English Literature & Language

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ks3 English literature & language

At KS3, alongside the fundamentals of grammar, we teach a selection of the ‘accepted’ greatest works of literature from each major literary period over time, so that students are able to respond meaningfully and critically to texts as a representation of cultural transition. Thereby, allowing students to conceptualise the history of literature as narrative (with each literary period building on, or challenging stylistic and thematic conventions that came before) and confidently critique through a range of academic approaches. Throughout, students draw on this breadth of knowledge to create thoughtful, coherent, authentic writing of their own.

MYP Assessment Criteria

Criterion A

Analysis

Criterion B

Organisation

Criterion C

Producing a Text

Criterion D

Using Language

General Principle (Statement of Inquiry)

The growth of identity is determined by struggle.

Key Concepts

Connections

Related Concepts

Character and setting

Link to assessment

A and C

ATLs

Research – Information literacy
Finding, comprehending, and interpreting information. Students will routinely read through texts independently, before responding to a series of questions which ensure and encourage high levels of comprehension.

Links to prior learning

The Odyssey denotes our beginning of literature studies, tracking chronologically through some of the greatest works of time.

This unit helps students to understand how literature emerged in pre-literate societies, and how a text nearly 3,000 years old continues to resonate when read symbolically.

It also aims to provide students with an accessible but powerful introduction to form, context, content, theme, structure and language: the framework we use to help students organise their knowledge of literature.

Core declarative knowledge: What should students know?

  • What is an epic poem?
  • When was ‘The Odyssey’ composed?
  • How do conceptions of the hero differ in ‘The Odyssey’ and ‘The Iliad’?
  • What is “in media res”?
  • What is a simile? What is a metaphor? What is alliteration?
  • What is a noun? What is a verb? What are the 4 purpose of a comma?

Core procedural knowledge: What should students be able to do?

  • Be able to identify the conventions of epic poetry;
  • Be able to explain how Classical Greece’s transition from a set of warring states to a trading nation affected conceptions of the hero;
  • Be able to explain – clearly and precisely – how Homer’s literary and structural choices in ‘The Odyssey’ create meaning;
  • Be able to find evidence to support one’s viewpoint;
  • Be able to identify a noun, verb, simile, metaphor, alliteration, media res;
  • Be able to use a comma in 4 different ways.

General Principle (Statement of Inquiry)

Identity is orientated in context; this influences how we act and what we believe.

Key Concepts

Communication

Related Concepts

Context and structure

Link to assessment

A, B and D

ATLs

Thinking – Critical-thinking skills and Transfer
Analysing and evaluating issues and ideas. Students will be required to discuss and debate the relationship between text and context, and how far an ancient text can remain relevant to the modern readers. Students will be required to transfer a famous dramatic scene into memorable prose.

Links to prior learning

When teaching this unit, we should emphasise, at every teaching opportunity, links to The Odyssey when instructing on:

  • Form (meaning type and genre): Epic poetry;
  • Context: Cultural transition gives rise to new heroic ideals;
  • Structure: Order, disorder, a reordering (we see this over and over again in The Odyssey);
  • Theme: Battling with monsters and descending into the underworld as something symbolic and universal; struggle as something heroic;
  • Language: Kenning as a type of metaphor.

Core declarative knowledge: What should students know?

  • What is Old English? What is a warrior society? What is an allegory?
  • What is a kenning?
  • What is the archetypal narrative structure? What is an adjective? What is an adverb?
  • What is the purpose of quotation marks?

Core procedural knowledge: What should students be able to do?

  • Be able to identify Christian allusion in ‘Beowulf’;
  • Be able to explain why warrior societies are unsustainable;
  • Be able to explain – clearly and precisely – how Beowulf can be read as an allegory for Anglo-Saxon England’s transition from a warrior society to a Christian nation;
  • Be able to identify an archetypal narrative structure;
  • Be able to find evidence to support one’s viewpoint.
  • Be able to identify an adjective, adverb and a kenning;
  • Be able to use quotations accurately.

General Principle (Statement of Inquiry)

Personal expression is fundamental for growth.

Key Concepts

Perspective

Related Concepts

Self-expression and context.

Link to assessment

A

ATLs

Communication – Organize and depict information logically
Students will be required to amalgamate their knowledge alongside evidence of the text to construct logically organised and coherent analytical paragraphs.

Links to prior learning

When teaching this unit, we should emphasise, at every teaching opportunity, contrasts with The Odyssey and Beowulf when instructing on:

  • Form (meaning type and genre): The Canterbury Tales can be understood, in part, as a mock epic. Chaucer’s verse does not concern the heroic deeds of the privileged and powerful; it is about the failings and hypocrisy of everyman.
  • Context: The emphasis in literature is beginning to be on ordinary folk and institutions (rather than heroes and Gods [as in The Odyssey and Beowulf]), and literature as a form of social critique (rather than an advocate of social norms and hierarchies (as in The Odyssey and Beowulf).
  • Structure: Literature is becoming more complex, as Chaucer plays with levels of stories within stories (as opposed to order, disorder and reordering); in this way, it foreshadows Cervantes’s metafiction.
  • Theme: The emphasis is not on the heroic or the universal (as in The Odyssey and Beowulf), but on the individual, and the messy, complex nature of life.
  • Language: Chaucer’s use of middle English (as opposed to French or Latin) marks TCT as the first great written work of English literature.

Core declarative knowledge: What should students know?

  • What is Middle English literature? What is a pilgrimage?
  • What is a prologue? What is vernacular? What is diversity?
  • What is feminist literary criticism? How are creation myths structured?
  • What is satire? What is the fall of man? What is foreshadowing? What is a pronoun?
  • Why is The Canterbury Tales so important? What is the purpose of a semicolon?

Core procedural knowledge: What should students be able to do?

  • Be able to explain the differences between Old English and Middle English literature;
  • Be able to explain how paradisiacal settings foreshadow a ‘fall’;
  • Be able to explain – clearly and precisely – how the wife of Bath can be read as both a feminist and a sexist portrayal of female character;
  • Be able to find evidence to support one’s viewpoint;
  • Be able to identify a personal and possessive pronoun;
  • Be able to use a semicolon accurately.

General Principle (Statement of Inquiry)

Structure can affect meaning and expression as much as language.

Key Concepts

Creativity

Related Concepts

Structure and style

Link to assessment

A and D

ATLs

Communication – Collaborate with peers and experts using a variety of digital environments and media;
Make inferences and draw conclusions; Paraphrase accurately and concisely; Use and interpret a range of discipline-specific terms and symbols; Read critically and for comprehension; Negotiate ideas and knowledge with peers and teachers. Much of this unit will be delivered remotely, meaning that discussion and debate will rely on a range of digital media; students will need to convey their comprehension of each text, and of the sonnet form, from home, in a variety of ways.

