Documente Academic
Documente Profesional
Documente Cultură
Summer 2018
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Summer 2018
Publications Code 9ET0_01_1806_MS
All the material in this publication is copyright
© Pearson Education Ltd 2018
Question Indicative content
number
0 No rewardable material.
Level 1 1–4 Descriptive
• Makes little reference to texts with limited organisation of ideas.
Limited use of appropriate concepts and terminology with frequent
errors and lapses of expression.
• Uses a narrative or descriptive approach that shows limited
knowledge of texts and how meanings are shaped in texts. Shows a
lack of understanding of the writer’s craft.
• Shows limited awareness of contextual factors.
0 No rewardable material.
Level 1 11–2 Descriptive
• Shows limited awareness of different interpretations and
alternative readings of texts. Limited linking of different
interpretations to own response.
Level 2 23–5 General exploration
• Offers straightforward explanations of different
interpretations and alternative readings of texts. Some
support of own ideas given with reference to generic different
interpretations.
Level 3 36–8 Clear relevant exploration
• Offers clear understanding of different interpretations and
alternative readings of texts. Explores different interpretations
in support or contrast to own argument.
Level 4 49–11 Discriminating exploration
• Produces a developed exploration of different interpretations
and alternative readings of texts. Discussion is controlled and
offers integrated exploration of different interpretations in
development of own critical position.
3 Hamlet
Candidates may refer to the following in their answers:
presentation of political uncertainty at the start of the play: ‘Something
is rotten in the state of Denmark’
dramatic impact of Hamlet’s soliloquies and his indecisiveness
use of the supernatural to foreground the theme of uncertainty
uncertainty as a reflection of contemporary political upheaval
representations of madness and their impact on creating uncertainty
shifting focus on appearance and reality, e.g. The Murder of Gonzago
play; imagery around clothing
contribution of fate and accident to the play’s tone of uncertainty, e.g. the
killing of Polonius
moral uncertainty as typical of Renaissance tragedy.
4 Hamlet
Candidates may refer to the following in their answers:
manipulation of Ophelia by various male characters as reflective of
contemporary patriarchy
her songs and how they develop the play’s themes, e.g. Gertrude’s
discomfort: ‘Alas, sweet lady, what imports this song?’
Renaissance attitudes to hysteria and mental illness
as a dramatic foil to Gertrude
symbolism of the flowers she distributes
dramatic impact of her change in language and register at the onset of
madness, e.g. ‘before you tumbled me’
dramatic effect of the ambiguity surrounding her death.
0 No rewardable material.
Level 1 1–4 Descriptive
• Makes little reference to texts with limited organisation of ideas. Limited
use of appropriate concepts and terminology with frequent errors and
lapses of expression.
• Uses a narrative or descriptive approach that shows limited knowledge
of texts and how meanings are shaped in texts. Shows a lack of
understanding of the writer’s craft.
• Shows limited awareness of contextual factors.
0 No rewardable material.
Level 1 11–2 Descriptive
• Shows limited awareness of different interpretations and
alternative readings of texts. Limited linking of different
interpretations to own response.
Level 2 23–5 General exploration
• Offers straightforward explanations of different
interpretations and alternative readings of texts. Some
support of own ideas given with reference to generic different
interpretations.
Level 3 36–8 Clear relevant exploration
• Offers clear understanding of different interpretations and
alternative readings of texts. Explores different interpretations
in support or contrast to own argument.
6 King Lear
Candidates may refer to the following in their answers:
the relationship between Lear and Cordelia as a reflection on
contemporary issues around kingship and inheritance
Cordelia’s presentation as a dramatic foil to her sisters
dramatic impact of their final scene
parallels between their relationship and that between Edgar and
Gloucester
dramatic presentation of the love test
their relationship as a source of Christian interpretations of the play, e.g.
forgiveness
parallels between Cordelia and Lear’s fool.
0 No rewardable material.
Level 1 1–4 Descriptive
• Makes little reference to texts with limited organisation of ideas.
Limited use of appropriate concepts and terminology with frequent
errors and lapses of expression.
• Uses a narrative or descriptive approach that shows limited
knowledge of texts and how meanings are shaped in texts. Shows a
lack of understanding of the writer’s craft.
• Shows limited awareness of contextual factors.
0 No rewardable material.
Level 1 11–2 Descriptive
• Shows limited awareness of different interpretations and
alternative readings of texts. Limited linking of different
interpretations to own response.
Level 2 23–5 General exploration
• Offers straightforward explanations of different
interpretations and alternative readings of texts. Some
support of own ideas given with reference to generic different
interpretations.
