NESA Student Number

2022

English Advanced
Paper 2 – Modules

General • Reading time – 5 minutes

Instructions • Working time – 2 hours
• Write using black pen
• Write your student number in the space above

Total Section I – 20 marks (pages 2-4)

marks: • Attempt Question 1
60 • Allow about 40 minutes for this section
Section II – 20 marks (pages 5-13)
• Attempt ONE Question from Questions 2-8
• Allow about 40 minutes for this section
Section III – 20 marks (pages 14-15)
• Attempt Question 9
• Allow about 40 minutes for this section
Section I – Module A: Textual Conversations

20 marks
Attempt Question 1
Allow about 40 minutes for this section

Answer the question in a separate writing booklet. Extra writing booklets are available.
___________________________________________________________________________

You will be assessed on how well you:

• demonstrate understanding of how composers are influenced by another text’s
concepts and values
• evaluate the relationships between texts and contexts
• organise, develop and express ideas using language appropriate to audience, purpose
and form
___________________________________________________________________________

Question 1 (20 marks)

Rather than revealing how much the world has progressed, textual conversations show us
how much has in fact remained stagnant.

To what extent is this statement true of the two prescribed texts you have studied in Module
A?

The prescribed texts are listed on pages 3-4.

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Question 1 (continued)

The prescribed texts are:

• Shakespearean Drama
– William Shakespeare, King Richard II
and
– Al Pacino, Looking for Richard

• Prose Fiction and Film

– Virginia Woolf, Mrs Dalloway
and
– Stephen Daldry, The Hours

• Prose Fiction and Prose Fiction

– Albert Camus, The Stranger
and
– Kamel Daoud, The Meursault Investigation

• Poetry and Drama

– John Donne, John Donne: Selection of His Poetry
The prescribed poems are:
* The Sunne Rising
* The Apparition
* A Valediction: forbidding mourning
* This is my playes last scene
* At the round earths imagin’d corners
* If poysonous mineralls
* Death be not proud
* Hymne to God my God, in my sicknesse
and
– Margaret Edson, W;t

Question 1 continues on page 4

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Question 1 (continued)

• Poetry and Film

– John Keats, The Complete Poems
The prescribed poems are:
* La Belle Dame sans Meci
* To Autumn
* Bright star! would I were as steadfast as thou art
* Ode to a Nightingale
* Ode on a Grecian Urn
* When I have fears that I may cease to be
* The Eve of St Agnes, XXIII
and
– Jane Campion, Bright Star

• Poetry and Poetry

– Sylvia Plath, Ariel
The prescribed poems are:
* Daddy
* Nick and the Candlestick
* A Birthday Present
* Lady Lazarus
* Fever 103°
* The Arrival of the Bee Box
and
– Ted Hughes, Birthday Letters
The prescribed poems are:
* Fulbright Scholars
* The Shot
* A Picture of Otto
* Fever
* Red
* The Bee God

• Shakespearean Drama and Prose Fiction

– William Shakespeare, The Tempest
and
– Margaret Atwood, Hag-Seed

End of Question 1

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Section II – Module B: Critical Study of Literature

20 marks
Attempt ONE Question from Questions 2-8
Allow about 40 minutes for this section

Answer the question in a separate writing booklet. Extra writing booklets are available.
___________________________________________________________________________

Your answer will be assessed on how well you:

• demonstrate an informed understanding of the ideas expressed in the text
• evaluate the text’s distinctive language and stylistic qualities
• organise, develop and express ideas using language appropriate to audience, purpose
and form
___________________________________________________________________________

Question 2 – Prose Fiction (20 marks)

(a) Jane Austen, Emma

Emma Woodhouse, handsome, clever, and rich, with a comfortable home and
happy disposition seemed to unite some of the best blessings of existence; and
had lived nearly twenty-one years in the world with very little to distress or vex
her.

She was the youngest of the two daughters of a most affectionate, indulgent
father; and had, in consequence of her sister's marriage, been mistress of his
house from a very early period. Her mother had died too long ago for her to have
more than an indistinct remembrance of her caresses; and her place had been
supplied by an excellent woman as governess, who had fallen little short of a
mother in affection.

How does Austen’s experimentation with form elevate her purpose?

In your response, make detailed reference to the excerpt and to your prescribed text
as a whole.

OR

Question 2 continues on page 6

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Question 2 (continued)

(b) Charles Dickens, Great Expectations

Ours was the marsh country, down by the river, within as the river wound, twenty
miles of the sea. My first most vivid and broad impression of the identity of things,
seems to me to have been gained on a memorable raw afternoon towards evening.
At such a time I found out for certain, that this bleak place overgrown with nettles
was the churchyard; and that Philip Pirrip, late of this parish, and also Georgiana
wife of the above, were dead and buried; and that Alexander, Bartholomew,
Abraham, Tobias, and Roger, infant children of the aforesaid, were also dead and
buried; and that the dark flat wilderness beyond the churchyard, intersected with
dykes and mounds and gates, with scattered cattle feeding on it, was the marshes;
and that the low leaden line beyond was the river; and that the distant savage lair
from which the wind was rushing, was the sea; and that the small bundle of shivers
growing afraid of it all and beginning to cry, was Pip.