Links to prior learning

When teaching this unit, we should emphasise, at every teaching opportunity, the below:

  • Form (meaning type and genre): The sonnet is a lyric poem: a short expression of an often universal, emotional experience. This is in contrast to epic poetry, which narrate the adventures of the privileged
  • Context: The sonnet is the most enduring form of lyric poetry. It spans 500 years of Western culture, providing us with an opportunity to touch upon the Renaissance, Romanticism and Modernism, before more in depth study of the literary texts from these periods in later years.
  • Structure: The rigid nature of the structure allows for great creativity; this is a paradox which should invite debate, and contrasts significantly with the expansive texts and forms studied previously.
  • Theme: The emphasis is not on the heroic or the universal (as in The Odyssey and Beowulf), but on the individual, and the fragmented nature of emotional experience and memory.
  • Language: The conceit – or extended metaphor – should be a focus, and should draw upon and refer back to Homer’s use of extended metaphors in module 1.

Core declarative knowledge: What should students know?

  • What is a lyric poem? How is a sonnet structured?
  • What is a conceit? What is a Petrarchan sonnet?
  • What is a Shakespearean sonnet? What is the purpose of a colon? What are the different types of connectives?

Core procedural knowledge: What should students be able to do?

  • Be able to identify a sonnet through knowledge of its conventions;
  • Be able to identify where a writer has made choices that do not conform to these conventions;
  • Be able to identify a volta in a range of sonnets;
  • Be able to identify a conceit in a range of sonnets;
  • Be able to explain – clearly and precisely – how writers’ literary and structural choices create meaning;
  • Be able to find evidence to support one’s viewpoint;
  • Be able to identify the adding, sequencing and emphasising connectives;
  • Be able to use a colon accurately.

General Principle (Statement of Inquiry)

Imagination is more important to our identity than knowledge.

Key Concepts

Creativity

Related Concepts

Genres, point of view and setting.

Link to assessment

A, B, C and D

ATLs

Thinking skills
Make unexpected or unusual connections between objects and/or ideas; Apply existing knowledge to generate new ideas, products or processes.

Core declarative knowledge: What should students know?

  • What is a novel? What is the Renaissance? What is an unreliable narrator?
  • What are chivalric romances? What is Philosophical idealism? What is metafiction?
  • What is a foil? What does ‘quixotic’ mean? What are the main word types and what role does each play in a sentence?
  • What are the different types of apostrophe?

Core procedural knowledge: What should students be able to do?

  • Be able to identify the novel form through knowledge of its conventions;
  • Be able to explain the effects of an unreliable narrator;
  • To offer a considered opinion on whether Don Quixote is a comic novel, a social commentary, or a tragedy?
  • Be able to explain – clearly and precisely – how writers’ literary and structural choices create meaning;
  • Be able to find evidence to support one’s viewpoint;
  • Be able to identify nouns, verbs, adjectives, adverbs, pronouns and connectives;
  • To be able to identify and use contractions and possessive apostrophes accurately.

General Principle (Statement of Inquiry)

Imagination is more important to our identity than knowledge.

Key Concepts

Creativity

Related Concepts

Genres, point of view and setting.

Link to assessment

 

ATLs

Thinking skills
Make unexpected or unusual connections between objects and/or ideas; Apply existing knowledge to generate new ideas, products or processes.

Links to prior learning

 

Core declarative knowledge: What should students know?

  • What is a novel? What is the Renaissance? What is an unreliable narrator?
  • What are chivalric romances? What is Philosophical idealism?
  • What is metafiction? What is a foil? What does ‘quixotic’ mean?
  • What are the main word types and what role does each play in a sentence?
  • What are the main punctuation types and what role does each play in a sentence?

Core procedural knowledge: What should students be able to do?

  • Be able to identify the novel form through knowledge of its conventions;
  • Be able to explain the effects of an unreliable narrator;
  • To offer a considered opinion on whether Don Quixote is a comic novel, a social commentary, or a tragedy?
  • Be able to explain – clearly and precisely – how writers’ literary and structural choices create meaning;
  • Be able to find evidence to support one’s viewpoint;
  • Be able to identify the adding, sequencing and emphasising connectives;
  • Be able to identify and use a comma, a semicolon, a colon, quotation marks and apostrophes accurately.

General Principle (Statement of Inquiry)

External factors have more of an impact on our identity than our morals and values.

Key Concepts

Creativity

Related Concepts

Purpose and context

Link to assessment

A and C

ATLs

Communication – Organize and depict information logically.
Students will be required to amalgamate their knowledge alongside evidence of the text to construct logically organised and coherent analytical paragraphs.

Links to prior learning

When teaching this unit, we should emphasise, at every teaching opportunity, links to the following texts when instructing on:

  • Form (meaning type and genre): Macbeth is a tragic play. How is this form different from epic poetry [The Odyssey, Beowulf], lyric poetry [sonnets], the novel [Don Quixote])?
  • Context: The Renaissance; the gunpowder plot. Individual ambition challenging traditional forms of authority. We have seen this before in The Canterbury Tales. How is this different from individual loyalty to traditional forms of authority (seen in Beowulf and Don Quixote)?
  • Structure: High status, internal conflict, hamartia, tragic waste. How is this different from narrative of Classical heroes (Odysseus, Beowulf): High status, external conflict, overcoming, self-actualisation.
  • Theme: Individual ambition challenging traditional forms of authority. We have seen this before in The Canterbury Tales. How is this different from individual loyalty to traditional forms of authority (seen in Beowulf and Don Quixote)?
  • Language: Monologue, soliloquy. How are these different from the monologues of Odysseus and Beowulf (external acts versus internal conflict)?

Core declarative knowledge: What should students know?

  • What is a tragic play? What are the four traits of a tragic hero?
  • What is the Renaissance? What is regicide? What is the divine right of kings?
  • What is the difference between sex and gender? What is dramatic irony?
  • What is a monologue? What is a soliloquy? What is antimetabole?
  • What is pathetic fallacy? What are the 4 purpose of a comma?

Core procedural knowledge: What should students be able to do?

  • Be able to identify the conventions of tragedy;
  • Be able to explain – clearly and concisely – the four traits of a tragic hero and identify them in Macbeth’s character and actions;
  • Be able to explain the contextual significance surrounding the play and its impact on content and characters;
  • Be able to explain the difference between Medieval values and Renaissance values;
  • Be able to explain the significance of classical and Christian references within the play;
  • Be able to effectively identify and explain the use of dramatic irony, antimetabole, monologue, soliloquy and pathetic fallacy;
  • Be able to explain the impact of the play on a contemporary audience and the playwright’s intentions;
  • Be able to use a comma in 4 different ways.

General Principle (Statement of Inquiry)

Sacrifice is necessary to achieve your goals and ambitions.