Level 3 36–8 Clear relevant exploration
• Offers clear understanding of different interpretations and
alternative readings of texts. Explores different interpretations
in support or contrast to own argument.
Level 4 49–11 Discriminating exploration
• Produces a developed exploration of different interpretations
and alternative readings of texts. Discussion is controlled and
offers integrated exploration of different interpretations in
development of own critical position.
0 No rewardable material.
Level 1 1–4 Descriptive
• Makes little reference to texts with limited organisation of ideas.
Limited use of appropriate concepts and terminology with frequent
errors and lapses of expression.
• Uses a narrative or descriptive approach that shows limited
knowledge of texts and how meanings are shaped in texts. Shows a
lack of understanding of the writer’s craft.
• Shows limited awareness of contextual factors.
0 No rewardable material.
Level 1 11–2 Descriptive
• Shows limited awareness of different interpretations and
alternative readings of texts. Limited linking of different
interpretations to own response.
Level 2 23–5 General exploration
• Offers straightforward explanations of different
interpretations and alternative readings of texts. Some
support of own ideas given with reference to generic different
interpretations.
Level 3 36–8 Clear relevant exploration
• Offers clear understanding of different interpretations and
alternative readings of texts. Explores different interpretations
in support or contrast to own argument.
Level 4 49–11 Discriminating exploration
• Produces a developed exploration of different interpretations
and alternative readings of texts. Discussion is controlled and
offers integrated exploration of different interpretations in
development of own critical position.
0 No rewardable material.
Level 1 1–4 Descriptive
• Makes little reference to texts with limited organisation of ideas.
Limited use of appropriate concepts and terminology with frequent
errors and lapses of expression.
• Uses a narrative or descriptive approach that shows limited
knowledge of texts and how meanings are shaped in texts. Shows a
lack of understanding of the writer’s craft.
• Shows limited awareness of contextual factors.
0 No rewardable material.
Level 1 11–2 Descriptive
• Shows limited awareness of different interpretations and
alternative readings of texts. Limited linking of different
interpretations to own response.
Level 2 23–5 General exploration
• Offers straightforward explanations of different
interpretations and alternative readings of texts. Some
support of own ideas given with reference to generic
different interpretations.
Level 3 36–8 Clear relevant exploration
• Offers clear understanding of different interpretations and
alternative readings of texts. Explores different interpretations
in support or contrast to own argument.
Level 4 49–11 Discriminating exploration
• Produces a developed exploration of different interpretations
and alternative readings of texts. Discussion is controlled
and offers integrated exploration of different interpretations
in development of own critical position.
0 No rewardable material.
Level 1 1–4 Descriptive
• Makes little reference to texts with limited organisation of ideas.
Limited use of appropriate concepts and terminology with frequent
errors and lapses of expression.
• Uses a narrative or descriptive approach that shows limited
knowledge of texts and how meanings are shaped in texts. Shows
a lack of understanding of the writer’s craft.
• Shows limited awareness of contextual factors.
0 No rewardable material.
Level 1 11–2 Descriptive
• Shows limited awareness of different interpretations
and alternative readings of texts. Limited linking of
different interpretations to own response.
Level 2 23–5 General exploration
• Offers straightforward explanations of different
interpretations and alternative readings of texts. Some
support of own ideas given with reference to generic
different interpretations.
Level 3 36–8 Clear relevant exploration
• Offers clear understanding of different interpretations
and alternative readings of texts. Explores different
interpretations in support or contrast to own argument.
Level 4 49–11 Discriminating exploration
• Produces a developed exploration of different
interpretations and alternative readings of texts.
Discussion is controlled and offers integrated
exploration of different interpretations in development
of own critical position.
0 No rewardable material.
Level 1 1–4 Descriptive
• Makes little reference to texts with limited organisation of ideas.
Limited use of appropriate concepts and terminology with frequent
errors and lapses of expression.
• Uses a narrative or descriptive approach that shows limited
knowledge of texts and how meanings are shaped in texts. Shows
a lack of understanding of the writer’s craft.
• Shows limited awareness of contextual factors.
0 No rewardable material.
Level 1 11–2 Descriptive
• Shows limited awareness of different interpretations
and alternative readings of texts. Limited linking of
different interpretations to own response.
Level 2 23–5 General exploration
• Offers straightforward explanations of different
interpretations and alternative readings of texts. Some
support of own ideas given with reference to generic
different interpretations.
Level 3 36–8 Clear relevant exploration
• Offers clear understanding of different interpretations
and alternative readings of texts. Explores different
interpretations in support or contrast to own argument.
