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AQA MERGED QUESTION PAPER AND MARK SCHEME ENGLISH LITERATURE A PAPER 2A-7712/2A (TEXTS IN SHARED CONTEXTS: WW1 AND ITS AFTERMATH) FOR JUNE 2024
Typology: Exams
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Option 1
Section A: Poetry Set Text
Answer one question in this section.
Up the Line to Death – ed. Brian Gardner
Either
0 1 Examine the view that poems about combat in this anthology express despair rather than anger.
You must write about at least two poems in your answer. [ 25 marks]
or
0 2 ‘Soldiers go to war with strong values and beliefs.’
In the light of this view, examine the presentation of strong values and beliefs in Up the Line to Death.
You must write about at least two poems in your answer. [ 25 marks]
Scars Upon My Heart – ed. Catherine Reilly
or
0 3 Examine the significance of memory in this anthology.
You must write about at least two poems in your answer. [ 25 marks]
or
(^0 4) ‘In this anthology, the war is presented as strengthening women more than causing them to suffer.’
Examine this view.
You must write about at least two poems in your answer. [25 marks]
IB/H/Jun24/7712/2A
Option 2
Section A: Drama Set Text
Answer one question in this section.
Oh! What a Lovely War – Joan Littlewood
Either
(^0 7) ‘Lions led by donkeys.’
In the light of this view, examine the presentation of how the war is conducted in Oh! What a Lovely War. [ 25 marks]
or
0 8 Joan Littlewood describes war as ‘only for clowns’.
In the light of this view, examine the presentation of war in Oh! What a Lovely War. [25 marks]
Journey’s End – R C Sherriff
or
(^0 9) ‘ Journey’s End is more about the anticipation of combat rather than combat itself.’
Examine this view of the play. [ 25 marks]
or
1 0 ‘In Journey’s End , Sherriff suggests that military discipline is more important than individual feelings.’
Examine this view. [25 marks]
IB/H/Jun24/7712/2A
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Option 2
Section B: Prose and Poetry Contextual Linking
Read the Insert. Answer both questions in this section.
Read the Insert carefully. It is taken from the end of The Patriot’s Progress, a novel by Henry Williamson (1895–1977), published in 1930. In this extract John Bullock, a young soldier who has lost his leg in action, returns home.
Answer both questions.
(^1 1) Explore the significance of conflicting attitudes towards war in this extract.
Remember to include in your answer relevant detailed analysis of the ways that Williamson shapes meanings. [ 25 marks]
and
(^1 2) Compare the significance of conflicting attitudes towards war in two other texts you have studied.
Remember to include in your answer reference to how meanings are shaped in the texts you are comparing.
You must use one prose text written post-2000 and one poetry text in your response.
You must write about at least two poems. [ 25 marks]
Turn over for the next section
IB/H/Jun24/7712/2A
Option 3
Section B: Drama and Poetry Contextual Linking
Read the Insert. Answer both questions in this section.
Read the Insert carefully. It is taken from the end of The Patriot’s Progress, a novel by Henry Williamson (1895–1977), published in 1930. In this extract John Bullock, a young soldier who has lost his leg in action, returns home.
Answer both questions.
(^1 7) Explore the significance of conflicting attitudes towards war in this extract.
Remember to include in your answer relevant detailed analysis of the ways that Williamson shapes meanings. [ 25 marks]
and
1 8 Compare the significance of conflicting attitudes towards war in two other texts you have studied.
Remember to include in your answer reference to how meanings are shaped in the texts you are comparing.
You must use the drama text written post-2000 ( The Wipers Times ) and one poetry text in your response.
You must write about at least two poems. [ 25 marks]
There are no questions printed on this page
The sea journey in darkness became dim-realized in patches, and went on and on. Blighty at last, chaps looking out of the round glass windows, lucky chaps, got cushy Blighties. They would return! Hollow fear stirred in him, although he wouldn’t go back. Long, everlasting train journey, rough again and bursting head. Mum and Dad were looking at him, Dad asking, smiling, how he was. All right, Dad. Mum, smiling and crying. “No, no, I mustn’t cry,” she muttered, and tried only to smile. Black grapes; why waste money on black grapes, he asked, petulantly. Green are cheaper, and just as nice. “Yes, dear,” whispered Mum. Poor old Mum and Dad, they didn’t know anything. “Well, did you shoot any Huns?” asked Dad, beaming and proud and rather timidly. “I didn’t see one,” he cried. “Didn’t see one, I bet,” said Dad, proud and knowing. I tell you I DIDN’T, he shrieked suddenly, and the nurse came and said he must sleep now, and Mum stroked his hair, and John Bullock’s face was puckered and shaking with sobs. His father, standing by the bed, hat in hand, looked sad and bewildered.
Months and months of pain and contentment: regular grub and fags, military band outside once a week, and sometimes a theatre, riding in a toff’s car. The stump healed clean. He grew fat and happy, and lost all interest in the war. Never wanted to hear of it again. It hadn’t been such a bad time, taken all round: he wouldn’t have missed it, really. They said you could do a lot on an artificial leg.