How does Dickens’ experimentation with form elevate his purpose?

In your response, make detailed reference to the excerpt and to your prescribed text
as a whole.

OR

(c) Kazuo Ishiguro, An Artist of the Floating World

It was an eccentric procedure, but I saw nothing objectionable about it; it was,
after all, much the same as being involved in a marriage negotiation. Indeed, I felt
somewhat flattered to be considered by this old and hidebound family as a worthy
candidate. When I gave my consent to the investigation, and expressed my
gratitude to them, the younger sister addressed me for the first time, saying: ‘Our
father was a cultured man, Mr Ono. He had much respect for artists. Indeed, he
knew of your work.’

In the days which followed, I made enquiries of my own, and discovered the truth
of the younger sister’s words; Akira Sugimura had indeed been something of an
art enthusiast who on numerous occasions had supported exhibitions with his
money. I also came across certain interesting rumours: a significant section of the
Sugimura family, it seemed, had been against selling the house at all, and there
had been some bitter arguments.

How does Ishiguro’s experimentation with form elevate his purpose?

In your response, make detailed reference to the excerpt and to your prescribed text
as a whole.

End of Question 2

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Question 3 – Poetry (20 marks)

(a) T. S. Eliot, T. S. Eliot: Selected Poems

III
You tossed a blanket from the bed,
You lay upon your back, and waited;
You dozed, and watched the night revealing
The thousand sordid images
Of which your soul was constituted;
They flickered against the ceiling.
And when all the world came back
And the light crept up between the shutters
And you heard the sparrows in the gutters,
You had such a vision of the street
As the street hardly understands;
Sitting along the bed’s edge, where
You curled the papers from your hair,
Or clasped the yellow soles of feet
In the palms of both soiled hands.
Preludes

How does Eliot’s experimentation with form elevate his purpose?

In your response, make detailed reference to the excerpt and to your prescribed text as a
whole.

The prescribed poems are:

* The Love Song of J Alfred Prufrock
* Preludes
* Rhapsody on a Windy Night
* The Hollow Men
* Journey of the Magi

OR

Question 3 continues on page 8

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Question 3 (continued)

(b) David Malouf, Earth Hour

The sort of animal

warmth that a cat
is drawn to in a cold house; as if
the sun, centuries back,
in a burst of candescence,
had danced there, and the glow of
its presence can still be felt
Eternal Moment at Poggia Madonna

How does Malouf’s experimentation with form elevate his purpose?

In your response, make detailed reference to the excerpt and to your prescribed text
as a whole.

The prescribed poems are:

* Aquarius
* Radiance
* Ladybird
* A Recollection of Starlings: Rome ‘84
* Eternal Moment at Poggia Madonna
* Towards Midnight
* Earth Hour
* Aquarius II

End of Question 3

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Question 4 – Drama (20 marks)

(a) Henrik Ibsen, A Doll’s House

NORA: Alas, Torvald, you are not the man to educate me into being a proper
wife for you.
HELMER: And you can say that!
NORA: And I--how am I fitted to bring up the children?
HELMER: Nora!
NORA: Didn't you say so yourself a little while ago--that you dare not trust me to
bring them up?
HELMER: In a moment of anger! Why do you pay any heed to that?
NORA: Indeed, you were perfectly right. I am not fit for the task. There is
another task I must undertake first. I must try and educate myself--you are not the
man to help me in that. I must do that for myself. And that is why I am going to
leave you now.
HELMER: (springing up) What do you say?

How does Ibsen’s experimentation with form elevate his purpose?

In your response, make detailed reference to the excerpt and to your prescribed text
as a whole.

OR

(b) Dylan Thomas, Under Milk Wood

FIRST VOICE: From where you are you can hear in Cockle Row in the spring,
moonless night, Miss Price, dressmaker and sweetshop-keeper, dream of
SECOND VOICE: her lover, tall as the town clock tower, Samsonsyrup-gold-
maned, whacking thighed and piping hot, thunderbolt-bass'd and barnacle-breasted,
flailing up the cockles with his eyes like blowlamps and scooping low over her
lonely loving hotwaterbottled body.
MR EDWARDS: Myfanwy Price!
MISS PRICE: Mr Mog Edwards!
MR EDWARDS: I am a draper mad with love. I love you more than all the
flannelette and calico, candlewick, dimity, crash and merino, tussore, cretonne,
crepon, muslin, poplin, ticking and twill in the whole Cloth Hall of the world. I have
come to take you away to my Emporium on the hill, where the change hums on
wires.

How does Thomas’ experimentation with form elevate his purpose?

In your response, make detailed reference to the excerpt and to your prescribed text
as a whole.