Level 4 49–11 Discriminating exploration
• Produces a developed exploration of different
interpretations and alternative readings of texts.
Discussion is controlled and offers integrated
exploration of different interpretations in development
of own critical position.
15 Twelfth Night
Candidates may refer to the following in their answers:
Sir Toby as a major source of the play’s comedy
as a dramatic foil to Sir Andrew Aguecheek
as a dramatic foil to Malvolio and a comment on Puritanism
his over-indulgence as part of the festive comedy tradition,
e.g. ‘O knight thou lackest a cup of canary’
as a dramatic presentation of penniless nobility
his attempts to marry off his niece as an example of the
patriarchy of the times
his part in the gulling of Malvolio as evidence of his potentially
darker nature, e.g. ‘Art any more than a steward?’
his marriage to Maria as typical of comic resolution.
16 Twelfth Night
Candidates may refer to the following in their answers:
Viola’s double-gender role and its effect on the plot and themes
Olivia’s role as head of the household, unusual at the time
Orsino as a comment on contemporary ideals of masculinity
effeminisation of Sir Andrew
play’s exploration of contemporary courtship rituals and links to
gender roles
master/servant relationships that conform to, or usurp, social
mores, e.g. Maria and Sir Toby; Cesario and Orsino
dramatic impact of cross-dressing
role-reversal as a feature of festive comedy.
0 No rewardable material.
Level 1 1–4 Descriptive
• Makes little reference to texts with limited organisation of ideas.
Limited use of appropriate concepts and terminology with frequent
errors and lapses of expression.
• Uses a narrative or descriptive approach that shows limited
knowledge of texts and how meanings are shaped in texts. Shows
a lack of understanding of the writer’s craft.
• Shows limited awareness of contextual factors.
0 No rewardable material.
Level 1 11–2 Descriptive
• Shows limited awareness of different interpretations
and alternative readings of texts. Limited linking of
different interpretations to own response.
Level 2 23–5 General exploration
• Offers straightforward explanations of different
interpretations and alternative readings of texts. Some
support of own ideas given with reference to generic
different interpretations.
Level 3 36–8 Clear relevant exploration
• Offers clear understanding of different interpretations
and alternative readings of texts. Explores different
interpretations in support or contrast to own argument.
Level 4 49–11 Discriminating exploration
• Produces a developed exploration of different
interpretations and alternative readings of texts.
Discussion is controlled and offers integrated
exploration of different interpretations in development
of own critical position.
17 Doctor Faustus
Candidates may refer to the following in their answers:
struggle for Faustus’ soul between good and evil as typical
of morality plays
personified abstractions, e.g. good and bad angels; seven
deadly sins
dramatic impact and moral struggle of his final soliloquy
ways in which the play differs from traditional morality
plays, e.g. Faustus’ rounded character; Marlowe’s verse
dramatic use of the chorus for moral guidance
impact of the comic scenes on the play’s moral vision
play as tragedy rather than as morality play, reflecting
contemporary attitudes to religion and humanism.
18 Doctor Faustus
Candidates may refer to the following in their answers:
Marlowe’s dramatisation of Faustus’ internal conflict, e.g. his
use of soliloquy
externalisation of inner conflict using personified abstractions
thematic conflict between good and evil
dramatic set pieces to present moral conflict, e.g. Helen of
Troy
presentation of the conflict between Humanism and
Christianity as a reflection of contemporary thought
play’s presentation of the conflict between Medieval and
Renaissance world views
dramatisation of the conflict between despair and repentance.
26 The Importance
These of Being
are suggestions Earnest
only. Accept any valid alternative response.
Candidates may refer to the following in their answers:
presentation of Jack, Algernon and the play’s preoccupation
with names and their invented aliases
significance of Wilde’s use of dialogue full of contradictions,
paradoxes and lies
duality as a reflection of Wilde’s own life as both social
insider and (Irish, homosexual) outsider
late Victorian taste for double-identity in literature
Lady Bracknell’s double role as aristocrat and parvenu
double lives of Gwendolen and Cecily
presentation of the two sides of Miss Prism’s character.
30 The Rover
Candidates may refer to the following in their answers:
play as a Restoration comedy where typically the plot centres on the
intrigues of love and marriage
its focus on disguise and deceit
its conflicts resolved in the end with marriages
impact of typical Restoration characters: the libertine; the fop
focus on fun and frivolity as a reflection of Restoration political
changes
play as a Comedy of Manners, satirising contemporary mores and
fashions
ways in which Behn usurps genre conventions, e.g. strong focus on
the female point of view; exotic setting; female rake figure in
Hellena.