Key Concepts

Connections

Related Concepts

Context and intertextuality

Link to assessment

A, B and D

ATLs

Research – Information literacy
Finding, comprehending, and interpreting information. Students will routinely read through texts independently, before responding to series of questions which ensure and encourage high levels of comprehension.

Thinking – Critical-thinking skills
Analysing and evaluating issues and ideas. Students will be required to discuss and debate the relationship between text and context, and how far an understanding of historical context informs our appreciation of a literary text.

Links to prior learning

Students thus far have studied a wide range of texts tracking through time chronologically (Homer’s ‘The Odyssey’, ‘Beowulf’, Chaucer’s ‘The Canterbury Tales’, The Sonnet Form, Shakespeare’s ‘Macbeth’) focusing on context and its impact on the texts. Students are aware of the shift in the voices we hear in each text throughout time; from early texts primarily focused on those in privileged positions (gods, heroes, warriors) to the emergence of new, ordinary voices. Students have previously studied Shakespeare’s Macbeth and so have a foundation of knowledge about the conflict between Middle Age ideals and Renaissance ideals, and the difference between communal and individual consciousness.

By using their knowledge of context and their foundational knowledge of the four elements of a tragic hero, students should be able to transfer this knowledge to a new character from a later time period. Students are aware of the surrounding factors of Shakespeare’s life and will begin to learn the same regarding Marlowe’s life; this should, in turn, give them an appreciation of the impact of the writer’s personal life on their writing. Doctor Faustus has endured for many reasons; students will look at the play as a cultural artifact, the study of it adding cultural value to them. In writing about the story of Faustus, Marlowe chose a well-known legend which has been told many times in European literature.

Christopher Marlowe is an important writer. With the exception of Shakespeare, he is probably the best-known and most influential of all Elizabethan dramatists, whose innovations (such as the use of blank verse on the stage) were widely copied and whose style of writing (the “mighty line”) was the most skilled and memorable. This unit will provide students with key contexts and evaluation of language techniques (oxymoron, metaphors, foreshadowing, hyperbole, punctuation for effect) for later, more in-depth study.

Core declarative knowledge: What should students know?

  • What are the four traits of a tragic hero?  What is a Greek Tragedy?
  • What is a prologue? What are the origins of a Faust story?
  • What is the difference between Renaissance and Medieval ideals?
  • How is Faustus seen as a Renaissance man?  What is Renaissance Humanism?
  • What is a monologue?  How is hell depicted in literature?
  • What is the difference between free will and predestination?
  • What is a morality play?  What is anti-Catholicism?  What is repentance?

Core procedural knowledge: What should students be able to do?

  • Be able to identify a Greek Tragedy through knowledge of its conventions;
  • Be able to explain the difference between Renaissance and Medieval ideals;
  • Be able to identify the writer’s intentions in constructing characters and how they reflect context;
  • Be able to explain – clearly and precisely – how writers’ literary and structural choices create meaning.
  • Be able to identify key themes through writer’s content and structure of play;
  • Be able to explain the significance of said themes in relation to character and context;
  • Be able to understand the structure of a morality play and its effect on the audience;
  • Be able to identify an adjective and an adverb;
  • Be able to use quotations accurately.

General Principle (Statement of Inquiry)

Our ideas and beliefs are a product of our environment.

Key Concepts

Perspective

Related Concepts

Theme and audience imperative

Link to assessment

A, B, C and D

ATLs

Social
Seek out critical interpretations from others, including teachers and peers, and incorporate these into your reading of each text.

Core declarative knowledge: What should students know?

  • What is the Age of Enlightenment (1650-1780)? What is Romanticism (1780-1850) or the ‘Counter-Enlightenment’?
  • What are the core values of Enlightenment thinking (reason, progress, science, society)? What are the core values of Romanticism (imagination, emotion, nature, solitude)?
  • Who was Jean-Jacque Rousseau? What is pastoral? What did William Blake write about? What did William Wordsworth write about? What is a pronoun?
  • What is the purpose of a semicolon?

Core procedural knowledge: What should students be able to do?

  • Be able to identify Romantic poetry through knowledge of its conventions;
  • Be able to identify where a writer has made choices that conform to these conventions;
  • Be able to explain – clearly and coherently – the values of the Enlightenment and the Romantic movement;
  • Be able to discuss the similarities and differences in the poetry of Blake and Wordsworth;
  • Be able to explain – clearly and precisely – how writers’ literary and structural choices create meaning;
  • Be able to find evidence to support one’s viewpoint;
  • Be able to analyse carefully chosen language at sentence and word level;
  • Be able to identify a personal and possessive pronoun;
  • Be able to use a semicolon accurately.

General Principle (Statement of Inquiry)

Pushing the boundaries of human development will always lead to negative consequences.

Key Concepts

Creativity

Related Concepts

Point of view and genres.

Link to assessment

A, B, C and D

ATLs

Critical-thinking skills and Transfer
Analysing and evaluating issues and ideas. Students will be required to discuss and debate the relationship between text and context, and how far an ancient text can remain relevant to the modern readers. Students will be required to transfer a famous dramatic scene into memorable prose.

Links to prior learning

When teaching this unit, we should emphasise, at every teaching opportunity, links to the following texts when instructing on:

  • Form (meaning type and genre): Frankenstein is a Gothic novel. How is this form different from epic poetry [The Odyssey, Beowulf], lyric poetry [sonnets], the first modern novel [Don Quixote])?
  • Context: The 18th century; great advancements in science, the discovery of electricity. The Enlightenment and Romantic period. A continuation of the Renaissance, moving from religion towards a scientific understanding of the world. How is this different from Beowulf and The Canterbury Tales, and how does this link to Faustus (who also transgresses that line).
  • Structure: Embedded narratives, framing narratives and epistolaries. Do we still have the archetypal narrative structure (movement between chaos and order) and how can we link these new narrative styles to other non-linear styles? (E.g. In medias res)
  • Theme: Individual ambition challenging traditional forms of authority, new knowledge and movement towards science while still upholding Romantic values. Transgressing and the hero’s tragic flaw leading to their downfall (link to Macbeth and Faustus, and even mythology of Icarus and Prometheus).
  • Language: First person narrative, motifs of light and darkness and pathetic fallacy, and how all of this contributes to a feeling of horror and tension.

Core declarative knowledge: What should students know?

  • What does Gothic mean?  What is an embedded narrative?  What is a frame narrative?
  • What is an epistolary?  What did Romantic thinkers value?  What did Enlightenment thinkers value?
  • What is an unreliable narrator?  What is the “sublime”?  What is a motif?
  • What is a trope?  What is meant by the term patriarchal society?
  • What are the main word types and what role does each play in a sentence?
  • What are the main punctuation types and what role does each play in a sentence?

Core procedural knowledge: What should students be able to do?