End of Question 4

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Question 5 – Nonfiction (20 marks)

(a) Edmund de Waal, The Hare with Amber Eyes

One sunny April day I set out to find Charles. Rue de Monceau is a long Parisian
street bisected by the grand boulevard Malesherbes that charges off towards the
boulevard Pereire. It is a hill of golden stone houses, a series of hotels playing
discreetly on neoclassical themes, each a minor Florentine palace with heavily
rusticated ground floors and an array of heads, caryatids and cartouches. Number
81 rue de Monceau, the Hôtel Ephrussi, where my netsuke start their journey, is
near the top of the hill. I pass the headquarters of Christian Lacroix and then, next
door, there it is. It is now, rather crushingly, an office for medical insurance.
It is utterly beautiful. As a boy I used to draw buildings like this, spending
afternoons carefully inking in shadows so that you could see the rise and fall of the
depth of the windows and pillars. There is something musical in this kind of
elevation.

How does de Waal’s experimentation with form elevate his purpose?

In your response, make detailed reference to the excerpt and to your prescribed text
as a whole.

OR

(b) Vladmir Nabakov, Speak Memory

Through a tremulous prism, I distinguish the features of relatives and familiars,

mute lips serenely moving in forgotten speech. I see the steam of the chocolate and
the plates of blueberry tarts. I note the small helicopter of a revolving samara that
gently descends upon the tablecloth, and, lying across the table, an adolescent girl's
bare arm indolently extended as far as it will go, with its turquoise-veined
underside turned up to the flaky sunlight, the palm open in lazy expectancy of
something —perhaps the nutcracker. In the place where my current tutor sits, there
is a changeful image, a succession of fade-ins and fade-outs; the pulsation of my
thought mingles with that of the leaf shadows and turns Ordo into Max and Max
into Lenski and Lenski into the schoolmaster, and the whole array of trembling,
transformations is repeated.

How does Nabakov’s experimentation with form elevate his purpose?

In your response, make detailed reference to the excerpt and to your prescribed text
as a whole.

End of Question 5

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Question 6 – Film – George Clooney, Good Night and Good Luck (20 marks)

How does Clooney’s experimentation with form elevate his purpose?

In your response, make detailed reference to the screenshots and to your prescribed text as a
whole.

Section II continues on page 12

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Question 7 – Media – Gillian Armstrong, Unfolding Florence (20 marks)

How does Armstrong’s experimentation with form elevate her purpose?

In your response, make detailed reference to the screenshots and to your prescribed text as a
whole.

Section II continues on page 13

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Question 8 – Shakespearean Drama – William Shakespeare, King Henry IV, Part I
(20 marks)

FALSTAFF
'Tis not due yet; I would be loath to pay him before
his day. What need I be so forward with him that
calls not on me? Well, 'tis no matter; honour pricks
me on. Yea, but how if honour prick me off when I
come on? how then? Can honour set to a leg? no: or
an arm? no: or take away the grief of a wound? no.
Honour hath no skill in surgery, then? no. What is
honour? a word. What is in that word honour? what
is that honour? air. A trim reckoning! Who hath it?
he that died o' Wednesday. Doth he feel it? no.
Doth he hear it? no. 'Tis insensible, then. Yea,
to the dead. But will it not live with the living?
no. Why? detraction will not suffer it. Therefore
I'll none of it. Honour is a mere scutcheon: and so
ends my catechism.

How does Shakespeare’s experimentation with form elevate his purpose?

In your response, make detailed reference to the excerpt and to your prescribed text as a
whole.

End of Section II

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Section III – Module C: The Craft of Writing

20 marks
Attempt Question 9
Allow about 40 minutes for this section

Answer the question in a separate writing booklet. Extra writing booklets are available.
___________________________________________________________________________

Your answer will be assessed on how well you:

• craft language to address the demands of the question
• use language appropriate to audience, purpose and context to deliberately shape
meaning
___________________________________________________________________________

Question 9 (20 marks)

Compose a piece of persuasive or discursive writing that responds to this statement:

In literature as in life, the struggle to tell our own stories is alleviated through the
crafting of voice.
In your response, you must refer to at least ONE of the prescribed texts you have studied in
Module C and at least ONE other text you have studied as part of Module A, Module B or
Module C.

The prescribed texts for Module C are listed on the following page.

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Question 3 (continued)

The prescribed texts are:

• Prose Fiction – Kate Chopin, The Awakening

– Elizabeth Harrower, The Fun of the Fair
– Franz Kafka, Metamorphosis
– Nam Le, Love and Honour and Pity and Pride and
Compassion and Sacrifice
– Colum McCann, Thirteen Ways of Looking
– Colum McCann, What Time Is It Now, Where You Are?
– Rohinton Mistry, The Ghost of Firozsha Baag

• Nonfiction – Helen Garner, How to Marry Your Daughters

– Siri Hustvedt, Eight Days in a Corset
– George Orwell, Politics and the English Language
– Zadie Smith, That Crafty Feeling

• Speeches – Margaret Atwood, Spotty-Handed Villainesses

– Geraldine Brooks, A Home in Fiction
– Noel Pearson, Eulogy for Gough Whitlam

• Poetry – Kim Cheng Boey, Stamp Collecting

– Gwen Harwood, Father and Child
– Wallace Stevens, Thirteen Ways of Looking at a
Blackbird
– Alfred Lord Tennyson, The Lady of Shallot

• Performance Poetry – Kate Tempest, Picture a Vacuum

End of paper

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