman: Arthur Miller
Translations: Brian Friel
The purpose of this unit is to show an ability to use literary and linguistic terminology for analysis (Assessment Objective 1) and to make comparisons considering context (Assessment Objective 3). Each AO is weighted equally (30 marks).
The coursework is not an opportunity to write broadly on general themes or to relate them to the lives of the poets / writers. Rather, it is a chance to show the skills of close technical analysis in a comparative format. The essay should be concerned with the question of how / in what ways writers create their effects in order to focus on a particular theme.
Unless the candidate chooses two poets, comparisons will inevitably need to explain the different demands of the genre used (poetry, drama, short story, novel) but these should be confined to the specific differences of the texts chosen rather than a more generalised approach to genre difference. Similarly, though context may be important in explaining language change or specific historical attitudes, candidates should give a lesser emphasis to these areas than they do to technical analysis. Typically, a good coursework title will be ‘Compare the ways in which X and Y write about loneliness / death / the countryside etc.’ while an unsuitable title might be ‘Is X better than Y?’ or ‘How typical are X and Y of the periods in which they were writing?’
List A / List B examples
1. The Whitsun Weddings: Philip Larkin / Dubliners: James Joyce
Compare the ways in which Larkin and Joyce portray family relationships.
2. Mean Time: Carol Ann Duffy / Hotel World: Ali Smith
Compare the ways in which Duffy and Smith use different narrative points of view.
3. Taking Off Emily Dickinson’s Clothes: Billy Collins / The Accidental Tourist: Anne Tyler
Compare the ways in which Collins and Tyler present ideas about travel.
List A only examples
1. Selected Poems: Robert Frost / Selected Poems: William Wordsworth
Compare the ways in which Frost and Wordsworth write about friendship.
2. Taking Off Emily Dickinson’s Clothes: Billy Collins / Mean Time: Carol Ann Duffy
Compare the ways in which Collins and Duffy use irony.
3. Selected Poetry: D.H.Lawrence / Selected Poems: Emily Dickinson
Compare the ways in which Lawrence and Dickinson make use of the natural world.
In the production of their coursework candidates are encouraged to read widely, to include at the end of their essays a bibliography of works read and to make appropriate reference to them, where relevant, in the body of the coursework. However, it must be stressed that a personal response is what is required and an inclusion of critical references is not essential.
Students are required to pay for and arrange their own examinations with the examining board. They are also required to manage the coursework units for each subject. Students must check the examination board's website for available dates for examination entry and any further relevant information regarding the course specifications.Reviews
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