  • Be able to identify the conventions of Romanticism;
  • Be able to explain – clearly and concisely – the tropes of Gothic literature
  • Be able to explain the contextual significance surrounding the novel and its impact on content and characters
  • Be able to explain the difference between Enlightenment and Romantic values
  • Be able to explain the significance of mythology (Prometheus) and its links to Christianity within the novel
  • Be able to effectively identify and explain the use of motifs and pathetic fallacy within the novel
  • Be able to write clear and concise analytical paragraphs on extracts or quotations from the novel, with a clear link to context
  • Be able to use a semicolon

General Principle (Statement of Inquiry)

Inequality will continue to grow as we become technologically advanced.

Key Concepts

Perspective

Related Concepts

Character and context

Link to assessment

A and C

ATLs

Research – Information literacy
Finding, comprehending, and interpreting information. Students will routinely read through texts independently, before responding to a series of questions which ensure and encourage high levels of comprehension.

Links to prior learning

When teaching this unit, we should emphasise, at every teaching opportunity, links to the following texts when instructing on:

  • Form (meaning type and genre): A Christmas Carol is a novella. How is this form different from epic poetry [The Odyssey, Beowulf] and tragic plays (Macbeth, Doctor Faustus)? It focuses on the lives of ordinary people.
  • Context and theme: The industrial revolution. Individual responsibility and social injustice. Previous texts have focused on the relationship of the individual to society, in either upholding traditional values (The Odyssey, Beowulf, Don Quixote) or challenging these (The Canterbury Tales, Macbeth, Faustus, Romantic poetry, Frankenstein). Dickens reverses this to some degree, asking what society owes to the individual, and how the individual has a responsibility to the collective.
  • Structure: Structured as a parable, A Christmas Carol suggests that literature has a responsibility to critique social failings. We have seen this before in Chaucer’s The Canterbury Tales.
  • Language:
  • Symbolism: As in The Odyssey, Beowulf, Macbeth, Doctor Faustus.
  • Pathetic fallacy: As in Macbeth, Frankenstein.
  • Allusions: As in Macbeth, Doctor Faustus.

Core declarative knowledge: What should students know?

  • What is a novella? What is a stave?
  • What is Capitalism? What is Marxism?
  • What social injustices existed in Victorian society?
  • What is the Industrial Revolution? What is symbolism?
  • What does the term “semantic field” refer to?
  • What is pathetic fallacy? What are allusions?
  • What is personification? What are the 4 purpose of a comma?

Core procedural knowledge: What should students be able to do?

  • Be able to explain how literature can function as social critique and, more specifically, how A Christmas Carol highlights the injustices of Victorian society;
  • Be able to explain the differences between Capitalism, Socialism and Marxism and identify the characters who promote said concepts;
  • Be able to explain – clearly and precisely – how Dickens’ literary and structural choices create meaning;
  • Be able to identify and explain the effect of personified abstract nouns;
  • Be able to provide an in-depth analysis of the writer’s language choices including his choice of specific word groups to create meaning (eg verbs to create pace or highlight aggressive/gentle natures of a character);
  • Be able to use a comma in 4 different ways.

General Principle (Statement of Inquiry)

Boundaries and conventions will often be challenged during times of significant personal and cultural change.

Key Concepts

Creativity

Related Concepts

Structure and style

Link to assessment

A, B and D

ATLs

Social
Seek out critical interpretations from others, including teachers and peers, and incorporate these into your reading of each text.

Links to prior learning

  • Form (meaning type and genre): Students will be studying the form of modernist poems in this unit. Students will be analysing both excerpts and entire poems from those such as T.S Eliot, Ezra Pound, William Carlos Williams and Wallace Stevens. Students will consider how the structure and language of modernist poems reflect the sense of futility and confusion of the period. Students will consider how this form is different from or similar to epic poetry [The Odyssey, Beowulf, TCT], tragic plays [Macbeth, Doctor Faustus], poetry [sonnets and Romantic] and novellas [A Christmas Carol, Animal Farm].
  • Context and theme: Modernist poetry emerged between 1900 and 1930 and portrays the shift in culture and thinking at the time. Contextual factors to be explored include: the decline of religious faith, the decline of Enlightenment’s faith in reason (following the senseless slaughter of tens of millions during WWI) and the effect of technological advancements and urbanisation.
  • Structure: The structure of modernist poems often reflect the ontological conflict of the speaker. Poets will typically employ fragments, a stream of consciousness, free verse and a detached, insecure speaker who struggles to reflect a coherent or stable view of the world. Typically modernist poets will break from the optimism of Victorian literature and reject conventional poetic devices such as consistent structure, rhyme or rhythm.
  • Language: Modernist poets will often employ clear imagery and sharp language but often without any coherent message or meaning. Poets may employ imagism or new wholes in their writing.
  • Symbolism: As in The Odyssey, Beowulf, Macbeth, Doctor Faustus.
  • Foreshadowing: As in Macbeth, Doctor Faustus, Frankenstein.
  • Allusions: As in Macbeth, Doctor Faustus, A Christmas Carol.

Core declarative knowledge: What should students know?

  • What is modernism? What are the contextual factors out of which modernism emerged?
  • What are the typical conventions of modernist poetry? What was the Harlem Renaissance?
  • What is fragmentation? What is a stream of consciousness? What are new wholes?
  • What is imagism? What is the speaker in a poem? What is a verse and a stanza?
  • What is tone? What is diction? What is caesura? What is enjambment?
  • What is free verse?

Core procedural knowledge: What should students be able to do?

  • Explain the typical effect of poetic and modernist conventions and how they are used to convey meaning or a lack of meaning;
  • Explain how modernist poetic conventions differ from Romantic conventions;
  • Explain how modernist literature can be seen as a response to the historical and cultural context of the early 1900s;
  • Explain the difference in tone between Victorian and modernist literature;
  • Explain how modernist poets use language and structure to convey a view of the world as futile, chaotic and confusing;
  • Explain how typical motifs in modernist poetry include the detrimental effects of war, industrialisation and urban life;
  • Embedding quotations;
  • Using critical adverbs.

General Principle (Statement of Inquiry)

A civil society is built on fair democracy, effective government and the clear communication of unbiased politics

Key Concepts

Perspective

Related Concepts

Context and audience imperative

Link to assessment

B, C and D

ATLs

Communication – Organize and depict information logically.
Students will be required to amalgamate their knowledge alongside evidence of the text to construct logically organised and coherent analytical paragraphs.