In his suit of hospital blue, with trouser turned up showing six inches of white lining, and red tie, John Bullock used to swing himself along on his single leg between crutches, to sit in the public park, sometimes with some of the boys, sometimes by himself. He was contented, watching the couples on the grass, and talking to children. He was out in the street on 11th November, waiting for the maroons* to go off at eleven o’clock, when an old toff stopped him and asked him how he had lost his leg. John Bullock told him. A five-nine, as we were going over. The toff soon lost interest, and when the flags were waving, he said: “Well, I suppose it’s a good thing it’s over, but in my opinion the Government is weak. We ought to have driven the Huns back into Berlin, and given their country a taste of what they gave France.”
“Ah!” said John Bullock, shifting on his leg.
“However,” said the old gentleman, giving him a cigar, as he prepared to move on, to see the fun. Whistles were blowing, people shouting and singing, motor horns honking, and a deuce of a fine old row everywhere. “We always did do things in England by halves.” At this moment a very little boy ran up, waving a flag: and seeing his daddy talking to someone, he stopped. “Look, daddy, look!” cried the little boy. “The poor man hasn’t got only one boot on!”
“Ssh! You mustn’t notice such things!” said the toff. “This good man is a hero. Yes,” he went on, “we’ll see that England doesn’t forget you fellows.”
“We are England,” said John Bullock, with a slow smile. The old gentleman could not look him in the eyes; and the little boy ceased to wave his flag, and stared sorrowfully at the poor man.
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Version: 1.0 Final
2
Mark schemes are prepared by the Lead Assessment Writer and considered, together with the relevant questions, by a panel of subject teachers. This mark scheme includes any amendments made at the standardisation events which all associates participate in and is the scheme which was used by them in this examination. The standardisation process ensures that the mark scheme covers the students’ responses to questions and that every associate understands and applies it in the same correct way. As preparation for standardisation each associate analyses a number of students’ scripts. Alternative answers not already covered by the mark scheme are discussed and legislated for. If, after the standardisation process, associates encounter unusual answers which have not been raised they are required to refer these to the Lead Examiner.
It must be stressed that a mark scheme is a working document, in many cases further developed and expanded on the basis of students’ reactions to a particular paper. Assumptions about future mark schemes on the basis of one year’s document should be avoided; whilst the guiding principles of assessment remain constant, details will change, depending on the content of a particular examination paper.
No student should be disadvantaged on the basis of their gender identity and/or how they refer to the gender identity of others in their exam responses.
A consistent use of ‘they/them’ as a singular and pronouns beyond ‘she/her’ or ‘he/him’ will be credited in exam responses in line with existing mark scheme criteria.
4
7712/2A Mark Scheme – June 2024
Welcome to this mark scheme which is designed to help you deliver fair and accurate assessment. Please read carefully all sections and ensure that you follow the requirements that they contain.
The significance of open book (AS Paper 2 Section B, A-level Paper 2 Section A and the second part of Section B)
Examiners must understand that in marking an open book exam there are examining implications. Candidates have their texts in front of them, and they are expected to use them to focus on specific passages for detailed discussion. They will not have had to memorise quotations, so when quotations are used they should be accurate. Because candidates have their texts in the examination room, examiners need to be alert to possible malpractice. The texts should not be annotated, but if examiners suspect that they have been or that notes from texts have been copied, they must alert the malpractice team.
There are specific issues for AO2 – how meanings are shaped in texts. There is, with open book, the expectation that candidates can use the text they have in front of them to make specific and detailed reference to structural and organisational issues.
Arriving at Marks
5
Using the Mark Bands
Band 5 perceptive/assured
Band 4 coherent/thorough
Band 3 straightforward/relevant
Band 2 simple/generalised
Band 1 largely irrelevant, largely misunderstood, largely inaccurate
Advice about marking specific sections
7
The Assessment Objectives and their significance
The AOs are as follows:
AO5 Explore literary texts informed by different interpretations. (12%)
AO 4 Explore connections across literary texts. (12%)
AO 3 Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received. (24%)
AO 2 Analyse ways in which meanings are shaped in literary texts. (24%)
AO 1 Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression. (28%)
Weightings for each question are as follows:
AO5: 3 marks AO4: 3 marks AO3: 6 marks AO2: 6 marks AO1: 7 marks
For AS it is important to remember that these students are 16 to 17 years old so we are judging their skills midway through KS5.
8
Mark Scheme
It is important to remember that these students, in the main, are 18 years old so we are judging their skills at the end of Key Stage 5.
Weightings for each question are as follows:
AO1: 7 marks AO2: 6 marks AO3: 6 marks AO4: 3 marks AO5: 3 marks.
Mark AO Typical features How to arrive at mark Band 5 Perceptive/Assured 21 – 25 marks
AO5 (^) • perceptive and confident engagement with the debate set up in the task
This band is characterised by perceptive and assured work which shows confidence, sharpness of mind and sophistication in relation to the task.
‘ Perception ’ is demonstrated when students are showing the depth of their understanding and responding sensitively to the texts and task.
At the top of the band students are consistently assured and will demonstrate sensitivity and perception across all five assessment objectives in the course of their response.
At the bottom of the band there will be coherence and accuracy with some perception but with less consistency and evenness.
AO4 (^) • perceptive exploration of connections across literary texts arising out of historicist study
AO3 • perceptive understanding of the significance of relevant contexts in relation to the task