Links to prior learning

  • Form (meaning type and genre): Animal Farm is a political fable in the form of an allegory. How is this form different from epic poetry [The Odyssey, Beowulf] and tragic plays (Macbeth, Doctor Faustus), novellas (A Christmas Carol).
  • Context and theme: The Russian revolution. In Animal Farm, the themes of class, equality and inequality, and power and control are explored.
  • Structure: Structured as a circular plot. The ending of Animal Farm highlights that there will always be groups in society that abuse their power and oppress others (the pigs were always going to become tyrants). Orwell tries to emphasise this so that people/society will stop and change this behaviour. We have seen this before A Christmas Carol.
  • Language:Symbolism: As in The Odyssey, Beowulf, Macbeth, Doctor Faustus.
  • Foreshadowing: As in Macbeth, Doctor Faustus, Frankenstein.
  • Allusions: As in Macbeth, Doctor Faustus, A Christmas Carol

Core declarative knowledge: What should students know?

  • What is Marxism? What is Communism?
  • What happened during the Russian Revolution?
  • What is a fable? What is an allegory?
  • What is a motif? What is meant by the term satire?
  • What is meant by the term dystopian?What is meant by propaganda?
  • What is passive voice? What is anthropomorphism? What is totalitarianism?

Core procedural knowledge: What should students be able to do?

  • Be able to explain the differences between Marxism and Communism and explain the characters who promote said concepts (Old Major/Marx, Snowball/communism and Napoleon/Stalin)
  • Be able to explain how the historical context of the Russian revolution is used as a basis for the plot.
  • Be able to explain how the novel functions as an allegory- the farm/animals being an extended metaphor for Russia and its experience of revolution in the 1900s and the impact this has upon the reader.
  • Be able to identify and explain the impact of literary devices such as foreshadowing, rhetoric, anthropomorphism and the use of motifs.
  • Be able to explain how Orwell’s literary and structural choices create meaning.

General Principle (Statement of Inquiry)

We must consider multiple perspectives to truly understand a person.

Key Concepts

Connections

Related Concepts

Context and intertextuality.

Link to assessment

A, B, C and D

ATLs

Critical-thinking skills and transfer
Analysing and evaluating issues and ideas. Students will be required to discuss and debate the relationship between text and context, and how we can apply literary theory to historical texts.

Links to prior learning

  • Form (meaning type and genre): Things Fall Apart is a novel and a tragedy because it documents both the personal downfall of Okonkwo and the broader erosion of the Igbo cultural world that Okonkwo wishes to defend. How is this form different from or similar to epic poetry [The Odyssey, Beowulf, TCT], tragic plays [Macbeth, Doctor Faustus], poetry [sonnets, modernism] and novellas [A Christmas Carol, Animal Farm].
  • Context: Things Fall Apart is set in the 1890s and portrays the clash between Nigeria’s white colonial government and the traditional culture of the indigenous Igbo people, but was written in the late 1950s as a response to centuries of European writing that had portrayed Africa as a “dark continent,” plagued by savagery and superstition. Oppression as in AF.
  • Theme: Varying Interpretations of Masculinity. As in The Odyssey, TCT, Macbeth, Dr Faustus. Power and control are explored as in Macbeth, Faustus, AF. Oppression as in AF.
  • Structure: The narrative structure of Things Fall Apart follows a cyclical pattern that chronicles Okonkwo’s youth in Umuofia, his seven-year exile in Mbanta, and his eventual return home. We have seen this before in A Christmas Carol, Animal Farm.
  • Language: Throughout Things Fall Apart Achebe uses straightforward diction and simple sentence structures. His style creates a sense of formality befitting a historical narrative told from a third-person omniscient point of view. In keeping his language direct and to the point, Achebe invests his prose with the feeling of neutral reportage. Achebe also includes Igbo vocabulary in his narrative.
  • Symbolism: Locusts (used in highly allegorical terms that foreshadow the arrival of the white settlers who feast on the resources of the Igbo); Fire (alluding to Okonkwo’s intense and dangerous nature). As in The Odyssey, Beowulf, Macbeth, Doctor Faustus, Animal Farm.
  • Foreshadowing: As in Macbeth, Doctor Faustus, Frankenstein.
  • Allusions: As in Macbeth, Doctor Faustus, A Christmas Carol

Core declarative knowledge: What should students know?

  • What is colonisation? What is the British Empire? What are missionaries?
  • What is meant by cultural stereotyping? What is eurocentrism?
  • What is meant by the term preconceived ideas? What is perspective?
  • What is destiny? What is imagery, irony, foreshadowing, metaphors, similes, personification, symbolism?
  • What is intertextuality? What are allusions?

Core procedural knowledge: What should students be able to do?

  • Explain how Achebe uses the Igbo language to bridge a cultural divide.
  • Explain how Achebe moves away from a eurocentric perspective.
  • Explain how Achebe challenges preconceived ideas of Africa and Africans.
  • Explain how Achebe uses structural and literary techniques to give Africans their own voice and repair their self-image.
  • Explain how Achebe uses the third person omniscient narrator to make objective and intrusive commentaries.
  • Explain how much the flexibility or the rigidity of the characters contribute to their destiny.
  • Analyse effectively the use of literary techniques – imagery, irony, foreshadowing, metaphors, similes, personification, symbolism – to convey meaning.
    Gain an understanding of how Achebe’s use of allusions fortify his narrative.

General Principle (Statement of Inquiry)

We must consider multiple perspectives to truly understand a person.

Key Concepts

Connections

Related Concepts

Context and intertextuality

Link to assessment

A

ATLs

Critical-thinking skills and Transfer
Analysing and evaluating issues and ideas. Students will be required to discuss and debate the relationship between text and context, and how we can apply literary theory to historical texts.

Links to prior learning

 

Core declarative knowledge: What should students know?

  • What is traditional literary criticism?
  • What is Marxist literary theory?
  • What is Feminist literary theory?
  • What is Postcolonial literary theory?
  • What are the main word types and what role does each play in a sentence?
  • What are the main punctuation types and what role does each play in a sentence?

Core procedural knowledge: What should students be able to do?

  • Be able to explain the differences between traditional literary criticism and literary theory;
  • Be able to explain the differences between Marxist, Feminist and Postcolonial literary theory;
  • Be able to conduct – clearly and precisely – appropriately judged literary criticism on a range of texts previously studied;
  • Be able to analyse Duffy’s ‘The World’s Wife’ and ‘Feminine Gospels’ from a Feminist perspective;
  • Be able to analyse extracts from Conrad’s ‘Heart of Darkness’ from a Postcolonial perspective;
  • Be able to identify and use a comma, a semicolon, a colon, quotation marks and apostrophes accurately.

Click on the links below to view the videos and resources for the extension activities.

Module 1

Module 2

Beowulf

Modules 3 & 4

Sonnets

Click on the links below to view the videos and resources for the extension activities.

Module 1

Module 2

Dr. Faustus

Modules 3 & 4

Romantic Poetry

Click on the links below to view the videos and resources for the extension activities.

Module 1

Module 2

WWI/Modernist Literature

Modules 3 & 4

Animal Farm

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ks4 English literature

link to specification

Link to prior learning

Through their study of this text, students will learn about the wider implications surrounding current issues such as single parenthood, teenage pregnancy, race and sexuality; issues students may find relatable and thus encourage and promote ownership of their learning. Through critical thinking and philosophical discussions surrounding the themes raised in ‘Boys Don’t Cry’, they will deepen their understanding and knowledge of these topics. However, when teaching this unit, we should emphasise, at every teaching opportunity, links to prior texts studied when instructing on:

  • Form (meaning type and genre): How does a social realist Bildungsroman compare to other forms studied (epic poetry, lyric poetry, tragic plays, Romantic and 19th century novels);
  • Context: How is the context similar to other modern novels studied (particularly the work of Dickens and Harper Lee)?;
  • Structure: Draw parallels between the archetypal narrative structure and Joseph Campbell’s Hero’s journey with The Odyssey, Beowulf and Don Quixote; contrast this with the narrative structure of Macbeth, Dr Faustus and Okonkwo.
  • Theme: Compare the theme of Family with the alienation of Frankenstein’s monster; compare the theme of Growing up with The Odyssey and TKaM; compare the theme of masculinity with Macbeth and Okonkwo.

Core declarative knowledge: What should students know?

  • What is a Bildungsroman?
  • What is a social realist text?
  • What is Todorov’s archetypal narrative theory?
  • What is Joseph Campbell’s hero journey?
  • What is a dual narrative?
  • What is the difference between descriptive and presriptive gender stereotypes?
  • What are the different types of masculinty?
  • What is internalised homophobia?
  • What was the black british social and political context of the early 20th century?
  • What is the content of Boys Don’t Cry?
  • What are the central themes of the text?

Core procedural knowledge: What should students be able to do?

  • Be able to explain – clearly and precisely – the extent to which the novel’s title sets the precedent for the novel’s themes;
  • Be able to explain – clearly and precisely – how Blackman’s structuring of content creates meaning;
  • Be able to explain – clearly and precisely – the different themes explored in the text, with reference to key moments in the novel;
  • Be able to explain the relationship between these different themes and points of overlap;
  • Be able to explain – clearly and precisely – the relationship between form, theme and context;
  • Be able to find appropriate evidence to support one’s viewpoint;
  • Be able to construct a clear and concise thesis statement;
  • Be able to explain and apply understanding of essay writing conventions and the use of academic register.

Link to prior learning

When teaching this unit, we should emphasise, at every teaching opportunity, links to prior texts studied when instructing on:

  • Form: Similarities and differences to Macbeth, Doctor Faustus and Okonkwo within the context of tragic form; similarities and differences to the narrative arc of Classical heroes and those who fulfil their potential (Odysseus, Beowulf, Dante);
  • Context: How are the values of the Renaissance being both celebrated and condemned in Shakespeare’s Macbeth and Marlowe’s Faustus;
  • Structure: Compare to the narrative structure of Macbeth, Dr Faustus and Okonkwo.
  • Theme: Compare the theme of Family with the alienation of Frankenstein’s monster and the support provided to Dante and Adam in Boys Don’t Cry; Compare the theme of individual desire usurping traditional forms of authority, as per Macbeth and Dr Faustus.

Core declarative knowledge: What should students know?

  • What are the conventions of a tragic play?
  • What is hamartia?
  • What are the four traits of a tragic hero?
  • What is peripeteia?
  • What is a Petrarchan lover?
  • What is dramatic irony?
  • What is foreshadowing?
  • What are the values of the Renaissance?
  • How do the values of Renaissance Humanism differ with what came before?
  • What is a monologue?
  • What is a soliloquy?
  • What is stagecraft?
  • What is classical allusion?
  • What is biblical allusion?

Core procedural knowledge: What should students be able to do?

  • Be able to identify the conventions of tragedy within the text;
  • Be able to explain – clearly and concisely – the four traits of a tragic hero and identify them in Romeo’s character and actions;
  • Be able to explain the contextual significance surrounding the play and its impact on content and characters;
  • Be able to explain the difference between Medieval values and Renaissance values;
  • Be able to explain the significance of classical and Christian references within the play;
  • Be able to effectively identify and explain the use of dramatic irony, monologue and soliloquy;
  • Be able to explain the impact of the play on a contemporary audience;
  • Be able to explain the impact of the play on subsequent depictions of romantic love;
  • Be able to explain – clearly and precisely – the relationship between form, theme and context;
  • Be able to find appropriate evidence to support one’s viewpoint;
  • Be able to construct a clear and concise thesis statement;
  • Be able to explain and apply understanding of essay writing conventions and the use of academic register.

Link to prior learning

When teaching this unit, we should emphasise, at every teaching opportunity, links to prior texts studied when instructing on:

  • Form and Structure: similarities and differences to epic poetry, the sonnet form previously studied, Romantic poetry and modernist poetry.
  • Context and Theme: Draw on Romantic values when discussing the ELH poems; draw on Achebe’s TFA and Blackman’s Boys Don’t Cry when exploring contemporary, postcolonial poems.

Core declarative knowledge: What should students know?

  • What are the key ideas and themes from the poems in the anthology?
  • How do the key ideas and themes from the poems interlink?
  • What is the context of each of the poems?
  • What do the following poetic terms mean?
  • Can you provide examples of these from the anthology along with the meaning created?
    • Simile, Metaphor, Personification, Repetition
    • Onomatopoeia, Alliteration, Assonance, Sibilance
    • Hyperbole, Lexical set, Juxtaposition
    • Third-person narrator, First-person narrator
  • What are the following structural terms?
    • Verse, Stanza
    • Quatrain, Octave, Sestet
    • Speaker
    • Rhyme, Rhythm, Couplet
    • Metre, Free verse, Volta, Blank verse
    • Enjambment, End-stop, Caesura, Iamb
    • Trochee, Spondee, Dactyl, Anapest
    • Amphibrach, Feet

Core procedural knowledge: What should students be able to do?

  • Be able to create comparative topic sentences about the key poems;
  • Be able to successfully embed quotations from two poems;
  • Be able to precisely analyse a range of poetic techniques (structure, form and language);
  • Be able to use comparative connectives to accurately explain similarities and differences between the poems;
  • Be able to compare with precision different methods used by poets to explore a theme;
  • Be able to express an individual interpretation of each poem which is grounded in evidence;
  • Explain how each poem relates to the overarching theme of belonging;
  • Explain how tone can change across a range of poems within the collection.

Core declarative knowledge: What should students know?

  • What is an allegory?
  • What is a symbol?
  • What is a motif?
  • What is a novella?
  • Who was Robert Louis Stevenson?
  • What are Victorian values and the ‘double standard’?
  • What is phrenology?
  • What is urban terror?
  • What is the gothic genre?
  • What is the Industrial Revolution and how did this impact urban areas in the 19th century?
  • Who are the major characters and what do they do in the plot? (Utterson, Enfield, Jekyll, Hyde)
  • What is the plot of the novella?
  • Who is narrating at which point of the novella and why?

Core procedural knowledge: What should students be able to do?

  • Be able to explain and identify the major themes of the novella.
  • Be able to explain how the structure of the novella can effect the meaning.
  • How do Victorian social conventions affect our understanding of the characters?
  • How has Stevenson used setting to create tension?
  • How has Stevenson used character and/or narrator to create tension?
  • Be able to analyse how Victorian conceptions of gender are demonstrated through the central characters
  • Be able to analyse how Victorian social conventions are challenged and/or adhered to through the novella
  • Be able to analyse the form of a novella (structure, narrative viewpoint, unreliable narrator, changing form)
  • Be able to analyse how different narrative perspectives effect the reader’s viewpoint
  • Be able to explain clearly and concisely the effect of the writer’s language choices eg motifs, extended metaphors, personification, irony, satire, symbolism, intertextuality.
  • Be able to write cohesively, clearly and at length about the novella.

Core declarative knowledge: What should students know?

  • What is authorial intention?
  • What is comparison?
  • What language can I use to express comparison?
  • What are the following poetic terms?
    • Imagery, Simile, Metaphor, Personification
    • Repetition, Onomatopoeia
    • Hyperbole, Lexical set, Juxtaposition, Oxymoron
    • Third-person narrator, First-person narrator
  • What are the following structural terms?
    • Verse, Stanza
    • Quatrain, Octave, Sestet
    • Speaker
    • Rhyme, Rhythm, Couplet
    • Metre, Free verse, Volta, Blank verse
    • Enjambment, End-stop, Caesura
    • Alliteration, Assonance, Sibilance, Iamb
    • Trochee, Spondee, Dactyl, Anapest
    • Amphibrach, Feet

Core procedural knowledge: What should students be able to do?

  • Be able to create comparative topic sentences about the key poems.
  • Be able to successfully embed quotations from two poems.
  • Be able to precisely analyse a range of poetic techniques (structure, form and language)
  • Be able to use comparative connectives to accurately explain similarities and differences between the poems
  • Be able to compare with precision different methods used by poets to portray an idea
  • Be able to express an individual interpretation of each poem which is grounded in evidence
  • Explain how each poem relates to the overarching theme of belonging
  • Explain how tone can change across each poem

Modules 3-5 – Ongoing specific revision of all prior topics

Module 6 – Exams

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ks4 English language

Link to prior learning

Students have studied the Aristotelian triad previously as part of their work on Dramatic monologues in both Drama and English; students should be encouraged to draw on their KS3 studies across the curriculum when constructing arguments using HELMETS (Health, Economy, Legal, Mental health, Environment, Time, Society), and especially their prior studies in History and English when constructing historical and literary analogies respectively.

 

Core declarative knowledge: What should students know?

  • What are the typical stylistic conventions of a newspaper article, a letter, a speech, a textbook or guidebook?
  • How can audience affect your writing?
  • How can purpose affect your writing?
  • What is rhetoric?
  • What are the constituents of the Aristotelian triad?
  • What is meant by pathos?
  • What is meant by logos?
  • What is meant by ethos?
  • What are the key methods that can be used to create effective rhetoric (AFOREST etc)?
  • What does the acronym HELMETs stand for and how can this be used to create effective rhetoric?
  • What is an anecdote?
  • What is direct address?
  • What is an analogy?
  • What is a syllogism?
  • What is genre?
  • What is a straw argument?
  • What is a steel argument?

Core procedural knowledge: What should students be able to do?

  • To be able to identify the GAPS of a question;
  • To be able to replicate the form of a range of non-fiction writing types;
  • To able to plan a consistent and clear argument across a piece of writing.
  • To be able to effectively structure a piece of writing considering a range of ideas (using HELMETS);
  • To be able to use anecdotes effectively and across a paragraph;
  • To be able to adapt tone, style and register to a range of different tasks;
  • To be able to use a historical or literary analogy for effect;
  • To be able to use statistics and expert opinion to create logos;
  • To be able to manipulate nouns and pronouns for effect;
  • To be able to use emotive writing to create pathos;
  • To be able to manipulate structure for effect.

Link to prior learning

Students have explored a range of non-fiction extracts throughout KS3. However, examples of how writers use structure and language to create meaning and effect might be more memorably drawn from prior studies of literature (such that students can recognise this skill within a domain about which they have prior knowledge) before being applied to unseen extracts.

Core declarative knowledge: What should students know?

  • What types of non-fiction extracts can appear in language paper two section A?
  • What are the questions for this section of the paper?
  • What are the timings for this section of the paper?
  • What is the difference between a language feature and a structural feature?
  • What is syntax?
  • What is tone?
  • How can a writer create a specific tone or atmosphere?
  • What is an inference?
  • What is comparison and what language can be used to express similarities and differences?
  • What is a critical viewpoint?
  • What is a perspective?
  • How do writers use language and structural methods to present their perspectives?

Core procedural knowledge: What should students be able to do?

  • To be able to identify the form, purpose and tone of a range of non-fiction extracts;
  • To be able to explain – clearly and with reference to evidence – how non-fiction writers use language and structure to create meaning and effect;
  • To be able to effectively structure an answer to each question in this section of the paper;
  • To be able to successfully embed quotations;
  • To be able to analyse the effect of language in a non fiction extract and how these create meaning;
  • To be able to analyse the effect of structure in a non fiction extract;
  • To be able to explain how syntax is used in an extract;
  • To be able to make accurate inferences about non-fiction extracts;
  • To be able to compare the ideas and perspectives of two different writers;
  • To be able to analyse the differences between the language, tone and structure in two unseen extracts;
  • To be able to identify the stylistic conventions of non-fiction writing.

Link to prior learning

Model exemplars for effective imaginative writing should, at least initially, be drawn from the body of work students have studied during KS3, such that students can recognise these skills within a domain about which they have prior knowledge before being applied to their own writing. Shelley, Dickens and Orwell are particularly effective with regard to descriptions of place and character.

Core declarative knowledge: What should students know?

  • What is the typical narrative structure of a short story?
  • What types of short stories forms are there?
  • What are the conventions of the Encounter short story form?
  • What are the conventions of the Isolated Moment short story form?
  • Why are stories ‘psychologically privileged’?
  • What are varied sentence structures?
  • How can sentence structure shape meaning?
  • How do different forms of advanced punctuation (parenthesis, semi colon, hyphen etc) operate grammatically in a sentence?
  • How can punctuation be used to emphasise meaning and guide tone?
  • What is syntax?
  • What is an effective narrative ending?
  • What is an effective narrative opening?
  • What is an effective narrative structure?
  • What is a verbless sentence?
  • What can be the effect of a verbless sentence?
  • What is an adverbial phrase?
  • What is a noun phrase?

Core procedural knowledge: What should students be able to do?

  • To be able to craft varied sentence structures for descriptive effect
  • To be able to identify and explore how different sentence structures have been used
  • To able to use a variety of sentence structure to achieve cohesion and impact in writing
  • To able to know how and when to use a range of punctuation
  • To be able to use a range of punctuation to create a specific meaning and tone
  • To be able to manipulate syntax for descriptive or narrative effect.
  • To be able to effectively structure a piece of writing
  • To be able to create a verbless sentence to direct attention
  • To be able to use adverbial phrases to describe effectively
  • To be able to imitate how writers have used verbs and adverbials to create specific mood, atmosphere, character and setting
  • To be able to consciously craft descriptions (using a range of language techniques) that are appropriate to the chosen genre

Link to prior learning

Students have explored an extremely wide range of powerful fiction throughout KS3. Examples of how writers use structure and language to create meaning and effect should, initially be drawn from said prior studies of literature (such that students can recognise this skill within a domain about which they have prior knowledge) before being applied to unseen extracts.

Core declarative knowledge: What should students know?

  • What are the timings of the paper?
  • What does each question in section A ask of you?
  • What is evaluation?
  • What is inference?
  • What is the difference between a language feature and a structural feature?
  • What is tone/atmosphere?
  • What is a thesis statement and how do you support it?
  • What is an effective choice of quotation?
  • What is a sustained, detached, critical overview?
  • What is a discriminating reference/quote?

Core procedural knowledge: What should students be able to do?

  • To be able to synthesis information from an extract
  • To be able to make key inferences about specific ideas, themes or methods in an extract
  • To be able to identify key quotes or ideas from an extract
  • To be able to identify pertinent and effective language features in an extract
  • To be able to identify pertinent and effective structural features in an extract
  • To be able to analyse lingustic and structural methods in an extract
  • To be able to use relevant terminology to analyse an extract
  • To be able to evaluate a text critically
  • To be able to create clear, relevant topic sentences and/or thesis statements
  • To be able to effectively structure an answer to each question
  • To be able to write within the appropriate timeframe for each question and for the exam as a whole.

Core declarative knowledge: What should students know?

Section A

  • What are the timings of the paper?
  • What does each question in section A ask of you?
  • What is evaluation?
  • What is inference?
  • What is the difference between a language feature and a structural feature?
  • What is tone/atmosphere?
  • What is a thesis statement and how do you support it?
  • What is an effective choice of quotation?
  • What is a sustained, detached, critical overview?
  • What is a discriminating reference/quote?

Section B

  • What are varied sentence structures?
  • How can sentence structure effect meaning?
  • How do different forms of advanced punctuation (parenthesis, semi colon, hyphen etc) operate grammatically in a sentence?
  • How punctuation can be used to emphasise meaning and guide tone?
  • What is syntax?
  • What is an effective narrative ending?
  • What is an effective narrative opening?
  • What is an effective narrative structure?
  • What is a verbless sentence?
  • What can be the effect of a verbless sentence?
  • What is an adverbial phrase?
  • What is a noun phrase?
  • What is tone/atmosphere in writing?

Core procedural knowledge: What should students be able to do?

Section A

  • Be able to synthesis information from an extract
  • Be able to make key inferences about specific ideas, themes or methods in an extract
  • Be able to identify key quotes or ideas from an extract
  • Be able to identify pertinent and effective language features in an extract
  • Be able to identify pertinent and effective structural features in an extract
  • Be able to analyse linguistic and structural methods in an extract
  • Be able to use relevant terminology to analyse an extract
  • Be able to evaluate a text critically
  • Be able to create clear, relevant topic sentences and/or thesis statements
  • Be able to effectively structure an answer to each question
  • Be able to write within the appropriate timeframe for each question and for the exam.

Section B

  • Be able to craft varied sentence structures for descriptive effect
  • Be able to identify and explore how different sentence structures have been used
  • Be able to use a variety of sentence structure to achieve cohesion and persuasive impact in writing
  • Be able to know how and when to use a range of punctuation
  • To be able to compare punctuation choices to evaluate effects
  • Be able to use a range of punctuation to create a specific meaning and tone
  • Be able to manipulate syntax for descriptive or narrative effect.
  • Be able to effectively structure a piece of writing
  • Be able to create a verbless sentence to direct attention
  • Be able to use adverbial phrases to describe effectively
  • Be able to explain how writers have used verbs and adverbials to create specific mood, atmosphere, character and setting
  • Be able to use verbs and adverbials to create specific moods, atmosphere, characters and settings

Core declarative knowledge: What should students know?

What are the typical stylistic conventions of:

  • Newspaper Article?
  • Letter?
  • Speech?
  • Textbook/guidebook?

What is the structure of the key conventions?

  • What is meant by pathos?
  • What is meant by logos?
  • What is meant by ethos?
  • What is rhetoric?
  • What are the key methods that can be used to create effective rhetoric (AFOREST etc)?
  • What is an anecdote?
  • What is a personal pronoun?
  • What is an analogy?
  • What is a syllogism?
  • What is genre?
  • How can audience affect your writing?
  • How can purpose affect your writing?
  • How can your style of writing be adapted?

Core procedural knowledge: What should students be able to do?

  • Be able to identify the GAPS of the question.
  • Be able to effectively structure a piece of writing considering a range of topics such as economics, health etc
  • Be able to use anecdotes effectively and across a paragraph.
  • Be able to adapt tone, style and register to a range of different tasks.
  • Be able to use a historical or literal analogy for effect.
  • Be able to manipulate nouns and pronouns for effect.
  • Be able to use emotive writing to create pathos.
  • Be able to manipulate structure for effect.
  • Be able to plan a consistent and clear argument across a piece of writing.

Core declarative knowledge: What should students know?

  • What types/conventions of extracts can appear for language paper two section a?
  • What are the questions for this section of the paper?
  • What are the timings for this section of the paper?
  • What is the difference between a language feature and a structural feature?
  • What is syntax?
  • What is tone?
  • How can a writer create a specific tone or atmosphere?
  • What is an inference?
  • What is comparison and what language can be used to express similarities and differences?
  • What is a critical viewpoint?
  • What is a perspective?
  • How do writers use methods to present their perspectives?

Core procedural knowledge: What should students be able to do?

  • Be able to structure an answer to each question in this section of the paper.
  • Be able to successfully embed quotations
  • Be able to analyse the effect of language in a non fiction extract
  • Be able to analyse the effect of structure in a non fiction extract
  • Be able to explain how syntax is used in an extract.
  • Be able to make accurate inferences about extracts
  • Be able to compare the ideas/perspectives of two different writers
  • Be able to analyse the differences between the language, tone and structure in two unseen extracts.
  • Be able to identify the stylistic conventions of non-fiction writing

Module 5 – Revision specific to the needs of the class

Module 6 – Exams